June 2015 – Toovey’s Blog

Pallant House Gallery Exhibition unites St Ives & Sussex

Terry Frost, Blue, Black, White, 1960 - 61, oil on canvas, Pallant House Gallery, The George and Ann Dannatt Gift (2011) © Estate of Terry Frost. All Rights Reserved, DACS 2015

Pallant House Gallery’s latest exhibition ‘St Ives and British Modernism – The George and Ann Dannatt Collection’ celebrates these two remarkable individuals through their art collection.

The collection reflects George and Ann’s particular tastes in which they were almost always united. But the art also speaks of their friendships with the artists themselves. They stood against the sort of country house taste and way of life expressed at Charleston House for example. Their home, East End, in Cornwall, provided what has been described as an English ‘abstract aesthetic’. There was always new art to delight the visitor but it was hung and displayed so as not to be crowded. There was a quality of careful composition in the interiors, as though in a painting.

St Ives and British Modernist pictures telling the story of the Dannatt’s home, East End, in a Georgian interior. — St Ives and British Modernist pictures telling the story of the Dannatt’s home, East End, in a Georgian interior

The care with which this current exhibition has been hung in the 18th century part of the galleries provides an intimate context. It allows us to understand how the composition and domestic quality of the interiors at East End informed the viewer’s engagement with the art.

Ben Nicholson and Barbara Hepworth, together with a number of others, drew many significant artists to Cornwall before the Second World War. St Ives would become a refuge for modernism in England and a beacon for a new generation of younger artists.

John Wells, Project, 1942, gouache ink and pencil on card, Pallant House Gallery, The George and Ann Dannatt Gift (2011) © Jonathan Clark Fine Art, Representatives of the Artist's Estate

Throughout the 1950s and 1960s Barbara Hepworth dominated sculpture in St Ives. Between 1949 and 1959 Denis Mitchell assisted Hepworth. By about 1960 Mitchell’s sculptures combined Cubist geometry with converging contours, angles and mass, redolent of the landscape. His polished bronze sculptures are often vertical in form but ‘Selena’, shown in the foreground here, represents a body of work in the horizontal. It was bought by the Dannatts from the Marjorie Parr Gallery in 1969. These optimistic works responded to the predominate taste of the time for hard edged balanced forms. Taste shared by the Danatts.

In the foreground is Denis Mitchell’s polished bronze ‘Selena’, from 1969, set in the 18th century Pallant House Gallery, from the George and Ann Dannatt Gift (2011)

The Dannatts had met Denis Mitchell in 1963 through Terry Frost and their patronage was enormously important to the sculptor as he established himself. Terry Frost’s ‘Blue, Black, White’ from 1960-61 is evocative of St Ives. When you visit this seaside town the light which inspired artists of the 19th and 20th centuries cannot fail to speak to your heart. The light dances off the sea whilst lines of shadows, cast by scudding clouds, move swiftly and dramatically across the landscape. This wonderful oil painting on canvas captures the essence of this elemental experience. For me it is one of the highlights of the show.

From 1960 Denis Mitchell shared a studio in Newlyn with his friend, the artist, John Wells. Both where great encouragers to George Dannatt as he began to work as an artist himself. John Wells lived in Ditchling in Sussex until 1921. He studied medicine at University College Hospital, London between 1925 and 1930, attending St Martin’s School of Art in the evenings of 1928 and 1929. Like George Dannatt he pursued his artist career later in life. John Wells arrived in St Ives in 1940 from the Scilly Isles where he had been a GP. His work ‘Project of 1942’, shows an openness and sensitivity to the sensations of the landscape. Natural forms would continue to awaken textures and shapes in Wells and remain central to his work.

This fresh and exciting exhibition explores the George and Ann Dannatt Gift, one of the most significant donations Pallant House Gallery has received. It includes a body of largely unseen and newly conserved paintings, drawings, sculptures and prints by key figures associated with the St Ives Group of Artists in the 1950s, 1960s and 1970s. These include works by Terry Frost, Roger Hilton, Peter Lanyon, Ben Nicholson, Wilhelmina Barns-Graham, Denis Mitchell, John Wells and John Tunnard.

‘St Ives and British Modernism – The George and Ann Dannatt Collection’ runs until 20th September 2015 at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ. For more information go to www.pallant.org.uk or telephone 01243 774557.

By Revd. Rupert Toovey. Originally published on 24th June 2015 in the West Sussex Gazette.

200th Anniversary of the Battle of Waterloo Remembered

After W. Heath - 'The Battle of Waterloo June 18th 1815', colour aquatint

This week sees the 200th Anniversary of the Battle of Waterloo, a moment in British history bound up with our national psyche.

The defeat of Napolean Bonaparte and the French at Waterloo, on the evening of Sunday 18th June 1815, brought to a close decades of conflict which began with the French Revolution in 1789 and continued with the Napoleonic Wars.

Napolean had been exiled to the island of Elba after his defeat by the Allies in 1814. He escaped from Elba in February 1815 and returned to Paris.

The Duke of Wellington was in command of the Allied forces in the Netherlands. In response to Napolean’s return he assembled the British forces from garrisons there and urgent reinforcements were sent from England. Although many British soldiers were away in America his forces totalled some 40,000 men. The remaining 100,000 were hired from the smaller powers as was customary. Each of the Allies mustered a quota similar in number. As the Russians and Austrians moved slowly towards the French borders the Prussians, under the command of Gebhard von Blucher, came up in May.

Napolean left Paris on the 12th June 1815 intending to drive a wedge between the British and the Prussians in order to divide and defeat them and regain Belgium.

On the 15th June Napolean attacked the Prussians on the Sambre driving them back to the North-East. The Belgians were also forced back towards Brussels as far as a farm house known as the Quatre Bras. Wellington ordered his forces to meet at Quatre Bras. He too was attacked but determinedly held his positon before drawing back and establishing himself at Waterloo.

On the 18th June column after column of Napolean’s forces fell upon the British only to be repelled by Wellington’s defensive technique and the discipline and courage of his troops. Evening brought the sound of the Prussian guns. Blucher had evaded the French forces deployed to keep him from the field of battle.

Now certain of his ally’s aid Wellington advanced his whole line of infantry under the support of artillery and cavalry. The French were driven from the battle field in confusion. Napolean’s power was broken. He fled to Paris and surrendered to British forces before being imprisoned on St Helena.

A Waterloo Medal with impressed naming to 'Quar. Mast. Ben. Sweeten, 1st Batt. 52nd Reg. Foot.'

Objects which make history tangible and alive are highly prized by collectors. This is particularly true of collectors of militaria and medals. Take for example the rare Waterloo Medal with impressed naming to ‘Quar. Mast. Ben. Sweeten, 1st Batt. 52nd Reg. Foot.’ It came with its original adapted steel clip but lacked the suspension ring. Together with a newspaper cutting relating to the Sweeten Family it sold for £4600 in a Toovey’s specialist medals auction to a Horsham based collector.

Circle of William Grimaldi - Oval Miniature Head and Shoulders Portrait of a British Military Officer in Uniform, decorated with a Waterloo Medal, early 19th Century watercolour on ivory

However, a lot of militaria remains much more affordable. For example the colour aquatint titled ‘The Battle of Waterloo June 18th 1815’, after W. Heath would sell for around £120. The oval miniature head and shoulders portrait of a British Military Officer in Uniform, decorated with a Waterloo Medal, dates from the early 19th Century and is a watercolour on ivory. It was sold at Toovey’s for £300.

If you would like to know more about the background to this most famous battle Horsham Museum and Art Gallery’s exhibition, ‘Waterloo: 100 Days’, explores the events that led to the final defeat and exile of Napolean Bonaparte. Horsham Museum is fortunate to have many original documents from the period including the plan of the barracks drawn in 1815 when the barracks were sold and dismantled. The exhibition features documents which illustrate how the town was dramatically affected by the soldiers giving a flavour of the period through costume, books, prints, china and glassware. The exhibition runs until 11th July 2015.

Toovey’s next specialist auction of Edged Weapons, Firearms, Medals, Awards and Militaria will be held on Wednesday 9th September 2015. To find out more telephone 01903 891955 or go to www.tooveys.com.

Revd. Rupert Toovey. Originally published on 17th June 2015 in the West Sussex Gazette.

The Art Nouveau Postcards of Alphonse Mucha

‘Juin’ from the set of twelve postcards ‘Le Mois’ depicting the months of the year — ‘Juin’ from the set of twelve postcards ‘Le Mois’ depicting the months

The artist Alphonse Mucha has been described as ‘monumental figure’ in the Art Nouveau Movement. His postcards are rare and highly sought after.

Art Nouveau was a reaction to academic art of the 19th century schools of Realism and Impressionism. It often combined forms and structures inspired by nature with curved lines.

Toovey’s postcard and paper collectables specialist, Nicholas Toovey, comments “Throughout my career the postcards which have delivered the highest sums of money at auction have been postcards of Titanic interest, those relating to the Suffragettes and the Art Nouveau movement.”

Alphonse Mucha, postcard, after a design for the Societe de Bienfaisance Austro-Hongroise

I ask Nicholas about the collection of Mucha postcards already entered by a Sussex collector into his next specialist sale to be held on 11th August 2015. He replies “Alponse Mucha has always been prized by collectors for his artistic expression of the Art Nouveau. In my opinion he is the very best of the Art Nouveau artists.” Influenced by his relationship with Sarah Bernhardt, the leading actress of the Belle Epoch in 1870s France, Mucha produced posters, advertisements and menus in Paris. With the exception of ‘Le Mois’ and some other seasonal designs, his postcards are generally small images of large posters or cover designs. Rich in the symbolism of nature they idealize the female form. The fluidity of the arabesques of their hair and the foliage still engage the senses of the viewer today.

My eye is taken by a postcard of a lady in a white dress, her arms are outstretched and she is seated in a throne-like chair beneath a crescent design. Nicholas explains that this postcard is a copy of a design for the Societe de Bienfaisance Austro-Hongroise which Mucha produced in 1898. He says “This card is very rare. It’s estimated that there are only between thirty-one and seventy-five examples in the world.” The palette is subdued, almost faded, which is typical of Mucha’s work. These particular postcards are chromolithographically printed, a form of colour printing developed in the 19th century.

The series ‘Le Mois’ is the most famous of the sets from the Paris publisher, F. Champenois, who issued most of Mucha’s graphic works. The twelve ‘Le Mois’ postcards have titles reflecting the months of the year, seen here is the card for June. Each provides a romantic Art Nouveau depiction of a young woman emblematic of the season.

‘The Lady in a Pink Dress’, a menu card distributed by Moet & Chandon

Strict postal regulations at this date meant that you could only write the address and fix the stamp on the back of the card. Therefore, space was left for your message on the front. Nicholas explains that, although not detrimental to the value, a premium is always paid for them in such wonderful unused condition as seen in this example. Postcards by Mucha in this condition can achieve over £100 for a single card. But they still represent exceptional value to the collector seeking a period example of Mucha’s work.

In 1900 F. Champenois published a set of ten menu cards after watercolour designs by Mucha. These were distributed by, and bear the name of, the famous champagne house Moet & Chandon. The design allows space to write your menu framed by ‘The Lady in a Pink Dress’ who holds a vine.

Toovey’s next specialist sale of Postcards and Paper Collectables will be held on Tuesday 11th August 2015 and entries are still being accepted. Toovey’s postcard and paper collectables specialist, Nicholas Toovey, is always pleased to offer advice whether you are interested in selling or acquiring postcards in this buoyant market. He is a member of the Postcard Traders Association and can be contacted on 01903 891955 or via auctions@tooveys.com.

Revd. Rupert Toovey. Originally published on 10th June 2015 in the West Sussex Gazette.

Arts and Crafts for Today’s Home at Toovey’s

Toovey’s Arts and Crafts Specialist, William Rowsell

In celebration of the Arts and Crafts Movement Toovey’s will be holding a specialist auction of Arts and Crafts Furniture & Works of Art on Tuesday 8th September 2015.

The Great Exhibition of 1851, housed in Joseph Paxton’s Crystal Palace at Hyde Park, celebrated industry, manufacturing and industrial design. In reaction to the industrial age the Arts and Crafts Movement sought to improve standards of decorative design and revive handicrafts. It stood against the automatic processes involved in mass-production and its social impact. Inspired by the writings of Augustus Pugin, John Ruskin and William Morris, Arts and Crafts design was often based upon a re-interpretation of the Medieval, sometimes incorporating the Celtic with a very English interpretation of the Art Nouveau.

A mid-19th century Gothic Revival walnut chair designed by Pugin

The specialist in charge of this Arts and Crafts sale is William Rowsell. I am excited to discover a walnut chair designed by Pugin already consigned for the auction. William says “Pugin worked as an architect and designer. He was a passionate advocate of the Gothic Revival style which he famously applied to the House of Commons. You can see the influence of the Gothic in the stretchers and mouldings of this chair.” In the 1830s and 1840s Pugin published books on furniture decoration as well as architecture. William continues “Most of Pugin’s furniture was made for the houses which he designed.” This remarkable chair carries an estimate of £300-500.

A Liberty & Co Tudric pewter mantel timepiece, designed by Archibald Knox, estimate £2000-3000

My eye is taken by a Liberty & Co Tudric mantel timepiece. Liberty was owned and run by Sir Arthur Lasenby, a leading figure in the English Art Nouveau movement. In 1903 a new type of pewter emerged which Liberty called Tudric. It contained a high proportion of silver in the alloy. Tudric objects were made by the firm William Hair Haseler in Birmingham. William Rowsell smiles enthusiastically as he says “These Tudric designs re-interpret the Celtic style incorporating the Art Nouveau as well. The use of blue and turquoise enamel cabochons, like on the dial of this clock, is outstanding.” Tudric pieces of this quality are prized by collectors and William explains that this is reflected in the presale estimate of £2000-3000.

A pair of Leeds Fireclay Company Lefco ware jardinières

Also entered for auction are the pair of early 20th century Leeds Fireclay Company Lefco ware stoneware jardinières which would grace any garden with their Art Nouveau naturalistic decoration. They carry an estimate of £600-900.

To my eye the English Art Nouveau and Arts and Crafts Movement combines beauty and purpose. It was considered progressive in its own time but the influences of the simple pre-industrial cottage can be noted.

The simplicity of an Arts and Crafts interior entered into, and influenced, the spirit of much 20th century design. Nevertheless these interiors were comfortable and gathering. The clean architectural lines of Arts and Crafts furniture and works of art were complimented by the use of rich colours in the fabrics, enamels, glazed ceramics, silver and glass. The quality of design speaks to our contemporary tastes.

Entries for Toovey’s specialist auction of Arts and Crafts Furniture and Works of Art on Tuesday 8th September 2015 are currently being invited. William Rowsell will be delighted to offer free advice on your Arts and Crafts furniture and objects whether you are considering selling or buying. Telephone Toovey’s on 01903 891955 to arrange an appointment.

Revd. Rupert Toovey. Originally published on 3rd June 2015 in the West Sussex Gazette.

Standen and its Textiles

It is a beautiful bright spring day as I approach the National Trust property, Standen, near East Grinstead in West Sussex. The dappled light falls upon the narrow drive through the canopy of trees, the vista opens as you arrive at the house. I have come to see Standen’s latest exhibition, ‘Medieval to Morris’ which explores the history of embroidery.

Standen is a fine example of a late 19th century Arts and Crafts Movement home. It combines the talents of architect, Philip Webb with an interior alive with the rich textiles and wallpapers of the designer, craftsman and poet, William Morris. Webb and Morris were famously close friends.

Standen was built between 1892 and 1894 for James and Margaret Beale. James was a successful and wealthy London solicitor. They chose the architect Philip Webb to design and oversee the project.

The house manager, Ben Dale, comes to meet me. Ben is a social historian whose passion for Standen is infectious. As we tour the house together he tells the story of this remarkable place through the objects, house and gardens. I comment on the unity of design which meets your eye in every room. Ben responds “Everything was designed by Webb for a reason. It’s a shining example of the Arts and Crafts. He put great thought into how the rooms would be used with a real attention to detail.”

As you arrive in the Drawing Room you can imagine it as a family setting with the Beale’s using it. The easy chairs are mostly by Morris & Co. The settee was probably designed by Agnes and Rhoda Garrett. The Garrets set up their own ‘Art Decoration’ business in 1875, working in the Morris taste. They lived together at Firs Cottage in Rustington. I am interested how important the textiles and carpet are to the overall aesthetic of the room. Ben explains “Many of the wall-hangings were made by Margaret Beale. She didn’t like to have idle hands which is why she embroidered with her daughters. It was a very social thing which they did together.” The hanging beside the settee was worked by Margaret Beale. This ‘Vine’ pattern was first designed by Morris for wallpaper in 1873. Margaret started work on the panel in 1920 and it took six years to complete.

The carpet, designed by J. H. Dearle is particularly fine. These hand knotted wool carpets were manufactured at Morris & Co’s Merton Abbey workshops.

Standen volunteer and curator of ‘Medieval to Morris’, Sally Roberson

Ben introduces me to Sally Roberson who is a volunteer at Standen and curator of their current exhibition, ‘Medieval to Morris’, which explores the history of embroidery. Sally expertly leads me around this excellent exhibition which tells the story of embroidery from medieval times to the current day. Examples of the stitches and techniques used over the centuries reveal the art of the embroiderer. It provides context and insight to the remarkable collection of William Morris designed embroidery at Standen. I comment on how I am fascinated that so many of the embroidered hangings and panels were worked by Margaret Beale and her family. Sally responds “Almost all of the panels were produced from kits. The patterns were printed on linen.”

I have always been struck by William Morris’ genius for flat patterns and his remarkable understanding of the relationships between natural forms, the curl of a leaf, a flower and its stem. I am drawn to an ‘Artichoke’ pattern panel embroidered by Margaret Beale and her three eldest daughters, from a design by William Morris, between 1894 and 1896. Sally says “It is stitched in silks which give a richness and sheen which wool would not.” Flowers and patterns were obviously as important to Margaret as they were to Morris. Sally remarks “Mrs Beale was a woman obsessed with gardening and embroidery, one informed the other.”

It has been wonderful to visit Standen anew and to see it through the eyes of Ben Dale and Sally Roberson. The exhibition ‘Medieval to Morris’ runs until the 26th July 2015. For more information on Standen House and Gardens, West Hoathly Road, East Grinstead, West Sussex, RH19 4NE visit their website by clicking here or telephone 01342 323029.

Revd. Rupert Toovey. Originally published on 27th May 2015 in the West Sussex Gazette