Rupert – Page 107 – Toovey’s Blog

St Mary’s House, Bramber, Sussex

St Mary’s, Bramber, by Anthony Capo Bianco — St Mary’s, Bramber, photograph by Anthony Capo Bianco

With the exception of our churches, few buildings in Sussex reflect the rich tapestry of our county’s history over almost nine hundred years as well as St Mary’s House, Bramber.

Philip de Braose entered Jerusalem in 1099 to open up the Holy Places to Christian pilgrims. Out of this first crusade the Order of Knights of the Temple of Jerusalem was founded and on Philip’s death in 1125 his widow gave five acres of land to the Knights Templar. The house built there passed to the monks of Sele, whose parent abbey was in Samur, France. Despite the numerous pilgrims journeying on the routes to centres like Canterbury and Santiago de Compostela, by 1320 this monastic inn had fallen into disrepair. In about 1470 the Bishop of Winchester, William of Waynflete, built a new chapel house around a galleried courtyard. The origins of St Mary’s House, as we know it, are to be found in Waynflete’s work.

St Marys Bramber — Peter Thorogood and Roger Linton at the front of St Mary’s, Bramber

The fortunes of St Mary’s have continued to ebb and flow over time but this beautiful house and its grounds seem to have always found passionate and generous custodians at just the right time. In the 20th century St Mary’s found herself once again in disrepair and in 1941 was requisitioned by the Ministry of Defence to house soldiers, including the men from the Royal Canadian Artillery. In 1944 St Mary’s was put up for auction at the Old Ship Hotel, Brighton. By chance, Miss Dorothy Ellis spotted the advert and, against the advice of friends, determined to attend the sale. Miss Ellis was successful in her bidding, preventing a local builder from acquiring St Mary’s to demolish the house for her timbers! Miss Ellis did all in her power to preserve St Mary’s and ensured that it became Grade I listed.

In 1984 St Mary’s, yet again in some disrepair, found herself up for sale once more. On this occasion the house captured the imaginations of her current custodians and patrons, Peter Thorogood and Roger Linton, who purchased St Mary’s with the express wish to keep it open to the public. Their different gifts have blessed St Mary’s. Peter brought his experience at the British Council and his gifts as a writer and researcher to the task of preserving St Mary’s. Roger, with a background in design seeded at the Royal College of Art, brought his gifts as a conservator and set about restoring the property and designing the gardens. Peter’s love of music and theatre are given expression in the program of concerts and theatre which are at the heart of St Mary’s life.

These generous custodians have always wanted to share St Mary’s with others and this is reflected in the extraordinary community of gifted volunteers and Friends of St Mary’s, who have joined with Peter and Roger in their work. “They are our St Mary’s family,” Peter reflects.

St Marys Bramber Drawing Room — The Drawing Room, furnished with Peter’s and Roger’s own furniture and memories

It is quickly apparent that Peter and Roger are rooted in this place. Peter says, “We were both fascinated by timber-framed houses, even as boys.” Roger interjects, “We both knew this house as boys, thanks to our parents. I used to visit with my father, a Methodist minister, when we went to Steyning, which was part of his circuit.” I comment that there is a real quality of calling and vocation apparent in their life and work at St Mary’s. Peter’s face breaks into a smile and he replies, “Yes, calling and vocation in looking after the house, this place, its history and the people St Mary’s gathers. It’s always been for the benefit of others, the public, as well as ourselves.”

The Painted Room St Marys Bramber — The Painted Room with trompe l’oeil panel believed to date from Tudor times. The panels have landscape and sea-battle vignettes. Note also the wonderful 16th century ‘Nonsuch chest’, marquetry-inlaid with architectural panels

Although there is a grandeur to this wonderful old house, it is very much a home, informed by the passions and interests of Peter Thorogood and Roger Linton. They have not only preserved and restored this important landmark in the history of Sussex but also kept it alive, inspiring a team of volunteers and friends to join them in their adventure. Peter and Roger have a deep sense of dedication to this place and their vision to share St Mary’s with all of us. It has become their lives over the past thirty years and they deserve our thanks. Whether visiting for the first time or returning to an old friend, as I often do, St Mary’s has a particular gift of taking us out of the business of our own lives and allowing us to see ourselves in that broad procession of human history of which Sussex has so often been at the centre. St Mary’s House and Gardens opens to the public for the 2014 season this coming Sunday afternoon, 4th May, from 2pm to 6pm. For further details visit www.stmarysbramber.co.uk.

By Revd. Rupert Toovey. Originally published on 30th April 2014 in the West Sussex Gazette.

Sublime Sevres in Sussex

Vincennes cup and saucer — A Vincennes porcelain cup and saucer, circa 1752

The French porcelain which became ‘Sèvres’ began at Vincennes around 1740, when the French nobleman Orry de Fulvy established a manufactory at the Châteaux de Vincennes, near Paris, and employed Gilles and Robert Dubois. The Dubois brothers, one a sculptor, the other a painter, were runaway workers from the Chantilly porcelain factory in Oise. They claimed to know the secret of porcelain manufacture and were joined by fellow Chantilly worker Louis-François Gravant. In 1745 a company was formed and King Louis XV granted a royal privilege giving Vincennes an exclusive right to make porcelain decorated with figures and gilding. The privilege even prevented Vincennes workers being employed elsewhere.

Sevres porcelain coffee can and saucer — A Sèvres porcelain coffee can and saucer, circa 1776, painted by Guillaume Noël

Sevres porcelain painted by Jean-Baptiste Tandart — A Sèvres porcelain plateau carré, circa 1764, painted by Jean-Baptiste Tandart

Sevres-style Timepiece by Achille Brocot — A mid-19th Century French ormolu and Sèvres-style porcelain mantel timepiece by Achille Brocot

Like the later Sèvres pieces, Vincennes output was commonly marked with interlaced ‘L’s to the bases. The Vincennes cup and saucer illustrated dates from 1752. The inky blue-glazed ground sets off the richly gilded flower sprays and laurel garland beautifully. Pieces such as these are highly sought-after by collectors around the world and this cup and saucer realised £2600 in a Toovey’s specialist auction.

In 1756 the manufactory was moved to new buildings at Sèvres. Success in making hard-paste porcelain of the type produced by Meissen and the Chinese remained elusive, despite large sums of money being paid, often to false arcanists. In 1769 this goal was achieved, though few hard paste porcelain pieces were produced until 1772. Those that were made were marked with interlaced ‘L’s beneath a crown. This mark was used at Sèvres in various forms until 1793.

The Sèvres porcelain coffee can and saucer, circa 1776, painted by Guillaume Noël with circular rose vignettes within blue and gilt scale borders, shows the extraordinary skill of the artists working at the factory. It was marked to the base with blue enamel interlaced ‘L’s, date code and Noël’s monogram and was sold at Toovey’s for £2200.

A particular favourite of mine was this exquisite Sèvres porcelain plateau carré of square outline, circa 1764, which we auctioned for £3000. It measured a little under six inches in width. Jean-Baptiste Tandart’s fine painting delights with four cornflower and pink rose oval garlands, alternating with puce ribbon ties, on a stippled gilt ground. The delicate composition is framed by a pierced Vitruvian scroll rim, heightened in gilt.

Many French clocks and pieces of furniture are decorated with Sèvres-style panels. This fine mid-19th century French ormolu mantel timepiece had a year-going, five-spring barrel movement by Achille Brocot. The case is decorated with Sèvres-style porcelain panels, painted with cherubs within bleu céleste and gilt borders. Son of the famous Louis-Gabriel Brocot, Achille Brocot is recorded as working at Rue d’Orleans au Marais, Paris, between 1850 and 1874. It sold in a Toovey’s specialist clock sale for £2200.

The qualities of Sèvres porcelain are sublime and still captivate the eye of the connoisseur today. Toovey’s next specialist sales of porcelain and clocks will be held on 22nd May 2014. If you would like advice on the sale of your fine china or timepieces, contact Tom Rowsell on 01903 891955.

By Revd. Rupert Toovey. Originally published on 23rd April 2014 in the West Sussex Gazette.

Medieval Easter Frescoes at St Mary’s, West Chiltington

The 13th century medieval cycle of Easter frescoes at St Mary’s

The frescoes at St Mary’s parish church in West Chiltington, Sussex, were uncovered in 1882. Contemporary 19th century records note their excellent colour. Conservation work was not undertaken until the 1930s.

Frescoes are wall paintings, painted directly on to the plaster while it is still wet. The artist has to work quickly as the pigments and image are fixed as the plaster dries. This technique was used throughout the Renaissance in Italy and elsewhere.

Amongst the earliest paintings at St Mary’s is the cross motif, formed from an endless rope knot. This beautiful cross is easily missed and forms part of a circular medallion in the recess over the east end of the south aisle. Such crosses are known in Roman mosaics and wall paintings. In Sussex, the pavement at Fishbourne Roman Palace contains a similar emblem. However, its significance at West Chiltington remains unknown. This Celtic cross design has been reinterpreted for the 21st century in the new porch with its glass doors. The Reverend David Beale, Vicar of St Mary’s, remarks: “I love the way that the newest part of the church is linked with the oldest by this cross and bears witness to Christians in this building for almost 900 years.”

The Reverend David Beale, Vicar of St Mary’s, West Chiltington

On the north side of the arcade in the nave is a cycle of frescoes, which tell the story from Jesus’ triumphal entry into Jerusalem on a donkey as the crowds lay palm leaves before him, to his resurrection on the first Easter Day. Illustrated here are depictions of the Last Supper, Christ washing the feet of his disciples, the betrayal of Jesus in the garden of Gethsemane by Judas Iscariot’s kiss, the flagellation of Christ, the carrying of the cross and the crucifixion. The scenes are portrayed within a series of three painted, lobed arches resting on slender columns and capitals. The influence of the Gothic can be seen in the figures, whose fluidity conveys genuine humanity. Compassion and suffering are clearly discernable in the depictions of Christ and contrast with the expressions on the faces of his tormentors. The directness of these paintings still powerfully communicate these familiar Gospel narratives in their now faded hues. I ask David what effect these medieval fresco drawings have on him and those who visit this place week by week to worship or pray. “They have a remarkable ability to connect people with their stories,” he answers. “This place is steeped in centuries of prayer; it is fascinating to observe how this and the pictures still cause people to pause in wonder. I suppose it should be unsurprising really in our visual age.”

We have become used to the soft hues of stone and white lime wash in the majority of our churches but St Mary’s, with her faded frescoes, allows us to experience something of the extraordinary effect that these Pre-Reformation paintings would have had on Sussex people some 800 years ago. David concludes, “It’s wonderful to glimpse how rich and colourful many of our churches would have been in the 12th and 13th centuries.”

This remarkable group of colourful frescoes reside in a working building at the heart of its community and speak of a narrative common to us all. St Mary’s, West Chiltington, is open every day and is one of my favourite places to stop and pray – a generous punctuation mark in a busy day. Treat yourself and try it! Easter services will be held at 2.00pm on Good Friday with Holy Communion on Easter Sunday at 8.00am and 10.00am. All are welcome. For more information go to www.stmaryswestchilt.co.uk

By Revd. Rupert Toovey. Originally published on 18th April 2014 in the West Sussex Gazette.

Antique Furniture for the Sustainable Consumer

Thomas Faed oil sketch — Thomas Faed - Interior Scene with Two Mothers in Conversation beside Two Coy Children, oil sketch over pencil traces on board, signed

The news seems to be increasingly focused on climate change and the World’s resources. In the West decades of cheap imports from emerging economies have given us a false sense of the price of things. With ever growing international demand for finite resources raw materials must, overtime, continue to rise inexorably. Things will become ever more expensive and once again items will have to be built to last and be repairable. Our sense of value should of course take account of pay and conditions for the workers in the factories and workshops which can sell their wares for so little.

George III figured mahogany chest of drawers — A fine George III figured mahogany serpentine front chest of drawers

A George III mahogany chest of drawers with brushing slide

When I started out as an Antique and Fine Art Auctioneer and Valuer some thirty years I can remember driving across a field to a cottage outside Horsham to be met by an elderly gentleman with a snow white beard. There was no electricity and the water for our tea came from a hand pump well. Victorian oil lamps filled the corners of his room and the house smelt comfortingly of wood smoke. I felt that I had stepped into a 19th century painting like the one illustrated by the 19th century Royal Scottish Academician, Thomas Faed. This small oil sketch with pencil traces depicts a comfortable interior scene with two mothers in conversation as the children shyly glance awkwardly at each other. This delightful painting was auctioned at Toovey’s for £1700.

At that time a phrase you often heard amongst the well to do middle class was “we’re too poor to buy rubbish.” There was something so practical and sensible in buying good quality items that would last. For a generation who had married and set up home before and after the wars antique furniture, both from their families and bought, provided the opportunity to have beautiful things in an age of austerity, rationing and a shortage of raw materials.

Fine examples of English furniture still command good prices like this George III mahogany serpentine front chest of drawers with its beautiful figured mahogany. The timber seems to be alive in the way that it reflects the light. It realised £3200 at Toovey’s. But a well-proportioned George III mahogany chest of drawers with a brushing slide like the one illustrated can be purchased at auction for about £400 and will give pleasure and utility to your family over generations to come, with no impact on the World’s diminishing resources.

The time has come for us to reassess brown furniture. Prices can only rise for these pieces which combine the aesthetic with quality and longevity. Perhaps once again we will be heard to say “we’re too poor to buy rubbish.” Toovey’s next sale of fine furniture will be held on Friday 25th April 2014.

By Revd. Rupert Toovey. Originally published on 9th April 2014 in the West Sussex Gazette.

Oxford and Cambridge Boat Race Comes to Sussex

Late 19th century oil on canvas by J.B. Allen depicting The Boat Race, London

This coming Sunday, 6th April 2014, the 160th annual Oxford and Cambridge University Boat Race will be held. The Boat Race was first held in 1829, making this one of the oldest surviving sporting events in the world. The second Boat Race took place in 1836 in London, where it has been held ever since.

The competition began as a challenge between two old school friends, Charles Merivale and Charles Wordsworth, the nephew of the famous poet William Wordsworth. Today it has become an important fixture in the English sporting calendar and one which underlines the international and outward-looking qualities of the English at their best. The crews fielded by Oxford and Cambridge often reflect the global standing of these universities, whose students and oarsmen come from across the world.

Over the years I have increasingly found myself in London, invited to value and sell important collections by their owners. It was during a recent day spent in Sheen, near Richmond, that I discovered this marvellous 19th century oil painting of the Boat Race by J.B. Allen. It struck me as rather wonderful that it was residing near the very shores of the Thames where Allen depicted the view, between Putney and Mortlake.

In this Victorian scene the crowds are so numerous that they have taken to boats in order to get a better view of the crews as they row by. Arms and hats are raised as the excited spectators cheer their chosen team onwards. There is a cold wind blowing, causing flags to flutter. The greys and blues in the artist’s palette remind us that Easter is approaching and spring is only just arriving. Though less finely painted, the panorama of the crowds is reminiscent of that great Victorian painter William Powell Frith, who painted ‘The Derby Day’ between 1856 and 1858. In a similar way to Powell, J.B. Allen depicts a series of very personal vignettes within the grand sweep of his Boat Race scene: boatmen steady ladies in their boats; gentlemen point towards the action and cheers go up amongst different parties of people. It is a painting which is alive and still creates excitement in us today. I am pleased to say that this oil on canvas subsequently came to Sussex to Toovey’s and was auctioned in our fine art sale on 26th March 2014 for £10,500.

Wedgwood earthenware bowl, designed by Eric Ravilious, circa 1938, the interior decorated with a scene of Piccadilly Circus at night

Wedgwood earthenware bowl, designed by Eric Ravilious, circa 1938, the exterior decorated with the Boat Race Day pattern

Around 1938 the Sussex artist Eric Ravilious provided an alternative view of the Oxford and Cambridge Boat Race in his designs for Wedgwood. Known as the Boat Race Day pattern, the exterior of this bowl depicts three successive scenes from the race and a mermaid device. Again, the numerous crowds are depicted cheering in the foreground, their arms raised in excitement, but the stylized scene appears as a moment captured outside of time, as is often the case with Ravilious’ work. The interior of the bowl shows Piccadilly Circus at night. Today at auction, a Boat Race Day pattern bowl would realise between £800 and £1200.

This Sunday at 12.00 noon, between church and lunch, millions of us will be cheering on our team. We will be held in the moment as the drama unfolds on our televisions or before us from the banks of the Thames. We will be caught up in the atmosphere and mood of celebration of this most English of sporting events, celebrating the highest standards of amateur sportsmanship, captured with such life by J.B. Allen more than an hundred years ago.

Advice on your paintings is freely available from Toovey’s; contact us to make an appointment with our fine art specialists.

By Revd. Rupert Toovey. Originally published on 2nd April 2014 in the West Sussex Gazette.