Rupert – Page 107 – Toovey’s Blog

I SAW the spires of Oxford as I was passing by

Mather-Extension — The Ashmolean Museum’s extension

Rupert Toovey Oxford Conferences — Rupert Toovey at the Ashmolean Museum, Oxford

Sir Joseph Noel Paton — Modern Art from the 19th century, a sepia ink sketch by Sir Joseph Noël Paton - 'Study of Christian Resting (From John Bunyan's “Pilgrim's Progress” 1865)'

Last week I once again found myself in Oxford on a grey and blustery morning. Over recent years I have organised an annual conference for professionals from the art and antiques industry. Education has always seemed to me to be the most effective way to raise standards in any field and Oxford has provided the perfect platform.

The 2013 Oxford Art & Antiques Continuing Professional Development Conference saw the launch of new valuation standards, contracts and valuation templates. I wrote them with assistance from Paul Britton in response to the Royal Institution of Chartered Surveyors (RICS) Red Book and Valuer Registration Scheme. The RICS Red Book defines methods of valuation for things as diverse as a building or a Ming vase. The documents we prepared are designed to frame a process which will help to ensure best practice in the working method of UK Chartered Surveyors, Valuers and Auctioneers working in the specialist field of art and antiques. I am delighted that these templates have been broadly adopted by the profession.

However framing and promoting best practice in working method is only part of the mixture of skills for the art professional. Each conference also seeks to explore different specialist fields of objects.

In 2013 Dr Jon Whiteley, the then Senior Assistant Keeper of the Ashmolean Museum’s Western Art department, delivered an outstanding lecture.

He argued that at the beginning of the 19th Century there was a shift of interest from the Old Masters towards a new interest in the work of contemporary artists. In Germany, France and England, the idea of supporting living artists translated into the belief that art itself should be of its own time and should eschew the conventions and handed down ideas then prevalent in the art schools. The belief that art should be if its own time turned into a conviction that it should also represent its own time. Art, like the novel, became a medium for bringing light to bear upon contemporary issues. And yet, nothing comes from nothing. Throughout Europe, the artists who promoted modernity mostly did so by turning back to the art of the past in order to find a model for representing their own times. It was only in the later nineteenth-century that the idea took hold that modern art should be fundamentally different from the art of the past and this led to a kind of modernism that had little in common with modernism in its origin. The talk included artists and schools like Ingres, Courbet, Manet and the Pre-Raphaelites. His views are extremely topical as reassessment of representational art especially from the 18th and 19th centuries is overdue.

As I left by train I was reminded of the words of the poet Winifred M. Letts from ‘The Spires of Oxford (Seen from the Train)’ where, in 1917, she wrote:

‘I SAW the spires of Oxford
As I was passing by,
The gray spires of Oxford
Against a pearl–gray sky.’

The 2014 Oxford Art & Antiques Continuing Professional Development Conference will be based at the Ashmolean Museum, Oxford and is being supported by the professional bodies, SOFAA and NAVA. Lectures will include how to managing projects by the Revd. Canon Ian Gibson, Worcester Porcelain and the Henry Rissik Marshall Collection by leading the authority on Worcester Dinah Reynolds, and East meets West by Dr Clare Pollard, the Head of the Ashmolean Museum’s Japanese Department. Other sessions will include behind the scenes tours of the Ashmolean’s collections and a visit to William Morris’ Kelmscott Manor. To find out more about Rupert’s work in professional development go to www.oxfordconferences.org.

By Revd. Rupert Toovey. Originally published on 14th May 2014 in the West Sussex Gazette.

17th Century Silver Footed Salver from England’s Silver Age

A James II silver chinoiserie-decorated footed salver by Benjamin Yate, London 1688, to be sold in Toovey’s specialist silver auction, estimate £30,000-50,000

‘Legatio Batavica ad Magnum Tartariae Chamum Sungteium…’ by Jan Nieuhoff, circa 1668

Sussex found herself at the centre of the political upheavals of the 17th Century as Charles II escaped to France through the port of Shoreham, closely pursued by Oliver Cromwell’s forces.

The last quarter of the 17th century in England witnessed a revival of interest in silver objects. During the period of Oliver Cromwell’s Commonwealth, much silver was melted down for currency. Charles II’s restoration in 1660 was marked by a renewed sense of security, which resulted in both royalty and nobility indulging their passion for silver during what has sometimes been termed ‘England’s Silver Age’.

The silver footed salver or tazza illustrated, dating from the reign of James II, Charles’ brother and successor to the throne, was discovered by Toovey’s specialist valuer William Rowsell. “I found the salver amongst a collection of modest silver-plated items, brought in to our salerooms on one of our regular valuation days,” William comments. “It’s always exciting when you come across something wonderful and unexpected in a bag! The owner did not even realise it was silver, let alone an important piece.” The footed salver was brought in by a gentleman dealing with items collected by his late father, who had been an antiques dealer in the middle part of the 20th century. It was made by silversmith Benjamin Yate and assayed in London in 1688. Subsequent research confirmed the rarity of the flat-chased decoration featuring Chinese gentlemen, birds and foliage, punched into the silver in dots and lines.

The fashion for all things Chinese came from the influence of oriental items brought back by the Dutch and British East India companies. These fanciful chinoiserie vignettes would have been drawn from the artist’s imagination, rather than from any actual first-hand visual recollection of China and its people. The book ‘Legatio Batavica ad Magnum Tartariae Chamum Sungteium…’ by Jan Nieuhoff was first published in Amsterdam in 1668. This book is thought by silver historians to be the likely inspiration for much of the flat-chased chinoiserie decoration of silver from this period. The book’s stylistic influence can be seen in the plate from a copy of this volume sold in a Toovey’s specialist auction for £850.

Chinoiserie decoration on silver is a particularly English phenomenon and was mostly produced between the 1670s and 1690s. The strong similarity of figures, fauna and flora on known silver examples have led academics to question whether they may all be by a single craftsman. This form of decoration ends suddenly in 1688. It remains a mystery whether this was because of the craftsman’s death or a sudden change in taste caused by the overthrow of James II that year in the ‘Glorious Revolution’, when William of Orange invaded England.

The James II silver footed tazza will be offered as Lot 350 with an estimate of £30,000-£50,000 in Toovey’s specialist silver auction on Wednesday 21st May 2014, commencing at 1pm.

By Revd. Rupert Toovey. Originally published on 7th May 2014 in the West Sussex Gazette.

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.