Rupert – Page 15 – Toovey’s Blog

Ploughing Match & Agricultural Show

This week I am with Rowan Allan who together with Felicity Elliott is the Honorary Secretary of The West Grinstead & District Ploughing & Agricultural Society. The society is returning to its roots in the Parish of West Grinstead for the 2023 Annual Ploughing Match and Agricultural Show which is returning to Priors Byne Farm on Saturday 16th September.

I am always excited to attend the ploughing match.

Rowan Allan says “It’s great to be returning to Priors Byne Farm. John and Alison Ford and their team will give everyone a warm welcome – it’s one of our most popular venues and the agricultural community is looking forward to being able to come together once again.”

I comment on the extraordinary stewardship amongst our district’s farming community. Rowan comments “Balancing our heritage with the needs of the natural environment and food production is perfectly possible.”

The West Grinstead and District Ploughing Match and Agricultural Society has been holding shows for over 150 years. It seeks to re-connect town and country and educate the public.

Ploughing at the West Grinstead and District Plough Match and Agricultural Show

Rowan says “The ploughing match provides a shop window for people to engage with what farming and the countryside are really about.”

It’s a great family day out with the ploughing competition, cattle and sheep shows, licenced bar, fun fair, trade stands and local produce, terrier racing, open clay shooting competitions, tug-of-war, gun dog scurry, tractor and threshing machinery and even a ferret race, there is so much to enjoy.

Since 1871 The West Grinstead and District Plough Match and Agricultural Society has been promoting best practice in the local agricultural community through its prizes and awards. Today that also includes a bursary programme which provides financial support to enable and encourage young people to take up careers in the agricultural industry.

Our landscape is part of our nation’s heritage and identity and it is wholly dependent on the life given to it by our farmers who richly deserve our thanks.

I will be supporting Rowan and the team at the 2023 West Grinstead and District Plough Match and Agricultural Show at Priors Byne Farm, Bines Road, Partridge Green, RH13 8EQ on Saturday 16th September 2023. Entrance is just £8 per person online in advance or £10 on the day with children under 14 free. It’s going to be a fantastic family day, I hope to see you there!

For more information contact Rowan Allan at H. J. Burt Steyning through www.hjburt.co.uk or go to www.westgrinsteadploughing.co.uk to buy your tickets.

Postcard from Norfolk

This week I am in Norfolk visiting two of England’s finest country houses, Holkham Hall and Houghton Hall. The two houses provide contrasting interpretations of Palladianism and reflect the families who created them.

Palladianism is based on the designs of the 16th-century Italian architect Andrea Palladio who was inspired by the buildings of ancient Rome. It was popular in England between 1715 and 1760.

Houghton Hall in Norfolk, was the home of Britain’s first Prime Minister, Sir Robert Walpole, (1676-1745). The house captures the ambition of a man and a nation in the ascendancy.

The first design for Houghton was produced by the architect, James Gibb in a pure Palladian design based on strict rules of proportion. The lavish interior and furnishings of the principle floor was originally undertaken by William Kent in about 1725.

Ambition outstripped wealth and Sir Robert Walpole’s debts led to much of his remarkable collection of art being sold by his family in 1779 to Catherine the Great of Russia. Walpole’s collection is one of the major building blocks of today’s Hermitage Collection.

Fifty-one of the smaller paintings were displayed in the Cabinet Room until they were sold. Today the room’s fine blue-ground chinoiserie wallpaper is complimented by the two English rococo wall mirrors and lacquer wall cabinets. The two classical green velvet chairs with their walnut and parcel-gilt show-frames are earlier from the time of William Kent. This medley of styles and periods brought together by successive generations of the family works with a layered, eclectic harmony typical of English Country House taste.

Holkham, though in some ways grander, is also more comfortable and at ease with itself reflecting the Coke family’s important place in rural Norfolk.

Thomas Coke (1697-1759) was profoundly influenced by the six years he spent on the Grand Tour. He returned home in 1718 with a collection of antiquities having formed a strong friendship with the architect William Kent and Lord Burlington. Thomas Coke would design his home at Holkham with the advice of William Kent and his assistant Matthew Brettingham.

At Holkham the visitor is greeted by the magnificent Marble Hall, the two levels united by a sweeping staircase. It is based upon a design by Antonio Palladio for a Temple of Justice. The flanking Ionic columns carved in brown and white grained Derbyshire alabaster rise to meet an elaborate frieze and the extraordinary ceiling with deeply incised panels, distorted to accentuate its height to the eye.

It is almost time to leave the North Norfolk coast and it remains to say “Wish you were here!”

John Hitchens’ Art at Weald & Downland Museum

John Hitchens, Three Burnt Fields and Limed Land

As I drive towards the Weald & Downland Museum the road along the ridge of the South Downs through the Goodwood estate affords an aerial view of the Sussex landscape reminiscent of one of John Hitchen’s landscapes. His latest exhibition Wood, Sand and Stone is currently on show in the museum’s 17th century Longport Gallery.

This is the first exhibition by Sussex artist, John Hitchens, to explore his paintings based solely on natural materials and their interactions between space, form and nature. It includes visually stunning 360 degree landscapes Painted Wooden Uprights painted in an earthy palette.

It further presents a selection of new paintings on stones, and earlier works using layers of locally sourced sand. All these works use the natural materials available to the artist around his Sussex home.

The natural materials of the intimate 17th century oak framed Longport Gallery work in concert with the natural materials out of which the works on display are born. Many of these three dimensional paintings combine the abstract with the naturalistic. There is something of the ancient in their expression of the Sussex landscape and they are curated in an imaginative way, displayed in old museum cabinets like a series of revered archaeological finds.

John Hitchens, Painted Wooden Uprights at the Weald & Downland Museum

John Hitchens’ paintings are concerned with the patterns and rhythms of the landscape.

Aerial photography over the South Downs and a love of maps with their contours have provided inspiration for his increasingly abstract landscapes over the last twenty years. Take Three Burnt Fields and Limed Land painted in 2003. Its forms are reduced to a series of lines, dots, circles and patterns which provide motifs for the shapes created by ploughing and harvesting. Stubble was the origin of the dots and the black areas in the compositions recall burnt stubble, a sight no longer part of our landscape. Many of the works are textural, the earth hues painted on a base of sieved sawdust bound together with PVA. As you stop and stare subtle details reveal themselves. They reflect our human relationship with the land and our influence on the landscape.

The forms relate to one another in the method of their execution, bringing together the artists’ close observation of the natural world, collected objects, and an appreciation of traditional materials and craftsmanship.

John Hitchens is one of our nation’s leading landscape artists. Don’t miss Wood, Sand and Stone at the wonderful Weald & Downland Museum. To find out more visit www.wealddown.co.uk/whats-on/exhibitions.

Bringing the Outside In at Parham

Designer Elin Steele with theatrical artists Aleks Carlyon and Lizzie Calvert

It is always a joy to return to Parham with its beautiful house and gardens.

When I was last here there was great excitement about a series of murals being painted in what was called the “old cow byre” in old Parham plans. This is now a lovely space for visitors to sit in and enjoy tea and cake. The design of these new murals draws inspiration from the famous theatrical set and costume designer Oliver Messel’s ceiling in the Long Gallery, commissioned by the Pearsons in the 1960s. The pre- and post-war years witnessed a renaissance in mural and wall painting, and the Long Gallery ceiling is an eloquent example of the genre.

The joyous new murals at Parham have been designed by the young set and costume designer, Elin Steele. James Barnard, who together with his family calls Parham home, was introduced to Elin through his work as a trustee of the Linbury Trust, the grant-making foundation started by Lord and Lady (John and Anya) Sainsbury. In 2019 Elin won the prestigious Linbury Prize, the only nationwide prize for stage design in the UK, created by Lady Sainsbury (herself a former ballerina) in 1987. Sir Nicholas Hytner (former Director of the National Theatre) said that the prize “has become indispensable to the British theatre and is invariably a source of undiluted optimism about the future of stage design”.

Elin works predominately in theatre and ballet, producing the designs and then collaborating with a team in the theatre to deliver them.

At Parham, Elin worked closely over many weeks with her friends, scenic artists Aleks Carlyon and Lizzie Calvert. The design was arrived at after much consultation on themes and details with the Barnards, then marked up and painstakingly painted freehand by Aleks and Lizzie, employing a mixed-method including watercolour overlaid with pencil and gouache.

The design in the room gives you the impression that you are sitting an orangery, as though the outside has been brought in. It’s engaging and fun, drawing inspiration from the Garden and the colours of Parham’s remarkable collection of textiles and needlework.

Outside in the Walled Garden, I visit the newly re-planted Blue Border with its Salvias, Nicotiana, Eryngium, Nepeta and Selinum playing in the breeze, their palette echoed in the summer sky with its flashes of blue and scudding clouds.

Whether you are visiting for the first time or returning, Parham never fails to captivate and delight anew. For more information go to www.parhaminsussex.co.uk.

Finest Roman Mosaics at Bignor

The Bignor Roman Villa is, for me, one of the most special places in all of England. The remains of this important Villa nestle in the beautiful Bignor valley in view of the Sussex Downs. Bignor Villa would have been a short distance from the important Stane Street which linked London with Chichester in the first century AD.

The remarkable Roman mosaic floors can still be seen and are open to the public. They are amongst the finest in the country.

The Villa was discovered on the morning of Thursday 18th July 1811 when George Tupper hit what appeared to be a large stone whilst ploughing in Bury Field near the village of Bignor at the foot of the Sussex Downs. He cleared a small area and found the tessellated face of a young man. Further excavation revealed a scene depicting Jupiter (Zeus in the Greek) in the guise of an eagle abducting the shepherd boy, Ganymede.

The excavations were supervised and recorded by the antiquarian Samuel Lysons.

This remarkable find was reburied until the June of 1812 and guarded by one of Tupper’s sons. The thatched cover buildings were designed to protect the mosaics and are a distinctive feature at Bignor. Built in 1812 they are amongst the earliest examples of their type in the British Isles. Arguably the most important discovery of 1812 was the Venus mask. This beautifully conceived female head is surrounded by a nimbus in a circle flanked by what are thought to be peacocks, or long-tailed pheasants and leaf sprays.

Venus is popularly known as the Roman goddess of love. However, she is also associated with spring, gardens and fertility. These qualities made her popular with farmers, horticulturalists and landowners throughout the Roman Empire. It seems appropriate that Venus should feature so prominently at Bignor in this timeless rural setting.

The extensive hypocaust underfloor heating system in the Venus Room is partly visible today and illustrates how this room would have been warm and comfortable in the winter months.

Away from the main complex the depiction of Medusa in the Bath House delights too.

When you arrive you cannot fail to be captured by the picturesque setting and share in the sense of excitement which George Tupper must have felt on the day he discovered the Villa’s remarkable mosaic floors for the first time.

Bignor Roman Villa is open every day throughout August. There is lots for families to do including the Bignor Sunflower Maze! To find out more and plan your visit go to www.bignorromanvilla.co.uk.