Rupert – Page 55 – Toovey’s Blog

Important London Collection of Asian Art to be Sold in Sussex

Toovey’s Asian Art specialist, Tom Rowsell, with one of a pair of rare Chinese Qianlong period cloisonné enamel elephants from an important London single owner collection of Asian Art

This week I am in the company of Toovey’s Director and Asian Art specialist, Tom Rowsell, who has just finished preparations for the sale of an important London single – owner collection of Asian Art.

I ask Tom how the collection looked in the collector’s London home and he replies “Many of the pieces were beautifully displayed around the house, but it was when I discovered and began to unpack boxes and go through the shelves in an upstairs room that the scale and importance of this collection became apparent. The collection had remained largely untouched for 40 or 50 years. The vast majority of the pieces are from the imperial Kangxi (1654-1722), Yongzheng (1723-1735) and Qianlong (1735-1796) periods of the late 17th and 18th centuries.”

Tom explains how today’s Chinese collectors are following in the tradition of the Qianlong emperor who was the last of the great imperial art collectors and patrons in Chinese history. His genuine passion for art and collecting seems to have been inspired by his grandfather, the Kangxi emperor (1654-1722), and his uncle Yinxi (1711-1758).

The Qianlong emperor was prolific in his collecting applying an exceptional personal connoisseurship. His collection would number more than a million objects.

The Qianlong emperor took a personal interest in porcelain production and was an ardent patron and collector of it. Many of the types of porcelain associated with the Qianlong emperor, however, were seeded under the Emperor Yongzheng’s supervisor of the imperial kilns at Jingdezhen, Tang Ying (1682-1756).

A garniture of five Chinese Yongzheng period (1723-1735) porcelain vases estimated at £15,000-£25,000 from an important London single owner collection of Asian Art

My eye is taken by a rare and beautiful garniture of five Chinese porcelain Yongzheng period vases. Tom comments “Yongzheng porcelain is known for the quality of its glazes, these vases are very fine quality. It’s very unusual to find a set of five still together in such remarkable condition. The finely enamelled decoration with its delicate flowers and landscapes has wonderful fresh colours. Look at the subtle, recessed panels with their moulded borders. Lovely details – these would have probably been made for an important European home.”

Tom continues “Toovey’s are one of a very small number of UK auctioneers with the ability to market online directly to mainland Chinese collectors through our working relationship with Epai Live, China’s largest mainland online auction platform for the marketing of art and antiques. This collection will certainly attract Chinese and overseas buyers as well as UK interest. We will be exhibiting the collection’s highlights at the international Asian Art Fair in London on the 4th November before it returns to Sussex to be sold.”

Today’s Chinese collectors are as passionate in their collecting as their imperial forebears and the market shows no signs of abating.

This important single owner collection will be auctioned at Toovey’s on Thursday 29th November 2018. If you would like advice on pieces in this collection or your Chinese objects Tom Rowsell can be contacted on 01903 891955, and visit www.tooveys.com to view the sale online from the 4th November.

James Cox’s Amazing Clocks

The processional clockwork automaton where figures and animals move ‘magically’ across the landscape

A rare late 18th century tortoiseshell and gilt-metal bracket clock with a processional automaton by the celebrated British entrepreneur and goldsmith James Cox (1723-1800) has been discovered by Toovey’s specialist, Tom Rowsell, in a London collection.

From the mid-18th century James Cox ran a company specialising in the manufacture of objects de vertu which were intended to delight and surprise his clients. He became famous for his extravagant clocks with their ingenious automata which made objects move, seemingly of their own volition. The clocks were hugely expensive and were sold across Europe and as far afield as India, China and Russia. Cox employed craftsmen from across Europe to create these extraordinary pieces.

Tom explains that this James Cox automaton clock was part of the estate of a London collector. It was the only clock in the collection which was predominately focused on Chinese porcelain. A late example of James Cox’s work, the clock dates from the late 18th century and has a complicated three train movement with automaton, playing ten tunes on fourteen bells. The automaton on this clock sees figures and animals process from left to right. His clocks are still a source of wonder and were never intended to be practical. Indeed they have been referred to as ‘magical moving objects’.

A late 18th century automaton clock by James Cox

That a British clock like this should appeal to a connoisseur of Chinese porcelain should not be a cause of surprise. The Chinese Emperor Qianlong (1735-1795) collected both Western and Chinese clocks and two of James Cox’s chariot clocks dating from 1765 and 1766 can still be seen in The Palace Museum in the Forbidden City, Beijing.

Although Cox had an early Indian connection most of his business was with China via Canton. A number of exotic, valuable pieces were exported there from 1763. These mechanical objects were received with great curiosity by the Chinese court and must have made Cox substantial profits. Trade seems to have developed steadily but by 1770 the market had reached saturation. The demise of Chinese interest deprived Cox of this his most profitable and important market.

In response to the decline in the eastern markets for his clocks, James Cox opened a museum in London and charged the public to see his amazing clocks. The manner of their sale in 1775 by national lottery was as ingenious as the objects’ mechanisms. Two of the largest and most complicated of these clocks were the Silver Swan and the Peacock Clock which can be seen at the Bowes Museum at Barnard Castle, Co Durham, and at the Hermitage, St Petersburg, Russia.

Producing such magnificent objects was hugely costly and brought with it significant financial risks. James Cox would face bankruptcy on more than one occasion.

This rare James Cox automaton clock will be auctioned in Toovey’s next curated sale of fine clocks and watches on Thursday 1st November 2018 and is estimated at £15,000-£25,000. If you would like advice on your clocks telephone 01903 891955 or email auctions@tooveys.com.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

Remembrance through making

‘Significant Figures: remembrance through making’ is an intimate and poignant exhibition which seeks to articulate remembrance through the making of art is currently on show at the Oxmarket Gallery in Chichester.

It tells the story of Cecil, caught in a photograph in his Royal Warwickshire Regiment uniform, following his relationship with Elsie and his role in the Great War through a series of conceptual objects.

Sussex artisan artist, Mary Crabb, is a member of the Basketmakers’ Association, a Yeoman Member of the Worshipful Company of Basketmakers, a mathematician and an educator. Mary brings together these creative threads in her work.

I ask Mary about the inspiration behind the exceptional narrative of the exhibition. She replies “The story isn’t mine, it belonged to my Grandmother, Elsie, who was born in 1898. She handed it down to me and it has become part of my own journey. It began with a photograph shared with loved ones as an act of remembrance or perhaps as a means not to forget. Elsie met Cecil after her family moved to Birmingham in 1907, her father had won a building contract to work on the Birmingham University. Cecil left school in December 1915 to go to war. In July 1916 Elsie received word from Cecil’s parents that he had been killed in action in France and they gave her the photograph to remember him by.”

I remark that shared stories – memories – of both joys and sorrows unite us as families and communities and Mary agrees.

The exhibition features small intricate work whose simple concepts belie the complexity in the making. There are also examples of more traditional basketwork of the period including a pair of facsimile artillery shell baskets also made by Mary.

Many of the conceptual pieces are mounted on khaki fabric boards. My eye is taken by an installation titled ‘I Will Remember Him’.

Mary explains “‘I Will Remember Him’ is an attempt to quantify the time Elsie maintained her act of remembrance for Cecil.

My Grandmother met my Grandad in Lincoln and they were married in 1934. Their marriage was filled with love, laughter and affection. They were married for more than fifty years. Like many in their generation they shared an understanding of the need to remember those who fought and died, especially those they had loved and lost. Elsie kept the photograph of Cecil from 1916 until her own death in 1992.”

Mary’s mathematical skills become apparent as she continues “Each motif in this piece has a red tag with a year stamped on it and fifty-two twisted strips of blank paper for Bibles each with a handwritten text copying what Elsie wrote on the back of the photograph about Cecil. These strips are held with twining in a circle of seven turns at the centre. Each day between 1916 and 1992 is represented so that each motif mathematically represents a year 7×52+1=365.”

As I stand amongst Mary’s remarkable work it strikes me that Elsie’s act of remembrance for Cecil has a resonance for each of us in our own lives – our joys and our sorrows. But it also powerfully connects and unites us with a particular moment in history and the procession of love and remembrance which flows from it. Mary reflects “Is this Elsie’s story or mine? Through the making of this work it has become both hers and mine, a collaboration.”

‘Significant Figures: remembrance through making’ is at the Oxmarket Gallery, Chichester. PO19 1YH until this coming Sunday, 7th October 2018 and entry is free. For more information visit www.marycrabb.co.uk or www.oxmarket.com.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

RA250 Celebrated at Horsham

The Royal Academy’s Professor of Perspective, Humphrey Ocean., RA, in conversation with Nicholas Toovey and Jeremy Knight

Horsham Museum & Art Gallery’s latest exhibition ‘Watercolour RA250’ explores the relationship of leading Royal Academicians with the medium of watercolour.

The exhibition was opened by Humphrey Ocean., RA, who acknowledged his connection with Sussex having been born at Hardham. He described how he follows in the footsteps of J.M.W Turner as the Royal Academy’s Professor of Perspective and the importance of Turner’s watercolours in the artist’s oeuvre.

The Royal Academy (RA) was founded in 1768 with the approval of George III. Its constitution allowed for painters in oil, sculptors, printmakers and architects to be elected to membership of the RA but not watercolourists. Exhibition Curator Jeremy Knight explained how despite this many leading Royal Academicians over the centuries have been talented watercolourists. ‘Watercolour RA250’ gives a rich insight into these artist’s relationship with the medium of watercolour. Paintings by JMW Turner, Paul Sandby, Humphrey Ocean and many other rarely seen pictures are on show. Works have been borrowed from museums and art galleries across Sussex.

Humphrey Ocean., RA, Portrait of Horsham born artist Mark Alexander © the artist

Humphrey Ocean’s work has exhibited at the National Portrait Gallery. He has been making a series of portraits of visitors to his studio since 2006. He works swiftly employing gouache on large sheets of paper. His sitters are depicted in simple bold forms and colours. These portraits are compelling illustrating the artist’s love of painting, colour and people. Ocean illuminates something unique about each person, their posture and dress, providing an intimate snapshot in time. These qualities are apparent in his striking portrait of the Horsham born artist Mark Alexander.

Two important talks will take place at the Capitol, Horsham to accompany the exhibition. On 11th October at 7pm art historian Tom Wilcox will discuss ‘Watercolour in Britain in the 20th century – mainstream or margin?’, and Greg Smith will look at the work of Thomas Girtin on 18th October at 6.30pm. Tickets are available from the Capitol by visiting www.thecapitolhorsham.com.

It is exciting to see how Horsham Museum & Art Gallery’s growing collection of watercolours is continuing to raise its profile enabling it to borrow additional major works from museums and art galleries.

None of this would be possible without Jeremy Knight and the Horsham District Council’s understanding of the importance of art and heritage to the identity and economy of Horsham and the broader district. Jonathan Chowen, Horsham District Council Cabinet Member for Arts, Heritage & Leisure, and his team are deserving of our thanks for their continued long term support of the Horsham Museum & Art Gallery.

The exhibition is supported by the Royal Academy’s RA250, The Art Fund and Toovey’s Fine Art Auctioneers. ‘Watercolour RA250’ runs until 17 November 2018, at the Horsham Museum & Art Gallery, The Causeway, Horsham, RH12 1HE and admission is free. For more information go visit www.horshammuseum.org.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

£80,000 Old Master at Toovey’s

Pierre Subleyras’ 18th century oil on canvas, Half Length Study of Saint Jerome, measuring 64.5cm x 47cm, sold for £80,000 at Toovey’s

An early 18th century Old Master oil study of St Jerome by the French artist Pierre Subleyras (1699-1749) has just sold at Toovey’s for £80,000.

The painting had been known to Toovey’s head of fine art, Nicholas Toovey, for many years before it was recently consigned for sale. Quality and provenance with Old Master paintings is always important and this painting was purchased by the family from the prestigious Hazlitt Gallery in London in the 1960s.

Pierre Subleyras was born in Saint Gilles du Gard in Provence. He moved permanently to Rome in 1728 having won the Prix de Rome in 1727 painting a variety of subjects including still lifes and portraits. However, it is his religious paintings which are most highly regarded. They are notably more serious in tone than many French works of the Rococo period.

He attracted the attention of many prominent patrons painting a portrait of Pope Benedict XIV. The Pope would commission Subleyras to paint both ‘The Marriage of St Catherine’ and the ‘Ecstasy of St Camilla’ for his private apartments.

Subleyras’ talent as an incisive portraitist is brilliantly employed in this study of St Jerome which is heavily influenced by the solemnity of 17th century Italian Baroque. The study contrasts with the early 18th century French taste for the playful Rococo which developed in reaction to the Baroque which preceded it.

Subleyras’ study is beautifully considered showing St Jerome’s concern and wonder as he is blessed with a vision from God. It is a subject the artist would return to on several occasions. The paint is applied in a series of thin washes using oil glazes which lends the work a remarkable depth and life particularly to the face and skin.

Cardinal Valenti Gongoza arranged the commissioning of the ‘Mass of St Basil’ for St Peter’s in Rome. This huge painting was highly acclaimed when it was unveiled in 1748. It can still be seen at St Maria degli Angeli in Rome. But Subleyras was too exhausted by overwork to enjoy the success of his most famous work. He moved to Naples seeking respite but returned to Rome and died soon after on 28th May 1749.

Today Pierre Subleyras’ work is represented in many of the world’s international collections including the National Gallery, London and the Louvre, Paris.

Entries are already being received by Toovey’s for their next curated sale of fine art which will be held on Wednesday 28th November 2018. Nicholas Toovey is always keen to share his passion for art with collectors. If you would like his advice Nicholas can be contacted by telephoning 01903 891955 or at auctions@tooveys.com.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.