Rupert – Page 68 – Toovey’s Blog

St Mary’s House Welcomes Visitors over the Centuries

As you walk up the garden path through the beautifully clipped topiary St Mary’s House reveals herself. The close set vertical timbers and contrasting white panels reflect the light with a particular quality.

St Mary’s captured the imaginations of her current custodians and patrons, Peter Thorogood and Roger Linton, who bought the house and gardens in 1984. They have worked tirelessly and invested constantly in the house and gardens which were in some disrepair when they took them on. It has always been their express wish to open them to the public.

Peter Thorogood and Roger Linton at work in the Library of St Mary’s House, Bramber

Their different gifts have blessed St Mary’s. Peter brought his experience at the British Council and his talents 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 skills 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 also at the heart of St Mary’s life.

The house we see today incorporates the surviving wing from the late 15th century when William of Waynflete, the Bishop of Winchester, built a new Chapel House around a galleried courtyard. The house is a good example of the use of close set vertical timbers known as close studding which became widespread in Sussex at that time. The house would have originally welcomed pilgrims.

The Painted Room with trompe l’oeil panels which are believed to date from Tudor times

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. The collections and furniture speak of their lives, families and interests. I discover them at work in the Library. They tell me about the continuing challenges of restoring and preserving this important landmark in the history of Sussex. We walk along the landing as they speak passionately about the history of the house. I am always delighted by the Painted Room with its trompe l’oeil panels. Peter explains that they are thought to date from Tudor times. The panels have beautifully painted landscapes and sea-battle vignettes.

Over the years they have inspired a team of volunteers and friends to join them. Peter and Roger have a deep sense of dedication to this place and their vision to share St Mary’s with all of us. The care of St Mary’s has become a way of life for them and they deserve our thanks.

Whether you are 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 busyness 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 are open to the public for the 2017 season. For further details of opening times, concerts and events visit www.stmarysbramber.co.uk.

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.

Coins, a Rising Market

A cased George VI gold four-coin specimen set, 1937, comprising a five pounds, two pounds, a sovereign and a half-sovereign

The field of coin collecting brings together social, political and economic history with art and culture. Coins have been collected since Roman times and provide a tangible link to our past, present and future.

Coins have often been crafted by the finest engravers and sculptors of their time and are frequently works of art in their own right.

A William IV Crown, 1831, 'W.W.' on truncation of bust — A William IV Crown, 1831, ‘W.W.’ on truncation of bust

Whilst rarity is important to the value of any particular coin it is condition which is of overriding significance in establishing values. There is an enormous disparity between the price of a worn example of a coin compared to one in extremely fine or uncirculated condition. This is apparent in the prices realised by the exceptional George VI gold four-coin specimen set from 1937 and the William IV Crown from 1831 which made £8500 and £6000 respectively at Toovey’s specialist coin sales.

A Saxon penny from the Steyning mint, struck in the reign of Edward the Confessor (1042-1066)

Sharper coins were produced by the process of milling coins with dies mounted onto a screw press. This can be seen by comparing the handmade Charles I gold Unite with the later coins illustrated. The Unite was a 17th century gold coin worth twenty shillings or one pound but this example sold recently at auction for £1600. The difficulties of manufacturing blanks to a uniform weight ensured that coins continued to be made by hand until the Restoration in 1660. Charles II brought the Roettiers brothers with their improved screw press from Holland to London. The first English coins made by this method for circulation were the 1662 silver Crowns.

As a general rule coins should never be cleaned without seeking expert advice. Silver and copper coins can appear to be tarnished but this patina is prized by collectors.

Collectors quickly develop an understanding of condition and quality. As they handle and inspect different examples their understanding and eye tone.

There are many fields to capture the attention of collectors. Some will collect coins from a particular country, others will focus on a specific type of coin like Crowns, or a period. Many are attracted by collecting coins made from precious metals.

I love to imagine who might have held the coins which come to auction and what points of history they have encountered.

With such breadth of interest, price and quality coins have a growing following and remain one of the most buoyant collectors’ markets.

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.

Saxon Steyning

Late-medieval buildings in Church Street, Steyning following the earlier Saxon tradition

Sussex, her towns, ports and villages, were at the heart of the Saxon Kingdom of Wessex.

In my imagination I can picture wooden Saxon houses flanking the old Roman streets of Chichester, the earlier pavements covered by grass. By the late 6th and early 7th centuries Steyning, Lewes, Hastings and Pevensey had developed from their farming origins into towns of craftsmen and traders. By the 10th century all these towns had mints producing coinage which is evidence of an established urban economy. A mint was recorded at Steyning at the end of King Canute’s (1016-1035) reign, and was perhaps the successor to the mints of Burpham and Cissbury.

The penny illustrated dates from the reign of Edward the Confessor (1042 – 1066) and is an example of Saxon coins from the Steyning mint. Coins are remarkable in their ability to provide a tangible connection with our past. Edward the Confessor, also known as Saint Edward the Confessor, was amongst the last Anglo-Saxon kings of England, and was the last king of the House of Wessex.

Saxon Cottage which actually dates from c.1550

Many antiquarians argue that where buildings of a varied type, arranged in close proximity to one another along the main street of a town or village are found they are often following a tradition dating back to Saxon times. This would certainly appear to be the case at Steyning. Saxon Cottage in Church Street actually dates from c.1550 but its name perhaps hints at an earlier structure on the site now lost. The town was located on the River Adur and is generally believed by historians to have been one of the most important ports in Saxon times.

The Parish Church of St Andrew and St Cuthman, Steyning

The current parish church of St Andrew and St Cuthman has Saxon origins and replaced a timber structure built by St Cuthman. Inside, in the south aisle, alongside the fine Norman arcading, is an arch exquisitely carved with fabulous beasts. Contemporary historians are increasingly of the view that this arch dates from the late Saxon renaissance which took place during the reign of King Canute. The Saxon St Cuthman and Aethelwulf (839-858 are both said to have been buried there). Aethelwulf was father of King Alfred.

Today Steyning with her fine church, architecture and Museum connects us with our past. The Sussex Produce Company and the wonderful Steyning Bookshop along with a rich array of other independent retailers, restaurants and tea rooms maintain the vibrant tradition of this ancient and important town. The perfect place to visit as spring returns to Sussex!

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.

Rudgwick Artist, Dennis Roxby Bott

‘Dennis Roxby Bott, RWS: A Showcase’ is a charming exhibition of some fifty watercolours by this respected local artist. The show runs for just two more weeks at the Horsham Museum & Art Gallery.

Dennis is a member of the Royal Watercolour Society which was founded in 1804. It is the oldest watercolour society in the world. It remains an artist led society made up of an elected membership. Dennis has received commissions from the National Trust, the Towner Gallery, Eastbourne and Hove Museum. His work can even be seen in the wardroom of the Royal Yacht Britannia.

Dennis Roxby Bott ‘The Kiosk, Hove’, watercolour

Dennis Roxby Bott was born in London 1948 and lives in Rudgwick, near Horsham, West Sussex. He studied at Colchester School of Art, Norwich School of Art and Keswick Hall, Norwich.

Exhibition curator, Jeremy Knight is delighted with the show which has been well received by visitors. He comments “Dennis displays a mastery of the brush and pallet and also has an ability to see and record minute detail.”

Jeremy continues “Architecture and the man made environment are the inspiration for many of Dennis’ paintings. Several of the watercolours in the exhibition depict Brighton and Venice. These subjects really suit his keen eye for perspective and detail.”

Dennis Roxby Bott ‘The Steps, Hove’, watercolour

There is a firmness of line in Dennis Roxby Bott’s paintings which lend them a graphic quality. It is perhaps unsurprising, then, that his work has been reproduced as illustrations in books and as cards. In addition he has held exhibitions at galleries across England and is a regular exhibitor at the Royal Watercolour Society spring and autumn exhibitions at the Bankside Gallery, London.

Over the centuries Britain’s artists have been inspired by its landscape, history, architecture and people which continue to provide rich opportunities for artistic exploration. Dennis Roxby Bott’s work is in this tradition.

Exhibitions like this would not be possible without 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’s Deputy Leader and Cabinet Member for Leisure and Culture, and his team are deserving of our thanks for their continued long term support of the Horsham Museum & Art Gallery.

‘Dennis Roxby Bott, RWS: A Showcase’ is in its final fortnight and runs until 6th May 2017 at the Horsham Museum & Art Gallery, Causeway, Horsham, RH12 1HE. Admission is free. For more information visit horshammuseum.org or telephone 01403 254959.

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.

Fairyland Lustre: The Art of Daisy Makeig-Jones

A Wedgwood Fairyland Lustre Imperial shape bowl, designed by Daisy Makeig-Jones, the interior gilt and enamelled with Bird in a Hoop pattern against a flame ground, diameter 21cm

The ceramic designer Daisy Makeig-Jones was amongst a rising number of young middle-class women in the early 20th century who sought to break with the social mores of the time by working. Her designs would have an enormous influence on Wedgwood’s new lustre decoration and was she responsible for the revered Fairyland designs.

Daisy Makeig-Jones studied at the Torquay School of Art. A personal introduction by the Revd. Archibald Sorby to his friend Cecil Wedgwood led to her being employed at the Wedgwood factory. She trained for two years on the factory floor as a painter before joining John Goodwin’s design department. John Goodwin had been employed at Wedgwood as art director and brought his skills as a well organised and intelligent designer to the factory at a vital moment in the firm’s history.

Since medieval times lustre ceramics have caught the imaginations of collectors and people across Europe and the Middle East. Softly gleaming gold and pearly rainbows are captured in the potter’s glazes.

The manufacture of lustre wares at Wedgwood in the early 20th century employed new decorating processes. Daisy Makeig-Jones’ designs were engraved to allow their transfer to the objects. Underglaze painting, lustreing and gold printing followed. The lustre was prepared by a ceramic chemist in the form of a brown liquid which was quickly applied in wide sweeping brush stokes before being fired at a low temperature.

Initially the lustre designs included dragon, butterfly and bird motifs.

Daisy Makeig-Jones had delighted in the Colour Fairy Books edited by Andrew Lang in her childhood and these books became an important inspiration to her work. Building on the success of her Wedgwood lustre wares she began work on the Fairyland designs. The first of these was produced by Daisy at the end of 1915.

A Wedgwood Fairyland lustre Imperial shape bowl, designed by Daisy Makeig-Jones, the interior gilt and enamelled with Picnic by a River pattern, diameter 20cm

A multitude of designs followed with disparate individual titles and landscapes which often have an illogical dream like quality to them. There were, however, stylistic similarities and motifs which cross over and unite Daisy’s Fairyland designs. These include woodland elves’ fairies, goblins, gnomes, toadstools, spiders’ webs and trees. These can be seen on the richly decorated pair of vases and two bowls illustrated.

The Great Depression and era of austerity brought to a close the success of Daisy Makeig-Jones’ Fairyland lustre. Forced to retire she struggled to come to terms with the end of her remarkable career which had become so closely bound up with her life and identity.

A pair of Wedgwood Fairyland Lustre malfrey pots and covers, designed by Daisy Makeig-Jones, each decorated with Candelmas design, height 21cm

Today collectors from across the world seek out Fairyland lustre designed by this gifted, influential and determined female ceramic designer. The pieces illustrated realised between £1700 and £7500 at Toovey’s auctions. The rarest examples can fetch tens of thousands today.

It is perhaps a fitting tribute to Daisy Makeig-Jones and her work that it is so highly respected.

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.