Rupert – Page 73 – Toovey’s Blog

Winnie-the-Pooh’s 90th Birthday!

A collection of Winnie-the-Pooh and friends Royal Doulton figures

That fine Sussex Bear, Winnie-the-Pooh, has just celebrated his 90th Birthday – not bad for a bear stuffed with fluff. ‘Winnie-the-Pooh’ was first published ninety years ago, in 1926, by Methuen & Co. Ltd.

One of the greatest pleasures of life must surely be the returning to the familiar and humorous tales of Winnie-the-Pooh. These fond and witty stories of the adventures of a bear of little brain and his friends, Christopher Robin, Piglet, Eeyore, Tigger, Owl, Rabbit, Kanga and Roo, reach across the generations. Milne never compromised in his use of vocabulary or language believing that children were always up to the challenge. It is the richness and quality of his prose and poetry which allows his writing to continue to delight children and adults alike.

A first edition of ‘Winnie-the-Pooh’ published by Methuen & Co. Ltd in 1926 — A first edition of ‘Winnie-the-Pooh’ published by Methuen in 1926

A.A. Milne’s wonderful stories and E.H. Shepard’s iconic illustrations have proved timeless. Both author and illustrator lived in Sussex. In 1925, A.A. Milne purchased Cotchford Farm on the edge of Hartfield, East Sussex; the year before ‘Winnie-the-Pooh’ was first published. The surrounding Ashdown Forest would provide the inspiration for the Hundred Acre Wood where Christopher Robin and Winnie-the-Pooh’s adventures are set. E.H. Shepard lived at Lodsworth near Petworth, West Sussex.

Initially Milne was not sure that Shepard was the right illustrator for his stories. Published in 1924, ‘When We Were Very Young’ was an anthology of children’s poetry and became an instant bestseller. Milne acknowledged the contribution of Shepard’s illustrations to this success by arranging for the illustrator to receive a share of the royalties. It was an association which would endure. Their work formed the basis for Walt Disney’s film based on ‘Winnie-the-Pooh’.

The first adventures were bedtime stories told by A. A. Milne to his son, Christopher.

E.H. Shepard based his depiction of Winnie-the-Pooh on his own son’s teddy bear called Growler. However, Piglet, Eeyore and Rabbit were all based on toys in Christopher’s nursery. A trip to Harrods toy department by Milne provided Kanga and Roo.

If we asked Winnie-the-Pooh the secret to his longevity he would, no doubt, put it down to a ‘smackerel’ of Honey. But I think it is the rich, believable characters and the fond telling of humorous adventures about our beloved Pooh which have caused him to endure.

A Royal Doulton ‘Winnie-the-Pooh’ figure group 'A Party For Me? How Grand!'

First editions of ‘Winnie-the-Pooh’ often surface at Toovey’s in the specialist book sales and realise hundreds of pounds. The Royal Doulton Winnie-the-Pooh figures represent exceptional value for fans of this Sussex Bear, especially at auction. To find out more contact Toovey’s on 01903 891955.

And if a first edition is beyond your purse why not treat yourself to the BBC Radio Collection CD with Alan Bennett reading ‘Winnie-the-Pooh’. The voices he lends to these well-known characters and his gentle, fond tone are perfect. The twists and turns of these familiar stories are delivered with perfect timing – Alan Bennett’s telling of them is quite marvellous.

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 and Reconciliation

I have recently returned from the Island of Jersey where the loyal toast is “The Queen our Duke!” On the Island H.R.H. Queen Elizabeth II is still celebrated as the Duke of Normandy. There is a poignancy to this. William Duke of Normandy’s defeat of King Harold at the Battle of Hastings, in Sussex 950 years ago, marked the last time that England was successfully invaded. It is humbling to think that the only part of the British Isles occupied by German forces during the Second World War were the Channel Islands.

Over the centuries these independent Island States, with their own parliaments, have remained loyal to the British Crown.

The location of Jersey and the other Channel Islands have always made them strategically important to England. The German occupying military went to considerable lengths to fortify Jersey employing Russian and Jewish slave labour. The German army behaved with great discipline towards the local population. Nevertheless, numerous Jersey people were sent to the concentration camps of occupied Europe for helping this captive and ill-treated workforce and never returned.

Attention to the defences of the island was not something new. Jersey’s Gorey Castle is amongst the most beautiful and well preserved castles in the British Isles. It began in medieval times as an arrow fort defended by archers. It would evolve with military technology to become a canon fort. Sir Walter Raleigh saved the castle from demolition insisting it be maintained as military barracks after it became redundant as a defensive structure.

German army observation turrets at Gorey Castle

In the 1940s the German occupying forces extended some of the turrets for observation purposes. They were painted and built to match the local granite of the castle to give them camouflage and disguise their windows. They looked to the West for the allied forces which never came. In his famous speech on the 8th May 1945, marking the end of the war in Europe, Winston Churchill said “…and our dear Channel Islands are also to be freed today.” The German forces surrendered to those aboard HMS Beagle on 9th May 1945 and the island was peacefully liberated.

Looking East from the battlements of Gorey Castle to France

As I stood on Gorey Castle’s ancient battlements and looked East across the English Channel through the mist I could see the coast of France. I was struck by an unexpected sense of unease that the Russian aircraft carrier armada had recently sailed through these waters on its way to Syria, observed and shadowed by the Royal Navy.

It is as important today as it has ever been to defend western, liberal values and freedoms.

On Friday and over the coming weekend we will reflect upon the costs of defending righteousness, freedom and liberty, giving thanks not only for our allies but also for reconciliation and peace.

In churches across Britain, Europe and America the common story and Christian heritage which unites us will be expressed in services of Remembrance and thanksgiving. Once again these familiar bidding words will be heard:

“We have come to remember before God those who have died for their country in the two world wars and the many conflicts of the years that have followed. Some we knew and loved: we treasure their memory still. Others are unknown to us: to their remembrance too, we give our time…With thanksgiving we recall services offered and sacrifices made…”

I hope that each of us will be able to find time in this Remembrance weekend to reflect, offering thanks and prayers for the courage of successive generations who have been called, and continue to be called, to defend the greater cause of justice and concord.

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.

Mine’s a pint!

Simon Lay and Rupert Toovey at The George at Burpham

This week I’m reflecting on one of Pallant House Gallery’s latest exhibitions ‘Prints for the Pub: Guinness Lithographs’ with my old friend, Simon Lay, at the award winning pub, The George at Burpham, near Arundel.

As he approaches the bar I call out “Mine’s a Pint!” Simon dutifully returns with two beautifully poured pints of Guinness, they keep an excellent cellar at The George at Burpham, and we begin to discuss this joyful exhibition.

I explain how in the middle part of the 20th century a quiet revolution took place where the auto-lithographic print became recognised as a popular art form – it represented the democratisation of art, especially in the post-war era.

Bernard Cheese – ‘A Fisherman’s Story’ © Chloe, Joanna and Sarah Cheese

After the slump of the 1930s and the Second World War there was a movement to give legitimacy to the voices of the working classes which, in art terms, required a return to a form of social realism. The movement began with the Contemporary Lithographs (1937-1938) but it was the success of the Post Office Marketing prints which, in 1934, led the Department of Education to persuade them to provide a free periodic issue to schools. They were advised by Kenneth Clark, the then Director of the National Gallery, and the leading Art Critic, Clive Bell. A number of leading British artists produced work for the project. It is a measure of their success that 20,000 schools applied for prints.

Edward Ardizzone – ‘The Fattest Woman in the World’ © The Artist’s Estate

The subjects of the Guinness prints on show at Pallant House reflect many of the same themes. They were launched in 1956 and each illustrated a record from the Guinness Book of World Records. They were intended to be hung in pubs to promote Guinness and their new record book. Once again many leading British artists were involved.

Ronald Glendening – ‘Cycle Racing’ © The Artist’s Estate

Our conversation turns to the prints and the delight to be found in their witty subjects and observations. Simon and I have heard many a tall story in the pub over the years; recalling Bernard Cheese’s ‘A Fisherman’s Story’ causes us to smile. Edward Ardizzone’s fond but rather politically incorrect print, ‘The Fattest Woman in the World’, gives a window onto a scene now long past. In contrast Ronald Glendening’s ‘Cycle Racing’ with its velodrome and speeding cyclists seems very contemporary.

Simon remarks how this art seems to be very much about community. I agree. He explains that these values have a great resonance for The George at Burpham. The pub was saved for the community by Simon and his partners, David King and Bill Tustin who have turned it into an award winning success. This success is built on the quality of its welcome, a great cellar and fine pub cooking. It is supported by people from the local community and across the county. Simon concludes “The George at Burpham will continue to be at the heart of our village life, owned and run for and by members of our local community.”

Now that winter is drawing in what could be a more perfect outing than a visit to Pallant House Gallery followed by lunch or supper at The George at Burpham.

‘Prints for the Pub: Guinness Lithographs’ runs at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ, until 15th January 2017. Thanks to the generosity of sponsors De’Longhi entrance to this joyful exhibition is free. For more information telephone 01243 774557.

To find out more about The George at Burpham, Burpham, BN18 9RR, go to www.georgeatburpham.co.uk, or telephone 01903 883131 to book your table. It’s a great place to stop and rest with your copy of the West Sussex Gazette!

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.

Classicism in Modern British Art

Henry Moore, Reclining Figure, 1945 © Henry Moore Foundation

‘Idealism & Uncertainty Classicism in Modern British Art’ at the Pallant House Gallery is this season’s must see exhibition. Simon Martin, the gallery’s Artistic Director and Curator of this show, has once again demonstrated his remarkable insight into this period of British artistic endeavour.

The exhibition is the first to explore how Modern British artists referenced the past as they developed a distinctive form of modern art. It is a particular characteristic of the British that as we embrace the future and celebrate the modern we always have one eye on the past. Our art, like our nation’s history, reflects procession as well as revolution. The work on display reflects the experience of war and the social concerns which defined Britain in the 20th century.

Meredith Frampton, Portrait of Marguerite Kelsey © Tate

Against the backdrop of the political uncertainties of the 1930s, classicism in Britain became a style associated with progressive traditionalists. This influence is reflected in the work of artists like Meredith Frampton who sought clarity and precision in her portraits.

After the experience of the Great War artists like Wyndham Lewis and Frederick Etchells developed a more rounded form of figurative art in contrast to their earlier Vorticist and Cubist work.

Ben Nicholson, Heads, 1933, image courtesy of Tate © Angela Verren Taunt

Whilst figurative artists like Paul Nash experimented with Surrealism their art was still broadly figurative, executed with a purity of line.

This search for purity of line and simplicity, Simon Martin argues, is also expressed in the work of abstract artists associated with groups like Unit One. Ben Nicholson’s exquisite study of his lover, the sculptor Barbara Hepworth, depicted in silhouette communicates an extraordinary tenderness through its paired down qualities of line and tone. Here Hepworth’s head gazes into the eyes of a man, presumably Nicholson, who is depicted as a Roman Emperor or god. The couple had holidayed in St Rémy de Provence at Easter in 1933 and it is likely that the nearby Roman ruins of Glanum influenced the work.

Henry Moore’s figures also express a concern with, what Simon Martin describes as, ‘classicising form’ which can be seen in the recumbent figure from 1945.

The strength of the narrative of this show is exceptional. The works are confidently placed in the context of their time and the procession of classicism in art history, re-interpreted by Modern British artists. Simon Martin is to be congratulated.

I am excited that Toovey’s Fine Art Auctioneers are sponsoring this ‘must see show’. ‘Idealism & Uncertainty: Classicism in Modern British Art’ at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ, runs until 19th February 2017.

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.

Concert Celebrates the Life of Henry Burstow

This Saturday a remarkable concert at St Mary’s Parish Church in the Causeway, Horsham, commemorates the life of Henry Burstow who died 100 years ago this year.

Burstow’s love of Bell Ringing and Folk Songs will be celebrated in words, dance, music and bell ringing by the Horsham Bell Ringers, the Horsham Folk Club, the Broadwood Morris Men, the Friends of Horsham Museum and international violinist, Andrew Bernardi, playing the 1696 Stradivarius.

Andrew Bernardi plays the ‘Lark Ascending’ on the 1696 Stradivarius

Henry Burstow was Horsham’s cobbler, a bell ringer and folk singer. Writing about his love of folk music Burstow said ‘In learning and retaining all my songs my memory has seemed to work quite spontaneously: many of the songs I learnt at first time of hearing; others, longer ones, I have learnt upon hearing them twice through.’ His knowledge and memory of Sussex folk music drew the attention of Lucy Broadwood and the composer, Ralph Vaughan Williams, who visited the area in 1904.

Celebrating the life of Henry Burstow with Dance, Music and Bell Ringing

Vaughan Williams’ famous ‘Lark Ascending’ will be performed by Andrew Bernardi and members of his critically acclaimed Music Group, String Academy and Christs’ Hospital Director of music, Andrew Cleary. This extraordinary piece of music rises and falls as though accompanying a skylark’s flight in the folds of the Sussex Downs. The composer was inspired by specific lines from George Meredith’s poem of the same title which dates from 1881. They were originally printed on the flyleaf of Vaughan Williams’ musical score:

‘He rises and begins to round,
He drops the silver chain of sound,
Of many links without a break,
In chirrup, whistle, slur and shake.
For singing till his heaven fills,
‘Tis love of earth that he instils,
And ever winging up and up,
Our valley is his golden cup
And he the wine which overflows
to lift us with him as he goes.
Till lost on his aerial rings
In light, and then the fancy sings.’

There is a Eucharistic quality to the way that Vaughan Williams draws these particular lines together from Meredith’s much longer poem. It never fails to move and uplift me.

Writing about bell ringers in his reminiscences Henry Burstow said ‘To all brother campanologists and friends who remain of the hundreds with whom I have had the pleasure of meeting I offer my kind regards, and thanks for the hearty welcome and good fellowship they have always shown me.’ With bell ringers at the heart of this event you can be assured of a warm welcome on Saturday.

This unique concert takes place this weekend on Saturday 22 October at 7.30pm at St Mary’s Parish Church, Causeway, Horsham, West Sussex, RH12 1HE. Advance tickets are priced at £10 each and can be purchased from the Capitol Box Office by telephoning 01403 750220 and from The Horsham Museum and Art Gallery. Tickets will also be available on the night at £12.50 each. The funds raised by the concert will be donated to the Friends of Horsham Museum. For more information visit www.thecapitolhorsham.com or 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.