Rupert – Page 88 – Toovey’s Blog

Embroidered into the Rich Threads of Sussex History

This week I am visiting Lady Emma Barnard at Parham House and Gardens. As we walk through this wonderful house, I am struck by the quality of the famous needlework in the collection. We come to the Great Chamber and are greeted by the gentle light of this spring afternoon. Lady Emma’s great-grandparents, Clive and Alicia Pearson, bought Parham in 1922 and set about restoring the house and gardens after years of neglect. The Great Chamber was remodelled in 1924 to become Alicia Pearson’s bedroom.

At the heart of the room is the Great Bed. Emma explains: “My great-grandfather, Clive Pearson, purchased the bed from Wroxton Abbey in Oxfordshire and brought it to Parham. It is partly Tudor and probably from the court of Henry VIII.”

The exquisite headboard, backcloth, canopy and bedspread are delicately embroidered with interwoven monograms and fleurs-de-lys within an overall design of flower and leaf tendrils. It is thought that they date from about 1585 and are of French or Italian workmanship. The two sets of curtains, pelmets and valances are also rare. They date from around 1620 and are worked with flame stitch embroidery.

Emma quickly draws my attention to an extraordinary mid-17th-century embroidered panel depicting ‘The Finding of Moses’. She remarks enthusiastically, “My husband, James, and I love this piece. It was a great favourite of Great-aunt Veronica’s too.” Veronica Tritton lived at Parham before Emma and her family.

The scene depicted on this needlework panel is from the Old Testament story in Exodus, chapter 2, in which Pharaoh orders all the newborn Israelite boys to be killed. Moses is hidden by his mother in a cradle amongst the bulrushes of the Nile. Pharaoh’s daughter discovers Moses and brings him up as her son. The story of Moses is one of obedience, leadership and salvation. Lady Emma points to the three women in the scene and exclaims, “Look how surprised they are to find him; they’ve two sets of eyebrows! It’s so finely worked, thirty stitches to the inch, and the details are amazing. Look at the sun with a face, the caterpillar, grasshopper, leopard and even a kingfisher with a fish in its beak. The more you look at it, the more fantastic it is. But those eyebrows, so surprised.” This family favourite is signed with the embroidered initials ‘ML’ and dated ‘1644’.

The embroidery of ‘The Finding of Moses’ at Parham has traditionally been considered to be a christening cushion. The textile specialist and conservator Dr Mary M. Brooks has suggested that this particular scene might reasonably be interpreted as reflecting concerns about political loyalties, issues surrounding royal succession and personal concerns, such as the safe upbringing of male heirs at this time.

These interpretations and the date of the panel, 1644, have a significance for Parham and its history. On 6th January 1644 Arundel Castle was surrendered to Sir William Waller, leader of the Parliamentarians, during the English Civil War. Amongst the prominent ‘hostages’ from the besieged castle, demanded by Waller as part of the treaty of surrender, was Sir Edward Bishopp, 2nd Baronet and owner of Parham. Sir Edward had fought at Winchester, Portsmouth and Arundel for the Royalist cause. He was taken to the Tower of London and heavily fined by the House of Commons.

Returning to the kitchen, we sit drinking tea in this timeless place, looking out over the park and gardens. I am reminded how important objects can be in bringing the common narrative of our island nation’s history to life.

Lady Emma and her family bring such life to Parham through their delight in this place, its history, collections and their desire to share it with others. We are blessed that Parham has such passionate, dedicated and generous custodians.

Parham House and its collections provide a window to our past and our future. Whether you are visiting for the first time or returning, Parham never fails to captivate and delight anew.

Parham House and Gardens are open until the end of September on Wednesdays, Thursdays, Fridays, Sundays and this May Bank Holiday Monday, at 2pm and 12pm respectively, closing at 5pm. For more information go to www.parhaminsussex.co.uk or telephone 01903 742021.

Revd. Rupert Toovey. Originally published on 20th May 2015 in the West Sussex Gazette.

Borde Hill Gardens at the Heart of the Arts

Borde Hill Sculpture in the Garden Opening — Andrewjohn and Eleni Stephenson Clarke open the 2015 Borde Hill Garden ‘Sculpture in the Garden exhibition’

This last weekend I found myself returning to Borde Hill Gardens, near Haywards Heath in West Sussex, as the guest of Andrewjohn Stephenson Clarke and his wife Eleni. These generous custodians have worked hard to put Borde Hill and its famous gardens at the heart of the arts in West Sussex. Borde Hill Gardens are celebrating their 50th Anniversary of being open to the public.

Andrew Bernardi and the ‘1696 Stradivarius’ at Borde Hill

Much has been written about the importance of the gardens and plant collection. Between 1893 and 1937 Colonel Stephenson R. Clarke sponsored many of the Great Plant Collectors’ expeditions. They returned with rare specimens brought back from their travels in the Himalayas, China, Burma, Tasmania and the Andes. Many of these plant species are still at the heart of the collection which make up the seventeen acres of formal gardens we enjoy today.

As the Friends of the Shipley Arts Festival gather at Borde Hill Andrewjohn welcomes us in the panelled Drawing Room. He explains that his family have owned Borde Hill since 1892 and says “Although my family extended the house and this room I think my great-grandfather was more interested in the gardens than the house. When he came to Borde Hill the land gave him the opportunity to plan, layout and plant the garden.” Andrewjohn speaks with a gentle pride and understanding of his own place in the story of Borde Hill. As he does his love for it and the desire to share it with others is apparent.

Andrew Bernardi, Artistic Director of the Shipley Arts Festival, leads a trio of remarkable musicians which includes the cellist Jonathan Few and pianist, Maria Marchant. The concert opens with two Debussy pieces written at about the time that Andrewjohn’s grandfather purchased Borde Hill. There is an intimacy in this setting as the delights of the concert unfold.

The textural melodies and rhythms of the music take me back to the week before when I joined my friends Andrewjohn and Eleni at the opening of their 2015 Borde Hill Sculpture in the Garden Exhibition. We gathered in the Italian Garden for the opening, as sculptor Angela Corner’s ‘Respond 1’ rose and fell responding to the forces of nature and the flow of water. The piece brings your senses alive to the play of light, sound and movement as you respond to the sculpture and the setting.

As I continued around the gardens the sight and scent of banks of bluebells, contrasted against the bright new leaves on trees, the giant rhododendrons and magnolias, made me feel more fully alive. The sculptures, like Guy Portelli’s ‘3 Blue Pokers’, are framed beautifully by the plants and gardens in this ever changing setting.

The Gardens extend into traditional parkland and woodlands, where the variety of micro-climates have contributed to the best collection of ‘champion’ trees (the tallest and largest girth) on privately-owned land in Britain. These ‘champion’ trees, together with many other exotic specimens, provide a canopy for spring flowers in Warren Wood, which is over 100 year’s old, and Stephanie’s Glade.

Andrewjohn and Eleni have placed Borde Hill Gardens at the heart of our community and the arts and their generous spirit and dedication is deserving of our thanks and support.

You must treat yourselves to an outing to Borde Hill Gardens. The 2015 Sculpture in the Garden runs until 1st September 2015 at Borde Hill Gardens, Borde Hill Lane, Haywards Heath, West Sussex, RH16 1XP, For more information on opening times and forthcoming events go to www.bordehill.co.uk or telephone 01444 450326.

For information on The Shipley Arts Festival concerts click here.

Revd. Rupert Toovey. Originally published on 13th May 2015 in the West Sussex Gazette.

“This Was Their Finest Hour” – Winston Churchill

70 years ago, on the 7th May 1945, the Allies formally accepted the unconditional surrender of Nazi Germany’s armed forces. What had been fought for were the ideals of liberty, freedom, justice and fairness. But we had also fought for our national identity, bound up with the narrative of our island history and the English Romantic tradition.

Whenever the English find themselves under threat, they turn to their monarchy, their church and their landscape; our nation’s identity is bound together by these timeless threads. As 1944 drew to a close Winston Churchill said “A love for tradition has never weakened a nation, indeed it has strengthened nations in their hour of peril.”

Victory in Europe, VE Day, was celebrated on the 8th May 1945 with a public holiday. There was a sense of relief and exhilaration at the end of six years of war. Stepping stones of defeat and been turned to triumph. The hard fight to free Europe restored, preserved and changed our nation’s ideals and identity.

Photographs taken by Captain B. St. C. Tony Rutherford — Black and white photographs taken by Captain B. St. C. Tony Rutherford, group photographer of the 53rd Welsh Division, from late June in Normandy to Hamburg May 1945

In response to the attack by British Bomber Command on Lubeck in March 1942 Hitler ordered bombing raids on old historic English cities, noted as important places to visit in the Baedeker travel guides of the period. They became known as the Baedeker bombing raids. Targets often included our Cathedral cities like Canterbury, York and Exeter. In so doing the Nazis sought to strike at the very identity of our nation, the quintessentially English. Remarkably the Cathedrals of Canterbury, York and Exeter survived. The tragic loss of life and homes failed to diminish morale.

A view of the ancient Cathedral city of Chichester

Although bombed on three occasions Chichester remained relatively unscathed and it is for this reason that it gives us such a wonderful and complete picture of an ancient English Cathedral city.

Suffragette movement via blog.tooveys.com — A photographic postcard depicting the suffragettes Mary Gawthorpe and Miss Pankhurst speaking to a crowd in the Market Place, Uppingham, Rutland, posted in 1907

At the heart of our modern freedom is our democratic right to vote. The Reform Acts, from 1832 onwards, had successively extended democratic voting rights to broader sections of British society. Women’s suffrage became a national movement in 1872. It was the efforts of suffragettes like Mary Gawthorpe and Emily Pankhurst which brought limited rights for women to vote in 1918. But it was not until the Conservative government passed the 1928 ‘Representation of the People (Equal Franchise) Act’ that all women over the age of 21 were given the vote. Women’s working roles during the war had been vital to Britain’s success. Women’s votes and equal rights would shape the future of British society.

Victory in 1945, and political victories before and since, have shaped our nation, upholding and defending our ideals of liberty, freedom, justice and fairness.

It is perhaps fitting, then, that our Parliamentary elections should fall on such an auspicious day as the 7th May 2015.

Late in the war the House of Commons was bombed. Reflecting on its rebuilding, in October 1944, Winston Churchill said “We shape our dwellings, and afterwards our dwellings shape us.” Our freedoms have been hard won and costly to defend. Rights come with responsibility. Our universal right to vote and shape our nation through the House of Commons is a vital responsibility.

By Revd. Rupert Toovey. Originally published on 6th April 2015 in the West Sussex Gazette.

St Mary’s House and Garden

It is a bright spring evening as the Lord-Lieutenant of West Sussex, Mrs Susan Pyper, leads a gathering of friends and supporters at St Mary’s House and gardens, Bramber. We have come together to celebrate thirty years of conservation and restoration led by Peter Thorogood and Roger Linton.

The paths to the house and gardens are lined with primroses, violets and forget-me-nots, proof that spring has finally arrived. Guests include those who have supported Peter and Roger over many years in their desire to preserve and share the delights of St Mary’s House, Bramber.

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 vision, dedication, hard work and generosity of Peter Thorogood and Roger Linton has permanently written their names into the story and history of this grand old house and her gardens. They have gathered a community of people around the house and gardens who have also offered their resources, time and talents to this project.

Susan Pyper at St Mary's House Bramber — Mrs Susan Pyper, The Lord-Lieutenant of West Sussex, presenting Peter Thorogood, MBE, and Roger Linton, MBE, with a plaque commemorating 30 years of restoration and conservation at St Mary’s House and gardens

In the wonderful music room, with its large windows and gothic revival fireplace, Susan Pyper, The Lord-Lieutenant of West Sussex, speaks affectionately of the pleasure of returning “to be amongst friends”. She thanks the Friends of St Mary’s House and all those who had played their part in this evolving project as supporters and donors. Turning her attention to Peter and Roger she praises them saying that their “generosity of spirit knows no bounds.” Mrs Pyper acknowledges St Mary’s House and gardens as “a jewel in the crown of West Sussex with an international reputation.” The charitable trust, set up to support the house and gardens for the public’s benefit, has given an Acer Palmatum de shojo. Susan Pyper presents Peter and Roger with a commemorative plaque to accompany the tree and occasion.

Peter Thorogood responds saying that St Mary’s, Bramber is “all about people”. He notes the “friendly atmosphere and generosity” of all who had been involved in the house and gardens. These sentiments are echoed by Roger Linton who, reflecting on the visitors before the reception, remarks upon how he gains such “pleasure from their pleasure”.

The Terrace Garden viewed through a wide stone arch

These generous custodians have always wanted to share St Mary’s with others and it is their intention that St Mary’s will remain accessible and at the heart of the local community for future generations.

Peter and Roger’s work and aspirations give expression to a deep sense of calling and vocation to this place and their vision to share St Mary’s with all of us. These ambitions have been at the heart of their lives and work. They richly deserve our thanks.

Whether visiting for the first time or returning to an old friend, as I often do, St Mary’s, Bramber never fails to delight with its architecture, collections, gardens and sense of history. St Mary’s House and gardens opens to the public for the 2015 season this coming Bank Holiday Sunday afternoon, 3rd May, 2-6pm. For further details go to www.stmarysbramber.co.uk or telephone 01903 816205.

By Revd. Rupert Toovey. Originally published on 29th April 2015 in the West Sussex Gazette.

Eric Ravilious Exhibition unites Sussex with Dulwich

Eric Ravilious, Hurricane in Flight, c.1942, watercolour and pencil on paper, Private Collection

An exhibition titled ‘Ravilious’ has just opened at the Dulwich Picture Gallery. It focuses on the watercolours of the celebrated artist and designer, Eric Ravilious. Ravilious has been described as one of the finest watercolourists of the 20th Century and his life and work has strong connections to Sussex.

During Eric Ravilious’ lifetime watercolour painting underwent a revival. This most English of mediums and traditions was fused with modern ways of seeing and painting. The graphic, linear approach to the medium resulted in a very English Modernism.

Born in 1903, Eric Ravilious’ childhood was spent in Eastbourne where his father ran an antiques shop. In 1934 Eric Ravilious, once again, returned to Sussex staying at Furlongs with Peggy Angus who had rented a shepherd’s cottage in sight of Firle. Here he painted landscapes and local scenes. The exhibition highlights that his work is rooted in the landscape and life of pre-war and wartime England. Sussex and the South Downs are strong influences.

Eric Ravilious, Tea at Furlongs, 1939, watercolour and pencil on paper, The Fry Art Gallery

Interior and domestic scenes are a recurring theme in his watercolours. Take for example ‘Tea at Furlongs’ painted in 1939. This domestic scene captures a moment in time at odds with the war which would imminently engulf our nation. The table is laid with an appealing English afternoon tea, placed in a natural landscape. The garden at Furlongs is truthfully depicted by the artist. Light and movement appear to dance across the surface of the paper. The gentle distortion of perspective heightens the viewer’s connection with the scene, its composition drawing us in. Ravilious’ ability to be economical in choosing detail and his use of shapes and distorted perspective is always informed by the needs of the compositions in his watercolours.

Eric Ravilious, Greenhouse, Cyclamen and Tomatoes, 1935, watercolour and graphite on paper, ©Tate, London 2015

The discovery of a greenhouse at nearby Firle Place in 1935 was the inspiration for ‘Cyclamen and Tomatoes’. The exemplary composition beguiles the viewer. Orderly rows of terracotta flowerpots are framed by the arched canopy of tomato vines. A series of similar watercolours followed. There is a stillness which is out of time, a quality often found in his paintings.

Edward Bawden, his lifelong friend and fellow artist, would recall how Ravilious worked straight onto the final piece without preparatory sketches. He would lightly sketch in the main forms in pencil and then areas of paint in turn rather than working across the entire sheet of paper. A white resist was used to preserve white throughout the whole process. This practice gifts his work with an immediacy and liveliness of invention.

Eric Ravilious, The Wilmington Giant, 1939, Watercolour and pencil on paper, ©Victoria and Albert Museum

In 1944 the poet and dramatist Lawrence Binyon wrote describing how Ravilious employed under-painting, elaborate superimposed washes and stipples resulting in great delicacy and definition. His style built on the tradition of late 18th and early 19th century English watercolour painting. As he re-examined work by artists like John Sell Cotman he found a very English corrective to modernism resulting in his emotionally cool and intensely structural paintings.

In December, shortly after the outbreak of war on the 3rd September 1939 Ravilious toured and recorded England’s chalk figure sites. The Long Man of Wilmington was familiar to Ravilious from his childhood. Ravilious likened the ‘Wilmington Giant’, near Eastbourne, with a figure of Virgo holding staves in the frescoes of San Gimignano by Bartolo di Fredi of ‘Scenes from Creation’. The lines of the barbed wire and distorted mesh fence draws the eye to the tilted figure. The patch of corn answers the flash of blue in the sky, the hatching in the fields and hill echoed in the scudding clouds. This is a landscape which speaks of the English and the ancient.

At the outbreak of war Ravilious had joined the Observer Corps at Castle Hedingham, becoming a war artist in 1940.

He would often fly with the RAF. The remarkable study ‘Hurricane in Flight’ depicts two Hurricanes banking. The artist’s technique is once again illustrated. The bi-plane wing concentrates our eye on the fighter planes in an extraordinary composition. The scene is framed against the patchwork quilt of fields in the timeless English countryside. Here the common threads which unite Ravilious’ paintings in peace and wartime are displayed. Threads which are central to the Dulwich Picture Gallery’s exhibition.

Ravilious was lost when the air sea reconnaissance mission he had joined in a Hudson aircraft failed to return from its search. He died with the airmen he so admired.

Ravilious’ sensibility was modern but his techniques were not. Texture, light and movement connect the artist’s work to the English Romantic tradition but with a particular and fresh voice. It is at once figurative and yet highly stylized. Watercolour, a most English of mediums, is fused with modern ways of seeing and painting. His graphic, linear approach to the medium resulted in a very English Modernism in peace and wartime. This superb chronological exhibition allows us to see Eric Ravilious’ development as an artist and the techniques, themes and subjects which unite his peace and wartime work.

‘Ravilious’ runs at the Dulwich Picture Gallery until the 31st August 2015 and is one of this year’s must see exhibitions. For more information go to www.dulwichpicturegallery.org.uk.

By Revd. Rupert Toovey. Originally published on 22nd April 2015 in the West Sussex Gazette.