Rupert – Page 94 – Toovey’s Blog

The Delights of the Edwardian Display Cabinet

An Edwardian satinwood display cabinet, circa 1910

This week, as I have been visiting clients and friends along the foot of the Sussex Downs, I’ve been struck by the rich way that display cabinets and their contents give delight to their owners.

An Edwardian mahogany Art Nouveau display cabinet, circa 1910

Display cabinets have been part of the English home since the 18th century. They provide the collector with the opportunity to display objects to delight the eye and our imaginations. Many of the cabinets you see at auction date from the Edwardian period. They often draw on the classical tastes of the late 18th century. The satinwood example illustrated recently sold at Toovey’s for £2000. It represents the finest craftsmanship and dates from around 1910. Painted with a scheme of rose and ribbon pendants, putti and scrolls, it is both beautiful and practical.

Image4 DisplayCabinet — An early 18th century Chinese carved wood figure of Guanyin encased in a provincial display cabinet

Not all display cabinets from the Edwardian period draw on the inspiration of the past. Take, for example, this Art Nouveau mahogany display cabinet, which would almost certainly have been sold by the famous Liberty & Co in London. There is such confidence in its design. The flared canopy and central open shelf seem to allude to an earlier age of English vernacular furniture, and yet this piece embraces the fashion for the Art Nouveau in an uncompromising way. This is articulated in its stained glass and leaded panel door and the stylized floral motifs, inlaid in a variety of woods and mother-of-pearl. The block legs and pad feet are typical of the English Art Nouveau. Today at auction, a cabinet of this quality would realise in excess of £1500.

The contents of display cabinets reveal much about their owner’s passions and interests. Like a painting, each glazed pane of a display cabinet frames a composition. The light plays on the surface of the glass, especially where it is hand-blown and subtly textured, emphasising the layered three-dimensional qualities of the arranged objects. Colour, light and shade play their part in bringing these still-life vignettes to life.

A lively mind may collect a particular field or period. I found this early 18th century Chinese carved wood figure of Guanyin, with its rich blue, ivory and ochre pigment, framed against the gentle tin glaze of a European Delft charger, decorated after the Chinese Transitional taste. Both were nestling undisturbed in a large provincial cabinet.

Of course, others will be more eclectic in their tastes. I was delighted to discover Rupert Bear blowing his own trumpet in the company of a small Roman oil lamp, a piece of the Berlin Wall and a treen vessel, framed by the glass of a wonderful satinwood cabinet.

Image3 DisplayCabinet — A Royal Doulton Rupert Bear in the eclectic company of a piece of the Berlin Wall and a small Roman oil lamp

The human activity of dwelling, being ‘rooted’, is important to our well-being. Where we live and our material possessions enable us to articulate who we are and ground us not only in the procession of our own lives but also in the broader procession of human history.

The display cabinet perfectly encases those things which tell the stories of our lives – prompts to both fond memories and knowledge, representing the patchwork quilt of our lives.

Display cabinets and their contents have the power to delight. Perhaps you need one in your life!

By Revd. Rupert Toovey. Originally published on 8th October 2014 in the West Sussex Gazette.

The Mercedes 300SL Gullwing, the World’s First True Supercar

The iconic gull-wing doors which give their name to the car

As the September dew begins to settle around the Goodwood motor racing circuit, the evocative sound of racing engines and smell of Castrol oil from the 2015 Goodwood Revival are fading to memories. I am visiting my great friend John Young, the renowned racing driver, who has invited me to come and see his rare 1955 Mercedes-Benz 300SL Gullwing, one of the most iconic cars of the post-war era.

As we walk down the drive together in conversation, the Gullwing comes into view and its lines still have the power to excite. The silver beauty before us is particularly special, an example of the world’s first true supercar and in wonderful, original condition. John Young explains, “I bought the car in 1973 from Dennis de Ferranti, who’d had it from new. His father was a brilliant engineer who set up the electronics company Ferranti.” John, the former managing director of the Mercedes-Benz agents Rose and Young, has a particular affinity for the marque. His father, George, founded the firm with his friend Jack Rose. George Young bought out his partner in 1937. “Mercedes were amongst the best cars and selling well,” says John, “so a dealer franchise was hard to get, but we were one of the first in the country.”

Contemporary motoring correspondents in the 1950s were fulsome in their praise of these extraordinary cars, though most acknowledged their unforgiving nature if driven hard. John Young smiles as he exclaims, “When you drive a 300SL quickly, it’s important to keep the power on in the corners or they spin – you’ve really got to drive it! Moss was the master.” He pauses and then continues, “Moss was the best driver of these; he was very good.”

After the Second World War, Mercedes were only allowed to return to racing in 1950. 1951 saw a series of victories for the marque including a 1-2 at Le Mans. The Gullwing’s body attracted sensational interest amongst the press and motoring enthusiasts. Stirling Moss’s win in a 300SLR at the 1955 Italian Mille Miglia road race helped to seal Mercedes’ dominance in motor racing and his reputation as one of the greatest drivers of all time. Moss was accompanied by the writer and navigator Denis Jenkinson, known as “Jenks”. Jenks gave an account of Moss’s remarkable drive, writing for Motor Sport in June 1955. It emphasised the driver’s concentration and commitment and his particular gift for setting up and balancing a car at extreme speed through towns and countryside. Moss would later remark that the roadside crowds gave the event a “fiesta feeling”.

Unlike Jenks, John Young remarks that he is a “bad passenger” – unsurprising coming from a man who was used to being in control behind the wheel of a racing car. Amongst many racing drives in 1955, John was a works driver to the Connaught team and raced in the Goodwood Nine Hours Endurance Race in a Lotus-Connaught with John Coombes. “I’ll never forget my mate Roy Salvadori offering to show me a circuit,” he says. “I got in the car but, my goodness, you’d hold on when he was flat out. He went so fast that I slid under the dashboard!” Roy Salvadori famously won Le Mans for Aston Martin in 1959.

John Young, co-driver to his friend John Coombs in a 2.6 Alfa Romeo in the 1988 Mille Miglia Revival

I ask John if he ever competed in the Mille Miglia. He answers modestly, “I drove the 1988 Mille Miglia Revival in an Alfa Romeo 2.6 with John Coombs.”

Gentleman racer and collector John Young in his 1955 Mercedes-Benz 300SL Gullwing

Our conversation returns to John’s beautiful 300SL Gullwing. “These cars were really advanced for their time, with their tubular space frames and in-line, six-cylinder engines, which have a racing note,” he comments. I remark on the large side vents which, like the doors, are such a distinctive feature of the Gullwing. John responds, “They are important for discharging the heat from under the bonnet. Although the lines and details are beautiful, this is above all a properly engineered car.” You sit low in the car and the evocative smell of the original blue leather captures the senses. John explains that most of these cars had fabric seats and that this was a rare option. In the driving seat, your view beyond the ivory coloured steering wheel, instrument binnacle and painted dash is of the long, gently curving bonnet with its two characteristic bulges. Underway, the engine revs rise rapidly and there is a hard note to this engine, reminding you that its heritage is in motor racing. The excitement of the engineered, mechanical qualities of this remarkable vehicle delight the senses. John acknowledges the tremendous acceleration these cars are capable of. Although they were raced, they are truly grand tourers.

Returning to John’s terrace, we sit drinking champagne as the sun begins to set on what will be one of the last warm evenings of the year. With the South Downs before us, my friend John Young regales with stories of a glamorous motor racing age of gentlemen racers and enthusiasts now overtaken. Like its generous owner, this Mercedes-Benz 300SL Gullwing stands as a wonderful testament to this remarkable post-war period.

By Revd. Rupert Toovey. Originally published on 1st October 2014 in the West Sussex Gazette.

Art & Objects Transforming Lives at Pallant House Gallery

I am always humbled and delighted by the ability of art to transform and enrich our lives. It is for this reason that a team of Toovey’s specialist valuers will be at Pallant House Gallery in Chichester on the afternoon of Monday 29th September 2014, to offer free pre-sale valuations and advice on selling your fine art, antiques and collectables by auction. A third of the seller’s commission for items subsequently auctioned by Toovey’s will be donated to Pallant House to help with the gallery’s important work.

Engaging with art can often reveal to us something of our world beyond our own perception. The process of creating art can enable us to understand something of ourselves, giving voice to where we have come from, where we are and where we would like to be. Pallant House Gallery provides opportunities for art to affect us in both these ways, through its world-class exhibitions, its Learning and Community Programme and its work with the ‘Outside In’ project.

Pallant House has been referred to as ‘a jewel’ and ‘one of the most important galleries for British modern art in the country’. It opened in its present incarnation to national critical acclaim in July 2006. The remarkable £8.6 million build project, which took nearly three years to complete, seamlessly married the original Queen Anne, Grade I listed town-house and the new wing, quadrupling its exhibition space.

Pallant House’s pioneering Learning and Community Programme gives people of all ages and abilities the chance to explore their enjoyment of art. Outside In was founded by the gallery in 2006 with the aim of establishing a platform for artists who have a desire to create but who see themselves as facing a barrier to the art world for reasons including health, disability and social circumstance. The goal of the project is to create an unprejudiced environment which rejects traditional values and institutional judgements about whose work can and should be displayed.

At the heart of Outside In is an avoidance of labelling and there are no set criteria for an artist’s inclusion. Marc Steene, Executive Director at Pallant House Gallery, has spearheaded the project, describing it as a ‘gentle revolution, designed to enable a fairer art world where all who create have an equal opportunity to sit at the table and have their work seen and valued’. In 2013, Outside In won a prestigious Charity Award in the Arts, Culture, and Heritage category.

It is the qualities of community and outreach which lend this fantastic organisation a vibrant quality and give soul to this important regional art gallery.

I will be at Pallant House with a group of fellow Toovey’s experts offering a range of specialisms, including fine paintings and sculpture, European and Oriental ceramics, jewellery and medals, clocks and watches, collectors’ toys, military items and antique firearms and edged weapons. No appointment is necessary; just turn up with your treasures and we will be pleased to provide free auction valuations and advice. If your items are difficult to transport, bring photographs, email images to Toovey’s beforehand or telephone to make an appointment for one of us to visit your home on another day. For more information, please contact Toovey’s.

I am really looking forward to being at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ, on Monday 29th September between 1pm and 5pm. Perhaps your art, antiques and collectables will transform not only your own life but the lives of others through this fundraising event!

By Revd. Rupert Toovey. Originally published on 24th September 2014 in the West Sussex Gazette.

Tolerance and Fairness at the Heart of a Nation

An engraving of Queen Elizabeth I by Crispijn van de Passe I, published in 1592

There has been much debate around national identity in relation to the forthcoming vote this week on whether Scotland will remain part of the United Kingdom. The undisputed qualities of the Scottish people and their contribution to our nation’s history have rightly been celebrated. Nations, like families and communities, are bound together by the telling of these shared stories – a common narrative of joy and sorrow.

These debates have caused me to consider what the English bring to our nation. For me, one of our major contributions is the way in which the story of our island’s life, history and Christian faith is articulated and marked by the Church of England in each generation. It is from the Church that the qualities of tolerance and fairness come, qualities which shape our national character.

Richard Hooker’s ‘Of the Lawes of Ecclesiastical Politie’, printed in 1666

I am proud that tolerance and fairness are still to be found at the heart of our nation. These qualities were seeded, though not perfected, during the reign of Elizabeth I (1533-1603). There had been much conflict and bloodshed after Henry VIII’s break with Rome, as Roman Catholics and Protestants each sought to establish their authority and particular understandings of the Christian faith in England. Elizabeth I came to the throne in 1558. Her first aim was to return England to the Protestant faith. What she and her advisors created was a church which was, and remains, both Catholic and Reformed.

The Act of Supremacy of 1558 established Elizabeth as Supreme Governor of the Church of England. In the same year the Act of Uniformity was passed by a narrow majority in Parliament. It required the population to attend an Anglican church each Sunday. In addition, it specified that a new version of the Book of Common Prayer be used.

The Holy Bible published in London in 1619. The binding is embroidered satin

After Parliament had been dismissed, a series of Royal Injunctions were courageously passed by Elizabeth I in 1559. The result of this was that the wording of the liturgy for Holy Communion remained open to a variety of interpretations. This allowed Christians holding differing understandings of the nature of the consecrated bread and wine to receive this sacrament with integrity in the privacy of their own hearts. Elizabeth famously declared that she did not wish to ‘make windows into men’s souls’ on the basis that ‘there is only one Jesus Christ and all the rest is a dispute over trifles’. The Royal Injunctions ensured much continuity with the practices of the Roman Catholic past. These included requirements that ministers wear vestments and use wafers in the place of baker’s bread.

A photograph of Queen Elizabeth II by Sir Cecil Beaton

It was the famous Anglican theologian Richard Hooker (1554-1600), in ‘Of the Lawes of Ecclesiastical Politie’, who emphasised the importance of reason, tolerance and the value of tradition, which are at the heart of the English nation and her Church.

What this means in practice is that our common narrative, our tradition, allows us to be confident of who we are. Reason allows for open-minded and open-hearted questioning and for difference of opinion. Together the two afford us tolerance and we can celebrate diversity and difference in a spirit of love and understanding, rather than fear and ignorance.

These qualities have blessed our nation and our Church. It is my prayer that we will allow these qualities to be central to our continued, shared national story. Her Majesty Queen Elizabeth II still holds the title ‘Defender of the Faith and Supreme Governor of the Church of England’, fitting as we live in a nation which aspires to tolerance and fairness in this second great Elizabethan age.

By Revd. Rupert Toovey. Originally published on 17th September 2014 in the West Sussex Gazette.

Following in the Footsteps of Picasso to Provence

Group of Picasso Madoura editions ceramics — A collection of Picasso Madoura editions ceramics, from left to right: ‘Bunch with Apple’, ‘Bull and Picador’ and ‘Two Dancers’

I’m just back from my holidays in the south of France following in the footsteps of Pablo Picasso, who in the summer of 1946, while staying with his friend, the engraver Louis Fort, decided to visit the annual potters’ exhibition in the provincial village of Vallauris in Provence. There he met Suzanne and Georges Ramié, the founders of the Madoura workshop, who were keen to persuade him to come to Vallauris.

Rupert Toovey and Picasso bronze — Rupert Toovey admires the Pablo Picasso bronze ‘L’Homme au Mouton’ in the square outside the Musée National Picasso, Vallauris

A Pablo Picasso 'Face in an Oval' dish — A Pablo Picasso white earthenware 'Face in an Oval' dish

Picasso returned in July 1947, bringing his extraordinary imagination and creative energy to ceramics. He was first attracted by the large, almost rectangular dishes in the workshop. Here Picasso took the everyday and transformed it into high art, painting and incising with a richness of expression which still causes my heart to race. Favourite themes included figures, bullfights, still lifes and faces, as depicted on the plates, jug and dish illustrated here. In each you see the free, graphic rhythm which typifies Picasso’s ceramics. These pieces are Picasso Madoura editions. They were made in two ways; the first involved making an authentic replica of an original work by exactly repeating the size and decoration. The second method transferred an original subject, by means of an engraved, hardened plaster mould, to a fresh ceramic sheet, which would be applied in order to take a clay impression. These editions are authenticated by a stamp to the base. Their close connection with Picasso’s hand, like a handmade print, attracts the attention of an international group of collectors. Prices are strong. The dish ‘Face in an Oval’ was produced around 1955, number 74 in an edition of 100. It sold at Toovey’s for £3,400. The plate ‘Two Dancers’, from an edition of 450, and the jug ‘Bull and Picador’, one of 500 copies, were both made in 1956 and would realize around £8,000 and £3,500 respectively at auction today. Picasso’s relationship with Madoura and the Ramiés grew and between 1948 and 1955 Picasso lived at Vallauris before moving to Cannes.

A Pablo Picasso 'Vallauris' dish — A Pablo Picasso white earthenware 'Vallauris' dish

Picasso resurrected the ancient tradition of the all-round artist, exploring painting, sculpture, graphic art, engraving and ceramics. He revived the tradition of the Renaissance artist, many of whom worked in a variety of these disciplines and sometimes even as architects. Picasso delighted in the craft of the ceramicist and quickly began to talk with the Ramiés using the technical language of the potter. The Ramiés, for their part, indulged the often extremely unorthodox practices of the artist, including his forms, his glazes and his methods of firing. Take, as an example, the plate ‘Bunch with Apple’, made in 1956 in an edition of 400; it was decorated with oxidized paraffin. A plate like this would realise around £3,000 at auction today.

The white earthenware ‘Vallauris’ round dish, dated 1956, has an impressed mark and is numbered 42/100. With its marvellous abstract faces, it sold in a Toovey’s specialist sale for £7,400, despite being broken and repaired.

You approach the Musée National Picasso at Vallauris through a square filled with shops and restaurants. Amid the life of the village stands the Picasso bronze ‘L’Homme au Mouton’, given by the artist in 1949. Inside the museum there is a jewel-like array of original ceramics made by Picasso, guarded fiercely by the museum staff. The pieces have a life to them which speaks to my heart with a sense of joy. I have a real feeling of the effect that the light and warmth of Provence had on Picasso after the war years in Paris.

The vitality of Pablo Picasso’s oeuvre has the power to move collectors across continents.

By Revd. Rupert Toovey. Originally published on 10th September 2014 in the West Sussex Gazette.