Rupert Toovey’s Articles – Page 2

The Rich Art and Craft of Satsuma Ceramics

A pair of Japanese Satsuma earthenware vase by Kinkōzan, Meiji period

For more than two hundred and fifty years Japan had lived in relative isolation from the outside world. American gunboat diplomacy, instigated by Commodore Perry in 1853, opened up Japan for trade with the West. The Japanese did not wish to be a subjugated nation and turned to their rich tradition of arts and crafts to articulate their place in the world as a civilized nation. It was from these traditions that Japanese manufacturing began to emerge alongside the desire to benefit from trade.

Satsuma ceramics met with great success at the Paris Exposition Universelle of 1867. In contrast to earlier pieces Satsuma from the Meiji period (1868-1912) was elaborately decorated and predominately produced for export. After its success in Paris this finely conceived style was adopted by the ceramic artist, Kinkōzan Sōbei VI (1824-1884). He brought it to Kyoto and the Awata district became the centre of Satsuma production. The wares produced here were similar in style and taste to the Satsuma produced in other towns and cities like Osaka and Yokohama. The extravagance of these designs contributed to its popularity in Western markets.

Satsuma had become an aesthetic term rather than denoting place. However, the personal styles of the leading painters was articulated through their skilful use of palette and brushwork. Amongst these artists were Kinkōzan and Seikozan, whose work can be seen here.

A Japanese Satsuma earthenware vase by Seikozan, Meiji period

These richly ornamented vases capture the essence of Meiji Satsuma. Borders and details are lavishly defined in raised gilding. The painting is jewel like.

What was new in this Satsuma genre was the manner in which landscape imagery was employed to convey a narrative about Japan as can be seen in the decoration of these Satsuma vases from the Meiji period.

The pair of Japanese Satsuma earthenware vases by Kinkōzan are painted with an expansive scene of figures, pavilions, bridge and pine, divided by a vertical panel of sparrows flying above peony and fence. The Japanese Satsuma earthenware vase by Seikozan is painted with arhats, children and bijin, within borders of simulated brocade. These scenes open a window onto an exquisitely serene world inhabited by the Japanese educated classes. These vases realised £480 and £900 respectively at Toovey’s.

The Meiji period witnessed Japan’s evolution from a feudal, closed society, under the rule of the military shoguns, towards its manufacturing modern era. Satsuma ceramics is a quintessential expression of the Meiji period which continues to delight the imaginations of western collectors and our sense of the exotic.

Objects of Virtue from the Houses of Boucheron and Cartier

A Boucheron silver and silver gilt ruby set powder compact and lipstick case

The French Houses of Boucheron and Cartier were not only famous for their jewellery but also for Objects of Virtue during the late 19th and 20th centuries.

Over the millennia silver and gold have been used to create the finest objects of virtue. I am often asked what an Object of Virtue is. The term comes from the French Objets de vertu and describes pieces made in gold, silver, enamel, bronze, ormolu, glass, porcelain, semi-precious stones, etc which are valued for their artistic virtuosity

As the 19th century drew to a close Victorian tastes were reinterpreted in lighter more delicate styles influenced by France’s Belle Époque which spanned from the late 19th century up until the start of the Great War in 1914. It was characterised by optimism, regional peace, economic prosperity, scientific and technological advances and an era where the arts flourished influencing the tastes of other nations including our own. Objects of Virtue from the period combine opulence with graceful lines set with a variety of gems or enamels. Its influence continued to be felt throughout the 20th century.

Amongst the leading designers and makers of the 20th century was the house of Boucheron. This French firm represents a family dynasty founded by Frederic Boucheron in 1858 who opened his first store in the Galerie de Valois at Palais Royal in Paris. The cornerstone of Boucheron’s reputation for making pieces of the finest quality was seeded in 1866 when he won a Gold Medal at the Paris Exposition Universelle in 1867. Throughout the 20th century the house of Boucheron remained one of the world’s great jewellery designers and makers. Queen Elizabeth II had a collection of Boucheron jewellery. Louis Cartier was also considered a master. In the early years of the 20th century Cartier opened his shop in London.

A Cartier sterling silver and varicoloured enamel basket of flowers

The Boucheron silver and silver gilt, ruby set powder compact and lipstick case displays the house’s virtuosity with their flowing pierced leaf scrolls, flowers and ruby cabochons. The joyful Cartier silver and enamel flower filled basket was just 8cm high. It was so precious to its former custodian had restored it. They realised £600 and £480 in Toovey’s specialist Objects of Virtue sales.

It seems to me that objects that we consider to be truly beautiful are amongst the most precious in our lives. After all it is part of our human purpose to make beauty in the world and it is therefore surely right that we should celebrate it.

Shipley Arts Festival’s 25th Anniversary Concert Series

World class musicians Andrew Bernardi, Maria Marchant, Jonathan Few and Anando Mukerjee with young musicians Grace Shearing and Robyn Cheong

The annual launch and preview of the Shipley Arts Festival is always a cause for excitement and this year there is a particular reason to celebrate as the festival marks it’s 25th Anniversary.

The preview and launch was once again hosted by Toovey’s where Festival Director Andrew Bernardi gathered an array of world class and young musicians, the Festival Friends and sponsors for an evening of celebration and music. It is a remarkable achievement to have established one of the country’s leading regional music festivals in just 25 years. Andrew explained how it all began “I met Christina Maude and Ginny de Zoete through a charity concert at Shipley Parish Church. Afterwards we got together at the Selsey Arms and met Gordon Lindsay at his home and the festival was born!”

Andrew’s life as a violinist has taken him all over the world but it is his family and being rooted in the heart of Sussex with its gentle hills, countryside, towns and communities which feed and inspire him. Speaking on the evening Andrew thanked his wife Lucy and son Josh, and said “What we all have in common with our sponsors, friends and patrons are our shared values. A belief in our communities and young people, and that there is a place for excellence.”

Andrew Bernardi and Rupert Toovey at the launch of the 2025 Shipley Arts Festival

He is following in the footsteps of musicians and composers like John Ireland, Ralph Vaughan Williams and Sir Edward Elgar who lived and worked in Sussex. Through the festival and its patrons Andrew Bernardi, continues to commission new and exciting work from some of our nation’s leading contemporary composers.

I ask him what his violin means to him. He reflects “The Stradivarius violin is a remarkable instrument with an extraordinary range.” Relationships are important to the success of the Shipley Arts Festival and the array of international musicians who return year after year are responding to the aspirations, loyalty and vision of its Artistic Director, Andrew Bernardi.

As the longest standing sponsor of the Shipley Arts Festival I am delighted that Toovey’s and myself remain at the heart of this remarkable celebration of music and community. Together with our fellow sponsors NFU Mutual at Horsham, Henfield and Chichester, Nyetimber and Kreston Reeves we wish Andrew Bernardi and his Shipley Arts Festival every success with the 25th Anniversary concert season. For more information on the forthcoming Shipley Arts Festival and to book your tickets visit the box office at www.bmglive.com.

Sussex Heritage The Art of Time

Universal Genève Tri-Compax Triple Calendar stainless steel circular cased gentleman’s chronograph wristwatch and a Jaeger-LeCoultre Automatique Master Control 1000 Hours 18ct gold circular cased triple calendar gentleman’s wristwatch

Fine watches are exemplars of the art of time and have never been so sort after by collectors.

Rolex is one of the world’s strongest brands representing more than a century of precision watch making, creativity and aspiration. Many will be surprised to learn that the company we know today as Rolex was founded in London in 1905 by Alfred Davis and his brother in law Hans Wilsdorf. It traded as Wilsdorf and Davis. Hans Wilsdorf wanted his watches to bear a name that was memorable, short and easy to say in any language. In 1908 he registered the trademark ‘Rolex’. In the same year he opened an office in Switzerland. Heavy tax duties in the UK after the Great War on luxury imports and exported precious metals used in watch cases caused Wilsdorf to move the company to Geneva, Switzerland.

In 1927 Rolex developed the first waterproof and dust-proof watch named the ‘Oyster’. In 1931 this was complimented by Rolex inventing the world’s first self-winding mechanism. The 1950s Rolex Oyster Perpetual 100m-300ft Submariner stainless steel gentleman’s diver’s bracelet wristwatch made £17,500 at Toovey’s.

A Rolex Oyster Perpetual 100m-300ft Submariner stainless steel gentleman’s diver’s bracelet wristwatch

The LeCoultre watchmaking atelier was founded in 1833 in the Vallée de Joux in Switzerland by Antoine LeCoultre (1803-1881). He was obsessed with accuracy manufacturing the tools necessary to make the most accurate parts to the finest calibre. In 1903 Edmond Jaeger and Jaques-David LeCoultre came together and in 1937 the Jaeger-LeCoultre name was created.

Today this tradition of fine craftsmanship continues. Jaeger-LeCoultre remains one of the only watch manufacturers which develops, decorates and produces all its timepieces in its own workshops which are still located in the Vallée de Joux in Switzerland. The Jaeger-LeCoultre Automatique Master Control 1000 Hours 18ct gold circular cased triple calendar gentleman’s wristwatch realised £3,600 at Toovey’s.

The Swiss company Universal is also one of the world’s great watchmakers. Its Tri- Compax chronographs have been celebrated since the 1930s. The Universal Genève Tri Compax triple calendar stainless steel circular cased gentleman’s chronograph wristwatch dates from the 1950s and was sold at Toovey’s for £8,500.

Each of these watches is an exemplar of the art of time. Whether you are looking to collect or sell fine watches Toovey’s watch specialist and Director, Tom Rowsell, is always delighted to share his passion for remarkable timepieces.

Master Engraver Alan Dow’s Archive Collection Sold at Toovey’s

An extremely rare Central Bank of Iraq partial banknote die proof engraver’s test strike for the obverse of a five dinars note, circa 1953

The second part of the Alan Dow archive collection has just been sold in Toovey’s first specialist auction of Coins, Banknotes and Medallions of 2025. The collection of proof banknotes, including trials and test strikes realised more than £125,000.

Toovey’s coin, banknote and medallion specialist Mark Stonard commented “This was a remarkable collection. Many of the notes were unique and illustrated the painstaking process of creating the portrait image. They were from the personal archive of the late Alan Dow, master banknote engraver to Bradbury Wilkinson & Co and the Bank of England. Alan Dow was apprenticed to the prestigious Bradbury Wilkinson where he worked for thirty years in the slow meticulous way required of a master bank note engraver. He also worked for De la Rue later in his career. Both prestigious firms in the world of printing, especially in the production of stamps and bank notes. Alan engraved onto steel plates. It would take him more than three months of painstaking work to produce the final image. He used a low powered binocular microscope to ensure accuracy but despite this his portraits have an unexpected spontaneity.”

Master Engraver Alan Dow engraving a portrait at his bench

Alan Dow engraved several portraits of HM Queen Elizabeth II for a number of our Bank Notes, but with great humility famously said that he had “…never really engraved a satisfactory portrait of the Queen. I think everyone has there own ideas as to how she looks…” I explain to Mark how Alan’s comments bring to mind a fond memory of my Grandpa who always used to refer to money as “portraits of the Queen.” Mark smiles and says “Interestingly it was two lots produced for the Middle East which achieved the highest prices. A lot of five extremely rare United Arab Emirates partial banknote progressive die proof engraver’s test strikes for the obverse of a one thousand dirhams note achieved £12,000. The extremely rare Central Bank of Iraq partial banknote die proof engraver’s test strike for the obverse of a five dinars note in red dates from around 1953. The portrait vignette is of the young King Faisal II. Also in this lot were two further die proof engraver’s test strike vignettes of King Faisal II in black. They realised £9,500.

Mark Stonard is always pleased to share his passion for coins, banknotes and medallions with collectors and specialists at Toovey’s.