Rupert Toovey’s Articles – Page 29

Jewellery: A Valentine’s Expression of Love

This week we celebrated Valentine’s Day and thoughts will have turned to jewellery as an expression of love.

Amongst current must have jewels are brooches. Over many years brooches fell from fashion but in recent times they have enjoyed a remarkable revival with rising demand and prices.

All the brooches here were sold at Toovey’s and entries are still being accepted for the next sale of fine jewellery on 16th March 2022.

My favourite of all the brooches I have seen in recent times was the beautifully contrived varicoloured, naturalistic pearl and diamond vine leaf spray brooch which made £4200. Pearls and half pearls became highly prized for their delicate sheen which perfectly suited the pale colours and the soft silks of the dresses of the 1890s. The fashion for pearls was widespread across Europe and women wore brooches with pearls and sprays of diamonds in various designs.

In the second half of the 19th century the jewellery industry flourished in England. Queen Victoria became an important influence on fashion. Her jewels, in particular, were carefully copied by the Court and broader Victorian society. Intimate, sentimental jewellery was greatly favoured and worn in abundance.

From the 1860s through to the 1880s the fashion for Greek, Etruscan, and Egyptian art influenced jewellery production not only in shape but also in design. Engraving and tracing disappeared in favour of contrasts between shiny and matt surfaces encrusted with filigree and granulation as can be seen in the decoration of the oval, gold brooch with its central scarab beetle motif in the Egyptian taste. It realised £1300.

From the 1860s stars were amongst the most common decorative motifs. Many lockets, brooches and bracelets had a pearl, diamond or enamel star at their centre as can be seen in the classical revival turquoise enamel and diamond set brooch which fetched £2400.

In the 1890s ladies’ fashion changed and sought to enhance rather than alter a woman’s natural figure. This new fashion brought with it yards of flimsy materials such as laces and tulle, draped and ruched on the bodice. Jewellery, and brooches in particular, had to adapt to the new fashion and became lighter and smaller as a result. Small, light, diamond set star brooches appeared in large numbers to decorate the bodices of fashionable women like the one seen here which sold for £2400.

Brooches are again at the height of fashion and jewellery is a booming area for collectors, and of course remains an expression of love at Valentines.

Lost Work by George Romney Discovered in West Sussex

Toovey’s Fine Art consultant, Tim Williams, with the re-discovered portrait of Lady Laetitia Beauchamp-Proctor by the important English artist George Romney

A lost work by the important English artist George Romney (1734-1802) has been newly re-discovered in West Sussex by Toovey’s Fine Art consultant Tim Williams. Romney was the most fashionable artist of his day and this portrait is to be auctioned at Toovey’s with an estimate of £8000-£12000 on 16th February.

The painting has been in the vendor’s family since the day it was painted, the sitter being a direct ancestor of the owner’s late husband. It is not recorded why but the painting had been previously attributed to Angelica Kauffman sometime before 1915. At that time it was in the possession of Rev Sydney C. Beauchamp. A letter written in 1915 by Rev Beauchamp describes that he had fallen on hard times and was prepared to sell the painting to his cousins for £50 on the proviso that he had the option to buy it back if his fortunes improved. Evidently his fortunes did not improve and the painting has remained in his cousin’s family until now.

Toovey’s Fine Art consultant Tim Williams says ‘I was immediately struck by the quality of the painting when I saw it at the client’s home. I thought it had some compositional similarities to Kauffman’s work, but my gut reaction was that it was by George Romney. I initially contacted the notable Kauffman scholar Dr Professor Wendy Wassyng Roworth who felt the treatment of the subject wasn’t quite right for Kauffman and also suggested Romney as the artist. I wrote to Alex Kidson, the leading authority on Romney, who confirmed that it was indeed by Romney and there was a considerable amount of supporting evidence. The date it was executed was recorded in Romney’s ledgers, as well as the cost of framing. It had been included in Alex Kidson’s scholarly catalogue raisonné of the artist but its whereabouts were unknown and the sitter’s identity was conflated with that of her sister. Alex had never seen an image of the portrait and was as excited as me about its re-discovery. It is rare to have such comprehensive provenance for a portrait of this date.’

George Romney – Portrait of Lady Laetitia Beauchamp-Proctor, oil on canvas, circa 1780

Tim explains how the portrait of Lady Laetitia Beauchamp-Proctor, née Johnson, had originally hung at her sister’s home, Langley Park in Norfolk. It is possible that the same picture is recorded hanging in her brother in law, Sir Thomas Beauchamp-Proctor’s drawing room in 1829 as noted in John Chamber’s ‘A General History of the County of Norfolk’ which was published in 1829 by John Stacy in London.

George Romney recorded Lady Beauchamp-Proctor’s seven sittings between 20th July and 16th August 1780, and the 18 guinea fee was paid to the artist on 5th May 1781. It was sent to Thomas Allwood for framing and is recorded in his framing book as ‘an oval 3/4 at a price of £2 12s 6d for Lady Beauchamp Proctor’.

Tim Williams concludes excitedly ‘This is the first time that this portrait has ever appeared on the market – almost unheard of for a 242 year old painting.’

View the lot here.

The Queen’s 70th Anniversary of Her Accession

Her Majesty The Queen on tour with HRH Prince Philip, the Duke of Edinburgh

Her Majesty Queen Elizabeth is at Sandringham, her Norfolk estate, where she traditionally marks her father’s death on the 6th February. This year the day will mark the 70th Anniversary of her Accession.

Elizabeth and her father, George VI, had a special bond so this is always a particularly poignant day especially without Prince Philip. The Queen on the occasion of their Golden Wedding Anniversary said that Prince Philip “has quite simply, been my strength and stay all these years.”

The Queen’s husband HRH Prince Philip, the Duke of Edinburgh had been given his first command of the sloop HMS Magpie in 1950. In 1951 he took leave from the Royal Navy to support his wife as the King’s deteriorating health meant increasing Royal duties. In the October of 1951 the couple had set out on a highly successful tour of Canada and Washington DC. After Christmas in the January of 1952 Princess Elizabeth and the Duke embarked on a tour of Australia and New Zealand via Kenya.

King George VI died in the early hours of the 6th February 1952. The news was broken to her at Treetops in Kenya as she was proclaimed Queen Elizabeth II in London and around the world.

The Queen returned from Kenya and met with the Accession Council at 10am on Friday 8th February at St James’ Palace in order that they could receive her oath to uphold the protestant religion, defend the Church of Scotland and pledge to always work to uphold constitutional government and to advance the happiness and prosperity of all her peoples.

The Queen’s Christian faith has been one of the cornerstones of her life and reign. It has informed her sense of calling to the role of monarch and the qualities of service, respect and duty through which she has blessed us all.
Throughout her long reign the Queen and her family have been at the heart of the nation and the Commonwealth. She has been bound up not only with the life of the nation but with our own lives as individuals. Together we have shared her joys and sorrows as she has shared ours. Together, here in Sussex and across the United Kingdom, we hold The Queen and her family in our hearts and our prayers giving thanks for her long reign.

A World Record £260,000 for a Japanese Gold Coin at Toovey’s

The obverse and reverse of the record breaking Japanese Meiji ten yen Year 3 pattern gold coin from 1870

A Japanese Meiji ten yen Year 3 pattern gold coin dating from 1870 has just sold at Toovey’s for £260,000. A world record price at auction.

Measuring just 3.2cm the coin’s obverse is decorated with a dragon design within a beaded border surrounded by a frame of characters, whilst the reverse has a sunburst flanked by banners between Imperial kiku and kiri mon. It is in extremely fine condition.

Toovey’s valuer and auctioneer William Rowsell, describes how he discovered the coin on a routine visit to a family home in Walberton, West Sussex. He says “There were a small group of gold coins in a brown envelope. This one coin particularly stood out as being Japanese and worth further research.”

William continues “I returned to Toovey’s salerooms with a car full of an eclectic array of collectors’ items including the coin. I showed it to our specialist Mark Stonard who immediately identified it as being an extremely rare Japanese Meiji ten yen Year 3 pattern gold coin, the first coin of its type after Japanese decimalisation in 1870.”

Mark Stonard explains “This type of coin was originally intended for general issue but it was too fragile and the design was changed to a smaller thicker design. Only four examples of this coin were known to exist before our discovery, one is in the British Museum, one is in the Bank of Japan Collection, and two were auctioned in the USA in 2011 and 2014. The die anomalies in the coin’s striking were identified as being correct by comparing them to those found on the example in the British Museum.”

William Rowsell describes how the seller, a keen genealogist, was able to provide the most remarkable provenance. He says “The coin had come to them by family descent from George Henry Williamson Esquire of Worcester [1845-1918]. George Williamson was a former mayor of Worcester, a manufacturer and a Conservative politician. But the vendor thought that it was likely that this coin was originally acquired by George’s father, William Blizard Williamson [1811-1878]. Mr Williamson was a tinsmith from Cork who eventually settled in Worcester, where he founded the Providence Tinplate Works in 1858. George and his brother William Blizard the younger took over the company after their father’s death. George Williamson deposited this coin with several others for some time at Lloyds Bank in Worcester, incorrectly labelling it ‘Chinese gold piece’, suggesting that he was unaware of its significance.”

It is always exciting to discover something that has lain undiscovered and forgotten, especially when it realises a world record price of £260,000. There is much talk about the value of precious metals but the collectors’ value is so often much higher than the bullion price.

William Rowsell, Mark Stonard and the seller are still celebrating this remarkable coin, its discovery and the result.

Joseph Farquharson: Scottish Realist Painter

Joseph Farquharson – Scottish Valley with Corn Stooks and River, early 20th century oil on canvas

Contemporary Scotland and her people bless our nation as they have always done with their entrepreneurial skills, internationalism, gifts of leadership, art and culture.

Scotland is often viewed through the lens of her art, literature and culture.

Amongst the leading Scottish realist painters was Joseph Farquharson RA (1846-1935). He was famous for his snow covered winter landscapes which often incorporated sheep and livestock native to his beloved Scotland. His finest works usually include figures working in the landscape.

Born in Edinburgh Farquharson painted from a young age and loved nothing more than being on the family Highland estate Finzean in Aberdeenshire which he inherited from his brother. He studied under the popular Scottish landscape painter Peter Graham whose influence is apparent in Farquharson’s own work. Like fellow Aberdeen artists John Philip and William Dyce, Joseph Farquharson moved to London

After 1880 Farquharson spent a number of winters in Paris where he was taught by Charles Auguste Émile Durand. Durand taught him to work directly onto the canvas and to think in terms of form and colour. Like the 19th century French realist artists Farquharson painted ‘en plein air’. Indeed the artist Walter Sickert compared Farquharson’s work to the famous French realist painter Gustave Courbet. With the harsh Scottish weather Farquharson constructed a painting hut on wheels complete with a large glass window and stove. His art, like his paintings’ titles, often drew inspiration from the poets Burns, Milton, Shakespeare and Gray

At the Royal Academy he was elected an Associate in 1900, a Royal Academician in 1915 and a senior Royal Academician in 1922. He was a prolific painter exhibiting not only at the Royal Academy but also at the Royal Society of Arts and Tate Gallery.

Joseph Farquharson – Girl playing Croquet on a Summers Day, late 19th/early 20th century oil on canvas

The two oils on canvas, both by Joseph Farquharson, sold at Toovey’s for £11000 and £5000.

Whilst the subjects of the two paintings you see here are not typical of Farquharson’s oeuvre they do display many of the qualities characteristic of his work.

The study of the young girl playing croquet on a lawn bordered by roses and summer flowers highlights Farquharson’s skill as a figurative painter. He handles the paint richly, employing light and colour to give form to his subject.

The summer landscape with its rows of corn stooks is bathed in the soft, warm dawn light for which he was famous. The meandering river is a common feature in his landscapes. This romantic view of Scotland still resonates with us today.

Contemporary Scotland and her people bless our nation, as they have always done, with their entrepreneurial skills, internationalism, gifts of leadership, art and culture. I hope the Scots realise the great affection in which they are held throughout the United Kingdom and will choose to continue to accompany us in the 21st century.