Rupert Toovey’s Articles – Page 71

Britain’s Coast Celebrated in Art

Wilhelmina Barns-Graham (1912-2004), View of St Ives, c.1940, oil on canvas © The Barns-Graham Charitable Trust

Chichester University’s summer exhibition, Coastal Connections, offers an exciting view of printmakers’ and painters’ interaction with the British coast. There is a particular emphasis on work from the artists’ colony of St Ives, Cornwall.

The show has once again been curated by Professor Gill Clarke. Art from the University’s Bishop Otter Collection is complimented by works loaned from private collections, the Barns-Graham Charitable Trust and the Swindon Museum and Art Gallery.

The exhibition is imaginatively hung so that the relationships between these artists and their works can be discovered by the viewer. The juxtaposition of representational and abstract images allows a glimpse of the breadth of art which would have been found in St Ives just before and after the Second World War.

Alfred Wallis, Fishing Boat, c.1930, oil © The Artist’s Estate, Courtesy Bishop Otter Trust, University of Chichester

The first picture to catch my eye is View of St Ives by the Scottish artist Wilhelmina Barns-Graham. She moved to St Ives in 1940. Her early St Ives landscapes are painted in soft colours reminiscent of the self-taught painter and former fisherman, Alfred Wallis’ palette. There is a freedom in the way that the cottages, church, boats and quay interact with the shimmering sea and Cornish light. Barns-Graham also worked in the abstract and was introduced to the circle of modern artists, which included Ben Nicholson, Barbara Hepworth and Naum Gabo, by her friend and fellow artist, Margaret Mellis.

Visiting Professor and Guest Curator Gill Clarke in the Otter Gallery with Christopher Wood’s oil on panel, Still Life with Boats, c.1930

Christopher Wood has been described as a sophisticated primitive. In the summer of 1928 he returned to St Ives with the artist Ben Nicholson. He too discovered the work of Alfred Wallis. Wood took on Wallis’ iconography depicting the Atlantic fishing industry and coast. Wood’s brushwork appears intuitive and spontaneous. Wallis’ influence is particularly apparent in ‘Still Life with Boats’. Painted in 1930, the sea is depicted as swirling bands of light greys and charcoals with boats in the distance which contrast with the intensity of colour in the pear, jug, flower and pipe. The painting brings together the naïve style which Wood had developed in Paris and a playful lyricism which imparts his sense of new-found freedom at that time.

Amongst the highlights of the exhibition are a number of significant works including a view of a Cornish harbour by William Scott painted in 1930.

Paul Feiler (1918-2013), Boats and Sea, c.1952-3, oil on canvas © The Artist’s Estate, Courtesy Bishop Otter Trust, University of Chichester

Paul Feiler’s 1950s jewel-like abstract titled ‘Boats and Sea’ excites our senses. The light glistens in this landscape as Feiler is compelled to articulate afresh the Atlantic coast which inspired him and reflect on his place in the natural world. Its heavy blocks of colours is characteristic of his work in the 1950s.

It is exciting to see Chichester University engaging with its wonderful Bishop Otter Collection of art in an increasingly assured way reflecting this academic institution’s growing reputation and confidence. Gill Clarke is once again deserving of our thanks for this joyful and evocative exhibition. Coastal Connections runs at Chichester University until 8th October 2017 and entry is free – a summer holiday must see!

For more information go to www.chi.ac.uk/about-us/otter-gallery/current-exhibitions.

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.

John Minton Retrospective

Illustration from Time was Away: A Notebook in Corsica, by John Minton and Alan Ross, published by John Lehmann Ltd, 1947, pen and ink on paper © Royal College of Art

A retrospective of the British Neo-Romantic artist, John Minton, has recently opened at the Pallant House Gallery, Chichester to mark the centenary of the artist’s birth.

The exhibition has been curated by Pallant House Gallery Director, Simon Martin, and art historian and author, Frances Spalding. It highlights how John Minton’s art is inseparably bound up with his life. The work holds in tension what Simon Martin describes as ‘an atmosphere of poetic melancholy [and]…an exuberant joie-de-vivre’. Minton was at once an extrovert at ease in the company of his contemporaries but also suffered from periods of introspective self-doubt. Minton’s sensitivity, self-doubt and introspection are poignantly captured in the portrait of him by his friend Lucien Freud. Freud’s portrait is one of the highlights of the show.

John Minton was part of a group of British Neo-Romantic artists. He is perhaps best remembered as the illustrator of Elizabeth David’s revolutionary cookery books on French and Mediterranean cuisine. Minton gave post-war austerity Britain a glimpse of the foreign and exotic through his illustrations and paintings. Take for example the beautifully conceived illustration for Alan Ross’ Corsican travel memoir, Time Was Away. It depicts a contemplative male figure seated on a quay. The artist draws the viewer’s eye beyond the introspective youth to the boats and town beyond. These vignettes are united within the composition by the bold use of light and colour.

John Minton, Jamaican Village, 1951, oil on canvas, private collection, photograph © 2016 Christie's Images Limited/ Bridgeman Images © Royal College of Art — John Minton, Jamaican Village, 1951, oil on canvas, private collection, photograph © 2016 Christie’s Images Limited/ Bridgeman Images © Royal College of Art

Jamaican Village has not been seen since it was exhibited at the Royal Academy in 1951. The heat of the Jamaican night is richly articulated in the artist’s use of colour. John Minton explained that in this painting he sought to give a sense of disquiet in response to something unknown and impending. This large decorative canvas is certainly atmospheric but lacks this sense of foreboding. There is however a stillness and poignancy to the silent figures caught up in their own thoughts as they stand framed by the moonlight and electric lights.

John Minton, Portrait of David Tindle as a Boy, 1952, oil on canvas, Pallant House Gallery (Hussey Bequest, Chichester District Council, 1985) © Royal College of Art

The beauty, strength and vulnerability in John Minton’s portraits reflects something of the artist’s character and life. In a period when homosexuality was not accepted by British society Minton’s sexuality, at times, left him conflicted. This tension is reflected in many of his paintings and especially his portraits. His study of the artist David Tindle illustrates this and is filled with poetic melancholy and emotional intensity. Minton would tragically commit suicide in 1957 at the age of just thirty-nine, the same year as the Wolfenden Report was published recommending the decriminalisation of homosexuality.

John Minton’s work displays an emotional intensity born out of the contradicting stresses between his often vivid social life and his introspection and self-doubt. I am delighted that Toovey’s and De’Longhi are amongst the headline sponsors of this timely exhibition. John Minton: A Centenary runs at the Pallant House Gallery, Chichester throughout the summer until 1st October 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.

Time to collect wristwatches

An Omega Speedmaster Professional Chronograph gentleman’s wristwatch, circa 1970

Over the millennia humankind has sought to record and measure time. Watches which can tell the time with exceptional accuracy can be bought for very little today and yet our enduring fascination with exquisitely engineered mechanical watches remains undiminished. Not only do these watches connect us with the present but they also link us with points of extraordinary human endeavour and adventure from our past. Wristwatches have become a booming collectors’ market with prices at auction continuing to rise.

The Omega Speedmaster Professional Chronograph has become an icon of space exploration. Buzz Aldrin wore one as he stepped on the lunar surface for the very first time in 1969. The Omega Speedmaster Professional has been used on all NASA’s piloted space missions, including the period of manned Moon landings between 1969 and 1972, and is still used by astronauts today. The example shown here dates from 1970, the year of the fated Apollo 13 mission whose story has been immortalised in film and writing. Against the odds the astronauts and their damaged spacecraft were returned safely to earth after they were forced to abort their Moon landing. Date, make, condition, model and originality are vital to a watch’s value and this example realised £10,500 in a recent Toovey’s specialist watch sale.

A Rolex Oyster Perpetual Date Submariner Sea Dweller 4000 gentleman's steel bracelet wristwatch, circa 2006 — A Rolex Oyster Perpetual Date Submariner Sea Dweller 4000 gentleman’s steel bracelet wristwatch, circa 2006

Perhaps the most iconic of all diving watches is the Rolex Submariner. The idea was conceived in 1953 by Rolex board member and keen diver, René- Paul Jeanneret, who identified the potential for a diving watch which could also be worn every day. The French underwater explorer, Jacques Cousteau, invented the aqua-lung ten years earlier in 1943 and is said to have used a Rolex Submariner himself on occasions. His underwater adventures aboard the ship Calypso would be made famous by the BBC television series of the 1960s and 1970s.

Early and rare examples of Rolex Submariners can command five and six figure sums at auction. But later pre-owned examples, like the one shown here dating from 2006, can be purchased at auction for between £3000 and £6000 depending on condition.

A Tag Heuer Monaco LS Automatic steel cased gentleman's wristwatch, circa 2015 — A Tag Heuer Monaco LS Automatic steel cased gentleman’s wristwatch, circa 2015

The watchmaker Heuer can trace its history back to 1860. It became TAG Heuer in 1985. Heuer was a leading maker of stopwatches and from the 1950s to the 1970s their chronograph wristwatches became popular among amateur and professional motor racers including the actor Steve McQueen. The Tag Heuer Monaco LS Calibre 12 gentleman’s wristwatch illustrated copies the earlier version and dates from 2015. Whilst the 1970s originals command the highest prices these pre-owned, beautifully crafted later editions fetch around £2000 at auction today representing great value to the watch and motoring enthusiast.

The increasing demand and prices for wristwatches at auction reflects the enduring appeal and strength of this collectors’ market. Toovey’s next specialist watch sale will be held on Thursday 7th September 2017 and further entries are still being accepted.

Tom Rowsell, head of Toovey’s specialist watch auctions, is always delighted to meet with fellow wristwatch enthusiasts and can be contacted by telephoning 01903 891955.

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.

Celebrating 140 Years of St John Ambulance

From left to right: Lady Fiona Barttelot, Caroline Lucas, Lady Emma Barnard, Katie Holmes, Peter Field, Maureen Chowen, Quenelda Avery, Trevor Moss and Liz Harper celebrating St John Ambulance in Sussex in the Great Hall at Parham140 years of the St John Ambulance tradition was celebrated at their 2017 Sussex Awards. These annual awards celebrate outstanding achievement and service by the volunteers and this year they were hosted by Lady Emma Barnard, The High Sheriff of West Sussex, at her Sussex home, Parham House.

The St John Ambulance Sussex volunteers were treated to time in Parham’s walled gardens before being welcomed by Lady Emma Barnard in Parham’s Elizabethan Great Hall for the awards.

At the heart of the organisation are the Order’s mottos ‘Pro fide’ and ‘Proutilitate hominium’ – ‘For the Faith and in the service of humanity’. As their Sussex Chaplain I offered prayers for the work of the St John Ambulance in Sussex and the Order of St John.

The presentations were led by The Lord Lieutenant of East Sussex, Peter Field, and Lady Fiona Barttelot, representing Mrs Susan Pyper the Lord-Lieutenant of West Sussex. They were supported in their duties by the High Sheriffs of East and West Sussex, Maureen Chowen and Lady Emma Barnard. The Lord-Lieutenant of East Sussex Cadet, Katie Holmes, was proud to be at the heart of the awards together with Sussex County President Caroline Lucas, Chairman, Quenelda Avery, District Manager, Trevor Moss and Regional Director, Liz Harper.

Lady Emma Barnard presenting a Commendation Award to Jean-Pierre Ball

Jean-Pierre Ball was given a Chief Executive’s Commendation Award for exceptional service to our county and St John Ambulance by Lady Emma Barnard.

Amongst the many long service awards were three volunteers, Linda Hickman, Christine McIntyre and John Wright, from the Bognor Regis Unit, who earlier in the evening had delighted in their time in Lady Emma’s gardens.

Long service award winners Linda Hickman, Christine McIntyre and John Wright from the Bognor Regis Unit of St. John Ambulance, enjoying the gardens at Parham

The Awards were followed by a garden party in the marquee.

It is remarkable to reflect that St John Ambulance pre-dates the National Health Service by 70 years. A uniformed organisation, its volunteers can be readily identified by the eight-pointed Maltese Cross which they wear proudly.

140 years on St John Ambulance continues to be dedicated to the teaching and practice of medical first aid and the provision of ambulance services through volunteer units rooted in their local communities. There is much to celebrate in their work and they are deserving of our thanks. If you would like to learn first aid, join or support St John Ambulance in Sussex look up your local unit headquarters and pop along.

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.

Growing Demand for Arts & Crafts and 20th Century Design

A rosewood and brown patinated metal armchair, circa 1965, designed by Jens Quistgaard

For many years now the conversation around antiques has centred on the fall in value of ‘brown’ furniture and there is no doubt that traditional British antique furniture represents exceptional value. But this story has overshadowed the many areas of collecting which have continued to attract the attention of growing numbers of collectors and where prices are rising. Amongst these are the fields of Arts & Crafts and 20th Century Design. They cover not only furniture and fine art but also silver, metalwork, ceramics, glass, clocks and objets.

Collectors delight in being connected with the craftsmen and women through the pieces that they made or designed. The quality, clean lines, architectural forms and colours of Arts & Crafts and designer furniture and works of art speaks to our contemporary tastes.

Take for example the three pieces illustrated which are already entered for Toovey’s specialist auction of Arts & Crafts, Studio Pottery and 20th Century Design on Friday 8th September 2017.

The rosewood and brown patinated metal armchair, upholstered in suede, was designed by Jens Quistgaard around 1965. It has an extraordinary pivoting backrest and was manufactured by Richard Nissen in Denmark. Its design is sculptural and amazingly comfortable.

A Liberty Tudric Arts & Crafts timepiece designed by Archibald Knox

The Liberty Tudric clock was designed by Archibald Knox. Amongst the leading exponents of the Arts and Crafts taste was Liberty & Co. Its founder, Arthur Lazenby, built the Liberty brand by employing some of the country’s leading designers though he insisted that they work anonymously. Amongst these designers was Archibald Knox who joined Liberty & Co in 1899. Knox was the creative force behind Liberty’s Celtic Cymric and Tudric designs worked in silver and pewter.

A late Victorian Arts & Crafts tea caddy by Keswick School of Industrial Art

The Arts and Crafts silver casket dates from 1890 and is perhaps the earliest known example of silverwork by the Keswick School of Industrial Art and therefore one of the earliest examples of Arts and Crafts silver. It is intricately repoussé decorated with birds, urns and leaf scrolls. The Keswick School of Industrial Art was founded in 1884 to alleviate unemployment by the Revd. Canon Hardwicke Rawnsley and his wife Edith. It began as an evening class in woodwork and repoussé metalwork at the Crosthwaite Parish Rooms in Keswick, Cumbria. Within ten years the numbers of men attending the classes had reached more than one hundred and a new school was built.

These objects carry estimates ranging from the high hundreds into the low thousands reflecting the strength of these collectors’ markets. Further entries for the auction are still being accepted.

Toovey’s specialists William Rowsell and Glen Charman are always delighted to meet with fellow connoisseurs of Arts and Crafts and 20th Century Design and can be contacted by telephoning 01903 891955.

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.