Rupert Toovey’s Articles – Page 78

The Timeless Appeal of Boulle Marquetry

A mid-19th century French Louis XVI revival Boulle marquetry cabinet

Boulle marquetry is named after the French ébéniste André-Charles Boulle who perfected the use of brass and tortoiseshell marquetry.

Detail of a mid-19th century French Louis XVI revival red tortoiseshell Boulle marquetry cabinet door

André-Charles Boulle was the most celebrated of Louis XVI’s furniture-makers and designers. Today, only a very few attributable examples of his work survive. The costly magnificence of his furniture perfectly matched the court at Versailles and he was appointed ‘ébéneste et marqueteur du roi’ in 1672. The term ébéniste’ refers to a French cabinet maker, as distinct from a Menuisier or joiner.

To create Boulle marquetry, sheets of brass and tortoiseshell are glued together. These sheets are then cut into fretwork designs. The cut layers can then be combined like pieces from a jigsaw puzzle. Where the decorative ground is tortoiseshell inlaid with brass it is termed ‘first-part’; whereas a brass ground with tortoiseshell inlay is known as ‘counter-part’.

To increase the richness of effect the brass was often engraved. The surfaces of such a piece of furniture, where it is not decorated with Boulle marquetry, are typically veneered in ebony. Mother-of-pearl and pewter were sometimes employed in these decorative designs.

In the 19th century Boulle marquetry furniture was widely manufactured in France and England. It was Napoléon III’s consort, the Empress Eugénie, who inspired a revival in Louis XVI taste. This Neoclassical style was expressed in furniture of the very highest quality. The mid-19th century French side-cabinet illustrated is a fine example. Its elaborate ‘first-part’ red tortoiseshell and brass Boulle marquetry and gilt-bronze mounts are typical of the period. The sumptuous door has a gilt-bronze oval plaque beautifully cast with a chariot, classical maidens and cherubs which is framed by a stiff leaf and berry border beneath a delicate ribbon surmount. The English call bronze gilded with ground gold Ormolu, the term is derived from the French ‘bronze doré d’or moulu’. The elegant flower and leaf brass inlay is delicately engraved – resplendent against the red tortoiseshell ground. The cabinet with this rich panel was beautifully crafted and realised £4400 at Toovey’s.

A mid-19th century French Louis XVI revival Boulle marquetry centre table

The large mid-19th century French Louis XVI revival Boulle marquetry centre table was of unusually large proportion, measuring over 7½ feet in length. Its rare size ensured that despite its poor condition the hammer fell at £11,500 in a Toovey’s specialist auction of furniture.

These prices confirm the timeless appeal of the finest examples of Boulle marquetry furniture. If you would like advice or to learn more contact Toovey’s furniture specialist, William Rowsell on 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.

Winnie-the-Pooh’s 90th Birthday!

A collection of Winnie-the-Pooh and friends Royal Doulton figures

That fine Sussex Bear, Winnie-the-Pooh, has just celebrated his 90th Birthday – not bad for a bear stuffed with fluff. ‘Winnie-the-Pooh’ was first published ninety years ago, in 1926, by Methuen & Co. Ltd.

One of the greatest pleasures of life must surely be the returning to the familiar and humorous tales of Winnie-the-Pooh. These fond and witty stories of the adventures of a bear of little brain and his friends, Christopher Robin, Piglet, Eeyore, Tigger, Owl, Rabbit, Kanga and Roo, reach across the generations. Milne never compromised in his use of vocabulary or language believing that children were always up to the challenge. It is the richness and quality of his prose and poetry which allows his writing to continue to delight children and adults alike.

A first edition of ‘Winnie-the-Pooh’ published by Methuen & Co. Ltd in 1926 — A first edition of ‘Winnie-the-Pooh’ published by Methuen in 1926

A.A. Milne’s wonderful stories and E.H. Shepard’s iconic illustrations have proved timeless. Both author and illustrator lived in Sussex. In 1925, A.A. Milne purchased Cotchford Farm on the edge of Hartfield, East Sussex; the year before ‘Winnie-the-Pooh’ was first published. The surrounding Ashdown Forest would provide the inspiration for the Hundred Acre Wood where Christopher Robin and Winnie-the-Pooh’s adventures are set. E.H. Shepard lived at Lodsworth near Petworth, West Sussex.

Initially Milne was not sure that Shepard was the right illustrator for his stories. Published in 1924, ‘When We Were Very Young’ was an anthology of children’s poetry and became an instant bestseller. Milne acknowledged the contribution of Shepard’s illustrations to this success by arranging for the illustrator to receive a share of the royalties. It was an association which would endure. Their work formed the basis for Walt Disney’s film based on ‘Winnie-the-Pooh’.

The first adventures were bedtime stories told by A. A. Milne to his son, Christopher.

E.H. Shepard based his depiction of Winnie-the-Pooh on his own son’s teddy bear called Growler. However, Piglet, Eeyore and Rabbit were all based on toys in Christopher’s nursery. A trip to Harrods toy department by Milne provided Kanga and Roo.

If we asked Winnie-the-Pooh the secret to his longevity he would, no doubt, put it down to a ‘smackerel’ of Honey. But I think it is the rich, believable characters and the fond telling of humorous adventures about our beloved Pooh which have caused him to endure.

A Royal Doulton ‘Winnie-the-Pooh’ figure group 'A Party For Me? How Grand!'

First editions of ‘Winnie-the-Pooh’ often surface at Toovey’s in the specialist book sales and realise hundreds of pounds. The Royal Doulton Winnie-the-Pooh figures represent exceptional value for fans of this Sussex Bear, especially at auction. To find out more contact Toovey’s on 01903 891955.

And if a first edition is beyond your purse why not treat yourself to the BBC Radio Collection CD with Alan Bennett reading ‘Winnie-the-Pooh’. The voices he lends to these well-known characters and his gentle, fond tone are perfect. The twists and turns of these familiar stories are delivered with perfect timing – Alan Bennett’s telling of them is quite marvellous.

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.

Remembrance and Reconciliation

I have recently returned from the Island of Jersey where the loyal toast is “The Queen our Duke!” On the Island H.R.H. Queen Elizabeth II is still celebrated as the Duke of Normandy. There is a poignancy to this. William Duke of Normandy’s defeat of King Harold at the Battle of Hastings, in Sussex 950 years ago, marked the last time that England was successfully invaded. It is humbling to think that the only part of the British Isles occupied by German forces during the Second World War were the Channel Islands.

Over the centuries these independent Island States, with their own parliaments, have remained loyal to the British Crown.

The location of Jersey and the other Channel Islands have always made them strategically important to England. The German occupying military went to considerable lengths to fortify Jersey employing Russian and Jewish slave labour. The German army behaved with great discipline towards the local population. Nevertheless, numerous Jersey people were sent to the concentration camps of occupied Europe for helping this captive and ill-treated workforce and never returned.

Attention to the defences of the island was not something new. Jersey’s Gorey Castle is amongst the most beautiful and well preserved castles in the British Isles. It began in medieval times as an arrow fort defended by archers. It would evolve with military technology to become a canon fort. Sir Walter Raleigh saved the castle from demolition insisting it be maintained as military barracks after it became redundant as a defensive structure.

German army observation turrets at Gorey Castle

In the 1940s the German occupying forces extended some of the turrets for observation purposes. They were painted and built to match the local granite of the castle to give them camouflage and disguise their windows. They looked to the West for the allied forces which never came. In his famous speech on the 8th May 1945, marking the end of the war in Europe, Winston Churchill said “…and our dear Channel Islands are also to be freed today.” The German forces surrendered to those aboard HMS Beagle on 9th May 1945 and the island was peacefully liberated.

Looking East from the battlements of Gorey Castle to France

As I stood on Gorey Castle’s ancient battlements and looked East across the English Channel through the mist I could see the coast of France. I was struck by an unexpected sense of unease that the Russian aircraft carrier armada had recently sailed through these waters on its way to Syria, observed and shadowed by the Royal Navy.

It is as important today as it has ever been to defend western, liberal values and freedoms.

On Friday and over the coming weekend we will reflect upon the costs of defending righteousness, freedom and liberty, giving thanks not only for our allies but also for reconciliation and peace.

In churches across Britain, Europe and America the common story and Christian heritage which unites us will be expressed in services of Remembrance and thanksgiving. Once again these familiar bidding words will be heard:

“We have come to remember before God those who have died for their country in the two world wars and the many conflicts of the years that have followed. Some we knew and loved: we treasure their memory still. Others are unknown to us: to their remembrance too, we give our time…With thanksgiving we recall services offered and sacrifices made…”

I hope that each of us will be able to find time in this Remembrance weekend to reflect, offering thanks and prayers for the courage of successive generations who have been called, and continue to be called, to defend the greater cause of justice and concord.

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.

Mine’s a pint!

Simon Lay and Rupert Toovey at The George at Burpham

This week I’m reflecting on one of Pallant House Gallery’s latest exhibitions ‘Prints for the Pub: Guinness Lithographs’ with my old friend, Simon Lay, at the award winning pub, The George at Burpham, near Arundel.

As he approaches the bar I call out “Mine’s a Pint!” Simon dutifully returns with two beautifully poured pints of Guinness, they keep an excellent cellar at The George at Burpham, and we begin to discuss this joyful exhibition.

I explain how in the middle part of the 20th century a quiet revolution took place where the auto-lithographic print became recognised as a popular art form – it represented the democratisation of art, especially in the post-war era.

Bernard Cheese – ‘A Fisherman’s Story’ © Chloe, Joanna and Sarah Cheese

After the slump of the 1930s and the Second World War there was a movement to give legitimacy to the voices of the working classes which, in art terms, required a return to a form of social realism. The movement began with the Contemporary Lithographs (1937-1938) but it was the success of the Post Office Marketing prints which, in 1934, led the Department of Education to persuade them to provide a free periodic issue to schools. They were advised by Kenneth Clark, the then Director of the National Gallery, and the leading Art Critic, Clive Bell. A number of leading British artists produced work for the project. It is a measure of their success that 20,000 schools applied for prints.

Edward Ardizzone – ‘The Fattest Woman in the World’ © The Artist’s Estate

The subjects of the Guinness prints on show at Pallant House reflect many of the same themes. They were launched in 1956 and each illustrated a record from the Guinness Book of World Records. They were intended to be hung in pubs to promote Guinness and their new record book. Once again many leading British artists were involved.

Ronald Glendening – ‘Cycle Racing’ © The Artist’s Estate

Our conversation turns to the prints and the delight to be found in their witty subjects and observations. Simon and I have heard many a tall story in the pub over the years; recalling Bernard Cheese’s ‘A Fisherman’s Story’ causes us to smile. Edward Ardizzone’s fond but rather politically incorrect print, ‘The Fattest Woman in the World’, gives a window onto a scene now long past. In contrast Ronald Glendening’s ‘Cycle Racing’ with its velodrome and speeding cyclists seems very contemporary.

Simon remarks how this art seems to be very much about community. I agree. He explains that these values have a great resonance for The George at Burpham. The pub was saved for the community by Simon and his partners, David King and Bill Tustin who have turned it into an award winning success. This success is built on the quality of its welcome, a great cellar and fine pub cooking. It is supported by people from the local community and across the county. Simon concludes “The George at Burpham will continue to be at the heart of our village life, owned and run for and by members of our local community.”

Now that winter is drawing in what could be a more perfect outing than a visit to Pallant House Gallery followed by lunch or supper at The George at Burpham.

‘Prints for the Pub: Guinness Lithographs’ runs at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ, until 15th January 2017. Thanks to the generosity of sponsors De’Longhi entrance to this joyful exhibition is free. For more information telephone 01243 774557.

To find out more about The George at Burpham, Burpham, BN18 9RR, go to www.georgeatburpham.co.uk, or telephone 01903 883131 to book your table. It’s a great place to stop and rest with your copy of the West Sussex Gazette!

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.

Classicism in Modern British Art

Henry Moore, Reclining Figure, 1945 © Henry Moore Foundation

‘Idealism & Uncertainty Classicism in Modern British Art’ at the Pallant House Gallery is this season’s must see exhibition. Simon Martin, the gallery’s Artistic Director and Curator of this show, has once again demonstrated his remarkable insight into this period of British artistic endeavour.

The exhibition is the first to explore how Modern British artists referenced the past as they developed a distinctive form of modern art. It is a particular characteristic of the British that as we embrace the future and celebrate the modern we always have one eye on the past. Our art, like our nation’s history, reflects procession as well as revolution. The work on display reflects the experience of war and the social concerns which defined Britain in the 20th century.

Meredith Frampton, Portrait of Marguerite Kelsey © Tate

Against the backdrop of the political uncertainties of the 1930s, classicism in Britain became a style associated with progressive traditionalists. This influence is reflected in the work of artists like Meredith Frampton who sought clarity and precision in her portraits.

After the experience of the Great War artists like Wyndham Lewis and Frederick Etchells developed a more rounded form of figurative art in contrast to their earlier Vorticist and Cubist work.

Ben Nicholson, Heads, 1933, image courtesy of Tate © Angela Verren Taunt

Whilst figurative artists like Paul Nash experimented with Surrealism their art was still broadly figurative, executed with a purity of line.

This search for purity of line and simplicity, Simon Martin argues, is also expressed in the work of abstract artists associated with groups like Unit One. Ben Nicholson’s exquisite study of his lover, the sculptor Barbara Hepworth, depicted in silhouette communicates an extraordinary tenderness through its paired down qualities of line and tone. Here Hepworth’s head gazes into the eyes of a man, presumably Nicholson, who is depicted as a Roman Emperor or god. The couple had holidayed in St Rémy de Provence at Easter in 1933 and it is likely that the nearby Roman ruins of Glanum influenced the work.

Henry Moore’s figures also express a concern with, what Simon Martin describes as, ‘classicising form’ which can be seen in the recumbent figure from 1945.

The strength of the narrative of this show is exceptional. The works are confidently placed in the context of their time and the procession of classicism in art history, re-interpreted by Modern British artists. Simon Martin is to be congratulated.

I am excited that Toovey’s Fine Art Auctioneers are sponsoring this ‘must see show’. ‘Idealism & Uncertainty: Classicism in Modern British Art’ at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ, runs until 19th February 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.