Rupert Toovey’s Articles – Page 80

West Grinstead Ploughing & Agricultural Society Show

This week I am in the company of Rowan Allan who for eighteen years has been the Honorary Secretary of The West Grinstead & District Ploughing & Agricultural Society. The Society is holding its 2016 Annual Ploughing Match and Country Show this coming Saturday 17th September, at Aglands Farm, (A281) Picts Lane, Cowfold, RH13 8AN.

The show celebrates our local farming and rural community with ploughing, livestock, field and domestic produce competitions. Terrier racing, livestock handling, displays by the Utility Gundog Society, tractor rides, traction engines and the Harris Fun Fair are just some of the activities on offer – fun for all the family.

Rowan is well known as a partner in H.J. Burt based in Steyning and Henfield. As a Chartered Surveyor and a Fellow of the CAAV he has strong professional and personal links with the rural and agricultural community in Sussex. I ask Rowan how long H.J. Burt has been associated with the Society and show, he replies “The Society was founded in 1871 and we’ve been involved since 1887”. He explains that the show seeks to honour and learn from the past whilst looking confidently to the future.

With people increasingly living and working in urban environments there can sometimes seem to be a lack of connection between town and country. The Society seeks to educate and make apparent how important the vital work of the farming and rural community is to our nation. It ensures that skills and development are not lost. Rowan says “Things like the young calf and lamb handling classes at the show ensure that these skills are maintained and are an opportunity to connect those of us living in towns with the rural way of life.”

A fine Shorthorn bull from the livestock competitions

I comment that I am always delighted to find how democratic and inclusive our rural communities are. Rowan agrees and adds “The farming and rural community really values the important and varied contributions people make. That’s why we make a long-service award each year to a person who has worked steadily over many years, perhaps as a tractor driver or in some other role. We honour and affirm best practice and dedication across the farming community with our awards and prizes.” He smiles and continues “There’s no harm in a bit of healthy competition and not just in the ploughing match.”

As we talk Rowan praises the contributions of all those involved in the show. He emphasises the work of all the Society’s enthusiastic Chairman over the years and not least the current Chairman, Dominic Gardner. He also acknowledges the support of the Honorary Assistant Secretary, Felicity Kensett, who is herself a farmer’s daughter and plough lady.

Rowan draws my attention to the Society’s Bursaries saying “The Society launched the Bursary Scheme three years ago to assist those keen to pursue a career in agriculture. Potential candidates need to be working in the Society’s area. Last year’s bursary winner was Chris Dare from Huddlestone Farm, near Steyning. It’s helping him to study at a Dairy Management Academy in Cheshire.” This practical approach is evident in much of the Society’s work. Rowan remarks “It’s important that we invest in and encourage another generation into agriculture and its associated industries.”

Rowan Allan is passionate about the community that he serves. The valuable gift of his professional skills and time to The West Grinstead & District Ploughing & Agricultural Society over so many years has blessed this farming and rural community. He reflects their generous, constant qualities of stewardship and is deserving of our thanks. Thanks should also be expressed to Mr and Mrs Gordon Tregear and the South Lodge Estate for generously hosting the show this year.

The 2016 West Grinstead & District Ploughing & Agricultural Society Annual Ploughing Match and Country Show is going to be a fantastic family day whether you are from town or country. Entry is just £5 per person with no charge for children under 14. For more information contact Rowan Allan at H.J. Burt via www.hjburt.co.uk or go to www.westgrinsteadploughing.co.uk.

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.

Autumn in Sussex

José Weiss’ oil painting of the River Arun and Amberley chalk pits at dusk

As autumn approaches we look to the changes in the season, perhaps a last and precious glimpse of summer before the leaves fall. The morning dew has been lying heavily on the fields and the geese call to each other in their V-shaped formations as they fly on their winter migration. I am always excited by the fruits of the hedgerows, especially the blackberries and elderberries. In orchards across Sussex apples and quince are gathered and there is a sharper quality to the breeze on an incoming tide.

There is a wonderful sense of journeying and returning in the seasons of year – a time to reflect. T.S. Elliott had strong associations with Sussex. Writing from a perspective of Christian faith he observed the seasons in his poem ‘Little Gidding’:

Oliver Clare’s Still Life of Quince, Grapes and Berries, in Naturalistic Setting

‘We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.’

The Downs are beginning to change from their warmer summer hues to the cooler greens so beautifully depicted in José Weiss’ oil painting of Amberley chalk pits, viewed from the river Arun at dusk. José Weiss was born in Paris in 1859. He holidayed and painted at Amberley where he met Agnes Ratton. They were married and made their home at Houghton. Weiss would become famous for his Sussex views, particularly from along the river Arun.

The abundance of the autumn hedgerow has inspired successive generations of artists.

The painter Oliver Clare’s technique even captures dewdrops on the texture of the fruit. The naturalistic setting gives this jewel like still life context, connecting it with nature.

A pair of Royal Worcester bone china two handled urns and covers, painted by M. Morris, after 1950 with still life studies of fruit

The translucence of the glaze adds life to ceramic artist M. Morris’ still life painted on the pair of Royal Worcester bone china urns and covers. Here peaches accompany the blackberries of the hedgerows.

The seasons continue to inspire us as they did writers and artists in the early and mid – 20th century. We delight in the joy of gathering blackberries and apples for a pie. Walks along ancient lanes and footpaths in the Weald, on the Downs and by the sea connect us with the Sussex landscape.

This delight is reflected in collectors’ interest to acquire art and objects which speak into our experience of this marvellous country. Prices for pieces of this quality range from hundreds of pounds into the low thousands at auction.

Whether you are foraging for art or the blessings of the approaching autumn season allow yourself time to reflect in the landscape.

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.

350th Anniversary of the Great Fire of London

Christopher Wren’s St Paul’s Cathedral amongst today’s building in the City of London

This weekend marks the 350th Anniversary of the Great Fire of London in 1666 and I am visiting Christopher Wren’s remarkable Monument to this event in the City of London.

The blaze raged between the 2nd and 5th of September 1666. Samuel Pepys viewed the unfolding destruction from the Tower of London and attended on Charles II at Whitehall to report on what he had seen. The King went by royal barge down the Thames to observe the advancing fire for himself.

Christopher Wren’s Monument to the Great Fire of London

Measuring 202 feet, the height of Wren’s Monument matches its distance from where the fire broke out at Thomas Farriner’s bakery in Pudding Lane. The fire left 70,000 of the city’s 80,000 population homeless and destroyed Inigo Jones’ St Paul’s Cathedral, countless churches and medieval buildings.

With great resilience the city rebuilt herself. Christopher Wren’s Monument to the fire was started in 1671 and took six years to complete. At its top is a gilded sculpture of a vase filled with flames by Caius Gabriel Cibber.

Inside the column the spiral staircase, with its 311 steps, is narrow and perfect in its symmetry. As you look up you cannot see its end. Breathless and with heart pounding you emerge onto the circular balcony which affords a 360 ̊ panoramic view of the City of London.

The City of London always seems to be constantly renewing herself. After the Great Fire of London Christopher Wren’s St Paul’s Cathedral and most of the city would have been enfolded by wooden scaffolding as it rose from the ashes. Today as you walk around the Monument balcony your eye is met not by wooden scaffolding but by enormous, towering cranes and steel girders. In the distance the dome of St Paul’s Cathedral rises above the endless construction of new buildings. On the other side the iconic, contemporary London skyline is defined by Foster and Partners’ ‘Gherkin’, Rafael Vinolyis’ ‘Walkie-talkie’ skyscraper, and Roger Stirk Harbour and Partners’ ‘Cheese-grater’ tower.

The contemporary ‘Gherkin’, ‘Walkie-talkie’ and ‘Cheese-grater’ buildings viewed from Wren’s Monument

The confidence, wealth and inventiveness expressed in these buildings reflect the qualities which have always allowed the City of London to re-invent herself and flourish over the centuries. There is every sign that it will continue to do so once the UK government triggers Article 50 of the Lisbon Treaty and our nation embraces the new international opportunities of the post-Brexit era. But the UK government will need to exercise its restored sovereignty to encourage inward international investment, not just from Europe but from across the World, through regulation and globally competitive taxation.

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.

Pots to make you smile on the Arundel Gallery Trail

Each dog is individually modelled with its own character — 'A Parliament of Dogs' by Josse Davis, each dog is individually modelled with its own character

What could be a better August Bank Holiday weekend treat than visiting potter, Josse Davis, at the Duff Gallery, Tarrant Street, Arundel, as part of the 2016 Arundel Gallery Trail.

Potter, Josse Davis with Stanley the dog and his ceramic sculpture ‘Parliament of Dogs’

The Arundel Gallery Trail is now in its 28th year and coincides with the Arundel Festival. More than 150 artists will be exhibiting in over 60 venues in and around Arundel.

Josse Davis has exhibited every year.

This talented potter feels a great connection with the countryside around Arundel. He explains that walking with his dog, Stanley, gives him time to imagine, away from the everyday.

As I approach the Duff Gallery I catch sight of Josse and Stanley beside his ceramic sculpture ‘Parliament of Dogs’. Wit and storytelling are at the heart of his work. He describes his pleasure in making the dogs. Each dog is individually modelled with its own character. Josse says “I add the eyes last – it gives them such life. These Raku ware dogs come out of the kiln when the glaze is still molten. The glaze cools suddenly and it shatters giving a crazed appearance.”

My eye is taken by a beautiful stoneware charger decorated with a shoal of Mullet. Josse smiles and describes how Stanley enjoys a morning swim. Sometimes they find shoals of Mullet in the Arun “You see them, hundreds thick, on a hot day as they swim up river. They light up the muddy river with their shades of blue, silver and greys.” The translucence of the scene he describes is perfectly represented in the dish. ‘Mullets’ has long been a term used for those born in Arundel.

A stoneware charger titled ‘Mullet’ by Josse Davis

I comment that his exceptional work is that of a potter, an artist, working at the height of his powers. Josse responds “I’ve reached a point in my work in which I’m comfortable not to have to keep searching for new glazes. My Raku and Stoneware glazes don’t let me down, which allows me to concentrate purely on the design and gives my craftsmanship a fresh confidence.” He concludes “I like to think my work makes people smile.” I agree. Josse Davis’ ideas always have a hint of wit about them.

There are bowls and dishes painted with witty scenes and individual dogs too. Prices range from £30 to £4500.

Exhibiting print maker, Melissa Alers Hankey in the Duff Gallery

Josse Davis is exhibiting with his partner, Melissa Alers Hankey and Victor Stuart Graham.

The Arundel Gallery Trail is open 2.00pm to 5.30pm during the week and 12 noon to 5.30pm this Bank Holiday weekend. It provides an exciting opportunity to enjoy and buy art from leading Sussex artists like Josse Davis. For more information on exhibiting artists and this celebration of Sussex as a centre of art go to www.arundelgallerytrail.co.uk.

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.

POTS TO MAKE YOU SMILE ON THE ARUNDEL GALLERY TRAIL

What could be a better August Bank Holiday weekend treat than visiting potter, Josse Davis, at the Duff Gallery, Tarrant Street, Arundel, as part of the 2016 Arundel Gallery Trail.

The Arundel Gallery Trail is now in its 28th year and coincides with the Arundel Festival. More than 150 artists will be exhibiting in over 60 venues in and around Arundel.

Josse Davis has exhibited every year.

This talented potter feels a great connection with the countryside around Arundel. He explains that walking with his dog, Stanley, gives him time to imagine, away from the everyday.

There are bowls and dishes painted with witty scenes and individual dogs too. Prices range from £30 to £4500.

Josse Davis is exhibiting with his partner, Melissa Alers Hankey and Victor Stuart Graham.

Rupert Toovey is a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington – www.tooveys.com – and a priest in the Church of England Diocese of Chichester.

Image 1: Potter, Josse Davis with Stanley the dog and his ceramic sculpture ‘Parliament of Dogs’.

Image 2: Each dog is individually modelled with its own character.

Image 3: A stoneware charger titled ‘Mullet’ by Josse Davis.

Image 4: Exhibiting print maker, Melissa Alers Hankey in the Duff Gallery.

POTS TO MAKE YOU SMILE ON THE ARUNDEL GALLERY TRAIL

What could be a better August Bank Holiday weekend treat than visiting potter, Josse Davis, at the Duff Gallery, Tarrant Street, Arundel, as part of the 2016 Arundel Gallery Trail.

The Arundel Gallery Trail is now in its 28th year and coincides with the Arundel Festival. More than 150 artists will be exhibiting in over 60 venues in and around Arundel.

Josse Davis has exhibited every year.

This talented potter feels a great connection with the countryside around Arundel. He explains that walking with his dog, Stanley, gives him time to imagine, away from the everyday.

There are bowls and dishes painted with witty scenes and individual dogs too. Prices range from £30 to £4500.

Josse Davis is exhibiting with his partner, Melissa Alers Hankey and Victor Stuart Graham.

Image 1: Potter, Josse Davis with Stanley the dog and his ceramic sculpture ‘Parliament of Dogs’.

Image 2: Each dog is individually modelled with its own character.

Image 3: A stoneware charger titled ‘Mullet’ by Josse Davis.

Image 4: Exhibiting print maker, Melissa Alers Hankey in the Duff Gallery.

The Art of the Studio Potter

This week I am returning to ‘The Bishop Otter Art Collection: A Celebration’ exhibition at Chichester University to rediscover their remarkable British Studio Pottery.

The collection includes Modern British paintings as well as studio ceramics, sculpture and tapestries. Visiting professor Gill Clark explains the philosophy behind the collection “Sheila McCririck and the Bishop Otter College Principal Betty Murray founded the collection in the years after the Second World War. They both believed in the civilising influence of art and the educative value of its ability to challenge.” With this philosophy behind the collection it is un-surprising that the Bishop Otter teaching college should have also collected the work of artisan, art potters.

Britain led the world in the field of studio ceramics in the 20th century.

The British ceramics tradition is tied up with the vernacular. From medieval times its production has been widespread and diverse.

The artisan artist is at work in studio ceramics. Form, colour and decoration come together creating objects which are not only beautiful but, very often, useful as well. This is very much in the tradition of William Morris and the Arts and Crafts Movement.

Bernard Leach (1887-1979) is considered to be the most influential potter of the 20th century. He was born in Hong Kong and lived in Japan and Singapore. The Japanese tradition of artisan artists was fading when Leach decorated his first pot there in 1909. In 1920 he returned to England with the Japanese potter, Shoji Hamamda. Bernard Leach was persuaded to set up his workshop in St Ives. His lectures and writing would have a profound influence on a generation of British potters. Gill Clark points out that Norah Braden was the college’s first specialist pottery tutor and that she had been a pupil of Bernard Leach. His work is represented in the collection by the beautiful stoneware jug seen here.

Bernard Leach was initially critical of the work of Lucie Rie (1902-1995) but they would become great friends. In contrast to the influences of the rustic folk tradition and Chinese Sung apparent in Bernard Leach’s work Rie’s pots have a metropolitan, modernist quality. She enjoyed turning on the potter’s wheel but despite her remarkable control her pots never seem tight or mechanical. The beauty of her vases and their exceptional form cause your heart to quicken. It is readily apparent to the eye why she transformed modern ceramics.

Other studio ceramic gems in the collection and exhibition include the Sussex based ceramicist, Eric Mellon’s (1925-2014) ‘Horse and Rider’ dish. His years of research and experimentation into ash glazes brought him international recognition both as an artist, ceramicist and scientist. For Eric his art was his calling and vocation.

An Eric James Mellon ‘Horse and Rider’ dish

Alison Britton’s (b.1948) sharp-edged clay jugs seem to depict different facets of a landscape which in turn include human figures, trees, fish and insects. Their decoration has an immediacy reflecting Britton’s spontaneous method of drawing in response to the asymmetric planes of the jugs.

‘The Bishop Otter Art Collection: A Celebration’ runs until 9th October 2016 at the University of Chichester Otter Gallery and Pallant House Gallery. Gill Clarke has published an insightful accompanying book about the collection and its formation which is on sale at both venues. For more information and opening times go to www.pallant.org.uk and www.chi.ac.uk/current-exhibitions/bishop-otter-collection-celebration.

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.