Rupert Toovey’s Articles – Page 84

Sickert Unites Sussex with Dieppe

Walter Sickert, ‘L’Hôtel Royal, Dieppe’, 1894, oil on canvas, Museums Sheffield

This week I am once again at the Pallant House Gallery in Chichester for ‘Sickert in Dieppe’ which runs until 4th October 2015. This exemplary exhibition explores the formational relationship that Walter Sickert (1860-1942) had with the French seaside resort of Dieppe.

Walter Sickert was a leading and influential figure in the Modern British Art Movement. The exhibition is the inspiration of Pallant House Gallery Curator, Katy Norris. In her introduction to ‘Sickert in Dieppe’ she writes ‘Walter Sickert’s enduring fascination with the popular Normandy resort of Dieppe represents a remarkable aspect of his career.’

Pallant House exhibition curator, Katy Norris, at the opening of ‘Sickert in Dieppe’

For me this is a relevant and contemporary exhibition. Although Sickert’s paintings show us the life and scenes of Dieppe some hundred years ago, the vibrant seaside town he depicts is still recognizable to us today. We can feel the heat and shade of his pictures and pick out many of the same landmarks. The ambient sounds and life of the town that he captures speak to us across the years.

From his childhood, and for more than forty years, Sickert would return to Dieppe. The exhibition highlights the formative influence this vibrant seaside town had on the artist, and the extraordinary breadth of subjects he engaged with. He would produce a comprehensive topographical account of the town, its people and its environs.

Walter Sickert, ‘L’ Walter Sickert, L'Armoire à Glace’, 1921-4; dated 1924, oil on canvas, Tate: Purchased 1941, Image courtesy Tate, London 2015

The work chosen for this show illustrates how Sickert’s work was influenced by his acquaintance with the French artist Edgar Degas and his closeness to Impressionist painters such as Claude Monet and Camille Pissarro.

Encouraged by Degas Sickert started to emphasise what Katy Norris characterizes as ‘the everyday realism of his subjects…his paintings became more representational, based upon rigorously planned squared-up drawings and featuring strongly delineated architectural patterns.’ Influenced by Degas’ work Sickert broadened his range of subject matter to include the race course and circus scenes. The latter provided the forerunners to paintings like ‘Brighton Pierrots’ and his London music hall scenes.

Painted in 1894, ‘L’Hotel Royal, Dieppe’ depicts what appears to be a public festival. The tricolour flags flutter in the coastal breeze. The figures and sea front hotel are depicted beneath the dramatic sky, turned purple by the light of the setting sun.

Walter Sickert, ‘The Façade of St Jacques, Dieppe’, 1902, oil on canvas, Private collection, image courtesy of The Fine Art Society

Sickert left his first wife Ellen Cobden and settled with the local fisherwoman, Augustine Villain, in the suburb of Neuville. From here the narrow roads of the fishing community linked the Arcades de la Poissonnerie with the harbour and prosperous parts of Dieppe. These adjacent and contrasting architectural spaces fascinated Sickert. Take for example ‘The Façade of St Jacques’ painted in 1902. The bright palette and thickly worked paint shows some of the characteristic of Impressionist and Post-Impressionist painting but, unlike them, he did not work ‘en plein air’.

In 1912 Sickert married Christine Angus Drummond. They made their home at the Villa d’Aumale in the valley of Eaulne, just ten miles from Dieppe. Katy points out that it was during this period that the artist developed his particular method of ‘applying the pigment in a patchwork of flattened layers of colour’.

Sickert was cut off from Dieppe by the advent of the First World War.

In the October of 1920 Christine lost her battle with tuberculosis and died. Sickert was overwhelmed by grief. In 1921 he took a flat on the seafront at Dieppe. There he painted a series of pictures that he described as ‘figure subjects’. He posed different models in a poorly lit bedroom in his flat. There is a voyeuristic quality to ‘L’Armoire à Glace’ afforded by the composition. Separated by the doorway there is a lack of compassion and empathy between the artist and sitter. It has been suggested that a sexual under-current is implied by the empty bed reflected in the mirrored door of the wardrobe as though from a scene in a brothel.

Sickert visited Brighton in 1913 where he made a speech at the opening of the important ‘English Post-Impressionists, Cubists and Others’ exhibition. Arranged by the Camden Town Group, it included work by him and many of the nation’s leading artists. He visited Brighton in 1914 with his wife and painted ‘Brighton Pierrots’ in 1915. It seems appropriate, therefore, that ‘Sickert in Dieppe’ should be in Sussex at the Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ, until 4th October 2015. For more information on ‘Sickert in Dieppe’ and the gallery’s current exhibition program go to www.pallant.org.uk or telephone 01243 774557.

It is wonderful to see Katy Norris’ insight and assured vision expressed throughout this beautiful exhibition. I am proud that Toovey’s is among the headline sponsors of this insightful, relevant and contemporary exhibition. It should certainly be on your must see list this summer!

By Revd. Rupert Toovey. Originally published on 5th August 2015 in the West Sussex Gazette.

A Twist in Time

The current Pallant House Gallery exhibition ‘A Twist in Time: installations and interventions’ provides a remarkable opportunity to experience the conceptual, installation work of international artist, Michael Petry, here in Sussex.

Michael Petry’s art draws inspiration from both classical mythology and contemporary culture. He seeks to give expression to our human relationship and interaction with the world, combining a sensual physicality with a reflective spirituality. Michael has a deep awareness of the importance of narrative and place. He involves the viewer in playful narratives rooting them, for a moment, in time and space. We are invited to inhabit the work in our imaginations; to become aware of changes in light, shadow and colour as each moment in time evolves, gifting these installations with life and movement. And there is a conscious relationship between the specific architectural setting and the work.

Artist, Michael Petry, with ‘Libation to Dionysus’

I approach ‘Libation to Dionysus’ with Michael Petry. I am struck by the beauty and stillness of the deep red of the wine and water held in the porcelain bowl glazed in gold. Colour, light and shade resonate as the window is reflected in the pool of liquid. Michael kneels before the bowl as I ask him about the inspiration behind the title of this piece. He describes how wine was used as an offering, a libation, to Dionysus. In Greek mythology Dionysus was the god of the grape harvest, wine, fertility, theatre and religious ecstasy. He kneels and says “The Greeks would always offer the God’s something precious. Wine would always be mixed with water.” As he speaks Michael pours wine then water into the bowl. The sound of this fills the hall in the 18th century part of the gallery. He continues “What this does is enable the bowl to act like a mirror. The direct sunlight comes down and it illuminates, the wine glows bright red, it’s really fantastic. In the shade it acts like a mirror but it looks like blood. It functions in two ways.” Michael stands and looks into the libation bowl. He remarks “When you look in you see yourself.”

Reflections are at the heart of Petry’s ‘Bad Restoration’. This installation looks at both the imperfect way we seek to restore our physical image and our flawed reflections in mirrors. The fragmented, layered, mirrored glass of the artist’s mirrors seems to reflect something of the nature of modern life while echoing Oscar Wilde’s story ‘The Picture of Dorian Gray’.

‘A Twist in Time’ by Michael Petry, at Pallant House Gallery

As we turn towards ‘A Twist in Time’ the gallery’s wall is bathed in the reflected red of the wine.

Much of Michael Petry’s work explores the vitality and non-functional properties of glass transforming the use of this material from utility to art. Petry describes glass as a “luscious material”. He continues to redefine the distinction between artist and artisan. Michael often works collaboratively with highly skilled craftspeople to create his works. He is keen to identify the role of the students and staff at Plymouth College of Art in the making of the glass components for the installation ‘A Twist in Time’. He describes how ‘A Twist in Time’ responds to the architecture of the 18th century house which forms part of Pallant House Gallery. Michael says “I really wanted it to have a reference to these turned columns on the stairs.” The delicate barley twist spindles on the elegant staircase are reflected in the glass spindles suspended, as if floating, in its well. The colours do not fully reveal themselves until you reach the landing where the light from the large arched window gives them life. Michael talks of playing with the tranquil colours of the space. The green spiral ties in with the trees which can be seen in the courtyard garden, the brown reflects the timber of the spindles. It is a work created to be in dialogue with the building and our senses.

As visitors move up and down the staircase the boards creak giving voice to another of Michael’s narratives, this time about ghosts revealing themselves in the house. As you walk through the rooms on the upper floor unexpected clear glass objects, which the artist calls ‘Ghosts’, reveal themselves to you.

This intentional artist challenges our perception of the world and the ‘lenses’ through which we view it. There is honesty and beauty in Michael Petry’s art. His observation of the world and our humanity reveals a rare depth of thinking and compassion. Here the ambiguities of life and death, strength and gentleness are held in tension. This is a must see show.

‘A Twist in Time: installations and interventions’ runs until 1st March 2016 at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ, telephone 01243 774557.

To see video extracts of Rupert Toovey’s interview with the artist Michael Petry click here.

By Revd. Rupert Toovey. Originally published on 26th July 2015 in the West Sussex Gazette.

Sussex and the Arts and Crafts Movement

A Shapland & Petter oak and copper mounted wardrobe

The Arts and Crafts Movement was named after the Arts and Crafts Exhibition, founded in England in 1882. However, the origins of the movement date to the mid-1850s and are commonly attributed to William Morris and his friends, the architect, Philip Webb, and the writer, John Ruskin.

The movement was deeply informed by the romantic socialism of John Ruskin and William Morris. John Ruskin’s writings inspired the principles of the movement. He observed and gave voice to the dehumanising qualities of industrialised work, and the effects it had on workers and society. As an alternative he advocated a return to an age of ‘free’ craftsmen. The movement stood for traditional craftsmanship and simple forms, often embellished with interpretations of romantic, naturalistic and medieval decoration, including the Gothic.

A Liberty & Co Tudric timepiece, designed by Archibald Knox

The influential Arts and Crafts designer and writer, C.R. Ashbee, wrote that ‘the proper place for the Arts and Crafts is in the country’. There were significant Arts & Crafts communities across the country. In Sussex the Guild of St Joseph and St Dominic, based at Ditchling gave expression to this. In the early 20th century it represented an experiment of artists living and working together in community under the leadership of its founders: Eric Gill, Hilary Pepler and Desmond Chute.

William Morris named one of his most famous designs the Sussex chair, whilst Phillip Webb designed Standen, near East Grinstead, one of this country’s outstanding Art and Crafts homes. The architect Edwin Lutyens was also active in Sussex at Little Thakeham, Great Dixter in the gardens and elsewhere.

Music and drama played a significant part in the movement. For example the composer, Ralph Vaughan Williams, gathered many of his most famous tunes from the fields around Horsham whilst John Ireland lived and worked at Shipley. They both shared the Arts and Crafts’ love of the countryside and folk traditions.

The Little Thakeham House Sale in 2000 established Toovey’s reputation amongst specialist collectors’ in the field of Arts and Crafts. The exceptional contents of Little Thakeham were in keeping with the stylistic quality of this important Edwin Lutyens house.

Building on this reputation Toovey’s will be holding a specialist auction of Arts and Crafts Furniture and Works of Art on Tuesday 8th September 2015. Entries for the sale are still being invited.

Among the leading exponents of the Arts and Crafts taste was Liberty & Co. The designer, Archibald Knox, joined Liberty & Co in 1899. Knox was the creative force behind Liberty’s Celtic Cymric and Tudric designs which were made in silver and pewter. The Arts and Crafts’ qualities of traditional craftsmanship and simple form are given expression in the Liberty & Co Tudric pewter clock, illustrated here, with its band of stylized leaves and enamelled cabochon numerals. Its domestic scale is also particularly pleasing being just twenty centimetres high. It carries a presale estimate of £1000-£1500.

Also entered for the auction is this jewel like caddy spoon dating from 1907. Estimated at £700-£1000, it is born out of the partnership of two exceptional designers and silversmiths, Omar Ramsden and Alwyn Charles Ellison Carr. Together they built a team of gifted craftsmen. The Celtic terminal and turquoise cabochon show the influence of the Arts and Crafts Movement.

Phillip Webb advocated a ‘truth to the materials’ and the oak wardrobe by Shapland & Petter with its restrained, stylized foliate copper panels has a clarity of line and proportion which speaks to this aspiration. It is expected to sell for between £1500 and £2000.

The deadline for entries for Toovey’s specialist auction of Arts and Crafts Furniture and Works of Art, to be held on Tuesday 8th September 2015, is fast approaching. If you are considering the sale of Arts and Crafts furniture and objects Toovey’s specialist, William Rowsell, will be delighted to offer free presale valuations and advice. Telephone Toovey’s on 01903 891955 to arrange an appointment.

By Revd. Rupert Toovey. Originally published on 22nd July 2015 in the West Sussex Gazette.

How to be English!

Author, David Boyle, with Gudrun and Sara of the Steyning Bookshop

‘How to be English’ by David Boyle is published this week. The book provides a fond, irreverent celebration of the ambiguities, eccentricities, and shared stories that define the English.

The writer David Boyle has recently moved to Sussex with his family and I have arranged to meet him at one of my favourite shops in all England – the Steyning Bookshop. The shop is at the heart of the Steyning community and is passionately run by Sara Bowers and her daughter, Gudrun. The shelves, filled with books, always fill me with a sense of anticipation and excitement. As I walk towards the shop past the familiar iron railings I am greeted by David, Gudrun and Sara, framed by the arch of the door and the colourful hanging baskets. Preparations are underway for an evening and book launch with David Boyle at the Steyning Bookshop on Thursday 23rd July 2015.

I ask David where the inspiration for the book came from, he replies “I became concerned that many of the stories which define the English, that I had grown up with, were in danger of being lost.”

David’s account of the English leaves you with a real sense of place in the procession of human history. I mention to David the delight that his articulation of the English has given me and the empathy I have with so many of his subjects. As I have read ‘How to be English’ I have become increasingly aware of how my understanding of what it is to be English has been informed by my love of Sir John Betjeman’s work. David agrees explaining that he too read Betjeman avidly in his late teens.

So are the English defined by Wellington’s stiff upper-lip? David responds “That’s one side of the story but Nelson provides a more old fashioned personality – emotional, overindulgent, sentimental, and lachrymose, overwhelmingly English, with a blind eye to authority.”

The divergent subjects of this eclectic book include: warm beer, Alfred the Great, the seaside, Capability Brown, The English Hymnal, heroic failure, daffodils, bell-ringing, the King James Bible, and The Last Night of the Proms.

So how would David summarise the English? He smiles and says “The English are always polite, apologising for themselves wherever they go. The importance of practicality over intellect is a very English idea, but also the importance of trying again.” David pauses for a moment and concludes “They like pluck, fair play and cricket…”

Author, David Boyle, preparing for Steyning Bookshop launch

Don’t let David’s gentle humour deceive you. There is a quality and depth of thinking which belies the light-hearted tone of this joyous book.

Books feed not only our imaginations and thinking but there is the physical pleasure of the touch and smell of the paper. And the best place to savour and acquire these pleasures is an independent bookseller of the quality of the Steyning Bookshop.

‘How to be English – an Evening with David Boyle’ will be held at The Steyning Bookshop, 106 High Street, Steyning, West Sussex, BN44 3RD on Thursday 23rd July 2015 at 7.30pm. Tickets cost just £4, redeemable against the purchase of a book, which might just have to be ‘How to be English’! For more information go to www.steyningbookshop.co.uk and to book your place telephone 01903 812062.

By Revd. Rupert Toovey. Originally published on 15th July 2015 in the West Sussex Gazette.

Celebrating our Quintessential Affair with the Garden

Sweet peas in the cut flower beds at Parham

This week I am visiting Parham House in West Sussex as preparations for their 22nd annual Garden Weekend are in full swing. For me this quintessential celebration of our passion for gardening is one of the highlights of the Sussex summer calendar. This year’s event will be opened by the celebrity gardener and broadcaster, Rachel de Thame.

Head Gardener, Tom Brown, at Parham House

As I arrive at Parham the scene is one of great activity. An enormous cherry picker fills the courtyard, they have been tending the ancient roses on the walls of the house. Lady Emma Barnard greets me with a wave from the far side of the fountain as Head Gardener, Tom Brown, welcomes me. Tom and I walk through an ancient wooden archway and door, its russet paint complimenting the silver grey of the stone buildings. On the other side the stillness which gathers you at Parham is immediately apparent.

As we walk towards the walled garden Tom begins to talk about the gardens and his role as Parham’s Head Gardener. His face is alive with enthusiasm as he says “The garden is bigger than all of us. It’s humbling to look at how this garden behaves and its needs.” I remark on how I have always loved the naturalistic planting at Parham. Its swathes of colour and textures interact with the movement of light and a gentle breeze in the walled gardens. Tom responds “The palette of the plants is very important to the ‘Parham way’, as are the big opulent artistic borders. But this is underpinned by a rigour in the way we approach our work in the garden.” It quickly becomes apparent that I am in the company of an accomplished and sensitive horticulturist who has the rare gift of observing well. He describes how he is attentive to the way that plants respond to the garden and also people’s reactions to it. There is a quality of the relational, a deep sense of stewardship, in Tom’s approach. It is also clear that he has an awareness of his place in the ongoing story of this ancient house and garden and an understanding of the responsibilities of his position.

The Greenhouse at Parham being tended by Peta and Henry

Our conversation turns to Tom’s team and the creativity it embodies. He talks with obvious respect and pride as he describes how Peta, Henry, Max, Jake and Sam bring different gifts and experience. He remarks “There is a sense of ownership for all of us with belonging to a team.” This is a team defined by respectful dialogue. There is respect both for the members of the team and the garden.

As we talk a visitor approaches us. She expresses her pleasure in the garden and Tom is clearly delighted. He stands and listens carefully to her question about planting in the shade of her garden. He responds generously and with expert advice.

Tom is clearly grateful for the time he spent at Wisley but his pleasure in the ‘canvas’ of these gardens, that Lady Emma’s patronage has given him to work on, is unmistakeable. Tom brings his generosity of spirit and depth of expertise to his role as he facilitates and leads the ongoing vision for these gardens. He loves the domestic qualities of his position too. He always ensures that there is a basket of fresh vegetables for Emma and her family when they return home and wonderful cut flowers for the house. That the gardens bless the family is very important to him. His generous care for the gardens, his team, the visitors, Lady Emma and her family is underpinned by the relational in all that he does. Tom is richly deserving of our thanks.

Parham House and Garden’s ‘Garden Weekend’ is on this coming Saturday and Sunday, 11th and 12th July 2015, 10.30am to 5.00pm. For more information go to www.parhaminsussex.co.uk or telephone 01903 742021. Tickets include the wonderful gardens and entry to the house and its superb collections. There will be a number of specialist nurseries and the opportunity to be inspired and take home some wonderful stock for your gardens. Don’t miss out on the marvellous cut summer flower arrangements in the house and the flower festival in St Peter’s church. I hope to see you there!

By Revd. Rupert Toovey. Originally published on 8th July 2015 in the West Sussex Gazette.