Rupert Toovey’s Articles – Page 96

Twenty Years of Fine Art at Toovey’s

Rupert Toovey with gavel in hand ©Toby Phillips/Toovey's — Rupert Toovey with gavel in hand

I started Toovey’s Fine Art Auctioneers twenty years ago this month, with a dedicated team of people who remain passionate about the company and the work we do. We opened on a stormy Valentine’s night in 1995 and were delighted when more than 700 guests braved wind and rain to support us and celebrate this new venture. I set out to create a family firm where people are valued, both clients and staff – a regional auction house providing a centre of expertise for the valuation and sale of art and antiques, with leading specialists and international marketing. Today, the salerooms are on the A24 at Washington, in sight of Chanctonbury Ring and the Sussex Downs, though we travel across London and the South East of England advising clients on their possessions, and our website attracts hundreds of thousands of potential clients from around the world.

Reflecting on the last twenty years, it is the passionate collectors who stand out. These individuals often collect in the pursuit of knowledge. They are continually refining and adding to their depth of understanding of a particular field or period, while training their eye to the subtle details which set apart exceptional objects. In an age which increasingly confuses information with knowledge and understanding, this is an exciting and refreshing group of people to accompany.

'La Cullure des Tulipes’, oil on canvas by George Hitchcock, 1889

The De La Rue Collection from Rusper gave Toovey’s its first truly world-class results in 1998. The remarkable collection came from the famous De La Rue family, who printed money and stamps for the British Empire. It had lain undisturbed for some seventy years. Among the wonderful paintings, furniture and objects was this late 19th century oil on canvas of a young woman gathering tulips in a garden by the American artist George Hitchcock (1850-1913). Although the canvas was holed and in a poor state, it broke all records for the artist at the time when it sold to an American buyer. His agent flew in on Concorde especially for the sale and, against stiff competition from a telephone bidder in London, bought it for £345,000. The news of the sale was reported in the New York Times.

Many of the most memorable collections speak of the particular collectors. Take, for example, our Little Thakeham House Sale in 2000. I wrote in the catalogue introduction that the contents of Little Thakeham were in keeping with the stylistic quality of this important Edwin Lutyens house. They reflected the passion which this Arts and Crafts period building inspired in Tim and Pauline Ractliff, who had preserved and celebrated the property for many years. The auction was packed, with people parking in the orchard. On the lawn the marquee filled with bidders and a bank of telephones. Pre-sale estimates were quickly overtaken as prices soared and the gavel fell.

Toovey’s has remained the first choice for the sale of single-owner collections in Sussex. In 2006 our sale of The Bolney Lodge Collection saw buyers spend well over a million pounds on furniture and works of art from the estate of the late Judge Coles QC.

Single-owner sales often reflect a very personal and particular insight into the lives of the individual collector. Take the sale of The Library Collection of The Late W. Leslie Weller MBE, DL, FSA, which Toovey’s held in December last year. The books, pictures and effects reflected a man whose lively mind was directed towards his love of Sussex, its history, countryside and people. A generous and encouraging man, he worked tirelessly for the auctioneering profession and art world, as well as numerous charities. His friendship, support and advice I valued highly throughout my career.

Provenance and the human story behind individual objects or collections add a frisson which, though unpredictable, always has an important and positive effect on the prices achieved for them at auction. This has been reflected at Toovey’s sales again and again over the years.

I remain a passionate advocate for art, heritage and culture, sponsoring Pallant House Gallery, Shipley Arts Festival and the wonderful Horsham Museum and Art Gallery, amongst many others, through Toovey’s. Our company continues to invest in the Sussex community which I love, supporting numerous charities and groups with talks and fund-raising.

Twenty years on, I am proud that Toovey’s has fulfilled my hopes and aspirations. It remains a family firm employing a team of specialists and it now has a long-established reputation for expertise in valuing, marketing and auctioning art and antiques. None of this would have been possible, though, without the generous support and encouragement of the collectors, our clients, friends and supporters. Thank you all for the first twenty years!

By Revd. Rupert Toovey. Originally published on 4th February 2015 in the West Sussex Gazette.

2015 Shipley Arts Festival Launch

Andrew Bernardi and members of his music group

It is a cold winter’s Sunday evening as patrons, sponsors and the friends of the Shipley Arts Festival are generously welcomed at Sedgwick Park House by its owners, Clare and John Davison. We have come together to launch the 2015 Shipley Arts Festival.

Francis and Christina Maude with Andrew Bernardi and Jonathan Lucas

It has been my long-held belief that music has the power to transform our lives and communities. This is certainly at the heart of the vision of my great friend, the musician and Shipley Arts Festival Director Andrew Bernardi. He has brought his international reputation as a violinist and the 1696 Stradivarius to Sussex, providing an unprecedented focus for music and the arts and the opportunity to build up this fantastic community in our county.

Each year the Shipley Arts Festival brings some of the country’s leading musicians to our churches, stately homes and gardens to perform a varied repertoire at the highest level. Andrew comments: “We have built longstanding relationships with many of these artists who dedicate themselves to the festival and our community as they return each year.”

Andrew Bernardi, Clare and John Davison and The Lord High Sheriff of West Sussex, Jonathan Lucas

The breadth of engagement with our local community quickly becomes apparent as The Lord High Sheriff of West Sussex, Jonathan Lucas, and myself are introduced by Andrew Bernardi to those who, like myself and Toovey’s, passionately support the work of this generous and inspiring individual. Francis Maude M.P. has supported the festival from its early days and his wife Christina, an accomplished pianist, performs at some of the concerts. Individuals, young musicians and Sussex businesses, like Toovey’s and Spofforths, all play their part in the success of what Andrew describes as “a celebration of community through music”.

Andrew Bernardi with Professor Malcolm Singer

The West Sussex Gifted and Talented String Academy is part of this vision and something very dear to Andrew’s heart. It seeks to be aspirational and inclusive, creating the opportunity for a musical education of the highest calibre to children from all walks of life. It is a child’s ability and potential that determines their selection for this enrichment program, not their ability to pay. Andrew has an innate ability to build community and bring organisations and individuals together. The String Academy is partnered with Windlesham House School and its head, Richard Foster, who is passionate about the project.

The Gifted and Talented String Academy is also engaged in a two-year collaborative project with the Yehudi Menuhin School and its Director of Music, the composer Professor Malcolm Singer. Andrew comments: “The Yehudi Menuhin School is one of the finest string schools in the world and it is great that our string players encounter Malcolm and the school.” Andrew Bernardi is clearly moved as he speaks about Yehudi Menuhin; the life and work of this famous violinist is a great inspiration to him.

Against the backdrop of this splendid house, with its roaring fire and panelled walls, we are ushered into the music room, where we are treated to music composed and conducted by Malcolm Singer, played by students from the String Academy and Yehudi Menuhin School. Andrew and his group then play a series of pieces from this year’s concerts. The faces of all are transfixed as the music of J.S. Bach fills the room.

Like a conductor at the head of an orchestra, Andrew Bernardi weaves together our shared gifts and resources and blesses our community in West Sussex.

As Jonathan Lucas launches the 2015 Shipley Arts Festival, he celebrates Andrew, the Shipley Arts Festival and the young musicians.

As the speeches and applause fade in my imagination, the music continues to resonate in my heart. I am uplifted as I wind my way home across the ancient lanes of our county, the winter hedgerows and trees picked out in the headlights against a cold, clear night sky.

Tickets for the Shipley Arts Festival concerts go on sale on Monday 2nd February at The Capitol Horsham box office. Telephone 01403 750220 or go to www.thecapitolhorsham.com to book your tickets. Demand is expected to be strong for these concerts, so don’t delay!

By Revd. Rupert Toovey. Originally published on 28th January 2015 in the West Sussex Gazette.

Order (dis)Order!

An early 19th Century study from the Painted Chamber by John Smith

In scenes reminiscent of an important debate at the House of Commons the galleries were packed with people at the Horsham Museum & Art Gallery for the opening of Order (dis)Order! The exhibition was opened by the Lord High Sherriff of West Sussex, Jonathan Lucas.

This colourful exhibition celebrates our nation’s Parliamentary history and Horsham, Steyning and Bramber’s role in it over some 720 years.

In a year which marks the 800th anniversary of the signing of the Magna Carta by King John at Runnymede it is extraordinary to reflect that it is also the 750th anniversary of the first English Parliament, called by Edward I (1272-1307) in 1275.

Left to right The Chairman of Horsham District Council, Cllr Brian O’ Connell with the Lord High Sherriff of West Sussex, Jonathan Lucas and Exhibition Curator, Jeremy Knight

In 1295 Edward I summoned what was to become known as the ‘model Parliament’. The King invoked a Roman phrase when he proclaimed “What touches all, should be agreed by all”. Its representation of two knights from each county and two burgesses from each town was to provide the model for almost all future Parliaments until more modern times. Horsham Steyning and Bramber were all boroughs and could elect MPs.

Sir Peter and Lady Hordern with the Lord High Sherriff of West Sussex, Jonathan Lucas

The exhibition traces Parliament’s history from these earliest times to the present day. It explores many of the distinguished and ‘colourful’ characters who have brought great and important social and economic change to our nation, as well as those who have brought less noble intent and disrepute upon Parliament. Take for example Elyot Roger the MP for 1421. A chapman by trade, he was indicted for breaking into the house of John Dawtre, stealing plate and clothes and ‘ravishing’ the unfortunate Mrs Dawtre!

But the exhibition gives colour to more than these characters. My eye is taken by some exquisite watercolours of what appear to be medieval wall paintings. Jeremy Knight, curator of the exhibition, explains. “In 1801 Irish MPs joined the House of Commons. It had been meeting in St Stephen’s chapel which now needed to be radically altered and enlarged to accommodate this influx of additional MPs. As a temporary measure whilst work was underway they moved to the Painted Chamber. When the tapestries and Sir Christopher Wren’s carvings were taken down they revealed the fantastic medieval wall paintings recorded by John Smith. His hand coloured pictures are all that remain. The original wall paintings were destroyed as part of James Wyatt’s remodelling of the Palace in the early 1800s.” The public outcry to save the paintings is recorded in the press at the time. However, it is unlikely that they would have survived the fire at the Palace of Westminster in 1834 or German bombing during the Second World War. John Smith’s record is of great importance.

Those gathered for the opening included Horsham’s distinguished former MP and Deputy Lieutenant for West Sussex, Sir Peter Hordern. Lady Morse a, descendant of the three generations of the Hurst family, who were MPs for Horsham between 1812 and 1875, attended with her husband Sir Jeremy and were delighted to have contributed to this fascinating exhibition.

From Medieval times to Women’s Suffrage this exhibition provides a remarkable insight into the nation’s Parliamentary history and our county’s place in it. Order (dis)Order! runs at the Horsham District Council Horsham Museum & Art Gallery, The Causeway, Horsham until 7th March 2015. Entrance to the Museum and exhibition is free. For more information go to www.horshammuseum.org or telephone 01403 254959.

By Revd. Rupert Toovey. Originally published on 21st January 2015 in the West Sussex Gazette.

Mr Turner at Petworth

Mr. Turner – Timothy Spall, as J.M.W. Turner, paints in the Old Library © Simon Mein, Thin Man Films.

Mike Leigh’s textural depiction of the life and work of Joseph Mallord William Turner (1775-1851) in his award-winning film Mr. Turner has been brought to life in an exhibition at Petworth House. This fascinating show runs until 11th March 2015. It brings together rarely seen works by J.M.W. Turner with props, costumes and paintings from the film by the actor Timothy Spall.

Andrew Loukes, Curator of Collections and Exhibitions at Petworth House, is clearly excited by Mr. Turner – an exhibition, which he has co-curated with Dr Jacqueline Riding. Andrew enthuses: “Mike Leigh’s work on Mr. Turner at Petworth is arguably the most significant cultural moment at the ‘house of art’ since Turner himself was a frequent guest here in the 1820s and 30s.” The third Earl of Egremont was amongst the most important English patrons of art in the late 18th and early 19th centuries. The film Mr. Turner has provided the opportunity to re-examine the important role that Petworth and the third Earl played in Turner’s later work.

As we walk up the Old Library staircase in conversation, I remark on one of my favourite scenes in the film, in which Turner stands painting at his easel in this library with three ladies, bathed in light from the arched window. As we reach the landing, we are greeted by the very same scene and light. Andrew smiles and explains, “Mike Leigh wanted to recreate some of Turner’s iconic pictures. Turner painted several sketches of this room.”

J.M.W. Turner – The Old Library © Tate, London, 2014

The Old Library is often called ‘Turner’s Studio’. This particular scene is taken from Turner’s luminous gouache of 1827, titled The Old Library: The Artist and his Admirers. Here three ladies watch as the artist paints. Turner’s delight is obvious in his depiction of light, colour and movement. It provides the viewer with a remarkable impression of a particular moment in time. The sketch is one of a number produced by Turner in the autumn of 1827. Painted for his own pleasure, they illustrate life behind the scenes at Petworth House.

Timothy Spall studied under London artist Tim Wright for two years as part of his preparation for the role of Turner. His vigorous performance in the film convincingly reflects something of the practical physicality of creating art and it is surprising to see the level of accomplishment in his paintings and drawings first hand. Spall depicts J.M.W. Turner as an artist consumed by his art, confident, eccentric, prosperous, forthright, both detached and tender in his personal relationships.

Like the film, the exhibition offers a revealing and very personal insight into the character of this great artist. Andrew reverentially shows me Turner’s leather watercolour pouch, which is one of the objects on display. Although worn, it shines, displaying the patina of years of use and handling by the artist himself.

As Andrew and I continue around the exhibition into the Carved Room with its Turners, Grinling Gibbons carvings and costumes from the film, it becomes apparent that I am in the company of a man whose depth of understanding and love of the collections he curates at Petworth House have rooted him in this place in a very particular way. He remarks, “I am excited to be able to expand the exhibition offer at Petworth, based around the remarkable collections here.” Andrew Loukes’ quiet passion, vision and dedication are bringing life to this important house and its collections and he deserves our thanks.

Demand for tickets for Mr. Turner – an exhibition at Petworth House is expected to be high, so book your tickets early! For more information go to www.nationaltrust.org.uk/petworth-house and to book tickets telephone 0844 249 1895.

By Revd. Rupert Toovey. Originally published on 14th January 2015 in the West Sussex Gazette.

Terry Frost and the Poetry of Federico Garcia Lorca

Katy Norris, Assistant Curator at Pallant House Gallery, with Lament for Ignacio Sánchez Mejías by Sir Terry Frost

A dramatic exhibition of Terry Frost’s prints from his Lorca Suite is currently on show in the De’Longhi Print Room at Pallant House Gallery in Chichester, West Sussex.

It focuses on the British abstract artist Terry Frost and his engagement with the poetry of the Spanish poet, playwright and theatre director Federico García Lorca. Lorca became one of the first martyrs of the Republican cause in the Spanish Civil War when he was killed by fascist Nationalist rebels in 1936. Assistant Curator Katy Norris explains, “Lorca’s death has come to epitomise the violent suppression of the intellectual left by right-wing partisans.” When General Franco seized power in 1939, at the end of the conflict, he banned Lorca’s work from publication in Spain.

During the Second World War Terry Frost was a prisoner of war under the Nazis and a victim of fascism. Katy keenly describes how this loss of freedom awakened his political and artistic consciousness, an experience which would inform his life and work, saying: “Frost exercised a lifelong pursuit of his artistic right to freedom of expression.”

Sir Terry Frost 1915–2003, The Moon Rising, 1989, etching with hand colour on Somerset Satin paper, Austin / Desmond Fine Art © The Estate of Sir Terry Frost

Frost would later acknowledge how, as a prisoner, his hunger and suffering gifted him with “a tremendous spiritual experience [and] a more heightened perception”. The artist described this formative experience as “an awakening”. Katy adds: “Frost discovered his profound sense of connection with nature and landscape at this time.”

The liberal society in which Terry Frost was working in the 1970s and 1980s was certainly in complete contrast to Franco’s earlier repressive regime. Frost would return to Lorca’s work over a fifteen-year period, creating paper collages, drawings and prints in response to the writer’s work. It culminated in the portfolio of coloured etchings on display here. Produced in 1989 and titled Eleven Poems by Federico García Lorca, they have become known as the Lorca Suite. Together these images, each based on a specific poem, provide a visual window illuminating Lorca’s writing.

Lorca’s writing employs an economy of vocabulary. In these poems life is stripped back, allowing clarity of vision expressive of the author’s heightened perception. This writing is filled with ambiguity and a lack of fulfilment, which gifts it with space and nobility.

Sir Terry Frost 1915–2003, The Spinster at Mass, 1989, etching with hand colour on Somerset Satin paper, Austin / Desmond Fine Art © The Estate of Sir Terry Frost

This distance between the artistic representation and the reality of the subject would give Frost space for freedom of expression. Terry Frost, like Lorca, also distilled the world around him. He, too, used a carefully conceived vocabulary, though Frost’s was one of colour, light and form in the abstract.

I remark on the dramatic hues of black, white and red which are apparent in many of these works. Katy responds, “Lorca used black, white and red to describe the blazing light and heat of the Mediterranean sun. In the 1960s Frost had begun to use these colours in relation to the Spanish landscape, years before engaging with Lorca’s writing. However, it is in the Lorca Suite that we perhaps see his most sophisticated use of this colour scheme.”

This is clearly illustrated in The Spinster at Mass and The Moon Rising. I am drawn to the emblematic etching Lament for Ignacio Sánchez Mejías. Sánchez and Lorca were friends. The matador Sánchez died in the bullring. Lorca’s awareness of death informed his creative spontaneity in this poem; its repetitive rhythm informs this lament. Take, for example, these lines:

“Oh white wall of Spain!

Oh black bull of sorrow!

Oh hard blood of Ignacio!”

Katy Norris reflects on the economy of colour, shapes and form used to the same dramatic effect in Terry Frost’s etching of the same title. She says: “The black of the bull’s horn and the red blood of Ignacio against the white ground echo the description in Lorca’s poem. The action takes place beneath a setting sun represented by a pulsating yellow disc in the etching.”

The drama and tragedy of the Spanish Civil War and the life and death of Lorca are captured with real intensity in Terry Frost: Eleven Poems by Federico García Lorca. Entrance to this exhibition is free but it is worth treating yourself to tickets for Conscience and Conflict: British Artists and the Spanish Civil War. Both exhibitions run until 15th February 2015 at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ. For more information go to www.pallant.org.uk or telephone 01243 774557. You must add them to your 2015 New Year’s must-see list!

By Revd. Rupert Toovey. Originally published on 28th December 2014 in the West Sussex Gazette.