Rupert Toovey’s Articles – Page 98

Sublime Sevres in Sussex

Vincennes cup and saucer — A Vincennes porcelain cup and saucer, circa 1752

The French porcelain which became ‘Sèvres’ began at Vincennes around 1740, when the French nobleman Orry de Fulvy established a manufactory at the Châteaux de Vincennes, near Paris, and employed Gilles and Robert Dubois. The Dubois brothers, one a sculptor, the other a painter, were runaway workers from the Chantilly porcelain factory in Oise. They claimed to know the secret of porcelain manufacture and were joined by fellow Chantilly worker Louis-François Gravant. In 1745 a company was formed and King Louis XV granted a royal privilege giving Vincennes an exclusive right to make porcelain decorated with figures and gilding. The privilege even prevented Vincennes workers being employed elsewhere.

Sevres porcelain coffee can and saucer — A Sèvres porcelain coffee can and saucer, circa 1776, painted by Guillaume Noël

Sevres porcelain painted by Jean-Baptiste Tandart — A Sèvres porcelain plateau carré, circa 1764, painted by Jean-Baptiste Tandart

Sevres-style Timepiece by Achille Brocot — A mid-19th Century French ormolu and Sèvres-style porcelain mantel timepiece by Achille Brocot

Like the later Sèvres pieces, Vincennes output was commonly marked with interlaced ‘L’s to the bases. The Vincennes cup and saucer illustrated dates from 1752. The inky blue-glazed ground sets off the richly gilded flower sprays and laurel garland beautifully. Pieces such as these are highly sought-after by collectors around the world and this cup and saucer realised £2600 in a Toovey’s specialist auction.

In 1756 the manufactory was moved to new buildings at Sèvres. Success in making hard-paste porcelain of the type produced by Meissen and the Chinese remained elusive, despite large sums of money being paid, often to false arcanists. In 1769 this goal was achieved, though few hard paste porcelain pieces were produced until 1772. Those that were made were marked with interlaced ‘L’s beneath a crown. This mark was used at Sèvres in various forms until 1793.

The Sèvres porcelain coffee can and saucer, circa 1776, painted by Guillaume Noël with circular rose vignettes within blue and gilt scale borders, shows the extraordinary skill of the artists working at the factory. It was marked to the base with blue enamel interlaced ‘L’s, date code and Noël’s monogram and was sold at Toovey’s for £2200.

A particular favourite of mine was this exquisite Sèvres porcelain plateau carré of square outline, circa 1764, which we auctioned for £3000. It measured a little under six inches in width. Jean-Baptiste Tandart’s fine painting delights with four cornflower and pink rose oval garlands, alternating with puce ribbon ties, on a stippled gilt ground. The delicate composition is framed by a pierced Vitruvian scroll rim, heightened in gilt.

Many French clocks and pieces of furniture are decorated with Sèvres-style panels. This fine mid-19th century French ormolu mantel timepiece had a year-going, five-spring barrel movement by Achille Brocot. The case is decorated with Sèvres-style porcelain panels, painted with cherubs within bleu céleste and gilt borders. Son of the famous Louis-Gabriel Brocot, Achille Brocot is recorded as working at Rue d’Orleans au Marais, Paris, between 1850 and 1874. It sold in a Toovey’s specialist clock sale for £2200.

The qualities of Sèvres porcelain are sublime and still captivate the eye of the connoisseur today. Toovey’s next specialist sales of porcelain and clocks will be held on 22nd May 2014. If you would like advice on the sale of your fine china or timepieces, contact Tom Rowsell on 01903 891955.

By Revd. Rupert Toovey. Originally published on 23rd April 2014 in the West Sussex Gazette.

Medieval Easter Frescoes at St Mary’s, West Chiltington

The 13th century medieval cycle of Easter frescoes at St Mary’s

The frescoes at St Mary’s parish church in West Chiltington, Sussex, were uncovered in 1882. Contemporary 19th century records note their excellent colour. Conservation work was not undertaken until the 1930s.

Frescoes are wall paintings, painted directly on to the plaster while it is still wet. The artist has to work quickly as the pigments and image are fixed as the plaster dries. This technique was used throughout the Renaissance in Italy and elsewhere.

Amongst the earliest paintings at St Mary’s is the cross motif, formed from an endless rope knot. This beautiful cross is easily missed and forms part of a circular medallion in the recess over the east end of the south aisle. Such crosses are known in Roman mosaics and wall paintings. In Sussex, the pavement at Fishbourne Roman Palace contains a similar emblem. However, its significance at West Chiltington remains unknown. This Celtic cross design has been reinterpreted for the 21st century in the new porch with its glass doors. The Reverend David Beale, Vicar of St Mary’s, remarks: “I love the way that the newest part of the church is linked with the oldest by this cross and bears witness to Christians in this building for almost 900 years.”

The Reverend David Beale, Vicar of St Mary’s, West Chiltington

On the north side of the arcade in the nave is a cycle of frescoes, which tell the story from Jesus’ triumphal entry into Jerusalem on a donkey as the crowds lay palm leaves before him, to his resurrection on the first Easter Day. Illustrated here are depictions of the Last Supper, Christ washing the feet of his disciples, the betrayal of Jesus in the garden of Gethsemane by Judas Iscariot’s kiss, the flagellation of Christ, the carrying of the cross and the crucifixion. The scenes are portrayed within a series of three painted, lobed arches resting on slender columns and capitals. The influence of the Gothic can be seen in the figures, whose fluidity conveys genuine humanity. Compassion and suffering are clearly discernable in the depictions of Christ and contrast with the expressions on the faces of his tormentors. The directness of these paintings still powerfully communicate these familiar Gospel narratives in their now faded hues. I ask David what effect these medieval fresco drawings have on him and those who visit this place week by week to worship or pray. “They have a remarkable ability to connect people with their stories,” he answers. “This place is steeped in centuries of prayer; it is fascinating to observe how this and the pictures still cause people to pause in wonder. I suppose it should be unsurprising really in our visual age.”

We have become used to the soft hues of stone and white lime wash in the majority of our churches but St Mary’s, with her faded frescoes, allows us to experience something of the extraordinary effect that these Pre-Reformation paintings would have had on Sussex people some 800 years ago. David concludes, “It’s wonderful to glimpse how rich and colourful many of our churches would have been in the 12th and 13th centuries.”

This remarkable group of colourful frescoes reside in a working building at the heart of its community and speak of a narrative common to us all. St Mary’s, West Chiltington, is open every day and is one of my favourite places to stop and pray – a generous punctuation mark in a busy day. Treat yourself and try it! Easter services will be held at 2.00pm on Good Friday with Holy Communion on Easter Sunday at 8.00am and 10.00am. All are welcome. For more information go to www.stmaryswestchilt.co.uk

By Revd. Rupert Toovey. Originally published on 18th April 2014 in the West Sussex Gazette.

Antique Furniture for the Sustainable Consumer

Thomas Faed oil sketch — Thomas Faed - Interior Scene with Two Mothers in Conversation beside Two Coy Children, oil sketch over pencil traces on board, signed

The news seems to be increasingly focused on climate change and the World’s resources. In the West decades of cheap imports from emerging economies have given us a false sense of the price of things. With ever growing international demand for finite resources raw materials must, overtime, continue to rise inexorably. Things will become ever more expensive and once again items will have to be built to last and be repairable. Our sense of value should of course take account of pay and conditions for the workers in the factories and workshops which can sell their wares for so little.

George III figured mahogany chest of drawers — A fine George III figured mahogany serpentine front chest of drawers

A George III mahogany chest of drawers with brushing slide

When I started out as an Antique and Fine Art Auctioneer and Valuer some thirty years I can remember driving across a field to a cottage outside Horsham to be met by an elderly gentleman with a snow white beard. There was no electricity and the water for our tea came from a hand pump well. Victorian oil lamps filled the corners of his room and the house smelt comfortingly of wood smoke. I felt that I had stepped into a 19th century painting like the one illustrated by the 19th century Royal Scottish Academician, Thomas Faed. This small oil sketch with pencil traces depicts a comfortable interior scene with two mothers in conversation as the children shyly glance awkwardly at each other. This delightful painting was auctioned at Toovey’s for £1700.

At that time a phrase you often heard amongst the well to do middle class was “we’re too poor to buy rubbish.” There was something so practical and sensible in buying good quality items that would last. For a generation who had married and set up home before and after the wars antique furniture, both from their families and bought, provided the opportunity to have beautiful things in an age of austerity, rationing and a shortage of raw materials.

Fine examples of English furniture still command good prices like this George III mahogany serpentine front chest of drawers with its beautiful figured mahogany. The timber seems to be alive in the way that it reflects the light. It realised £3200 at Toovey’s. But a well-proportioned George III mahogany chest of drawers with a brushing slide like the one illustrated can be purchased at auction for about £400 and will give pleasure and utility to your family over generations to come, with no impact on the World’s diminishing resources.

The time has come for us to reassess brown furniture. Prices can only rise for these pieces which combine the aesthetic with quality and longevity. Perhaps once again we will be heard to say “we’re too poor to buy rubbish.” Toovey’s next sale of fine furniture will be held on Friday 25th April 2014.

By Revd. Rupert Toovey. Originally published on 9th April 2014 in the West Sussex Gazette.

Oxford and Cambridge Boat Race Comes to Sussex

Late 19th century oil on canvas by J.B. Allen depicting The Boat Race, London

This coming Sunday, 6th April 2014, the 160th annual Oxford and Cambridge University Boat Race will be held. The Boat Race was first held in 1829, making this one of the oldest surviving sporting events in the world. The second Boat Race took place in 1836 in London, where it has been held ever since.

The competition began as a challenge between two old school friends, Charles Merivale and Charles Wordsworth, the nephew of the famous poet William Wordsworth. Today it has become an important fixture in the English sporting calendar and one which underlines the international and outward-looking qualities of the English at their best. The crews fielded by Oxford and Cambridge often reflect the global standing of these universities, whose students and oarsmen come from across the world.

Over the years I have increasingly found myself in London, invited to value and sell important collections by their owners. It was during a recent day spent in Sheen, near Richmond, that I discovered this marvellous 19th century oil painting of the Boat Race by J.B. Allen. It struck me as rather wonderful that it was residing near the very shores of the Thames where Allen depicted the view, between Putney and Mortlake.

In this Victorian scene the crowds are so numerous that they have taken to boats in order to get a better view of the crews as they row by. Arms and hats are raised as the excited spectators cheer their chosen team onwards. There is a cold wind blowing, causing flags to flutter. The greys and blues in the artist’s palette remind us that Easter is approaching and spring is only just arriving. Though less finely painted, the panorama of the crowds is reminiscent of that great Victorian painter William Powell Frith, who painted ‘The Derby Day’ between 1856 and 1858. In a similar way to Powell, J.B. Allen depicts a series of very personal vignettes within the grand sweep of his Boat Race scene: boatmen steady ladies in their boats; gentlemen point towards the action and cheers go up amongst different parties of people. It is a painting which is alive and still creates excitement in us today. I am pleased to say that this oil on canvas subsequently came to Sussex to Toovey’s and was auctioned in our fine art sale on 26th March 2014 for £10,500.

Wedgwood earthenware bowl, designed by Eric Ravilious, circa 1938, the interior decorated with a scene of Piccadilly Circus at night

Wedgwood earthenware bowl, designed by Eric Ravilious, circa 1938, the exterior decorated with the Boat Race Day pattern

Around 1938 the Sussex artist Eric Ravilious provided an alternative view of the Oxford and Cambridge Boat Race in his designs for Wedgwood. Known as the Boat Race Day pattern, the exterior of this bowl depicts three successive scenes from the race and a mermaid device. Again, the numerous crowds are depicted cheering in the foreground, their arms raised in excitement, but the stylized scene appears as a moment captured outside of time, as is often the case with Ravilious’ work. The interior of the bowl shows Piccadilly Circus at night. Today at auction, a Boat Race Day pattern bowl would realise between £800 and £1200.

This Sunday at 12.00 noon, between church and lunch, millions of us will be cheering on our team. We will be held in the moment as the drama unfolds on our televisions or before us from the banks of the Thames. We will be caught up in the atmosphere and mood of celebration of this most English of sporting events, celebrating the highest standards of amateur sportsmanship, captured with such life by J.B. Allen more than an hundred years ago.

Advice on your paintings is freely available from Toovey’s; contact us to make an appointment with our fine art specialists.

By Revd. Rupert Toovey. Originally published on 2nd April 2014 in the West Sussex Gazette.

Bignor Roman Villa

The Ganymede mosaic — The Ganymede Mosaic at Bignor Roman Villa

Bignor Roman Villa is for me one of the most special places in all of England. The remains of this important villa nestle in the beautiful Bignor valley in view of the South Downs, a short distance from Stane Street, the important Roman road which linked London with Chichester in the first century AD.

The villa was discovered in 1811 by the farmer George Tupper, who unearthed the famous Ganymede mosaic while ploughing. John Hawkins of nearby Bignor Park took charge of the site and excavations and invited Samuel Lysons, a leading antiquary of the day, to supervise the work. In 1812 more mosaics were uncovered under the orchard hedge, which probably included the Venus panels. Lysons was meticulous in his work, presenting three papers to the Society of Antiquaries between the villa’s discovery and 1818. The barns that were erected to protect the mosaics are rare examples from the late Georgian period and are Grade II listed.

Lisa and her husband, William Tupper, are the fifth generation of the Tupper family to be custodians of this remarkable historical sight. They work closely with William’s father, Tom, and their grandparents, Jack and Jill Tupper. Lisa says: “For our family the Roman Villa stands for longevity, a sense of place and family.” The villa site has remained in the Tupper’s ownership for centuries and the family still farms 2000 acres today. “It is wonderful to think that the Romans were farming here some 2000 years ago,” Lisa continues, “and they were farming 4000 acres, a huge estate.”

The mosaics seem out of time, conserved beneath their thatched Sussex barns. The youthful Ganymede tended his father’s sheep on Mount Ida. Here he is depicted being carried off by an eagle to become a cupbearer to the gods. His cap is typical of those worn in Phrygia, an ancient kingdom in Anatolia, now part of the Republic of Turkey. I have always loved the remarkable mosaic which, although there is some debate over the subject, is thought to depict Venus. The woman’s head is flanked by long-tailed birds and delicate fern leaves above a frieze depicting cherubs enacting famous gladiatorial scenes. The scheme, composition and execution of this panel is exquisite and among the finest in Britain. Away from the main complex, the depiction of Medusa in the bathhouse delights too. In its final form, the villa would have covered some five acres, much of which remains to be excavated. Lisa concludes, “I am delighted to be carrying on the work here that has been going on generation by generation.”

Tea and an enthusiastic welcome await the visitor to the remarkable Bignor Roman Villa, which speaks so eloquently across the millennia. We are fortunate that this exemplary archaeological jewel should be in the generous custodianship of the Tupper family. Bignor Roman Villa is open seven days a week. For more information visit www.bignorromanvilla.co.uk or telephone 01798 869259.

By Revd. Rupert Toovey. Originally published on 26th March 2014 in the West Sussex Gazette.

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