Toovey’s Blog – Page 120 – Latest news, photos and updates from Toovey's Antique and Fine Art Auctions in Sussex

I SAW the spires of Oxford as I was passing by

Mather-Extension — The Ashmolean Museum’s extension

Rupert Toovey Oxford Conferences — Rupert Toovey at the Ashmolean Museum, Oxford

Sir Joseph Noel Paton — Modern Art from the 19th century, a sepia ink sketch by Sir Joseph Noël Paton - 'Study of Christian Resting (From John Bunyan's “Pilgrim's Progress” 1865)'

Last week I once again found myself in Oxford on a grey and blustery morning. Over recent years I have organised an annual conference for professionals from the art and antiques industry. Education has always seemed to me to be the most effective way to raise standards in any field and Oxford has provided the perfect platform.

The 2013 Oxford Art & Antiques Continuing Professional Development Conference saw the launch of new valuation standards, contracts and valuation templates. I wrote them with assistance from Paul Britton in response to the Royal Institution of Chartered Surveyors (RICS) Red Book and Valuer Registration Scheme. The RICS Red Book defines methods of valuation for things as diverse as a building or a Ming vase. The documents we prepared are designed to frame a process which will help to ensure best practice in the working method of UK Chartered Surveyors, Valuers and Auctioneers working in the specialist field of art and antiques. I am delighted that these templates have been broadly adopted by the profession.

However framing and promoting best practice in working method is only part of the mixture of skills for the art professional. Each conference also seeks to explore different specialist fields of objects.

In 2013 Dr Jon Whiteley, the then Senior Assistant Keeper of the Ashmolean Museum’s Western Art department, delivered an outstanding lecture.

He argued that at the beginning of the 19th Century there was a shift of interest from the Old Masters towards a new interest in the work of contemporary artists. In Germany, France and England, the idea of supporting living artists translated into the belief that art itself should be of its own time and should eschew the conventions and handed down ideas then prevalent in the art schools. The belief that art should be if its own time turned into a conviction that it should also represent its own time. Art, like the novel, became a medium for bringing light to bear upon contemporary issues. And yet, nothing comes from nothing. Throughout Europe, the artists who promoted modernity mostly did so by turning back to the art of the past in order to find a model for representing their own times. It was only in the later nineteenth-century that the idea took hold that modern art should be fundamentally different from the art of the past and this led to a kind of modernism that had little in common with modernism in its origin. The talk included artists and schools like Ingres, Courbet, Manet and the Pre-Raphaelites. His views are extremely topical as reassessment of representational art especially from the 18th and 19th centuries is overdue.

As I left by train I was reminded of the words of the poet Winifred M. Letts from ‘The Spires of Oxford (Seen from the Train)’ where, in 1917, she wrote:

‘I SAW the spires of Oxford
As I was passing by,
The gray spires of Oxford
Against a pearl–gray sky.’

The 2014 Oxford Art & Antiques Continuing Professional Development Conference will be based at the Ashmolean Museum, Oxford and is being supported by the professional bodies, SOFAA and NAVA. Lectures will include how to managing projects by the Revd. Canon Ian Gibson, Worcester Porcelain and the Henry Rissik Marshall Collection by leading the authority on Worcester Dinah Reynolds, and East meets West by Dr Clare Pollard, the Head of the Ashmolean Museum’s Japanese Department. Other sessions will include behind the scenes tours of the Ashmolean’s collections and a visit to William Morris’ Kelmscott Manor. To find out more about Rupert’s work in professional development go to www.oxfordconferences.org.

By Revd. Rupert Toovey. Originally published on 14th May 2014 in the West Sussex Gazette.

The Eric James Mellon Studio Pottery Collection at Toovey’s

Lots 1549 to 1597 in our forthcoming auction of British & Continental Ceramics & Glass are from the personal collection of the internationally acclaimed, Sussex-based ceramic artist, painter, printmaker and educator Eric James Mellon, who died on 14th January this year.

1562,1563 — Two Bernard Forrester items from the collection

1564 — Two flower-bricks by Sarah Walton from the collection

Eric was born in Watford, Hertfordshire, in 1925. At the age of 13 he won a place at Watford Technical and Art Institute, where he studied until 1944, also attending weekend classes at Harrow School of Art. From 1944 to 1947 he studied at the Central School of Arts and Crafts, London. In the early 1950s he set up an artistic community at Hillesden, Buckinghamshire, with fellow artists Derek Davis, John Clarke, Mary Mansfield, Ruth Lambert and his wife-to-be, Martina Thomas. Eric married Martina in 1956 and they moved to Bognor Regis, West Sussex. He set up his pottery at their home in 1958 and there he worked for the next fifty-six years. Always an enthusiastic and generous teacher, Eric ran summer art schools for some thirty years in Cornwall and at Slindon College, West Sussex, where he was head of art for twenty years. Eric Mellon’s work has been exhibited around the world and is held in many public collections, including the Victoria & Albert Museum, London, and Pallant House Gallery, Chichester.

The collection includes two Pablo Picasso white earthenware dishes, and works by Josse Davis, Kitty Shepherd, Ursula Mommens, Bernard Forrester, Seth Cardew, Phil Rogers, Clare Sutcliffe, Yolande Beer, Denis Moore and others.

17th Century Silver Footed Salver from England’s Silver Age

A James II silver chinoiserie-decorated footed salver by Benjamin Yate, London 1688, to be sold in Toovey’s specialist silver auction, estimate £30,000-50,000

‘Legatio Batavica ad Magnum Tartariae Chamum Sungteium…’ by Jan Nieuhoff, circa 1668

Sussex found herself at the centre of the political upheavals of the 17th Century as Charles II escaped to France through the port of Shoreham, closely pursued by Oliver Cromwell’s forces.

The last quarter of the 17th century in England witnessed a revival of interest in silver objects. During the period of Oliver Cromwell’s Commonwealth, much silver was melted down for currency. Charles II’s restoration in 1660 was marked by a renewed sense of security, which resulted in both royalty and nobility indulging their passion for silver during what has sometimes been termed ‘England’s Silver Age’.

The silver footed salver or tazza illustrated, dating from the reign of James II, Charles’ brother and successor to the throne, was discovered by Toovey’s specialist valuer William Rowsell. “I found the salver amongst a collection of modest silver-plated items, brought in to our salerooms on one of our regular valuation days,” William comments. “It’s always exciting when you come across something wonderful and unexpected in a bag! The owner did not even realise it was silver, let alone an important piece.” The footed salver was brought in by a gentleman dealing with items collected by his late father, who had been an antiques dealer in the middle part of the 20th century. It was made by silversmith Benjamin Yate and assayed in London in 1688. Subsequent research confirmed the rarity of the flat-chased decoration featuring Chinese gentlemen, birds and foliage, punched into the silver in dots and lines.

The fashion for all things Chinese came from the influence of oriental items brought back by the Dutch and British East India companies. These fanciful chinoiserie vignettes would have been drawn from the artist’s imagination, rather than from any actual first-hand visual recollection of China and its people. The book ‘Legatio Batavica ad Magnum Tartariae Chamum Sungteium…’ by Jan Nieuhoff was first published in Amsterdam in 1668. This book is thought by silver historians to be the likely inspiration for much of the flat-chased chinoiserie decoration of silver from this period. The book’s stylistic influence can be seen in the plate from a copy of this volume sold in a Toovey’s specialist auction for £850.

Chinoiserie decoration on silver is a particularly English phenomenon and was mostly produced between the 1670s and 1690s. The strong similarity of figures, fauna and flora on known silver examples have led academics to question whether they may all be by a single craftsman. This form of decoration ends suddenly in 1688. It remains a mystery whether this was because of the craftsman’s death or a sudden change in taste caused by the overthrow of James II that year in the ‘Glorious Revolution’, when William of Orange invaded England.

The James II silver footed tazza will be offered as Lot 350 with an estimate of £30,000-£50,000 in Toovey’s specialist silver auction on Wednesday 21st May 2014, commencing at 1pm.

By Revd. Rupert Toovey. Originally published on 7th May 2014 in the West Sussex Gazette.

St Mary’s House, Bramber, Sussex

St Mary’s, Bramber, by Anthony Capo Bianco — St Mary’s, Bramber, photograph by Anthony Capo Bianco

With the exception of our churches, few buildings in Sussex reflect the rich tapestry of our county’s history over almost nine hundred years as well as St Mary’s House, Bramber.

Philip de Braose entered Jerusalem in 1099 to open up the Holy Places to Christian pilgrims. Out of this first crusade the Order of Knights of the Temple of Jerusalem was founded and on Philip’s death in 1125 his widow gave five acres of land to the Knights Templar. The house built there passed to the monks of Sele, whose parent abbey was in Samur, France. Despite the numerous pilgrims journeying on the routes to centres like Canterbury and Santiago de Compostela, by 1320 this monastic inn had fallen into disrepair. In about 1470 the Bishop of Winchester, William of Waynflete, built a new chapel house around a galleried courtyard. The origins of St Mary’s House, as we know it, are to be found in Waynflete’s work.

St Marys Bramber — Peter Thorogood and Roger Linton at the front of St Mary’s, Bramber

The fortunes of St Mary’s have continued to ebb and flow over time but this beautiful house and its grounds seem to have always found passionate and generous custodians at just the right time. In the 20th century St Mary’s found herself once again in disrepair and in 1941 was requisitioned by the Ministry of Defence to house soldiers, including the men from the Royal Canadian Artillery. In 1944 St Mary’s was put up for auction at the Old Ship Hotel, Brighton. By chance, Miss Dorothy Ellis spotted the advert and, against the advice of friends, determined to attend the sale. Miss Ellis was successful in her bidding, preventing a local builder from acquiring St Mary’s to demolish the house for her timbers! Miss Ellis did all in her power to preserve St Mary’s and ensured that it became Grade I listed.

In 1984 St Mary’s, yet again in some disrepair, found herself up for sale once more. On this occasion the house captured the imaginations of her current custodians and patrons, Peter Thorogood and Roger Linton, who purchased St Mary’s with the express wish to keep it open to the public. Their different gifts have blessed St Mary’s. Peter brought his experience at the British Council and his gifts as a writer and researcher to the task of preserving St Mary’s. Roger, with a background in design seeded at the Royal College of Art, brought his gifts as a conservator and set about restoring the property and designing the gardens. Peter’s love of music and theatre are given expression in the program of concerts and theatre which are at the heart of St Mary’s life.

These generous custodians have always wanted to share St Mary’s with others and this is reflected in the extraordinary community of gifted volunteers and Friends of St Mary’s, who have joined with Peter and Roger in their work. “They are our St Mary’s family,” Peter reflects.

St Marys Bramber Drawing Room — The Drawing Room, furnished with Peter’s and Roger’s own furniture and memories

It is quickly apparent that Peter and Roger are rooted in this place. Peter says, “We were both fascinated by timber-framed houses, even as boys.” Roger interjects, “We both knew this house as boys, thanks to our parents. I used to visit with my father, a Methodist minister, when we went to Steyning, which was part of his circuit.” I comment that there is a real quality of calling and vocation apparent in their life and work at St Mary’s. Peter’s face breaks into a smile and he replies, “Yes, calling and vocation in looking after the house, this place, its history and the people St Mary’s gathers. It’s always been for the benefit of others, the public, as well as ourselves.”

The Painted Room St Marys Bramber — The Painted Room with trompe l’oeil panel believed to date from Tudor times. The panels have landscape and sea-battle vignettes. Note also the wonderful 16th century ‘Nonsuch chest’, marquetry-inlaid with architectural panels

Although there is a grandeur to this wonderful old house, it is very much a home, informed by the passions and interests of Peter Thorogood and Roger Linton. They have not only preserved and restored this important landmark in the history of Sussex but also kept it alive, inspiring a team of volunteers and friends to join them in their adventure. Peter and Roger have a deep sense of dedication to this place and their vision to share St Mary’s with all of us. It has become their lives over the past thirty years and they deserve our thanks. Whether visiting for the first time or returning to an old friend, as I often do, St Mary’s has a particular gift of taking us out of the business of our own lives and allowing us to see ourselves in that broad procession of human history of which Sussex has so often been at the centre. St Mary’s House and Gardens opens to the public for the 2014 season this coming Sunday afternoon, 4th May, from 2pm to 6pm. For further details visit www.stmarysbramber.co.uk.

By Revd. Rupert Toovey. Originally published on 30th April 2014 in the West Sussex Gazette.

Scarce James II Silver Footed Salver at Toovey’s

James II Silver Chinoiserie Footed Salver at Toovey's Auction — James II Silver Chinoiserie Footed Salver to be offered at Toovey's Auction

Toovey’s forthcoming Specialist Sale of Silver on Wednesday 21st May 2014 includes a James II silver footed salver or tazza, flat-chased with a chinoiserie scene. This salver measures 34cm in diameter and is among the largest of its type. It is hallmarked for London 1688 by Benjamin Yate and carries a pre-sale estimate of £30,000-50,000.

Hallmarks on James II Tazza — Hallmarks on James II Salver

Contextually, this piece was produced just twenty-two years after the Great Fire of London, following which an estimated four fifths of the city had to be rebuilt and, more importantly, countless homes refurnished. This is only five years after the English East India Company nearly went bankrupt after a ferocious price war with the Dutch East India Company (Vereenigde Oostindische Compagnie) over market share. It is also the same year as the so-called ‘Glorious Revolution’, with Prince William of Orange arriving with his army in November 1688. The footed salver was created during a period often referred to as England’s ‘Silver Age’. The higher production and quality of the pieces produced at the time ensure that items from the last quarter of the seventeenth century survive in surprisingly large numbers, spared from the melting pot for over four centuries. The indulgence in the precious metal of the era was a reaction to and a celebration after the uncertain times preceding the reign of Charles II.

The influence of items originally imported from Asia by the Dutch East India Company had a huge impact. The fashion for anything Chinese swept across Europe, leaving a disparity between supply and demand. Manufacturers producing faux Chinese or ‘chinoiserie’ designs on pieces, including furniture and ceramics, became increasingly common. This piece is scarce because of its ornament; it is in stark contrast to the abundant embossed decoration more typical of the period. This distinctive chinoiserie decoration on silver is largely considered to have been undertaken at a single workshop between 1680 and 1688. It is speculated that only a few hundred pieces would have been decorated in this particular chinoiserie style. Perhaps the craftsman died, which would explain the small numbers and the distinct cut-off at the same date as this salver. Flat-chasing resembles the appearance of engraving but its creation uses the pressure of tools to make the delicate line, rather than digging away at the metal.

Today, it is largely believed that the designs were derived from a book written by Johan Nieuhoff, titled ‘Legatio Batavica Ad Magnum Tartariae Chamum Sungteium…’, first published in Amsterdam in 1668 with over 100 plates, plans and illustrations. It is certain that the decorator of the salver never travelled to Asia and probably used this book as inspiration, because the figures show the same ethnographic inaccuracies as Nieuhoff’s work.

While silver of this date does survive, examples of this type and quality are few and far between and seldom come to auction, unless part of an important silver collection. The consignment of this salver has a different story to tell. It was brought to Toovey’s reception with a few plated toast racks and valuer Will Rowsell recalls that the vendor did not even realize the salver was silver, let alone the importance of the piece. After consulting with Toovey’s silver specialist Tom Rowsell, the two brothers decided further research was required before offering a definitive opinion. Both were confident that the salver had all the indications of being an important piece of silver. The vendor had inherited the item from his father, an antiques dealer active in the middle part of the 20th century, but had never considered its value until recently. When reporting back to the vendor on the telephone, Tom recalls making sure they were sitting down before discussing the pre-sale valuation of £30,000-50,000!

The James II silver footed salver will be offered as Lot 350 in Toovey’s Specialist Sale of Silver on Wednesday 21st May 2014, commencing at 1pm. If you would like to have your silver valued, please contact our offices to discuss your requirements and the best way to proceed. This salver is proof that it is always worth checking an item’s value with the specialists at Toovey’s.