Toys, Planes and Automobiles

A Corgi Toys No. 261 James Bond's Aston Martin DB5 with diorama box, two bandits, secret instructions and envelope
A Corgi Toys No. 261 James Bond’s Aston Martin DB5 with diorama box, two bandits, secret instructions and envelope

As Christmas approaches, across the county trees are brought in, cakes iced, turkeys ordered and Carols sung. Parents search toy shops and online to find this year’s must have toy. The excitement of receiving a new toy at Christmas has never changed over the generations.

This week I’m in the company of Chris Gale. We have been friends and worked together for some 32 years. Chris, a talented valuer and auctioneer, is also a gifted specialist in collectable toys.

Alongside the Queen’s Christmas message many families will have gathered to watch the Christmas James Bond film.

Our conversation turns to Aston Martins and James Bond. Chris reminisces and says “I saw Goldfinger at the old ABC cinema in Horsham when I was seven or eight years old. A friend of mine had a Corgi Toys James Bond Aston Martin DB5 and I managed to lose the bandit from the ejector seat.”

I remark that beyond their aesthetic appeal people collect toys because they are so evocative of childhood memories, Chris agrees.

On the shelves of the toy department is a Corgi Toys No. 261 James Bond’s Aston Martin DB5 with its diorama box, two bandits and secret instructions which has just sold for £130 in Toovey’s Christmas Toy sale. Chris explains “It was released in October 1965 just over a year after the film Goldfinger, starring Sean Connery and the Aston Martin DB5, was released. The reason for the gold finish on the car was that whilst Corgi had gold paint the silver hadn’t been developed. They sold more than 100,000 in only the first few weeks and they made nearly four million of them.”

Chris reveals how Corgi Toys was owned by Mettoy. It came into being in 1956. The Corgi range was produced in Swansea, hence the Welsh Corgi dog logo and name.

A boxed Britains No. 1656 Railton New Wonder Car with separate chassis
A boxed Britains No. 1656 Railton New Wonder Car with separate chassis

But children of earlier generations also delighted in toy cars and planes. Chris shows me a beautifully made Britains No. 1656 Railton New Wonder Car with separate chassis and its original box which made £220. Chris puts the toy into context “John Cobb’s Railton won the Land Speed Record three times over many years in competition with Captain George Eyston’s Thunderbird.”

Seven Dinky Toys post-war model racing cars
Seven Dinky Toys post-war model racing cars

Chris shows me a collection of Dinky post-war racing cars which have just realised £220 and comments “After the Second World War people wanted to get back to motor racing and Dinky toys were not far behind them with this range of model racing cars. Here you have some of the most famous racing marques of the era including a Cooper-Bristol, an HWM, a Ferrari, an Alfa Romeo, a Talbot Lago and a Lotus.”

A Dinky Toys No. 704 Avro York air liner 'G-AGJC'
A Dinky Toys No. 704 Avro York air liner ‘G-AGJC’

Finally we turn to the Dinky Toys No. 704 Avro York air liner ‘G-AGJC’ from 1946 which, with its box, made £75. Chris describes how this plane was part of a large range produced by Dinky Meccano before and after the war.

Chris Gale already has some exciting entries for his next specialist Toy sale to be held at Toovey’s on Tuesday 21st March 2017. If you would like Chris’ advice email auctions@tooveys.com or telephone 01903 891955.

No doubt these toys are going to make some grown-up boys and girls very happy this Christmas. Best of luck with your Christmas shopping!

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.

Christmas and New Year opening hours at Toovey’s 2016/2017

Please note that we close for the Christmas period at 5.00pm on Thursday 15th December and reopen at 10.00am on Thursday 29th December for pre-sale viewing of our End of Year Sale on 30th December.

Note: All enquiries regarding this sale will be responded to on our return.

After the sale day, we are closed from New Year’s Eve Saturday 31st December to Monday 2nd January.

We return to our normal opening hours from Tuesday 3rd January:
Monday to Friday 10am to 3pm for valuations and 9am to 5pm for all other enquiries.

The International Appeal of Chinese Blue and White Porcelain

A £30,000 Chinese Kangxi period blue and white porcelain brush pot (bitong), finely painted with a continuous scene of poets and attendants indulging in scholarly pursuits
A £30,000 Chinese Kangxi period blue and white porcelain brush pot (bitong), finely painted with a continuous scene of poets and attendants indulging in scholarly pursuits

A remarkable selection of Chinese blue and white porcelain dating from the late 16th to the early 18th century has just been sold at auction by Toovey’s in their December specialist Asian Art sale. This important collection was bought in the 1960s and 1970s in London. Its sale attracted international attention.

A Chinese blue and white Kraak porcelain dish, late Ming dynasty, from the Wanli period
A Chinese blue and white Kraak porcelain dish, late Ming dynasty, from the Wanli period

Chinese blue and white has from the 16th century appealed to an international market. The decorative designs of late 16th century blue and white porcelain had been characterized by panels filled with flowers, precious objects and Buddhistic emblems in often repeated patterns, contained within compartmentalized borders. These motifs can be seen on the Wanli period Kraak porcelain dish seen here.

The Manchu threat meant that money was diverted to the Ming army which, together with the luxury and corruption of the Court of Wanli, deprived the kilns at Jingdezhen of imperial patronage. This had a liberating effect on the Jingdezhen potters and by the time of the death of the Ming Emperor, Wanli (1572-1620) a noticeable shift in the design and decoration of Chinese porcelain had occurred. This new and exceptional work would span the late Ming and early Qing Dynasties and is therefore termed the ‘Transitional period’. The Transitional style was more painterly than anything that had gone before. It is filled with movement; the figures appear natural and at ease. Perhaps it was influenced by the tastes of the Dutch merchants for whom much of this blue and white porcelain was produced.

A £37,000 rare Chinese Transitional period, mid-17th Century, blue and white porcelain brush pot (bitong), decorated with horses and three female acrobat riders
A £37,000 rare Chinese Transitional period, mid-17th Century, blue and white porcelain brush pot (bitong), decorated with horses and three female acrobat riders

The decoration of Transitional period porcelain typically employs naturalistic themes depicting, beasts, flowers and most especially figure subjects. Figure subjects on Transitional wares are often united by a narrative following the traditions of Chinese opera which incorporated music, song, dance and acrobatics as well as literary art forms. The finely painted ‘bitong’ or brush pot illustrated dates from the mid-17th century. It is a fine example of Transitional period porcelain, decorated with a continuous scene depicting horses and three female acrobat riders galloping through a woodland landscape with trees, rocks and mist. This rare object, measuring 22cm in height, realised £37,000 in Toovey’s December specialist Asian Art auction.

The Transitional aesthetic would continue into the first twenty years of the reign of the Qing Emperor, Kangxi (1662-1722). Kangxi was the fourth and arguably the most famous Emperor of the Qing Dynasty. His reign was marked by long-term stability and a period of relative prosperity.

The Kangxi period is renowned in the history of blue and white porcelain. In 1683 the Imperial Court appointed a director of the factory in Jingdezhen. The restoration of court patronage raised standards even further.

The exceptional quality of the painting and clear cobalt blue distinguishes Kangxi blue and white porcelain and is apparent in the decoration of the brush pot seen here. Our eyes are met by a continuous scene reminiscent of the Transitional with poets and attendants indulging in scholarly pursuits. Some sit at a table playing Weiqi whilst a lute is played. Two figures and an attendant look on as a scholar writes. It fetched £30,000 at Toovey’s reflecting the international appeal and technical brilliance of Kangxi blue and white porcelain, which many ceramic historians believe has never been surpassed.

If you would like more information or advice on your Chinese porcelain and works of art email auctions@tooveys.com or telephone Toovey’s specialist, Tom Rowsell, on 01903 891955.

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.

A Contemporary Renaissance in British Realist Painting

Peter Brown – ‘View of Chichester Cathedral’, oil on canvas, signed and dated 2003
Peter Brown – ‘View of Chichester Cathedral’, oil on canvas, signed and dated 2003

Contemporary British Realist painters are leading a renaissance in figurative and landscape art. Many of them are members of the New English Art Club.

The New English Art Club was founded in 1886 as an exhibiting society for artists influenced by French Impressionism, whose work was rejected by the then conservative Royal Academy. Artists included James Abbott McNeill Whistler, Walter Sickert, John Singer Sargent and Philip Wilson Steer.

Today members of the New English Art Club continue to paint in a realistic, figurative style.

Amongst the youngest of these is Peter Brown (b. 1967) who was elected to membership in 1998. He paints street scenes and city landscapes directly from his subjects, like the winter view of Chichester Cathedral in West Sussex. He works ‘en plein air’ in all weathers drawing inspiration and energy from his engagement with passers-by.

Bernard Dunstan - 'Going to Bed', oil on board, signed with initials
Bernard Dunstan - 'Going to Bed', oil on board, signed with initials

Bernard Dunstan (b.1920) was elected to the New English Art Club in 1946. He studied firstly at the Byham Shaw School of Art and then at the Slade School of Fine Art between 1939 and 1941. He is best known for his studies of figures in interiors, especially nudes, which he paints in the Anglo-French tradition of the late 19th and early 20th centuries. The Slade’s emphasis on swift, decisive lines drawn from the model can be discerned in the freedom and movement of light in Dunstan’s oil, ‘Going to Bed’.

Ken Howard - 'Newlyn High Water', oil on canvas-board, dated 2014
Ken Howard - 'Newlyn High Water', oil on canvas-board, dated 2014

The artist Ken Howard (b. 1932) is often quoted as saying “For me painting is about three things…revelation, communication and celebration.” He studied at the Hornsey School of Art and was elected as a member of the New English Art Club in 1962, serving as President between 1998 and 2003. His work combines keen observation with fine draughtsmanship and tonal precision. Light is the overarching inspiration in his paintings as can be seen in the oil ‘Newlyn High Water’. His subjects include Venice, London, Cornwall and Studio nudes.

Like all these artists, Ken Howard allows us to glimpse something beyond our immediate perception by using the particular vocabulary of his painting and style to communicate his vision of the world around him. In this he uplifts us, celebrating human dignity and a sense of wonder in nature.

For me there is a subtle irony in the apparent role reversal whereby today the Royal Academy embraces the abstract and contemporary whilst the New English Art Club is overseeing a renaissance in contemporary realism and draughtsmanship amongst this spirited and talented group of artists.

Prices for these artists range from the low thousands into the tens of thousands of pounds at auction, which clearly affirms collectors’ delight in Contemporary British Realist art.

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.

The Timeless Appeal of Boulle Marquetry

A mid-19th century French Louis XVI revival Boulle marquetry cabinet
A mid-19th century French Louis XVI revival Boulle marquetry cabinet

Boulle marquetry is named after the French ébéniste André-Charles Boulle who perfected the use of brass and tortoiseshell marquetry.

Detail of a mid-19th century French Louis XVI revival red tortoiseshell Boulle marquetry cabinet door
Detail of a mid-19th century French Louis XVI revival red tortoiseshell Boulle marquetry cabinet door

André-Charles Boulle was the most celebrated of Louis XVI’s furniture-makers and designers. Today, only a very few attributable examples of his work survive. The costly magnificence of his furniture perfectly matched the court at Versailles and he was appointed ‘ébéneste et marqueteur du roi’ in 1672. The term ébéniste’ refers to a French cabinet maker, as distinct from a Menuisier or joiner.

To create Boulle marquetry, sheets of brass and tortoiseshell are glued together. These sheets are then cut into fretwork designs. The cut layers can then be combined like pieces from a jigsaw puzzle. Where the decorative ground is tortoiseshell inlaid with brass it is termed ‘first-part’; whereas a brass ground with tortoiseshell inlay is known as ‘counter-part’.

To increase the richness of effect the brass was often engraved. The surfaces of such a piece of furniture, where it is not decorated with Boulle marquetry, are typically veneered in ebony. Mother-of-pearl and pewter were sometimes employed in these decorative designs.

In the 19th century Boulle marquetry furniture was widely manufactured in France and England. It was Napoléon III’s consort, the Empress Eugénie, who inspired a revival in Louis XVI taste. This Neoclassical style was expressed in furniture of the very highest quality. The mid-19th century French side-cabinet illustrated is a fine example. Its elaborate ‘first-part’ red tortoiseshell and brass Boulle marquetry and gilt-bronze mounts are typical of the period. The sumptuous door has a gilt-bronze oval plaque beautifully cast with a chariot, classical maidens and cherubs which is framed by a stiff leaf and berry border beneath a delicate ribbon surmount. The English call bronze gilded with ground gold Ormolu, the term is derived from the French ‘bronze doré d’or moulu’. The elegant flower and leaf brass inlay is delicately engraved – resplendent against the red tortoiseshell ground. The cabinet with this rich panel was beautifully crafted and realised £4400 at Toovey’s.

A mid-19th century French Louis XVI revival Boulle marquetry centre table
A mid-19th century French Louis XVI revival Boulle marquetry centre table

The large mid-19th century French Louis XVI revival Boulle marquetry centre table was of unusually large proportion, measuring over 7½ feet in length. Its rare size ensured that despite its poor condition the hammer fell at £11,500 in a Toovey’s specialist auction of furniture.

These prices confirm the timeless appeal of the finest examples of Boulle marquetry furniture. If you would like advice or to learn more contact Toovey’s furniture specialist, William Rowsell on 01903 891955.

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.