Arts and Crafts for Today’s Home at Toovey’s

Toovey’s Arts and Crafts Specialist, William Rowsell
Toovey’s Arts and Crafts Specialist, William Rowsell

In celebration of the Arts and Crafts Movement Toovey’s will be holding a specialist auction of Arts and Crafts Furniture & Works of Art on Tuesday 8th September 2015.

The Great Exhibition of 1851, housed in Joseph Paxton’s Crystal Palace at Hyde Park, celebrated industry, manufacturing and industrial design. In reaction to the industrial age the Arts and Crafts Movement sought to improve standards of decorative design and revive handicrafts. It stood against the automatic processes involved in mass-production and its social impact. Inspired by the writings of Augustus Pugin, John Ruskin and William Morris, Arts and Crafts design was often based upon a re-interpretation of the Medieval, sometimes incorporating the Celtic with a very English interpretation of the Art Nouveau.

A mid-19th century Gothic Revival walnut chair designed by Pugin
A mid-19th century Gothic Revival walnut chair designed by Pugin

The specialist in charge of this Arts and Crafts sale is William Rowsell. I am excited to discover a walnut chair designed by Pugin already consigned for the auction. William says “Pugin worked as an architect and designer. He was a passionate advocate of the Gothic Revival style which he famously applied to the House of Commons. You can see the influence of the Gothic in the stretchers and mouldings of this chair.” In the 1830s and 1840s Pugin published books on furniture decoration as well as architecture. William continues “Most of Pugin’s furniture was made for the houses which he designed.” This remarkable chair carries an estimate of £300-500.

A Liberty & Co Tudric pewter mantel timepiece, designed by Archibald Knox, estimate £2000-3000
A Liberty & Co Tudric pewter mantel timepiece, designed by Archibald Knox, estimate £2000-3000

My eye is taken by a Liberty & Co Tudric mantel timepiece. Liberty was owned and run by Sir Arthur Lasenby, a leading figure in the English Art Nouveau movement. In 1903 a new type of pewter emerged which Liberty called Tudric. It contained a high proportion of silver in the alloy. Tudric objects were made by the firm William Hair Haseler in Birmingham. William Rowsell smiles enthusiastically as he says “These Tudric designs re-interpret the Celtic style incorporating the Art Nouveau as well. The use of blue and turquoise enamel cabochons, like on the dial of this clock, is outstanding.” Tudric pieces of this quality are prized by collectors and William explains that this is reflected in the presale estimate of £2000-3000.

A pair of Leeds Fireclay Company Lefco ware jardinières
A pair of Leeds Fireclay Company Lefco ware jardinières

Also entered for auction are the pair of early 20th century Leeds Fireclay Company Lefco ware stoneware jardinières which would grace any garden with their Art Nouveau naturalistic decoration. They carry an estimate of £600-900.

To my eye the English Art Nouveau and Arts and Crafts Movement combines beauty and purpose. It was considered progressive in its own time but the influences of the simple pre-industrial cottage can be noted.

The simplicity of an Arts and Crafts interior entered into, and influenced, the spirit of much 20th century design. Nevertheless these interiors were comfortable and gathering. The clean architectural lines of Arts and Crafts furniture and works of art were complimented by the use of rich colours in the fabrics, enamels, glazed ceramics, silver and glass. The quality of design speaks to our contemporary tastes.

Entries for Toovey’s specialist auction of Arts and Crafts Furniture and Works of Art on Tuesday 8th September 2015 are currently being invited. William Rowsell will be delighted to offer free advice on your Arts and Crafts furniture and objects whether you are considering selling or buying. Telephone Toovey’s on 01903 891955 to arrange an appointment.

Revd. Rupert Toovey. Originally published on 3rd June 2015 in the West Sussex Gazette.

Standen and its Textiles

The Drawing Room at Standen
The Drawing Room at Standen

It is a beautiful bright spring day as I approach the National Trust property, Standen, near East Grinstead in West Sussex. The dappled light falls upon the narrow drive through the canopy of trees, the vista opens as you arrive at the house. I have come to see Standen’s latest exhibition, ‘Medieval to Morris’ which explores the history of embroidery.

Standen is a fine example of a late 19th century Arts and Crafts Movement home. It combines the talents of architect, Philip Webb with an interior alive with the rich textiles and wallpapers of the designer, craftsman and poet, William Morris. Webb and Morris were famously close friends.

Standen was built between 1892 and 1894 for James and Margaret Beale. James was a successful and wealthy London solicitor. They chose the architect Philip Webb to design and oversee the project.

Ben Dale, House Manager at Standen
Ben Dale, House Manager at Standen

The house manager, Ben Dale, comes to meet me. Ben is a social historian whose passion for Standen is infectious. As we tour the house together he tells the story of this remarkable place through the objects, house and gardens. I comment on the unity of design which meets your eye in every room. Ben responds “Everything was designed by Webb for a reason. It’s a shining example of the Arts and Crafts. He put great thought into how the rooms would be used with a real attention to detail.”

‘Artichoke’, a design by William Morris
‘Artichoke’, a design by William Morris

As you arrive in the Drawing Room you can imagine it as a family setting with the Beale’s using it. The easy chairs are mostly by Morris & Co. The settee was probably designed by Agnes and Rhoda Garrett. The Garrets set up their own ‘Art Decoration’ business in 1875, working in the Morris taste. They lived together at Firs Cottage in Rustington. I am interested how important the textiles and carpet are to the overall aesthetic of the room. Ben explains “Many of the wall-hangings were made by Margaret Beale. She didn’t like to have idle hands which is why she embroidered with her daughters. It was a very social thing which they did together.” The hanging beside the settee was worked by Margaret Beale. This ‘Vine’ pattern was first designed by Morris for wallpaper in 1873. Margaret started work on the panel in 1920 and it took six years to complete.

The carpet, designed by J. H. Dearle is particularly fine. These hand knotted wool carpets were manufactured at Morris & Co’s Merton Abbey workshops.

Standen volunteer and curator of ‘Medieval to Morris’, Sally Roberson
Standen volunteer and curator of ‘Medieval to Morris’, Sally Roberson

Ben introduces me to Sally Roberson who is a volunteer at Standen and curator of their current exhibition, ‘Medieval to Morris’, which explores the history of embroidery. Sally expertly leads me around this excellent exhibition which tells the story of embroidery from medieval times to the current day. Examples of the stitches and techniques used over the centuries reveal the art of the embroiderer. It provides context and insight to the remarkable collection of William Morris designed embroidery at Standen. I comment on how I am fascinated that so many of the embroidered hangings and panels were worked by Margaret Beale and her family. Sally responds “Almost all of the panels were produced from kits. The patterns were printed on linen.”

I have always been struck by William Morris’ genius for flat patterns and his remarkable understanding of the relationships between natural forms, the curl of a leaf, a flower and its stem. I am drawn to an ‘Artichoke’ pattern panel embroidered by Margaret Beale and her three eldest daughters, from a design by William Morris, between 1894 and 1896. Sally says “It is stitched in silks which give a richness and sheen which wool would not.” Flowers and patterns were obviously as important to Margaret as they were to Morris. Sally remarks “Mrs Beale was a woman obsessed with gardening and embroidery, one informed the other.”

It has been wonderful to visit Standen anew and to see it through the eyes of Ben Dale and Sally Roberson. The exhibition ‘Medieval to Morris’ runs until the 26th July 2015. For more information on Standen House and Gardens, West Hoathly Road, East Grinstead, West Sussex, RH19 4NE visit their website by clicking here or telephone 01342 323029.

Revd. Rupert Toovey. Originally published on 27th May 2015 in the West Sussex Gazette

English Arts & Crafts ~ Inspired by the Garden

Archibald Knox for Liberty & Co
A red earthenware jardinière on stand, designed by Archibald Knox for Liberty & Co

As September progresses, we look to the change of seasons and we have been blessed by a last and precious glimpse of summer before autumn comes. Many of us will be out in our gardens this weekend preparing for autumn, pruning back shrubs and tidying borders. As the ground lies fallow, the structure and design of our gardens holds its own delights. At the heart of these designs architectural features are often to be found: jardinières, sundials and pots. In the late nineteenth and early part of the twentieth centuries a very British expression was given to the Art Nouveau through the Arts and Crafts movement.

Among the leading exponents of the Arts and Crafts taste was Liberty & Co. Its founder, Arthur Lasenby Liberty, built the Liberty brand by employing some of the country’s leading designers, though he insisted that they work anonymously. One of these designers was Archibald Knox, who joined Liberty & Co in 1899. Knox was the creative force behind Liberty’s Celtic Cymric and Tudric designs, worked in silver and pewter. In addition to metalwork and jewellery, Knox designed terracotta garden ornaments, carpets, wallpaper and fabrics for Liberty & Co, displaying virtuosity across all of these disciplines.

A pot of typical Compton design
A pot of typical Compton design

Another notable designer of garden pottery in the Celtic style was Mary Seton Watts. In 1900 she founded The Compton Potters’ Arts Guild. Inspired by the thinking of John Ruskin and William Morris, the Guild sought to celebrate and enable craftsmen through their creative handiwork. Mary’s Compton Pottery quickly became a successful business and it continued to prosper until 1955. The Arts and Crafts gallery, designed specifically to house the work of her husband, George Frederic Watts, was designed by Christopher Turnor and opened in 1904. It also served as a hostel for Mary Seton Watts’ potters. The Watts Gallery in Compton, Surrey, remains open to visitors today and, as well as exhibiting examples of G.F. Watts’ art, it houses over two hundred examples of Compton pottery.

My first single-owner collection and country house sale at Toovey’s was held at Little Thakeham, the exquisite Arts and Crafts home designed by the renowned architect Sir Edwin Lutyens in 1902. The contents of the sale reflected the exceptional eye, particular taste and sensitivity to the stylistic quality and period of this important house of its then custodians, my late friend Tim Ractliff and his wife Pauline. Tim and Pauline loved the house and its gardens, preserving and sharing their home as one of the country’s leading country house hotels. Once sold, Little Thakeham retired again from the public gaze and it remains a very private family home.

A Compton Pottery sundial
A Compton Pottery sundial

The garden effects in the auction included the Liberty & Co pottery jardinière illustrated here, which was designed by Archibald Knox. It added focus to the formal garden. The bowl and stem were typically decorated in relief with a Celtic knot design. Today a jardinière of this quality and design would potentially realise in excess of £5000. The lavender-filled pot also shown is a famous Compton design and one which is still reproduced today. Displaying Mary Seton Watts’ use of Art Nouveau design is the terracotta sundial. Although at the time there was no record of this design being from the Compton Pottery, it can be attributed to Compton by comparing the decorative motif on its stem with a similar one used on a known birdbath from the pottery. Today, an example like this would carry a pre-auction estimate of £3000-5000.

We British remain pots about pots, as illustrated by their values. They provide form and focus to a garden. Charming examples can be bought for a few hundred pounds, while the finest collectors’ pieces achieve thousands at auction. As you tidy your garden for the onset of autumn and winter, perhaps take time to stop and stare and imagine if a pot might work for you!

By Revd. Rupert Toovey. Originally published on 11th September 2013 in the West Sussex Gazette.