Objects of Unparalleled Magnificence at the Royal Pavilion

The Saloon © The Royal Pavilion, Brighton/Jim Holden, 2020

This week we are returning to the Royal Pavilion, Brighton where the exhibition ‘A Prince’s Treasure’ is currently on show. It provides a once in a lifetime opportunity to see furniture and works of art, generously loaned by Her Majesty The Queen, displayed as George IV intended in the Pavilion.

We are once again in the company of David Beevers, Keeper of the Royal Pavilion. In The Saloon, the grandest Royal room in the Pavilion, David remarks “Light, the sun and sunflowers are the dominate motifs.”

George IV was self-indulgent, hedonistic, extravagant and self-pitying. He married Mrs Fitzherbert privately and illegally without his father George III’s permission and did not behave well towards Queen Caroline. But he was a charismatic personality.

After Napoleon’s defeat at the Battle of Waterloo in 1815 George felt that his regal magnificence was the embodiment of Britain’s greatness. In 1811 George had boasted that his court would eclipse that of the French Emperor Napoleon I. Throughout his life George was a passionate patron of the arts, and a connoisseur and collector of the furniture, paintings and works of art of France from the period of Louis XIV at Versailles to Napoleon Bonaparte.

David says ‘The Saloon represents the Pavilion style at its confident best…there is a Stateliness. It’s decorated in the royal colours of crimson, silver and gold – this regal space must have provided a remarkable backdrop to the ceremony and drama of George’s reign.”

The Yellow Drawing Room Buckingham Palace, Royal Collection Trust © HM Queen Elizabeth II, 2019.

David draws my attention to the Kylin clock flanked by the Chinese porcelain vases with English gilt-bronze mounts. They were designed to stand together upon the remarkable chimneypiece which has been photographically superimposed to great effect, the original remains in the East Wing of Buckingham Palace. The clock has a later movement by B.L. Vuillamy which is mounted in a 17th century Chinese porcelain bowl above a pair of 18th century Chinese mythical creatures sometimes described as Kylin. David explains that the clock was acquired in France but the gilt-bronze fruit, flower and sunflower motifs were supplied by the bronze manufacturer Samuel Parker to a design by Robert Jones. Robert Jones’ design can also be seen in the gilt-bronze candle sockets which surmount the pair of Chinese export vases.

David describes the pieces from the Royal Collection as “Objects of unparalleled magnificence”.

David Beevers and the Royal Pavilion team, The Royal Collection Trust and the Government Indemnity Office must all be congratulated on the success of this remarkable venture.

George’s collection in the context of The Royal Pavilion, Brighton, provides a unique insight into the royal and aristocratic tastes of the early 19th century. The Chinese porcelain and clocks with their gilt-bronze mounts bring together George’s fascination with the art of 18th/early 19th century France and the exotic creations of the east.

You can book tickets for ‘A Princes’ Treasure’ by visiting www.brightonmuseums.org.uk/royalpavilion and you must treat yourself to the stunning new Guide to The Royal Pavilion – it is beautifully written and produced.

Once in a Lifetime Opportunity at Royal Pavilion Brighton

Royal Pavilion Banqueting Room with fender, mantel clock and serving tables designed by Robert Jones, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2020.

In the first of a series of articles I am exploring a significant and generous loan of objects by Her Majesty The Queen to the Royal Pavilion, Brighton. These important objects will be on display at the Royal Pavilion until the autumn of 2021.

Amongst these are some of the most splendid pieces commissioned by George IV for the Royal Pavilion. The exhibition ‘A Prince’s Treasure’ provides a once in a lifetime opportunity to see this collection in the context of its original setting as George IV would have intended.

This week I am in the company of David Beevers, Keeper of the Royal Pavilion, who has overseen this remarkable collaboration between the Royal Collection Trust and the Royal Pavilion. The loan comprises of more than 120 objects which are on display at the Royal Pavilion for the first time since their removal to London in 1847/48. David explains how Queen Victoria enjoyed her Uncle George IV’s extravagant taste at Brighton.

When Brighton and the building no longer suited Queen Victoria’s family needs it was decided that the Pavilion should be sold and it was assumed that the site would be redeveloped. The fixtures, including fireplaces and wall panels, and the decorative objects, wallpapers and furniture were removed to London where many of them were installed under Prince Albert’s direction in the newly built East Wing at Buckingham Palace.

With remarkable foresight and in an act of enlightened civic patronage the Pavilion was bought and saved for the town by the Brighton Town Commissioners and their Clerk, Lewis Slight.

In 1863 Queen Victoria generously returned a number of important murals and chandeliers. Since then Royal patronage has seen numerous objects returned to the Royal Pavilion, thanks to a series of gifts and loans. In 1955 Her Majesty The Queen returned more than 100 objects on long term loan.
As we enter the Banqueting Room I remark on how the decorative whole is so much more apparent and alive with the loans in place. David agrees saying “Everything speaks – it suddenly starts talking to each other.”

He explains how the designs of Robert Jones can be discerned in the details and overall decorative scheme. Many of the pieces are designed by Jones. As we stand before one of the fireplaces it becomes apparent that the dragon and serpent motifs decorating the steel, brass and gilt-bronze fenders and fire dogs are repeated elsewhere. The legs of the superb rosewood, mahogany and satinwood veneered serving tables, manufactured by Tatham, Bailey and Sanders are delicately carved with gilded dragons. In the overdoor panels, too, carved gilded serpents and dragons are framed beneath arched palmette friezes bringing together the Chinese and Indian styles.

Banqueting Room mantel clock by Vuillamy, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2020

I ask David if he has a favourite piece and he shows me an extraordinary mantel clock saying “This clock reflects the Pavilion style at its confident best.” He describes how the clock was designed by Robert Jones and made by Vuillamy. The Chinese figures echo those painted on the walls. The gilt-bronze foliage was gilded by Fricker and Henderson and seems to allude to an eagle in flight.
Benjamin Lewis Vuillamy was horologist to the Royal family and his work rivalled the French manufacturers. With its enamelled figures and peacock surmount it speaks of George IV’s patronage of the very finest craftsmanship of his age.

‘A Prince’s Treasure’ is an extraordinary exhibition which brings to life the patronage of a Prince and King here in the very heart of Sussex and I am looking forward to revisiting. The generous, intelligent procession through the rooms and the other Covid precautions with ticketed, timed entry has been designed to keep the visitor safe. Visit www.brightonmuseums.org.uk/royalpavilion/ to book your tickets. This is a must see exhibition!

Postcards from Sussex

 

A Sussex postcard titled ‘Steam Roller in Difficulties, Littlehampton, Jan 8, 1914’
A Sussex postcard titled ‘Steam Roller in Difficulties, Littlehampton, Jan 8, 1914’

As you know I love to send and receive postcards at this time of year and this week I am in the company of Toovey’s Director, Nicholas Toovey, who is celebrating another sell out Postcard and Paper Collectables auction. Nicholas says “The stamps, cigarette cards, letters and autographs were all buoyant but it was the postcards that stood out. It’s these collectors’ specialisms which are today’s boom markets.”

He continues “This amazing photographic postcard titled ‘Steam Roller in Difficulties, Littlehampton, Jan 8, 1914’ could have easily been titled ‘And you thought you were having a bad day!’ The scene was described contemporaneously in the Worthing Gazette as ‘a rather startling incident at the junction of Howard-road and Howard-place…the task of lifting the roller out of the hole and placing it on a firm surface again was by no means an easy one, and the operations were the centre of much interest for the greater part of the morning. It was half past two o’clock in the afternoon when the work was completed.’ The postcard sold for £260. It once again highlights that the market for Sussex postcards at Toovey’s salerooms is really buoyant!”

A Sussex postcard titled ‘Accident to Motor Mail Van, Brighton, Aug 25, 1909’
A Sussex postcard titled ‘Accident to Motor Mail Van, Brighton, Aug 25, 1909’

Nicholas draws my attention to another calamity depicted on a postcard, titled ‘Accident to Motor Mail Van, Brighton, Aug 25, 1909’ which realised £95. He says “It shows the mishap that befell the ‘A 8757’ in Preston Road.”
I comment how I loved the early motor racing scene and the people promenading in an album of some 120 Brighton and Hove photographic postcards. Nicholas explains that the album fetched one of the highest prices of the sale when his gavel fell at £1300. He says “The postcards showed many less typical scenes of the seaside town, including scenes of social history and unusual street views.”

Vintage Advertising Postcard for Harris's Sausages
Vintage Advertising Postcard for Harris’s Sausages

I cannot believe that a postcard with the slogan ‘Chief of the Clan MacSausage’ could possibly be connected with Sussex. Nicholas smiles and explains “It’s a colour postcard advertising Harris’s Sausages but on the reverse it has an overprint for Harris’s Sausage Restaurant in West Street, Brighton. He was the self-styled ‘Sausage King’. A colourful character – he was often seen wearing a top hat and evening dress around the London markets. His sons were named ‘Number One’, ‘Number Two’ and ‘Number Three’ which gives a measure of the man.” The postcard sold for £40.

These postcards provide a remarkable visual insight into our social history and it is easy to see why they attract such a strong following.

Nicholas is still inviting entries for Toovey’s next sale of Paper Collectables, featuring postcards, stamps, cigarette cards, autographs, photographs and ephemera which will be held on Tuesday 8th October.

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.

John Piper’s Brighton Aquatints

John Piper – ‘Regency Square from the West Pier’, plate III, circa 1939
John Piper – ‘Regency Square from the West Pier’, plate III, circa 1939

John Piper was one of the leading artists of the 20th century Modern British Art Movement. He worked in the abstract, romantic and classical traditions as a painter, ceramicist, writer, designer and printmaker. Piper’s 1939 illustrations for the book ‘Brighton Aquatints’, have been credited with the revival of the aquatint as a 20th century print medium in Britain.

The book consist of twelve aquatints of Brighton. Two hundred standard copies were printed and a further fifty-five copies were hand-coloured by the artist. The prints were not signed, although Piper did sign and dedicate some copies of the book. The illustrations were printed by the two Alexander brothers who had a basement workshop in Henrietta Street, Covent Garden, London. The watermarks which appear in the paper are irregularly placed and are styled as a hand raised in blessing, a head, said to be that of Christ, and the date 1399.

The process of creating an aquatint involves exposing a plate, usually of copper or zinc, to acid through an applied layer of granulated, melted resin. The acid incises the plate between the granules creating areas of evenly pitted surface. This can be varied by applying additional resin, scraping and burnishing. Different strengths of acids are also employed. When the grains are removed and the plate is printed it results in variations of tone. The effect often resembles watercolours and wash drawings, hence the name Aquatint.

Rooted in the English tradition John Piper’s work often relates to a place, be that a landscape or a building. Piper brings a particular quality of engagement to his subjects. He captures the poetic, his emotional response and thoughts, as well as the essence of the physical reality. These themes and responses belong to the English Romantic tradition. Piper seeks to look beyond what is immediately apparent; to what the artist Paul Nash referred to as the ‘genius loci’, the spirit of the place, ‘a reality more real’.

John Piper - ‘The Royal Pavilion’, plate II, circa 1939
John Piper - ‘The Royal Pavilion’, plate II, circa 1939

John Piper’s ‘Brighton Aquatints’ combine technical innovation with exceptional draughtsmanship, complexity and detail. They are accompanied by a very personal introduction by Lord Alfred Douglas and notes to each image by the artist.

This ‘Piperesque’ view of Brighton re-acquaints us with the familiar. I was in Brighton last week as a sea fret rolled in causing the Brighton Pavilion to shimmer in the bright spring sunlight. The scene was reminiscent of Piper’s view of the ‘The Royal Pavilion’ which remains remarkably unchanged from his 1939 aquatint. In his notes Piper describes the building’s extravagant beauty and the great affection in which it is held.

The Royal Pavilion, Brighton in the spring sun light
The Royal Pavilion, Brighton in the spring sun light

In ‘Regency Square from the West Pier’ we are reminded of a view now lost to us. John Piper describes how the pier appears like a ‘dazzling white meringue, brittle and sweet…florid and grand as anywhere.’ Regency Square is laid out on a gentle slope in the view beyond.

In both these aquatint prints the use of acid at different stages in the process has created the texture of the grass and background. Stopping out varnish repeatedly applied has been used to create the waves and skies.

John Piper wrote quoting Constable ‘Painting is with me but another word for feeling…’ Piper’s ability to use landscapes and buildings as a focus for his emotions has the effect of gifting the world with, what has been described as, ‘a human sensibility’. These qualities are apparent in ‘Brighton Aquatints’. His work gives an extraordinary articulation of the English vision and spirit.

John Piper’s ‘Brighton Aquatints’ rarely comes to the market and so it is with some excitement that I am looking forward to Toovey’s specialist Book sale on Tuesday 21st April, in which a copy, signed by the artist, will be auctioned with a pre-sale estimate of £2000-3000. (View the lot here)

By Revd. Rupert Toovey. Originally published on 15th April 2015 in the West Sussex Gazette.

Life as Art: Olivia Ferrier

Olivia Ferrier detail of 'Soldier Crow'
Detail of 'Soldier Crow', bronze, produced in an edition of 9, by Olivia Ferrier

Many artists invest their work with autobiographical elements; this becomes the artist’s voice that unites their body of work. Olivia Ferrier is an award-winning Brighton-based sculptor working predominantly in bronze. She draws on her own experiences travelling and living around the world to create her work. Nicholas Toovey tells us more

Olivia Ferrier: 'Horse Head', bronze on a reclaimed Sussex sea groin, produced in an edition of 9
'Horse Head' by Olivia Ferrier
Olivia Ferrier: 'Dryad', bronze, produced in an edition of 9
'Dryad' by Olivia Ferrier
Olivia Ferrier: 'Three Crows on a pair of gates', Bronze with gold plate on a teak and iron gate, unique
'Three Crows on a pair of gates' by Olivia Ferrier

Olivia grew up near Powys, Mid Wales. Her professional artistic career started with a Foundation course at Northbrook College, Worthing, followed by a three-year BA (hons) degree in Ceramics from Bath Spa University. A three month residency in India followed at the Sanskrit Kendra where she first was introduced to foundries and casting. During her three years in Australia she began to seriously exhibit and sell her work. A change in circumstances meant that in 2006 she decided to return to Britain and after a summer studying at the Florence sculpture academy she moved back to Wales. On her return she was still interested and curious about metal casting and worked for a local foundry ‘Castle Fine Arts’. The encouraging staff not only educated her but provided her the freedom to experiment out of hours on her own work, gaining techniques in casting, mould-making and patination (a tarnish that forms on the bronze to create various finishes).

In 2008 Olivia decided to move to Brighton, her brother and sister had lived there when she was younger but her siblings had since moved on. Knowing the town she was drawn to the sea and the creative air of the town. Instantly feeling at home in Sussex, Olivia cannot understand why anybody wouldn’t want to live in Brighton, she quips the weather is better in Brighton than in Wales too. Does Sussex inspire her? Olivia is inspired by everything, her eye often catches an otherwise disregarded object or source for a new idea, she purchased pieces of the collapsing West Pier which she hopes to turn into something at a later date. A work in progress is a bronze parrot that will finally be covered in bright spray paints inspired by the graffiti in Brighton’s North Laine. Her work is inspired by her travels and her attention to details that others may not see.

The majority of her work is still cast at ‘Castle Fine Arts’, combining creating the bronzes with visits to her family in Wales. Olivia’s work is chiefly based around figures and animals (predominantly birds) cast in bronze using a lost-wax casting technique in small editions. This allows her to incorporate found or sourced objects into her sculptures, such as feathers, flowers and other textural items. These forms are often skeletal-like as the artist wishes to capture the essence of the animal or bird. ‘Horse Head’, for example, uses castings of tack including a horseshoe to create the finished sculpture. ‘Soldier Crow’ incorporated castings of small army figures and a toy tank to create the overall bird form symbolising the premature loss of life through conflict. Crows are a recurring source of inspiration for the artist, a bird often associated with bad omens in the Western World. Inspired by her travels in India, particularly the holy city of Varanasi, which she describes as a “melting pot where death and life come together”. Her experiences here, created a different and more hopeful attitude towards mortality contrary to the European views of the subject “I have been inspired by the spirituality in India and the belief in the cycle of life, death, life”. These sculptures could be viewed as strange and macabre or, fragile and beautiful; to quote Aristotle “The aim of art is to represent not the outward appearance of things, but their inward significance”.

The sculptor, Olivia Ferrier

As an artist, her work is undoubtedly autobiographical, investing each piece with parts of her life, including her family, travels, reactions, feelings and histories expressed through shapes, forms and symbols. Olivia became a mother for the first time last year and her work will develop in excitingly different ways as a result. Since moving to Brighton her sculpture has been increasingly well-received gaining Olivia the Alec Trianti Special Sculpture Award, Falle Fine Art Award and the Art London Award reinforcing her status as a sculptor of note.

Olivia will be exhibiting new works in a group show with six other Sussex artists at The Gallery, Cork Street, London, between the 31st April and 5th May. Her work can also often be found at Will’s Art Warehouse in Putney, and at The Sculpture Park in Surrey.

For more visit www.oliviaferrier.com

Nicholas’ article was originally published in Sussex Life magazine in April 2012.

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