Rupert Toovey – Page 2 – Toovey’s Blog

Embroidered into the Rich Threads of Sussex History

This week I am visiting Lady Emma Barnard at Parham House and Gardens. As we walk through this wonderful house, I am struck by the quality of the famous needlework in the collection. We come to the Great Chamber and are greeted by the gentle light of this spring afternoon. Lady Emma’s great-grandparents, Clive and Alicia Pearson, bought Parham in 1922 and set about restoring the house and gardens after years of neglect. The Great Chamber was remodelled in 1924 to become Alicia Pearson’s bedroom.

At the heart of the room is the Great Bed. Emma explains: “My great-grandfather, Clive Pearson, purchased the bed from Wroxton Abbey in Oxfordshire and brought it to Parham. It is partly Tudor and probably from the court of Henry VIII.”

The exquisite headboard, backcloth, canopy and bedspread are delicately embroidered with interwoven monograms and fleurs-de-lys within an overall design of flower and leaf tendrils. It is thought that they date from about 1585 and are of French or Italian workmanship. The two sets of curtains, pelmets and valances are also rare. They date from around 1620 and are worked with flame stitch embroidery.

Emma quickly draws my attention to an extraordinary mid-17th-century embroidered panel depicting ‘The Finding of Moses’. She remarks enthusiastically, “My husband, James, and I love this piece. It was a great favourite of Great-aunt Veronica’s too.” Veronica Tritton lived at Parham before Emma and her family.

The scene depicted on this needlework panel is from the Old Testament story in Exodus, chapter 2, in which Pharaoh orders all the newborn Israelite boys to be killed. Moses is hidden by his mother in a cradle amongst the bulrushes of the Nile. Pharaoh’s daughter discovers Moses and brings him up as her son. The story of Moses is one of obedience, leadership and salvation. Lady Emma points to the three women in the scene and exclaims, “Look how surprised they are to find him; they’ve two sets of eyebrows! It’s so finely worked, thirty stitches to the inch, and the details are amazing. Look at the sun with a face, the caterpillar, grasshopper, leopard and even a kingfisher with a fish in its beak. The more you look at it, the more fantastic it is. But those eyebrows, so surprised.” This family favourite is signed with the embroidered initials ‘ML’ and dated ‘1644’.

The embroidery of ‘The Finding of Moses’ at Parham has traditionally been considered to be a christening cushion. The textile specialist and conservator Dr Mary M. Brooks has suggested that this particular scene might reasonably be interpreted as reflecting concerns about political loyalties, issues surrounding royal succession and personal concerns, such as the safe upbringing of male heirs at this time.

These interpretations and the date of the panel, 1644, have a significance for Parham and its history. On 6th January 1644 Arundel Castle was surrendered to Sir William Waller, leader of the Parliamentarians, during the English Civil War. Amongst the prominent ‘hostages’ from the besieged castle, demanded by Waller as part of the treaty of surrender, was Sir Edward Bishopp, 2nd Baronet and owner of Parham. Sir Edward had fought at Winchester, Portsmouth and Arundel for the Royalist cause. He was taken to the Tower of London and heavily fined by the House of Commons.

Returning to the kitchen, we sit drinking tea in this timeless place, looking out over the park and gardens. I am reminded how important objects can be in bringing the common narrative of our island nation’s history to life.

Lady Emma and her family bring such life to Parham through their delight in this place, its history, collections and their desire to share it with others. We are blessed that Parham has such passionate, dedicated and generous custodians.

Parham House and its collections provide a window to our past and our future. Whether you are visiting for the first time or returning, Parham never fails to captivate and delight anew.

Parham House and Gardens are open until the end of September on Wednesdays, Thursdays, Fridays, Sundays and this May Bank Holiday Monday, at 2pm and 12pm respectively, closing at 5pm. For more information go to www.parhaminsussex.co.uk or telephone 01903 742021.

Revd. Rupert Toovey. Originally published on 20th May 2015 in the West Sussex Gazette.

St Mary’s House and Garden

It is a bright spring evening as the Lord-Lieutenant of West Sussex, Mrs Susan Pyper, leads a gathering of friends and supporters at St Mary’s House and gardens, Bramber. We have come together to celebrate thirty years of conservation and restoration led by Peter Thorogood and Roger Linton.

The paths to the house and gardens are lined with primroses, violets and forget-me-nots, proof that spring has finally arrived. Guests include those who have supported Peter and Roger over many years in their desire to preserve and share the delights of St Mary’s House, Bramber.

The house we see today incorporates the surviving wing from the late 15th century when William of Waynflete, the Bishop of Winchester, built a new Chapel House around a galleried courtyard. The house is a good example of the use of close set vertical timbers known as close studding which became widespread in Sussex at that time.

The vision, dedication, hard work and generosity of Peter Thorogood and Roger Linton has permanently written their names into the story and history of this grand old house and her gardens. They have gathered a community of people around the house and gardens who have also offered their resources, time and talents to this project.

Susan Pyper at St Mary's House Bramber — Mrs Susan Pyper, The Lord-Lieutenant of West Sussex, presenting Peter Thorogood, MBE, and Roger Linton, MBE, with a plaque commemorating 30 years of restoration and conservation at St Mary’s House and gardens

In the wonderful music room, with its large windows and gothic revival fireplace, Susan Pyper, The Lord-Lieutenant of West Sussex, speaks affectionately of the pleasure of returning “to be amongst friends”. She thanks the Friends of St Mary’s House and all those who had played their part in this evolving project as supporters and donors. Turning her attention to Peter and Roger she praises them saying that their “generosity of spirit knows no bounds.” Mrs Pyper acknowledges St Mary’s House and gardens as “a jewel in the crown of West Sussex with an international reputation.” The charitable trust, set up to support the house and gardens for the public’s benefit, has given an Acer Palmatum de shojo. Susan Pyper presents Peter and Roger with a commemorative plaque to accompany the tree and occasion.

Peter Thorogood responds saying that St Mary’s, Bramber is “all about people”. He notes the “friendly atmosphere and generosity” of all who had been involved in the house and gardens. These sentiments are echoed by Roger Linton who, reflecting on the visitors before the reception, remarks upon how he gains such “pleasure from their pleasure”.

The Terrace Garden viewed through a wide stone arch

These generous custodians have always wanted to share St Mary’s with others and it is their intention that St Mary’s will remain accessible and at the heart of the local community for future generations.

Peter and Roger’s work and aspirations give expression to a deep sense of calling and vocation to this place and their vision to share St Mary’s with all of us. These ambitions have been at the heart of their lives and work. They richly deserve our thanks.

Whether visiting for the first time or returning to an old friend, as I often do, St Mary’s, Bramber never fails to delight with its architecture, collections, gardens and sense of history. St Mary’s House and gardens opens to the public for the 2015 season this coming Bank Holiday Sunday afternoon, 3rd May, 2-6pm. For further details go to www.stmarysbramber.co.uk or telephone 01903 816205.

By Revd. Rupert Toovey. Originally published on 29th April 2015 in the West Sussex Gazette.

Spring Unites Sussex & The Channel Islands

Postcard titled 'Weighbridge during Potato Season, Jersey'

As March draws to a close it marks the procession towards the end of the great reflective Christian season of Lent. The name Lent probably has Anglo-Saxon origins coming from a word meaning ‘spring’, which refers to lengthening days. Recently we have been blessed with some beautiful bright days punctuating the grey skies.

Colin De La Haye in the granite potato sheds at Bel Val Farm, Jersey

Last Sunday I found myself in the company of my cousins, Colin and Paulette De La Haye. They farm Jersey Royal potatoes on land bought by Paulette’s family in the late 19th century. Bel Val Farm sits confidently in its landscape in the North East of the Island of Jersey. For them this is not work, it is a way of life filled with dedication and love.

Our conversation moves, as it usually does, from the world of fine art auctioneering to the important business of this year’s potato season. One of my great delights of the year are the first Jersey Royal potatoes. There is something hopeful in their arrival. Their flavour, texture and colour, for me, marks them as the finest potatoes in the world, especially when they come from Bel Val Farm!

I comment on the chill in the wind and note that the covers are back on the early crop. Colin has the most extraordinary connection with the land. He observes and understands the language of the seasons and nature in a remarkable way. He says “We’re expecting the largest tide of the year tonight, it’s a full moon and the tide comes with the moon. If you are going to get a frost it will be with the Easter moon. Frost comes with the tide this time of year.”

Jersey Royals have been a major export for the Island for more than a century. The postcard illustrated here was sold in a Toovey’s specialist Paper Collectables auction. It depicts the bustle at the harbour during the potato season in the early 20th century. At this time there were hundreds of small farms and growers. Today there are just twenty growers. The Jersey Royal is one of the few truly seasonal crops. Its season lasts just a few months. Each year approximately 30,000 tonnes of Jersey Royals are exported to the UK, worth some £29 million pounds. The value of this crop comes from its unique flavour and that it is one of the earliest new potatoes of the season.

Being early to the market is important to a successful season as there is a premium to the price. Colin explains that each potato seed is individually stood up by hand in some 20,000 boxes over the winter months. They are stored in their potato sheds, some of which are built of granite and overlook the bay. With the eyes facing up it gives the seed an advantage once planted. The earliest Jersey Royals traditionally came from the steep sloping fields known as côtil which catch the sun and guard against the frost. Colin and Paulette’s côtil are so steep that they have to be ploughed with an ancient horse plough attached to a winch at the top of the slope. Vraic, gathered seaweed, is still put on some of the crop to improve the condition of the soil and the flavour.

Colin’s organisation, care and stewardship of the land always impresses me. He and his team will plough, plant, prepare and cover a field in a single day. But there is always the unknown in farming and in particular the weather. I ask Colin how this season is looking, he replies optimistically, as he always does “We haven’t had any frost since the 8th and 9th of January so that’s been ok.” He pauses and smiles wryly and continues “We’ll see what tonight brings. We need a bit of sun now to warm them up.”

Colin’s Jersey accent reminds me that whilst Jersey is part of the British Isles its rich history and traditions mark this proud Island people’s independence.

Always optimistic, attentive to the seasons and tides Colin is rooted in his landscape. Paulette and Colin’s hard work, stewardship and generosity is always inspiring and is to be admired.

Lent affords us time to reflect, a punctuation mark in our busy lives, a time to be reminded of things that we might, for a moment, have forgotten and to rediscover the familiar anew. So look out for the first of the seasons Jersey Royals they may well be from Bel Val Farm!

By Revd. Rupert Toovey. Originally published on 25th March 2015 in the West Sussex Gazette.

Twenty Years of Fine Art at Toovey’s

Rupert Toovey with gavel in hand ©Toby Phillips/Toovey's — Rupert Toovey with gavel in hand

I started Toovey’s Fine Art Auctioneers twenty years ago this month, with a dedicated team of people who remain passionate about the company and the work we do. We opened on a stormy Valentine’s night in 1995 and were delighted when more than 700 guests braved wind and rain to support us and celebrate this new venture. I set out to create a family firm where people are valued, both clients and staff – a regional auction house providing a centre of expertise for the valuation and sale of art and antiques, with leading specialists and international marketing. Today, the salerooms are on the A24 at Washington, in sight of Chanctonbury Ring and the Sussex Downs, though we travel across London and the South East of England advising clients on their possessions, and our website attracts hundreds of thousands of potential clients from around the world.

Reflecting on the last twenty years, it is the passionate collectors who stand out. These individuals often collect in the pursuit of knowledge. They are continually refining and adding to their depth of understanding of a particular field or period, while training their eye to the subtle details which set apart exceptional objects. In an age which increasingly confuses information with knowledge and understanding, this is an exciting and refreshing group of people to accompany.

'La Cullure des Tulipes’, oil on canvas by George Hitchcock, 1889

The De La Rue Collection from Rusper gave Toovey’s its first truly world-class results in 1998. The remarkable collection came from the famous De La Rue family, who printed money and stamps for the British Empire. It had lain undisturbed for some seventy years. Among the wonderful paintings, furniture and objects was this late 19th century oil on canvas of a young woman gathering tulips in a garden by the American artist George Hitchcock (1850-1913). Although the canvas was holed and in a poor state, it broke all records for the artist at the time when it sold to an American buyer. His agent flew in on Concorde especially for the sale and, against stiff competition from a telephone bidder in London, bought it for £345,000. The news of the sale was reported in the New York Times.

Many of the most memorable collections speak of the particular collectors. Take, for example, our Little Thakeham House Sale in 2000. I wrote in the catalogue introduction that the contents of Little Thakeham were in keeping with the stylistic quality of this important Edwin Lutyens house. They reflected the passion which this Arts and Crafts period building inspired in Tim and Pauline Ractliff, who had preserved and celebrated the property for many years. The auction was packed, with people parking in the orchard. On the lawn the marquee filled with bidders and a bank of telephones. Pre-sale estimates were quickly overtaken as prices soared and the gavel fell.

Toovey’s has remained the first choice for the sale of single-owner collections in Sussex. In 2006 our sale of The Bolney Lodge Collection saw buyers spend well over a million pounds on furniture and works of art from the estate of the late Judge Coles QC.

Single-owner sales often reflect a very personal and particular insight into the lives of the individual collector. Take the sale of The Library Collection of The Late W. Leslie Weller MBE, DL, FSA, which Toovey’s held in December last year. The books, pictures and effects reflected a man whose lively mind was directed towards his love of Sussex, its history, countryside and people. A generous and encouraging man, he worked tirelessly for the auctioneering profession and art world, as well as numerous charities. His friendship, support and advice I valued highly throughout my career.

Provenance and the human story behind individual objects or collections add a frisson which, though unpredictable, always has an important and positive effect on the prices achieved for them at auction. This has been reflected at Toovey’s sales again and again over the years.

I remain a passionate advocate for art, heritage and culture, sponsoring Pallant House Gallery, Shipley Arts Festival and the wonderful Horsham Museum and Art Gallery, amongst many others, through Toovey’s. Our company continues to invest in the Sussex community which I love, supporting numerous charities and groups with talks and fund-raising.

Twenty years on, I am proud that Toovey’s has fulfilled my hopes and aspirations. It remains a family firm employing a team of specialists and it now has a long-established reputation for expertise in valuing, marketing and auctioning art and antiques. None of this would have been possible, though, without the generous support and encouragement of the collectors, our clients, friends and supporters. Thank you all for the first twenty years!

By Revd. Rupert Toovey. Originally published on 4th February 2015 in the West Sussex Gazette.

Frank Brangwyn at Christ’s Hospital School, Horsham

The interior of Christ’s Hospital School’s chapel with Frank Brangwyn’s panels

Frank Brangwyn (1867-1956) was an important and influential artist in the late 19th and early 20th centuries. He bought a house in South Street, Ditchling called The Jointure in 1918. It was to remain his Sussex country home. He and his wife, Lucy, divided their time between London and Sussex.

In Ditchling he was reacquainted with the artist Eric Gill who had moved there in 1907. Together with a group of fellow artists Gill founded the Roman Catholic Guild of St Joseph and St Dominic at Ditchling. Thanks to their work this Sussex village had become a centre for the Arts and Crafts movement. Whilst Brangwyn was sympathetic to the cause of the craftsman artist he strongly disagreed with many of the views and practices promoted by some members of the Guild.

As a child Frank Brangwyn displayed a precocious artistic talent. His father, William, ran a thriving ecclesiastical atelier in Bruges whose output was predominately sold through his Baker Street shop in London. Brangwyn was introduced to William Morris by the renowned designer and architect Arthur Heygate Mackmurdo. In 1882, at the age of fifteen, Brangwyn began to work in the Morris workshops. He brought some of the necessary skills from having worked with his father. The young artist showed a particular gift for transferring Morris’s designs onto squared up canvases, skills necessary for the manufacture of tapestries and woodblocks for wallpapers.

‘St Wilfred First Bishop of Selsey Teaching the South Saxon’s A.D. 687’

Brangwyn had begun work on the panels in the chapel at Christ’s Hospital School in 1912 though they were not completed until 1923. Christ’s Hospital School was re-sited from the City of London to its current location near Horsham between 1893and 1902. The architect Sir Aston Webb, with his partner Ingress Bell, designed the Tudor-Gothic revival buildings which are still central to the school’s character today. Sir Aston Webb had supported Frank Brangwyn putting him forward for large scale projects over many years. Webb was able to secure Brangwyn the commission to paint the school’s chapel. The subjects were devised by the headmaster, the Revd. Dr A. W. Upcott. The scheme follows a procession from the earliest stories of the Church to the conversion of Britain and the mission of the Church of England.

‘St Augustine at Ebbsfleet “Turn O Lord Thy Wrath From This People” ’ — ‘St Augustine at Ebbsfleet “Turn O Lord Thy Wrath From This People”’

The panels are painted in tempera which gives them their luminous quality. They follow in a long tradition of wall painting in Sussex which stretches back to Saxon times. I am therefore particularly struck by the panel depicting St Wilfrid (c.633-709) who converted the South Saxons to Christianity when he came to Selsey from Northumbria and Ripon. Here he is depicted standing teaching as the Saxon’s draw in their nets. It is said that the South Saxons fished only for eels and that it was St Wilfred who taught them how to catch fish. Their first catch numbered three hundred and the amazed people turned to God. As they were baptized the rain began to fall ending three years of drought and despair. In thanks King Ethelwalh gave Wilfred eighty-seven hides of land at Selsey. St Wilfrid built a monastery and Cathedral on the Selsey peninsular which was lost when a new Cathedral was built by the Normans at Chichester. The panels show the influence of the Renaissance. Brangwyn, had visited Assisi and Venice soon after his marriage to Lucy in 1896. But these decorative paintings also show the influence of the Arts and Crafts movement, the Post-Impressionists and the strong, rich use of colour promoted by artist like Henri Matisse. The panels are united by the titled friezes with their rich blue grounds.

‘St Ambrose Training the Choir in His Church in Milan A.D. 687’

The panels are important not just as fine examples of Brangwyn’s work, but because they form part of a common narrative amongst modern British artists at the time who sought to reaffirm what it is to be British and to redeem our nation from the experience of the first industrialized world war. The panels are honest about the costs of standing up for righteousness with illustrations of Christian martyrs, many associated with Britain. But they are also hopeful in their vibrant Mediterranean palette, clearly depicting the triumph of good over evil.

Brangwyn articulated the view that work should be done meaningfully, to the highest standards, with humility and for the love of God rather than for gain or self-promotion. These aspirations still resonate with the school today. Christ’s Hospital is in many ways unique, offering an independent education of the highest calibre to children with academic potential, from all walks of life. It is a child’s ability and potential to benefit from a Christ’s Hospital education that determines their selection not their ability to pay. The Christian character of the Foundation and School has remained a constant in the life of Christ’s Hospital for over four and a half centuries. Christian values sustain the whole of Christ’s Hospital’s life, instilling care for the individual and tolerance whilst supplying a moral framework for the delivery of every aspect of education.

These values are at the heart of our nation and we should be grateful to all who make aspirational education and opportunity accessible to the broadest cohort of students from diverse social backgrounds. For more than a century Christ’s Hospital has added to the richness of the Horsham District by its example, outreach and patronage of the arts. It is rightly celebrated. Christ’s Hospital is a working school dedicated to preparing young people to flourish and contribute to our society. However, you can enjoy the remarkable Frank Brangwyn’s and some of the school’s artistic, architectural and historical treasures by joining one of the Verrio tours. Tours are available on Thursdays strictly by prior arrangement. For further information and to book a tour contact Lucia Brown on 01403 247407.

By Revd. Rupert Toovey. Originally published on 3rd December 2014 in the West Sussex Gazette.