Rupert Toovey – Page 4 – Toovey’s Blog

Rolls-Royce & Bentley Day at Borde Hill Garden

Rolls Royce Bentley Borde Hill — A magnificent vintage Rolls-Royce and Bentley on the lawns of Borde Hill

Borde Hill Garden holds its Rolls-Royce and Bentley Day this coming Sunday, 20th July 2014. The gardens will be complimented by cars from these famous marques, vehicles which have often been called ‘the best cars in the world.’

Rolls-Royce 20hp Sedanca — Rupert Toovey’s great-grandfather’s Rolls-Royce 20 h.p. Sedanca

I grew up in a family passionate about motoring and cars, especially from the vintage era. Amongst the numerous stories was that of my great-grandfather’s Rolls-Royce 20 h.p. Sedanca. I have often wondered from this photograph of the car with his chauffeur whether it was bodied by the coachbuilders Hooper. In Rolls-Royce’s catalogue of 1905 the company wrote: “Doctors and others connected with the medical profession have, after trying the leading makes, declared the Rolls-Royce to be the only petrol car that they could bring up to a patient’s house and drive away without the possibility of disturbing the patient.” This may have been a tempting marketing quote for my great-grandfather, Edwin Hopewell-Ash, an eminent physician-neurologist and member of the Royal College of Surgeons.

Henry Royce was a gifted engineer of my great-grandfather’s generation. He had a particular gift for perfecting the design and manufacture in areas of emerging technology. Royce refined the multi-cylinder engine, addressing the noise, vibration and inflexibility of other marques’ earlier engines. The Rolls-Royce motor company has its origins in the 1904 partnership between Royce and the motoring and aviation pioneer Charles Stewart Rolls.

Andrewjohn Stephenson Clarke and his wife, Eleni, are the current custodians of Borde Hill. This weekend brings together the threads and passions of Andrewjohn’s life – the gardens and engineering. He is himself a leading civil and computer engineer.

With Rolls-Royce now located at Chichester in West Sussex, it seems particularly appropriate that this famous marque’s heritage should be celebrated in this way in our county. Borde Hill Garden has many rare and remarkable plants; it is an exceptional living collection.

This weekend there is a treat in store for motoring and garden enthusiasts alike at Borde Hill Garden, Borde Hill Lane, Haywards Heath, West Sussex RH16 1XP. For more information on opening times and forthcoming events go to www.bordehill.co.uk or telephone 01444 450326.

By Revd. Rupert Toovey. Originally published on 16th July 2014 in the West Sussex Gazette.

Parham House and Gardens’ Annual Garden Weekend

This week I am visiting the walled gardens in the lead up to one of the highlights of the Sussex summer calendar: Parham House and Gardens’ famous ‘Garden Weekend’. This year’s celebration of gardening at Parham will be opened on Saturday by the BBC Gardeners’ World presenter Joe Swift.

I love the stillness that gathers you in the walled gardens at Parham. It transports you, separating you from the business of life. To create a garden of this subtlety, depth and beauty requires a sensitivity to place, light, the elements and the seasons.

Tom Brown, Head Gardener at Parham, leads a team of gifted people, whose creativity allows this sublime garden to honour the past while remaining forward-looking. I am excited to be meeting Peta Ashton, a gardener and member of this team, whose individuality and talent is apparent in her work in the Parham gardens.

Lady Emma Barnard and I walk from her wonderful house to the gardens and she leaves me in the path between the long borders as she goes off to find Peta. If you have ever dared to still yourself and stand in a landscape, you will know that out of the silence your senses become heightened. You become more alive. Sounds, colours and movement reveal themselves to you. As I stand between these borders with the warmth of the sun upon my face, the wind and shadows cause the soft planting to dance. I become aware of the swathes of colour and their relationships to one another, which, together with the textures of flowers and foliage, form complex compositions. The gentle breeze plays upon the leaves. There is a rhythm and wholeness, born out of this rich canvas. Lady Emma appears with Peta, the sound of their voices and feet on the gravel paths marking their approach.

Borders at Parham House and Gardens — Peta Ashton’s sublime borders at Parham

The borders which have just captured my imagination and gathered me are the work and inspiration of Peta Ashton. I remark on my experience of this particular part of the garden. She listens thoughtfully. Her face breaks into a gentle smile beneath her broad-brimmed hat, evidently pleased by my unexpected response to her work. I ask her what has influenced the garden layout. She replies, “The gardens are laid out in the ‘Old Parham Way’ with secret and open spaces.” There is much talk today of garden rooms but it would seem that this is nothing new at Parham.

Together the three of us walk towards another of Peta’s creations, the restored herb garden, which is bordered by a tall yew hedge of dark green hue. Entering through an arch cut into the hedge, we find ourselves in a secret, sunny garden. A circular stone pond with a lead putto is framed by tall herbs. Excitedly Peta leads Emma and me around the herb garden, delighting in the names, the foliage and the characters of each individual plant. It is apparent that we are in the company of a generous and passionate plantswoman, who expresses her hopes and fears for each of them in turn.

In Tudor times, when Parham was built, herbs were used for their culinary, medicinal and strewing properties. Herbs would be strewn on the floors and surfaces of homes to deter insects and to disinfect, as well as for their fragrant qualities. In this enclosed garden, I am reminded that herbs were associated with the monastic tradition in medicine. It is these influences which are expressed in the disciplined, balanced planting. Peta explains that this would be defeated if it was too ornamental. There is a sense of working with nature and history.

The Gardens at Parham House — A view from the gardens looking towards the house and Sussex Downs

I ask Peta how she comes to imagine and create these remarkable borders and gardens. She pauses for a moment, considering her reply, and then says, “The borders come out of being in this space in silence. It is the combination of this inner criterion and influences from outside which I try to work with.” Being attentive to nature, colour, form and movement requires a particular quality of engagement and a generous discipline – a combination of relationship with our environment and an attempt to shut out the white noise of our lives and be truly present, undistracted in the given moment. It is a form of meditation, of prayer. Peta clearly understands this and it gifts her creativity and remarkable vision with depth and subtlety. She is both artist and gardener.

Calling and vocation can be expressed in infinite ways. Peta Ashton’s sense of vocation towards her work, like her gardens, is inspiring. It is bound up with her very personhood. Like so much at Parham House and Gardens, Peta’s tremendously personal expression of creativity is possible thanks to the patronage and involvement of Lady Emma.

Sheltered by the warm hues of the old brick garden walls covered in lichen, these gardens have a remarkable ability to gather and engage people. Families find a gentle place to wander in conversation, their time in the garden informed by the beauty around them. Keen horticulturists will pause to explore the subtleties and effects of the planting and compositions before them. Whatever your approach, though, you cannot fail to wander in this beautiful place without being moved by it.

I am looking forward to the Parham House and Gardens’ ‘Garden Weekend’ this Saturday and Sunday, 12th and 13th July 2014, 10.30am to 5.00pm. For more information go to www.parhaminsussex.co.uk or telephone 01903 742021. Tickets include the wonderful gardens and entry to the house and its superb collections. There are Parham plants for sale too – wonderful stock – so don’t forget to treat yourselves!

By Revd. Rupert Toovey. Originally published on 9th July 2014 in the West Sussex Gazette.

The Call of the Sussex Downs

John Hitchens Downland View — ‘March Colours, Downland View’, an oil on canvas by John Hitchens from 1970

The swiftly changing light on the Sussex Downs has always challenged artists seeking to capture the character of these ancient hills.

Rupert-Toovey — Rupert Toovey in his office at Toovey’s with Chanctonbury Ring in the distance

Edwin-Harris-watercolour-Chanctonbury-Ring — ‘Chanctonbury Ring from Washington, Sussex’, a watercolour by Edwin Harris from 1945

Watercolour by Harry George Theaker — ‘Summer on the Downs’, a watercolour by Harry George Theaker

As I sit writing, the rat-a-tat of the gavel falling and the rhythmic cry of the auctioneer rise from the saleroom up to my office at Toovey’s. The bustle and excitement of the fine art auction contrasts with the scene from my window. I can just see Chanctonbury Ring above a line of poplar trees. Along the ridge of the Downs, scudding clouds in a blue sky cause light and shadow to move across the landscape.

The scene before my eyes is reminiscent of the landscape shown here by Edwin Harris (1891-1961). Harris played first-class cricket for Sussex between 1922 and 1924, whilst working as an artist. In 1939, he married Mary Edwards and they lived in Washington until 1955. Titled ‘Chanctonbury from Washington, Sussex’, the watercolour drawing was painted in 1945, at the end of the Second World War. The Downs are depicted in those greyer hews that they acquire as autumn and winter approach. We sense the chill wind in the branches. But there is nothing chill about today; the Downs are a warm green hue, reflecting the start of an early summer’s day.

The illustrator Harry George Theaker (1873-1954) brings a graphic quality to his painting. His watercolour ‘Summer on the Downs’ uses these qualities to dramatic effect in displaying light, shade and movement. There is no doubt that this is a summer scene, reflected in the warmth displayed in the artist’s palette.

These two artists’ representational style grounds us in the familiar, reminding us of our Sussex landscape and the seasons of the year. However, the qualities in the oil by John Hitchens (b.1940), titled ‘March Colours, Downland View’, not only allow us to see the familiar dance of light and shade upon the Sussex Downs but also command our other senses. The painting captures the smell of the earth and crops, the sound of wind playing on cornfields and pasture, the deep blue of the ridge separating the landscape from the sky. John Hitchens, son of the famous Sussex artist Ivon Hitchens, invites us to engage all our senses, to inhabit the vitality of this scene in our imaginations. The picture is at once representational and abstract. It seeks to allow us to glimpse or give voice to what lies beyond our immediate perception, to enrich our experience of the scene. Today, John Hitchens’ works are abstract, though still inspired by landscape.

Although I travel to London and across the country valuing collections of fine art and antiques, my heart always races when I return and catch sight of the Downs. After thirty years, nothing delights me more than a day travelling down familiar Sussex lanes beneath the gentle folds of these ancient hills, visiting collectors across our beautiful county.

Scenes of the Sussex Downs like these remain accessible, with prices at auction ranging from hundreds of pounds to the low thousands.

Toovey’s next sale of fine paintings and prints will be held on Wednesday 10th September 2014. If you are considering the sale of your pictures, contact Toovey’s for free and confidential advice.

By Revd. Rupert Toovey. Originally published on 25th June 2014 in the West Sussex Gazette.

At the Bluebell Railway

The Southern Railways U class 2-6-0 mogul steam locomotive, no. 1638

All my whole life I have adored steam locomotives: the drama of their scale and speed, the smell and whoosh of steam and the characters of the different engines.

You will remember the classic Ealing film ‘The Titfield Thunderbolt’, in which Sam, the vicar, becomes the engine driver in an attempt to save the line from closure. When someone has the temerity to exclaim that the Canterbury Line has closed, Sam responds reverentially: “Perhaps there was insufficient faith in Canterbury.” Well, there was sufficient faith on the Bluebell Line. The Bluebell Railway was the first standard gauge preservation railway in the world. Work on it began in earnest in 1961. 2013 saw the completion of the massive extension to connect the Bluebell Railway with East Grinstead and mainline Network Rail services. It was an extraordinary achievement, involving teams of volunteers and huge capital investment.

On the footplate, from left to right: Bruce Steer, David Tandy, Rupert Toovey and Steve Squire

Driver Steve Squire on the footplate, heading up the Bluebell Line

Gordon Hatherill on the Talyllyn Railway during the 1950s — Gordon Hatherill on the Talyllyn Railway in North Wales during the 1950s

I have been invited to ride on the footplate of this magnificent Southern Railways U class 2-6-0 mogul steam locomotive by Ann Hatherill. Designed by Richard Maunsell for passenger duties on the Southern Railway, fifty U class locomotives were built between 1928 and 1931. Four of these engines have survived.

I can barely contain my excitement as I stand in my ‘dog collar’, bib and jacket on the platform of Sheffield Park Station. I am introduced to Steve Squire, the driver, who invites me on to the footplate. I explain how I come to be with him on this grey, late spring afternoon in May. I was blessed to take the funeral of a railway design engineer and model engineer, Gordon Hatherill. I have been friends with Gordon’s family for many years. Gordon volunteered on the pioneering Talyllyn Railway in North Wales during the 1950s and 1960s. Railways are romantic places. Gordon and Ann met on the Talyllyn as volunteer firemen and were married in 1965. Ann, wanting to thank me and mark our friendship, has arranged for me to be standing on this footplate. Steve nods with an understanding smile and we are joined by fireman Bruce Steer and cleaner and trainee fireman David Tandy.

Bruce begins to shovel coal into the enormous firebox in preparation for the off. “You always have to anticipate when more power will be needed and make sure that the fire burns evenly,” he says. The shovel scrapes against coal dust and steel with a gravelly note emerging from the laden tender. With an easy swing, each shovelful of coal is distributed across the fire. Bruce explains: “It’s the fireman who balances water against the demand for steam and heat.” Steve watches for the guard’s signal and smoothly the locomotive pulls out of Sheffield Park as he nudges levers. Underway, I ask Steve what it is that he most enjoys about driving a locomotive. He thinks for a moment and replies, “Their foibles – each has a different character.” This U class 2-6-0 mogul steam locomotive, to my eye, appears to have fine lines and proportion. Steve agrees, saying: “This is a lovely engine to drive. It’s workmanlike and epitomises steam. It’s a nice environment for the crew, which isn’t the case with all engines.”

Some of the gradients are steep for steam and, in anticipation, David is stoking the fire before we reach them. He grins and says, “Nothing beats this job!” There is an obvious delight in working on the footplate. As the train begins to pull harder uphill, the fire flashes in time with each turn of its wheels and expulsion of steam. It is important that both fireman and driver know their line.

As we approach Horsted Keynes station, Bruce dampens the fire with primary air to cool it. After a brief halt, we journey up the line to the tunnel. We all stand under the shelter of the cab, our faces illuminated by the light of the fire. David strains his gaze towards the water and pressure gauges by the light of an ancient torch, checking they are balanced on this gradient. I look out at the tunnel and glimpse the bricks in its arch rushing by. As we emerge into daylight, Steve sounds the whistle and we journey onwards towards Kingscote and East Grinstead stations.

I am struck by the excitement of pulling in to East Grinstead alongside a modern Southern electric train and it seems to echo that marvellous moment at the end of ‘The Titfield Thunderbolt’ when all the train whistles are blown in celebration of passing the railway inspector’s tests.

As we make the return journey, Steve talks about his love of the landscape and the changing seasons. He recounts, “On a return journey last winter, we got covered in snow. It still hadn’t melted from my overalls by the time I got home!”

Travelling in reverse now, the wind is in our faces and, with the noise and smell of steam and the shovelling coal, we all feel truly alive, like this dear old locomotive. The countryside opens up as we puff through copse and fields, where cattle graze seemingly unaffected by the passage of our train. The landscape flashes by. Although we are only travelling at 25mph, it seems much faster. We pass through Kingscote, the tunnel, Horsted Keynes and on to Sheffield Park. It is apparent that there is great camaraderie on this footplate, a shared joy in the locomotives and the Bluebell Line. I feel deeply grateful to have shared this journey with them. My thanks go to Ann and all at the Bluebell Railway, whose passion and hard work keep this remarkable railway running.

The Bluebell Railway is always delighted to welcome visitors, new volunteers and friends. There is a lively program of events, often with visiting engines, though the line has one of the best collections of locomotives and rolling stock in the country. To find out more and check out the timetables, go to www.bluebell-railway.com.

By Revd. Rupert Toovey. Originally published on 18th June 2014 in the West Sussex Gazette.

Last Chance to See Stanley Spencer Exhibition

Rupert Toovey with ‘Filling Water Bottles’ by Stanley Spencer

ABLUTIONS by Stanley Spencer (1891- 1959) on the north wall at Sandham Memorial Chapel, Burghclere, Hampshire — ‘Ablutions’ by Stanley Spencer

‘Jack Ashore’ by Walter Sickert, © Pallant House Gallery 2014, Wilson Gift through the Art Fund

This week I am returning to Pallant House Gallery, Chichester, to once again see the outstanding ‘Stanley Spencer: Heaven in a Hell of War’ exhibition, which is now in its final two weeks. The paintings from Sandham Memorial Chapel at Burghclere have been loaned by the National Trust while restoration work to the fabric of the chapel has been undertaken. They will soon be returning to their permanent home. Other rarely seen works by Spencer also form part of this show.

The patron and art critic Clive Bell, of Bloomsbury and Charleston House fame, published a book titled ‘Art’ in 1914. In it he espoused the importance and qualities of the early Italian ‘primitives’, as they were then described. He wrote: ‘Go to Santa Croce or the Arena Chapel and admit that if the greatest name in European painting is not Cézanne, it is Giotto.”

Stanley Spencer too was inspired by the work of the 14th century Quattrocento artist Giotto Di Bondone and it is no accident that the scheme of Sandham Memorial Chapel was based upon Giotto’s Arena Chapel in Padua. In viewing Spencer’s art, the qualities of the aesthetic and the religious are often held in tension. This shared heritage inspires a vital, living experience. Painted from memory between the wars, they are considered by many to be his finest work. The paintings provide a particular and strong articulation of hope, forgiveness and resurrection and are alive with Christian allegory. Take, for example, ‘Ablutions’, which shows the wounded being tended, cleaned and dressed. It is reminiscent of Christ’s washing of the disciples’ feet at the Last Supper. These images leave us in no doubt as to the uniqueness and quality of Spencer’s gifted artistic voice.

In 1912 Clive Bell selected Stanley Spencer’s ‘John Donne Arriving in Heaven’ for the second Post-Impressionist exhibition at the Grafton Galleries in London. Other exhibitors included Matisse and Picasso. Clive Bell frequently visited Burghclere to see Spencer at work. Lively intellectual debates defined life at Charleston House; perhaps Clive Bell’s thinking and his visits to Burghclere brought influence to his wife, Vanessa Bell, and Duncan Grant’s wall paintings at St Michael and All Angels, Berwick, Sussex.

Before I leave the gallery, there is just time to see another exhibition, ‘Artists’ Studies: From Pencil to Paint’, and I find myself captivated by Walter Sickert’s ‘Jack Ashore’. This remarkable oil on canvas displays the artist’s particular gift for composition and tone and the later pencil sketch of the same title is revealing of Sickert’s working method. Painted in 1912-13, it reminds me of the important place Sussex occupies in Modern British Art history. Between 16th December 1913 and 14th January 1914, the Brighton Art Gallery became London-by-the-Sea. The Camden School, under the presidency of Spencer Frederick Gore, was invited to select the work for the exhibition. It was a group of artists always given to division and it operated both as the London Group and the Fitzroy Street Group. Walter Sickert had acknowledged that scope for ‘the free expression of newer artistic thought’ was needed. The exhibition was titled ‘English Post-Impressionists, Cubists and Others’. The first two rooms contained work by those in the more traditional camp of Gore, Gilman and Pissarro. Wyndham Lewis wrote the introduction for the third ‘Cubist Room’ room. Always influenced by Picasso, Lewis embraced Futurism and Cubism.

‘Stanley Spencer: Heaven in a Hell of War’ has been one of the artistic highlights of the year. I am delighted that Toovey’s headline sponsorship of this exhibition, together with support from the Linbury Trust, has made it possible for such an important show to come to Sussex. The paintings have gifted the galleries at Pallant House with a quality of the sacred. Whether you are visiting for the first time or revisiting, this intimate exhibition really has a power to move as we share Spencer’s memories and his pictures allow us to inhabit this very personal story. The exhibition runs until 15th June 2014. For more information go to www.pallant.org.uk.

By Revd. Rupert Toovey. Originally published on 28th May 2014 in the West Sussex Gazette.