The Arts and Crafts Chair inspired by Sussex

A pair of late 19th Century ebonized Ash Sussex armchairs by Morris & Co, with turned spindle backs above rush seats, on turned legs
A pair of late 19th Century ebonized Ash Sussex armchairs by Morris & Co, with turned spindle backs above rush seats, on turned legs

Sussex has many links to the Arts & Crafts Movement including the famous Sussex chair.

The Arts and Crafts Movement was named after the Arts and Crafts Exhibition of 1882 but its origins date back to the mid-1850s and are commonly attributed to the architect, Philip Webb, the writer, John Ruskin, and William Morris who famously said “Have nothing in your house that you do not know to be useful, or believe to be beautiful.”

The movement was deeply informed by the romantic socialism of John Ruskin and William Morris. John Ruskin’s writings inspired the principles of the movement. In response to the often harsh realities of 19th century industrialised work, he advocated a return to an age of ‘free’ craftsmen. The movement stood for traditional craftsmanship and simple forms.

William Rowsell with a Liberty & Co Arts and Crafts earthenware vase

As I admire a set of Sussex chairs Toovey’s Arts and Crafts specialist, William Rowsell, explains “These chairs were named after a country chair found in Sussex. Philip Webb designed this model for Morris & Co but other firms like Liberty & Co and Heals also produced their own versions.” I comment on how they bear such a similarity to late 18th and early 19th century chairs in the English vernacular tradition and William agrees.

William tells me “William Morris and his wife Jane had Sussex chairs in their first home, Red House in Bexley Heath in the 1860s, and at their later London home, Kelmscott House in Hammersmith.”

Toovey’s next specialist Arts and Crafts auction will be held on Friday 7th September and a set of eight Art and Crafts Sussex chairs have already been entered. As I sit in one of the armchairs it holds me perfectly. The influential writer and designer, Robert Edis was right when he described these chairs as ‘excellent, comfortable and artistic’. They appealed to artists too like the Pre-Raphaelite, Edward Burne-Jones who had Sussex armchairs in his studio.

William Rowsell describes how Morris & Co introduced the Sussex range in about 1864 “The armchairs and single chairs reflected the restrained design. On the strength of their success they introduced corner chairs, children’s chairs and settles. People loved the fact that they were made from English stained Ash.”

In the 1912 Liberty catalogue a single armchair was priced at 9s 9d (49p) but today it would realise hundreds of pounds, testament to the design’s enduring appeal.

William Rowsell is passionate about his subject and is often found in the company of collectors offering advice to buyers and sellers. Entries for Toovey’s next specialist auction of Arts and Crafts Furniture and Works of Art are still being accepted. William can be contacted by telephoning 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.

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