Alistair Morris Garden Collection brochure by Manor Group

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The Alistair Morris Garden Collection

THE WALLED GARDEN SUMMERS PLACE, BILLINGSHURST WEST SUSSEX RH14 9AB 01403 331331

WWW.SUMMERSPLACEAUCTIONS.COM

Summers Place Auctions

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I have known Alistair Morris for almost 20 years

both as a knowledgeable collector and writer. Alistair’s widely respected book ‘Antiques from the Garden’ has become the ‘bible’ for serious collectors and commentators, and his numerous articles on many aspects of garden equipment and ornament have been instrumental in bringing insight and pleasure to a much wider audience. Alistair’s knowledge and help was invaluable when establishing the title for the National Museum of Gardening, so much so that he became our consultant in the late 1990's and continues to support the ideals and values of the

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Museum to this day.

I trust this his private and important collection will receive the interest and appreciation it deserves. Michael Sagin, Curator and Director The National Museum of Gardening

This exclusive preview of the Alistair Morris collection of garden related implements, art and memorabilia, contains a representative selection of the many varied items that together comprise a comprehensive survey of this fascinating area of collecting. It was begun over 25 years ago as part of the research for the internationally successful reference book ‘Antiques from the Garden’, first published in 1996, now out of print and only available online for about three times its original cover price. The collection covers everyday tools and

implements which are essential for gardening: ephemera, advertising and packaging materials so easily discarded and destroyed, medals and awards recognising successes of gardeners and garden owners, books and catalogues for knowledge and relaxation, paintings and artwork depicting activity and leisure in the garden, toys and games for fun and enjoyment, novelties and curios to amuse and entertain as well as personal items. Alistair Morris has always been a collector and this unique accumulation of objects and pictures, all of which have an association with the garden provide a snapshot into the past; not of the far reaching vista on a ducal estate, but rather the pedestrian gardener’s potting shed or the aspiring amateur gardener’s medal cabinet. None of the objects are grand and apart from some of the medals, none are made of precious metals or materials, however 1

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it is their humbleness which gives them value. Many of the tools are worn through manual use and the ravages of the British climate, but it is these blemishes through constant handling which tell the story of so many lives and illustrate the paradox that in any other area of collecting these imperfections would diminish the desirability and value of the piece. Gardening and all of the paraphernalia associated with it has always been a passion of the British, almost as much as the weather and ironically the two are inextricably linked. In todayâ&#x20AC;&#x2122;s throwaway society, it is heartening how many gardeners treasure their old tools and use them in preference to mass produced modern examples. Gardening encompassed all levels of society. Compare the functionality of the billhooks doubtless wielded in the soil stained calloused hands of the under gardener or estate worker, with the understated elegance and quality of the horn handled gooseberry pruner delicately grasped in 2

the begloved hands of the lady of the house. Likewise many of the tools associated with staple vegetables such as potatoes are plain in their functionality compared to the Dubois flower gatherer used to cut blooms grown purely for sensual pleasure. In the 19th century, Britain was at the forefront of the industrial revolution which was reflected in every aspect of the garden; The Victorian obsession with engineering manifested itself in evermore elaborate and innovative tools and gadgets, often produced in the rapidly expanding powerhouse cities of Sheffield and Birmingham. The rise in British exports coincided with a thirst for knowledge of foreign lands. Exotic plants and seeds were brought back from far flung corners of the empire, to be propagated and nurtured in recently constructed orangeries and winter gardens. Further down the social strata saw an increase in greenhouses together with the use of handlights and cloches. Perhaps the quirkiest of all of these glazed propagators was the glass cucumber straightener, which, in an age when even the sight of a ladyâ&#x20AC;&#x2122;s ankle was considered risquĂŠ, prevented

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any embarrassment associated with less than perfectly proportioned vegetables. Likewise the leather shoes worn by ponies mowing the lawn ameliorated any blemishes on the billiard table smooth surface of the grass. Ultimately it was the backlash against the grime and pollution of the industrialised cities, with the burgeoning middle classes relocating to suburban gardens, which produced the biggest explosion of interest in gardening. Amateur gardeners competed in horticultural and vegetable growing competitions, winning medals and awards for their endeavours. Seed firms such as Carters, Suttons and Webbs, advertised their seeds in brightly coloured and now highly collectable packets. Books too played an important part. Beginning with Loudon’s Encyclopedia of Gardening first published in 1822, and followed by S.O.Beeton’s Book of Garden Management published in 1862, by the husband of the better known domestic goddess of the day Mrs Beeton, author of the Book of

Household Management, a plethora of books and magazines vastly increased the knowledge and understanding of gardening. Whilst the Victorian artists revelled in the depictions of formal garden settings and the riots of colour associated with Jekyll inspired herbaceous borders, together with the Utopian views of wisteria clad cottages much favoured by artists such as George Elgood and Helen Allingham, very few painters went behind the scenes to observe the creators of these visual feasts. Pictures of gardeners, both gentleman and artisan at work or standing proudly in front of their creations are rare indeed. Painstakingly assembled over many years, with love as well as an unparalleled knowledge and understanding of the many different strands, it is Alistair’s wish that the collection be kept together in the hope that it’s new home will inspire another generation of both gardeners and collectors.

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WATERING The most important ingredient for any garden is water. The most emblematic item of gardening is likely to be the watering can. It actually started as a “pot” and in its first recognisable form in the 16th century was a pottery vessel which incorporated the necessary sprinkler function to replicate falling rainwater. Sometimes confused with a similar vessel that was used for damping the dusty floors of Tudor homes, the acknowledged forerunner of our “can” was a thumb operated suction pot. A 17th century example is shown in the collection. The collection is rich in watering cans which came more generally in to use in the 18th century. Usually in copper (French or English), they 4

represent a fascinating variety of shapes and sizes. Particularly noteable are the early, sought after copper examples, but also as the 19th century progressed, those to be found in tin and eventually galvinised steel. From the utilitarian ‘Peter Rabbit’ type to the long-reaching nurserymen’s cans, and the special purpose varieties such as the Turn can produced in aluminium and designed to water baskets and plants at high levels. The famous firm of Haws, founded in 1886, whose impressive range of products is well represented dominated the British and British Empire markets for over half a century. Little has been said about the watering can rose. I believe the word is derived from the French word arrosoir. To my mind cans without roses are incomplete, but finding replacements can be extremely difficult.

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WORKING TOOLS After water, the development of basic tools would be vital for preparing the ground. The most basic and common tools are recognisable as derived from those known from antiquity and originally created for agricultural use. As time passed and the wealthy and powerful had opportunity, the idea of a garden could be realised. In England this occurred gradually, but by Tudor times there was a need for more specialised tools. These iron shod spades, hoes, knives, saws, billhooks, sickles etc. were normally made by blacksmiths, but very fine examples were produced by armourers. A particular favourite is the 18th century gardenerâ&#x20AC;&#x2122;s saw with the gardenerâ&#x20AC;&#x2122;s initials picked out in brass headed nails which is a direct reference to his pride of ownership and its contemporary value. As the 18th century developed a wider range was established, though still very much the preserve of the blacksmiths whose influence was only overtaken by the power of the Industrial Revolution, the rise of the middle class, the development of steel, and the increasing love of gardening and nature.

The Victorian age offered more than one can imagine today and we shall never see anything like it again. Dozens of varieties of spades, forks, shears, hoes, rakes etc. made in every quality, weight and regional design and fashioned for men, women and boys. The powerhouses of Sheffield and Birmingham maintained domination for about 100 years before losing out to the standardisation and competition from far afield. Nevertheless the quality is appreciated and lasting. So much so that those items are sought after today by gardeners in countries whose industries have taken over the manufacture of garden products. Within the collection are a large number of these basic but important tools by leading makers including Brades, Skelton and Vaughan. Apart from the more pedestrian but noble examples, are the more inventive tools such as the multi-cut hedge trimmers, particularly the â&#x20AC;&#x153;Little

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Wonderâ&#x20AC;? one or two man mechanical monster, and to a degree, the Greensleeves edge trimmer from the post-war era. So many of these tools are now long replaced by electrical versions. Also of note are lawn mowers, garden rollers and barrows. The Greenâ&#x20AC;&#x2122;s gear driven mowers with 6 and 7 inch blades are small and desirable in size, produced to cut those thin grass strips between the flower borders in Victorian gardens.

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FORCING AND PROTECTING To help the gardener with their efforts to protect and bring on the produce, pottery and glass have been utilised in various forms. From the early 18th century these materials were more commonly adapted for general use as flower pots, forcing pots, cloches and iron-framed handlights. Early examples are extremely rare and apart from a large (slightly damaged) flower pot of possibly an 18th century date, the examples in the collection are 19th century and later. Many people are confused by the differing sizes of terracotta forcing pots. Smaller pots were generally used for sea kale and chicory, and taller thinner examples were for rhubarb. Interestingly the collection features some of intermediary size, dated circa 1850. Handlights of iron or zinc frames are rather attractive items in their own right and could be stacked to accommodate plant growth needs. Also in the collection are the later glass pane types held by simple ‘fairy clips’. Terracotta seed trays and flower pots are included and noteworthy are the scarce orchid pots stamped Sanders patent. 8

Something of a novelty are the interesting Copped Hall grape storage bottles named after an estate in Essex and marketed by WM. Wood & Sons in their 1930’s catalogue. There are three examples in the collection. Weeds were a natural enemy for the gardener and these could be given fatal injections by the use of the Wikeham patent eradicator available from various suppliers as shown, and also the slightly later ‘Grange’ version. Finally we must remember not only the threat of weather but the problem of unwelcome insects or pests that would affect the garden. Victorian chemistry produced poisons and insecticides, some of which were fatal to the gardener as well. The collection includes a number of syringes, some for spraying water and others for insecticides. Early examples are large heavy brass pumps which were well engineered and consequently expensive at the time and now scarce. Also of interest is the Richards Patent fumigator for greenhouse use, circa 1900 and rare, complete as shown.

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IMPLEMENTS AND SPECIAL TOOLS Alongside the heavy tools are a range of lighter, sometimes more elegant, sophisticated, and just a bit more thoughtful and intelligent. I must admit they are my favourites and unsurprisingly appreciated by many collectors. This may be the case with something traditional like a billhook which is used for all kinds of work, particularly hedging, but also useful for other jobs in the garden. Upmarket retail companies like Thornhill included them in their catalogue, and respected tool makers like Marples produced handsome examples for the gentleman gardener. Not forgetting the lady who wished to gather her own gooseberries, Joseph Rogers, ‘Cutlers to her Majesty’, made a fine version circa 1875 that would grace any collection. Gardeners’ knives that used to be so common are now difficult to find. No doubt this more basic tool is sought after by collectors of knives. The collection has a strong selection of pruning and budding knives, some with attractive handles or grips and made mainly by renowned Sheffield manufacturers. The Victorians developed a passion for ferns and therefore for a relatively brief period, 10

we find fern trowels offered, sometimes with their leather sheaths. An exceptionally good example is one from the collection stamped Army & Navy CLS SEED DEPT. Another special gardening tool was the gardener’s hammer for banging nails into the walls of walled gardens and the like. Here again we see a rare example of a smaller size for use by a lady gardener or boy. I am fascinated by the inventiveness of our Victorian and Edwardian forebears. They obviously walked a lot and whilst doing so dealt with minor tasks along the way. There are many examples; the scarce Cowan’s patent combined slasher and walking stick; the Dubois ‘out of reach’ flower gatherer; the Holtzappfel walking stick saw and the Niblick golf/exercise weed decapitator available with its leather cover/grip for ladies and gentlemen. All these are sought after by collectors of walking sticks. The Dubois gatherers are a French invention marketed especially to the ladies. The Germans

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also came up with a clever tool which combined a fine pruning blade with fold-out secateurs. Two examples are shown. Finally to make note of something not easily categorised, the garden line and pin, so necessary and so graphic. The early blacksmiths made wrought-iron examples which can be stunning in their simple form. 11

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ADVERTISING AND PACKAGING Sometime around the middle of the 19th century the explosion of opportunity to advertise garden requisites arrived in the form of targeted publications such as the ‘Gardeners’ Chronicle’. Such magazines or newspapers were quick to include manufacturers’ offerings of garden furniture, ornaments, tools, conservatories and lawnmowers. The collection includes 3 volumes, each containing a number of such advertisements. However, it is not until later in the century that 12

we get to see the impact of popular advertising as we would recognise today. By the 1880’s techniques in printing and metal processing and enamelling had led to the introduction of enamelled signs such as the ‘One & All’ example produced by the Agricultural and Horticultural Association, and that for a small business produced for the Harrow Nursery. Sutton’s Seeds whose market was international were quick to appreciate the value of sealed tins for transportation to Empire destinations. Also noteworthy is the rare cabinet of Carter’s grass and clover seeds, each selection held within its own display tin.

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The 20th century is where advertising really took off. Note M.H.C Pigott’s original artwork for Sutton Seeds circa 1925 and the clear identification of company name and trademark on the packaging. Even a sample box such as Cooper’s Katakilla insecticide is now a desirable and visually attractive collector’s item in its own right. Displaying seed packets was tackled in numerous ways. Webb’s produced an innovative tiered arrangement contained in a storage box, the lid comprised of various woods from around the world. Carter’s, on the other hand, used tinplate for their free-standing and counter displays.

Little has been said about the poster which was so common that no one thought to preserve it until it was gone. Whilst enamel signs have become increasingly desirable, posters are also being appreciated. The collection has two fine examples issued by Skelton in the 1930’s and a further World War 2 type example entitled ‘How to Plant’. Information needs to be conveyed in a simple form. The collection has various types of plant labels, but most impressive is the large Victorian cast iron ‘Keep off the Grass’ sign for park use. 13

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AWARDS AND MEDALS By the early 19th century a natural competitiveness and wish to present new varieties led to a greater interest in horticultural shows and prizes. Early examples which are becoming scarce were often large silver discs engraved with details of a winner and their accomplishments. The two early 19th century examples in the collection illustrate the quality of work, particularly the gilt Sussex medal which is something of a tour de force and possibly intended as an exhibition piece. 14

Later in the century we note the huge number of Societies, many under the auspices of the Royal Horticultural Society (founded 1804) and also companies who supplied seed and other garden products, producing medals and prizes. A quality example is the Veitch medal to James Douglas, 1884. Also of special interest are the medals presented to the garden owner as well as the gardener. Here we see the social structure revealed to a greater extent with the owner invariably addressed as Esquire, (Esq) and the gardener as Mister (Mr).

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Although medals continued, the collection includes shield-shaped awards issued by Toogood seeds, and a series of even more beautiful bronze plaques designed by Sir Hamo Thornycroft RA each depicting a female gardener.

As an alternative to a medal or plaque some received certificates as evidenced by the collection of 40 to amateur gardener F.R. McQuown won over 25 years of exhibiting.

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BOOKS, CATALOGUES AND EPHEMERA Books on horticulture have been collected for a long time and whilst the collection does not concern itself with rare early works, it does include reference to them in the form of Blanche Henrey’s 3 volume ‘British Botanical and Horticultural Literature’ and other works. Generally the books have been selected for reference to the history of gardening, social and economic development, and notes on tools and implements and their use and care. In addition there are books on garden ornament and design. The series of magazines entitled ‘Landscape and Garden’ edited by Richard Sudell for the Institute of Landscape Architects are of particular interest. 16

Catalogues come in various types, from seed catalogues such as the James Carter example for Autumn 1850, James Veitch & Sons Catalogue of Roses 1877-1888, through to Sutton’s Seeds catalogue for 1933 and Gill’s Himalayan, Chinese and other Rhododendrons circa 1925. Of more practical help are the scarce catalogues produced by manufacturers of garden requisites. These help to identify and date items and are vital to the collector in establishing provenance. In many cases they are also visually fascinating. The collection is well supported by catalogues dating from the 1880’s some of which have survived in good condition in spite of heavy use. Skelton’s catalogues of circa 1885 and 1927 are particularly helpful.

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Ephemera is not really meant to last, so in recent years we have become ever more appreciative of its survival. Seed packets, receipts, letterheads particularly for gardening in good condition are rare. Some more treasured items survive such as the Royal Horticultural Society ‘Fellows’

transferable passes and the charming and useful Velos ‘Gardening at Glance’ planting guides. Finally, a good and interesting autographed letter from Gertrude Jekyll to Dr Arthur Rowe, from Munstead Wood concerning growing Euphorbia. 17

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TOYS, GAMES AND RECREATION The opportunities for leisure afforded by the industrial revolution resulted not only in a desire to garden but also a chance to play new games. Lawn tennis was extremely popular as were some restricted space games like clock golf and skittles, examples of which are to be found in the collection. For those less energetic there were card games and board games and ‘The Gardening Game’ is a simple and entertaining example circa 1950. For children or those of a more nostalgic disposition there are some wonderful toys. The child’s wheelbarrow and the greenhouse were both made by the famous Lines Brothers. The fantastic greenhouse is particularly desirable. 18

Not a toy exactly but an amusing play thing and a very popular collector’s item, Huntley and Palmer tins from pre-World War 1 era were designed for biscuits, but in forms recognisable as garden sundials and plinths. The company later produced tins in the form of lawn mowers and rollers.

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After the horrors of World War 1, Britain’s, another famous toy manufacturer, produced the Miniature Gardening series as an alternative to soldiers. Garden gnomes are despised by some but the lead figure by Britain’s is very unusual and scarce. Of course, there is Bill, or is it Ben – one of the Flowerpot Men from a 1950’s television programme that developed a cult following. Finally the enchanting Webb’s mowers for children, scaled down from the adult version and in full working order. Nothing like getting them started early! 19

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PAINTINGS AND IMAGES Finding any representation of a gardener or gardening, or even of domestic gardens before the early 20th century is difficult, and now becoming more collectable, however humble and unskilled the artist. Not many 19th century photographers bothered with gardeners, and painters in Victorian and Edwardian times tended more toward the exuberant flower borders of grand houses. Not many artists bothered with the cabbage patch. The collection, by reason of rarity, relies on prints to suggest 18th century gardens or parklands. Thereafter, the collection has works of art 20

following the contemporary development of gardens and gardening. Early to mid 19th century works include an English School (probably the Norfolk area) study of an interesting Regency house with conservatory and a gardener wearing a typical broad rimmed hat, and nearby a wheelbarrow with tools. A later oil depicts a stunning garden scene with a classical pavilion, garden furniture and figures including a gardener with watering can. By the mid Victorian period we note a more naïve entry of the British Provincial School study with the gardener by a glasshouse, and then the William Weekes ‘Gardener’s Lunch’ which amuses

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but also provides an insight into the range of gardener’s tools in the mid Victorian period. Max Ludby was another Victorian artist known for his genre pictures. In this early watercolour dated 1881, he depicts a typical rural garden with bee skeps and cabbage patch. As the century progressed we find gardens diversifying in use which we see in ‘The Summer

House’ with tennis court and ‘The Kitchen Garden’ with its now extensive range of glass houses and cold frames. The early 20th century gives us ‘The Flower Show’ which is a charming naïve study of some young girls setting out a wayside flower display. Other paintings in the collection reflect and underline the progression and development in a simple and unsentimental way. 21

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NOVELTIES There are many novelties in the collection. For example, the incredibly rare tradesmanâ&#x20AC;&#x2122;s tool sample, to the numbered key to open Greenwich Park for 18th century gentry. Other novelties include the Georgian silver gentlemanâ&#x20AC;&#x2122;s seal engraved with garden implements; the specimen seed box with miniature brass tools on the lid; the 22

snuff box that belonged to Sir Jeffry Wyattville famous architect and landscape gardener; the numbered ivory ticket that got you into the select Royal Southampton Horticultural Society events; the rare Royal Gardens, Kew, leather sand bucket; the simple glass slug trap, the Victorian cucumber straightener; the rare Thomas Atkins ceramic beehive and the amazing Wisker flower pot with its hollow sides etc.

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The collection of over 1600 items, illustrated and identified, will be offered online via the saleroom.com from 12th May 2014. Selected items will be available to view at the Gallery, Summers Place Auctions, from 16th May. A PDF of the whole collection can be emailed by request. The remaining items can be viewed strictly by appointment only, close to Summers Place in Sussex. The collection is offered as one lot and will be sold subject to reserve by sealed bid to the highest bidder. A six figure sum is expected. This limited edition preview of 500 signed and numbered copies is available from Summers Place Auctions, Summers Place, Billingshurst, West Sussex RH14 9AB. +44 (0)1403 331331 Cost £5.00 UK./ E6.00./ $7.00 postage inclusive. © Copyright of Summers Place Auctions 2014 Bids will be opened on Friday May 23rd 2014.

Alistair Morris is an Art Asset consultant and author. A former Senior Director of Sotheby’s and author of the internationally successful book ‘Antiques from the Garden’, he formed this collection over more than 25 years. A consultant to The Museum of Garden History (now The Garden Museum) and The National Museum of Gardening, he is also an advisor to Summers Place Auctions and other related organisations. Alistair is a Fellow of the Royal Institution of Chartered Surveyors and co-author of numerous books on various collecting fields.