In Dektol, Ilford WT fiber glossy is not nearly as brown as the matte IME. It is more like a "soft gray" than a brown (which is why I love this paper so much; it is not heavy handed). I would definitely sepia tone that paper if I wanted the highlights to appear brown. Another advantage of sepia toning first is that it sort of "locks" the high tones into that sepia hue so that the selenium is not as likely to change the hues there. If you start with a paper that processes as brownish without sepia toning (such as Oriental WT, or the Ilford in a warm-toned developer), the selenium is more likely to change the look of the high tones. So, my advice is to "lock" the high tones with sepia, and then do the selenium. Selenium gives Ilford MGWT glossy a very heavy brownish-eggplant color IME. Kind of unappealing to me unless split toned, actually.
You will not get your effect with no bleach sepia, though it is called a warmtone paper , to my eyes its pretty neutral looking.
Purple cast in shadows. How something closer to maroon? I've had this effect with Foma MG. This would be nice in the print you showed, because of the nice horizon line, which allows partial toning and bleaching. Probably won't get the same effect with another paper. But maybe something more pleasing, too.
At least for foma: very short bleach (shadows are bleaching too, whether you can see it or not), followed by sepia. You won't be able to see the sepia in the shadows either, but other toners (gold) can see it.
Re-bleach the lower shadow portion of your print to the first hint of bleaching effect. Of course, this will take a little more time than the first bleach. This time, no sepia. Just fix and wash. Followed by selenium to taste, then gold.
Obviously, with fiber paper and all the wash cycles, this can be a long process. And with all the "snatch points" involved . . .aye-yi-yi.
Anyways, this works for me with Foma MG. I don't keep notes, so can't say much about what sepia formula (1:5 yellow or 5:1 brown) makes the purply hue.
If you go to my gallery and see the hue/shade/value you are thinking of, I would be able to describe this process more cohererently.
Thanks for all your replies. I unpacked the old darkroom box and fired up the enlarger for the first time in what seems like forever (I miss having a dedicated darkroom!) and made a test print last night. Unfortunately it looks like my Fotospeed sepia toner is a little crusty these days so I didn't get a chance to try that, but I did selenium tone a sheet of Ilford Warmtone RC and I got pretty much what I wanted in the shadows. I need to order some fresh sepia toner, paper (humidity must have got to it, emulsion had some flaking) and a non-hardening fixer. But I think following all of your suggestions I will get what I am looking for.
Thank again! Love this forum.