Art by Medium: Rosewood

"Birckle Transition Sauteuse Commode" TRANSITION CHEST OF DRAWERS with central projection and rear projection in rosewood and amaranth v...

Artwork made with Acrylic, enamel, Rosewood, ebony, lacqueron MDF

This is an original antique stereograph viewer from the late 19th century. Such viewers were part of the boom in the popularity and availability of photography after new photographic...

Artist: John James Audubon (American, 1785-1851) Title: "Snow Bunting" (Plate CLXXXIX - 189; part No. 38) Portfolio: The Birds of America, Havell Edition ...

An amazing carved wood piece in the form of a blue whale. Redden was a Nova Scotia artist from the latter part of the 20th century. His work is the...

Rosewood abstract Sculpture by Artist Brian Willsher circa 1988 (United Kingdom, 20th Century) Brian carves the forms and glues the assembly together for a dramatic 3 dimensional effect. Size, 22"H x 9"W x 4"D. Signed on bottom "Brian Willshire '88." "Brian Willsher sculptures: a collector’s perspective on a lesser known mid century classic The work of British mid century sculptor Brian Willsher echoes the work of the St Ives school; there is a fluidity in the forms of Willsher’s sculptures that is reminiscent of Henry Moore and Barbara Hepworth. We ask Collector Gary Howard about what first drew him to Brian Willsher’s sculptures and the friendship that followed. Born in Catford, South London, Brian Willsher studied engineering between 1945 and 1948, and then drifted through a succession of occupations, before finally qualifying as a dental technician. In 1954, he suffered a near fatal motorbike accident, and spent six months convalescing. During this time he began making plaster objects using techniques learnt through dentistry, and resolved to commit his time to some form of creative work. In 1956, Brian Willsher began working with wood, applying his experimental forms to lamp bases. This fusion of abstract shapes with everyday domestic articles resulted in immediate success. Geoffrey Dunn, of Dunn’s department store in Bromley, Kent, offered him his first exhibition in their shop window, which they called ‘Brian Willsher’s Things’. Shortly afterwards Christopher Heal, of 1960s department store Heal’s, asked him to supply table lamps and lighting for his flagship store on Tottenham Court Road, London. These proved very popular, but Brian Willsher tired of the monotonous production process and of his neighbours’ complaints about the noise of the circular saw. He purchased a bandsaw, which was much quieter, and which allowed him to pursue what he called ‘doodling in wood’. This was the start of Brian Willsher’s career as a sculptor. In 1966, Heal’s give him his first solo exhibition, which proved so successful that a second one followed in 1967. In June 1968, Customs and Excise disputed the status of Brian Willsher’ work, claiming that his creations were ornaments rather than sculpture, and therefore subject to a 40% manufactured goods tax. Some respected names leapt to his defence, as was reported in The Guardian: ‘Here’s pure sculpture, indeed! More than that, memorable sculpture!’, wrote Sculptor Sir Henry Moore. In spite of such praise, Brian Willsher refrained from showing his work in commercial galleries throughout the 1970s and ‘80s, instead subsisting by selling sculpture...