Items Similar to Bee columns, in a water-gilded frame, circa 1870
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Tom RoothBee columns, in a water-gilded frame, circa 18702022
2022
About the Item
This work was created by Tom Rooth in the Cambrian Mountains of Wales.
Production process:
Tom makes the ceramic panel, which then dries for a month. After this, he carves it down, and then it goes into the kiln for a 48 hour cycle firing.
Tom then draws onto the panel, with underglaze pencils, and then glazes the artwork which goes into the kiln once more, for another 48 hour firing cycle. It is then ready for the frame. Tom has an expert knowledge of frames - his parents were framers and restorers, and he worked at Christie's as Senior Picture Specialist and Director for 14 years.
Tom's works are unique, highly decorative, highly original, and will compliment any interior, whether traditional or contemporary. Tom has exhibited at The Treasure House Fair (formerly Masterpiece), as well as The Decorative Fair. In 2022 he was commissioned by Eon Productions to produce an Octopussy plate, to celebrate 60 years of James Bond.
Tom lives off-grid in the Cambrian Mountains of Wales, where he produces his art.
- Creator:Tom Rooth (1974)
- Creation Year:2022
- Dimensions:Height: 27.96 in (71 cm)Width: 21.86 in (55.5 cm)
- More Editions & Sizes:frame 71 x 55.5 cmPrice: $3,591
- Medium:
- Movement & Style:
- Period:
- Condition:The panel is in perfect condition. The frame has some wear and tear, typical of a work circa 150 years old. The measurements in the description are inclusive of the frame.
- Gallery Location:London, GB
- Reference Number:1stDibs: LU806113252012
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'Death's head moths under a full-moon' work was created by Tom Rooth in the Cambrian Mountains of Wales.
Production process:
Tom makes the ceramic panel, which then dries for a month. After this, he carves it down, and then it goes into the kiln for a 48 hour cycle firing.
Tom then draws onto the panel, with underglaze pencils, and then glazes the artwork which goes into the kiln once more, for another 48 hour firing cycle. It is then ready for the frame (the frame dictates the subject-matter).
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Tom then draws onto the panel, with underglaze pencils, and then glazes the artwork which goes into the kiln once more, for another 48 hour firing cycle. It is then ready for the frame (the frame dictates the subject-matter).
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Tom then draws onto the panel, with underglaze pencils, and then glazes the artwork which goes into the kiln once more, for another 48 hour firing cycle. It is then ready for the frame (the frame dictates the subject-matter).
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