20TH CENTURY DESIGN Building and Garden Elements

Rare Antique Balinese Carved Teak Door in Original Frame, circa 1900 A rare antique Balinese carved teak door with its complete original frame, dati...

Cornish Serpentine Doorstop with Loop Handle, 19th Century Wabi-Sabi Folk Sculpture A striking 19th century Cornish serpentine doorstop featuring a classic loop handle. Hand-carved ...

Mid-Century Modern Concrete Planter – 1960s English Design Discover this exquisite Mid-Century Modern concrete planter from England, dating ba...

19th Century Iron, Brass, and Steel Firedogs / Andirons These 19th-century andirons stand out for their combination of robust materials and elegant design, blending iron, brass, and...

This pair of 19th-century andirons, crafted in England from wrought iron, is a beautiful and functional addition to any fireplace. With their robust construction and timeless design, they serve both as practical tools and as pieces that add historical charm to your hearth. The wrought iron showcases the craftsmanship of the era, with elegant detailing that complements traditional or rustic interiors. Despite their age, these andirons remain in good, usable condition, making them a functional choice while enhancing the character of your fireplace. The age-related wear on these andirons adds a unique patina, highlighting their long history and giving them a distinct character. The weathered iron, with its slight imperfections, tells a story of use over many years, making them a perfect conversation piece. Whether you're an antique collector or simply looking to add a touch of period elegance to your fireplace, these 19th-century andirons bring a sense of authenticity and charm that newer pieces can’t replicate. For those searching for "antique English andirons...

A mid 19th century pair of zoomorphic Griffin Fire Dogs or Andirons. Made from cast Iron and with copper stomach inserts, these unusual and rare pieces are indicative of the Victoria...

A pair of Victorian late 19th century, early 20th century brass fire irons or Andirons, possibly produced around the time of the Aesthetic Movement with influences from Persia. A...

An organic and Brutalist style Jardine which would work perfectly with trailing foliage. Bernard Rooke (born 1938) is a British artist and studio potter. Rooke has exhibited his "Brutalist" ceramics and painting both in the UK and abroad with work in many collections both public and private including the Victoria and Albert Museum, Cleveland Museum of Art, Nuffield Foundation, Röhsska Museum in Sweden and the Trondheim Kunstmuseum in Norway. Bernard Rooke attended Ipswich School of Art studying painting and lithography before going on to study at Goldsmiths College of Art. It was while studying here that he decided to take up pottery. Although unfamiliar with this craft and tradition, he found that working with clay provided new opportunities for freedom of interpretation and creativity. In 1960 Rooke set up his first pottery in Forest Hill in South London along with Alan Wallwork. It was a very small room with enough space for a small electric kiln. He was initially using mainly hand building, coiling, blocking and slabbing techniques. While researching ideas, he was supporting himself by part-time lecturing at London University, Goldsmiths College and St Mary's College. In addition, Rooke's membership of 'The Craftsman Potters' Association' enabled him to show his work in a shop in Carnaby Street in London. In 1967, both the need for a larger working space and becoming disillusioned with living in London spurred Rooke into moving out of the city and to an old mill building in Swilland in Suffolk. Rooke wanted to widen the range of work so as to become more commercial. With the birth of his son, Aaron, and much needed work to be done on the mill, it was important to be able to make a living. In 1968, the Grand Metropolitan Hotel commissioned Rooke to make 120 standard lamps, 120 table lamps as well as a 24 foot long ceramic mural and another 9 foot high, which incorporated interior lighting. The money from the commission helped to pay for much needed restoration work on the mill. By the 1970s, a gallery space was opened in the windmill and run by Susan Rooke, Bernard's wife, selling work to locals and tourists as well as to American airmen based nearby. The vision for Mill Gallery was beginning to develop and alongside this a reputation was building bringing in a good source of income. Sons Aaron and Felix were becoming more involved with the running of the pottery, giving Bernard more time to develop new ideas and designs and more time to continue with his painting. In 2004, the Rooke family decided not to sell to the public through the gallery anymore and close the pottery to concentrate more on painting and printmaking. In 2017 Bernard's lighting was featured in the Exhibition: “Glass, Light, Paint & Clay” at the Peterborough Museum and Art Gallery. The exhibition featured four artists: Bernard Rooke, John Maltby...