Tom Rooth Fine Art

Charles Frederick Tunnicliffe, R.A. (1901-1979) The fashion parade signed ‘CF Tunnicliffe’ (lower right) oil on canvas 25 ⅛ x 30 ¼ in. (63.8 x 76.8 cm.) frame 30 ⅞ x 36 in. (78.4 x 9...

Richard Westall, R.A. (1765-1836) Venus signed and dated ‘R. Westall 1794’ (lower right) pencil and watercolour, with white heightening image 11 ⅞ x 15 ¼ in. (30.2 x 38.7 cm.) frame 22 ⅛ x 26 in. (56.3 x 66.1 cm.) Provenance: Private Collection, UK. Venus (1794) was produced during a highly creative and defining period of Richard Westall’s career and artistic development, when from 1790-95 the ambitious young artist was sharing a house at 57 Greek Street, Soho, with his friend Sir Thomas Lawrence, the future President of the Royal Academy. Whilst lodging together, Lawrence became an Associate of the Royal Academy in 1791, Westall the following year, and both were elected full-members in 1794 – the year Lawrence was appointed Painter-in-Ordinary to His Majesty King George III. Westall was to become Queen Victoria’s first Drawing Master, before her ascension to the throne. It was in this very year, 1794 - as the two young artists became Royal Academicians - that the present watercolour was executed, and it is exciting to speculate that Lawrence would have examined and given his thoughts on the work. Highly comparable to The Wallace Collection’s Nymph and cupids (c.1793, cat. P757), acquired by Francis Seymour-Conway (1777-1842), 3rd Marquess of Hertford, (who hung it in his bedroom), the mid-1790s saw Westall exhibiting and returning to similar subject-matter on a number of occasions. Two works with titles that could be applied to the present picture were exhibited at the Royal Academy, in 1794 (no. 341 Nymph and Cupids) and 1795 (no. 620, A Wood–nymph and Cupids). However, a print after the watercolour, engraved by F. Screen, entitles the piece Venus. Westall is regarded as a great virtuoso watercolourist, and Venus is evidence of the young artist’s mastery of the medium. Indeed, it is unusual to find a watercolour of comparable age so well preserved, and retaining such vibrancy - the superb condition providing an insight into his exceptional brushwork and use of colour. Venus languishes luxuriously on her woodland bed, the trunk of a tree resembling a curtain, while three winged putti play beside her, seeming to gesture to someone in the woods. Cupid draws back his bow and aims an arrow of love, perhaps about to pierce the heart of a hunting nobleman, or unsuspecting woodcutter. The striking contrast between the almost luminescent nymph, with the deep, rich, luxuriant forest, gives the glade an alluring sense of mystery – perhaps an allusion to the mysteries of the heart, a pre-occupation with Romanticism, central to the emerging thought of the time. Westall can be classified as one of the great Romantic artists, and even painted Lord Byron’s portrait...

Executed with a palette knife, this painting by Henry Dawnay depicts the iconic King’s Road, with the Peter Jones, the famous superstore. The King’s Road was originally King Charles II’s private road, which he would use to travel between his palaces in St James’ and Hampton Court. Until the 1800s, access was only allowed for members of Royalty, courtiers and the aristocracy. The road become a hub of the Swinging 60s, with fashionistas, including the famous fashion designer Mary Quant, using it as a global hotspot. In the 1970s Led Zeppelin established their record label at number 484, and Vivian Westwood and Malcolm McClaren opened up their infamous ‘Sex’ clothing...

The Octopussy with signature on the suckers, and the artist's thumbprint (on the reverse) screenprint on earthenware, with underglaze paint 37 cm. (14 ½ ) diam. 6.1 cm. (2 ⅜ in....

with signature (on a salmon swimming the opposite direction), with the artist's thumbprint (on the reverse) screen print on earthenware, with underglaze paint 37 cm. (14 ½ ) diam. ...

'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). Kintsugi is a 15th-Century practice invented in Japan, and means 'to join with gold'. The practice is a reminder to embrace flaws, and celebrate the missteps of life, recognising that when seemingly catastrophic events happen, beauty and good can still result. 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, and prior to this Bonhams, Phillips and Sotheby's. 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...

'Honeycomb' was created by Tom Rooth in the Cambrian Mountains of Wales, where Tom lives off-grid. Each ceramic Honeycomb panel has been handmade, drawn, glazed and fired in the Cambrian Mountains of Wales. The frames are also handmade, and have been gessoed, painted and gilded with 23.5 carat gold - the purest gold you can use for gilding. It is possible to display your Honeycomb as individually framed panels, or en masse - the photograph, taken at The Treasure House...

This work was created by Tom Rooth in the Cambrian Mountains of Wales, where Tom lives, off-grid. 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). 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, and prior to this Bonhams, Phillips and Sotheby's. 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...

This work was created by Tom Rooth in the Cambrian Mountains of Wales. A colony of toads live under and around his cottage, and in the summer nights (particularly when going to the kiln late at night to close the vent), Tom often encounters them. They have lived there for generations. 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). 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, and prior to this Bonhams, Phillips and Sotheby's. 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...

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...

This is a unique and unusual work, by artist Tom Rooth. The spider is drawn with underglaze pencils (pencils made out of ceramic), on a handmade ceramic panel. The handmade frame, wh...

with signature (on a turtle swimming in the opposite direction), and the artist's thumbprint (on the reverse) screen print on earthenware, with underglaze paint 37 cm. (14 ½ ) diam...

From glorious observations of the everyday, Julie Fleming-Williams’ work is as eclectic as it is engaging. Julie has exhibited at the Royal Academy and her paintings have sold at Chr...

This highly atmospheric, original and unusual painting, by James Exley, was executed in 1941. The focus of the headlights, dancing off intricately detailed branches and trunks, is m...

A London to Glasgow North-Eastern Railway sign, 20th Century Painted wood, with modelled train 21 ⅜ x 36 ¼ in. (54.3 x 92.1 cm.)

A Brown’s Finest Sporting sign Painted wood, with a modelled gun 28 ½ x 38 in. (72.4 x 96.5 cm.) Minor scuffs and surface dirt.

A piggybank, 19th/early 20th Century, cold-painted iron, with a coin-slot in his back 9 x 17 x 7 in. (22.8 x 43.2 x 17.8 cm.)

signed with initials ‘M.J.’ (lower right) oil on canvas 14 x 12 in. (35.6 x 30.5 cm.) with frame 20 x 18 in. (50.8 x 45.7 cm.) In the artist's original Watts-style frame. Born in E...

Steven Spurrier, R.A. (1878-1961) The ocean depths signed ‘STEVEN SPURRIER’ (lower right) oil on canvas canvas 24 x 36 in. (60.9 x 91.4 cm.) frame 30 ...

Charles Frederick Tunnicliffe, R.A. (1901-1979) The fashion parade signed ‘CF Tunnicliffe’ (lower right) oil on canvas 25 ⅛ x 30 ¼ in. (63.8 x 76.8 cm.) frame 30 ⅞ x 36 in. (78.4 x 9...

British Post Office Greetings Telegrams (1935-1978), after various artists photolithograph dimensions, including frames: 33 x Telegram 9 ¾ x 11 ⅞ in. (24.8 x 30.1 cm.) 31 x Telegram 10 ½ x 12 in. (26.8 x 30.5 cm.) 12 x Telegram 11 ½ x 18 in. (29.2 x 45.7 cm.) and similar 12 x Telegram 9 x 11 ½ in. (22.9 x 29.2 cm.) 1 x Telegram 11 ¾ x 12 ¾ in. (29.8 x 32.4 cm.) 1 x Telegram 9 x 10 ⅜ in. (22.9 x 26.3 cm.) 1 x Telegram 8 x 10 ½ in. (20.3 x 26.7 cm.) A set of ninety-one (91) The historical equivalent of a text or WhatsApp message, the first telegram was sent in code in 1844 from Washington to Baltimore by Samuel Morse, asking “What hath God wrought?” By 1870 (the year that the British General...

George Lawrence Bulleid (1858-1933) A young beauty pencil and watercolour 3 ⅛ x 2 ⅜ in. (7.9 x 6 cm.) frame 9 ⅜ x 8 ¼ in. (23.9 x 20.9 cm.)

Caspar von Reth (1858-1913) The Home Guard signed and dated ‘C. v. Reth/ 1905’ (lower right) oil on canvas, laid on board 13 ¾ x 19 ½ in. (34.9 x 49.5 cm.)

Playboy School, 20th Century Artists and their muses: Titian and Violante; Sir Peter Lely and Nell Gwyn; Francois Boucher and Louise O’Murphy; Hogarth, Nell...