Rowley Gallery Intarsia Wood Panel Designed by Sir Frank Brangwyn

Early Rowley Gallery rare framed triptych with central mirror and 2 inlay wood side panels Depicting dancers The reverse panels have inlay wood motifs The stylised combing of the gilt gesso frame is synonymous with the Rowley Gallery Design attributed to William Arthur Chase...

An Extremely rare four fold wood inlay screen 'THE JUNGLE' Designed by W A Chase For THE ROWLEY GALLERY Exhibited in 1924 Measures: height 190 cm full width 140cm (each panel 35cm wide) This screen is a wonderful example of the craftsmanship associated with The Rowley Gallery and the collaboration of the top artists and designers who worked for them. Established in 1899 as a picture framers in Kensington Church Street by Albert James Rowley and his wife Emma, the Rowley Gallery gained an international reputation for their inlay wood panels...

Stained glass trilogy depicting Christ shining a torch after a quote from Oscar Wilde: ‘Religion is like blind man looking in a black room for a black cat that isn’t there and finding it’ This triptych has been re-worked using antique and stained and painted glass and framed in an antique gilded Gothic frame. ‘Wilde Trilogy’ By Tom Spencer...

Arts & Crafts rectangular top walnut dining table or work table Raised on 4 turned supports Brass and ceramic castors The legs of this table are splayed and united by a raised ‘H’ st...

Arts & Crafts pair of 'Tudric' pewter candlesticks with Celtic inspired stylised decoration Designed by Archibald Knox for Liberty & Co Circa 1905 Stamped to base: Serial No 022...

A pair of carver chairs in oak with decorative stylised flower inlay of pewter and green stained veneer with chequered pattern design, Seats in white Leather with brass upholstery studs. Designed by G M Ellwood...

In this listing you will find a pair of ravishing Art Deco decorative wood intarsia panels. The artist Sir Frank Brangwyn for Rowley used a variety of woods in several shades of brow...

A colour lithographic framed poster, printed by the Avenue Press, London and designed by Sir Frank Brangwyn (1867-1956) for Pollards Storefitters. Circa 1930. Printed initials in ...

"Antique cityscape print “From an Etching by Frank Brangwyn, R.A. A.D. 1922 by The architectural Press. “Frank Brangwyn was born in 1867 in Bruges, Belgium. His family moved back to London in 1875 where he attended school until 1879, when he left as much out of boredom as necessity. His father worked as an architect, muralist, and in other arts-related crafts. Frank helped around the studio and continued his own artistic education by copying drawings at what was to become the Victoria and Albert Museum. His abilities attracted the notice of more established artists and at the age of 15 he was working for William Morris getting rudimentary training and preparing designs for many aspects of Morris' Arts and Crafts output. In 1885, with nothing much more than youthful enthusiasm, he submitted a painting to the Royal Academy Summer Exhibition and was accepted - at the age of 17. Spurred by this success he rented a studio and began a period of productive poverty. With little money, his early work revolved around the sea where traditional subjects for British art were moored and made docile models. This is considered his """"""""grey"""""""" period and the limited palette may be due as much to limited funds as to artistic intent. His 1890 canvas, """"""""Funeral At Sea"""""""" is typical of this period and won a Gold Medal at the 1891 Paris Salon. The young artist was making waves. In 1888, he worked on a freighter for passage to the Near East of Istanbul and the Black Sea. Orientalism was a major force in European art at the time and Brangwyn was as seduced as many artists were with the colors and light of the Mediterranean and African coasts. These trips brought a new palette to his work and something new to British art. The Buccaneers, at right, is from 1892 and the difference between it and his """"""""grey"""""""" period is dramatic. Just as we have movie critics today, art critics proliferated during the 19th century. Walter Shaw Sparrow, in his excellent """"""""Frank Brangwyn and His Work"""""""", devotes several chapters to the reaction of these critics to Brangwyn's art. Opinions were as varied as the two styles shown here, but what is most interesting is the degree of attention being paid to the work of a self-taught 25-year old. Whatever their views of his work, he was not being taken lightly. Not surprisingly, the bright hues and intense light of his new style were not appreciated by the establishment. To put his work in historic perspective, this was a period of Impressionism, Art Nouveau, and the Munich and Vienna Secessions. In British art, Sargent, Whistler, Waterhouse and Draper were popular. Lord Leighton, Burne-Jones and Alma-Tadema were still active. Brangwyn was following none of these men and the critics were at a loss as to how to pigeonhole him. The continental critics in France, Munich and Vienna had no such trouble. He was seen as a most modern and successful artist from the beginning. For his part, Brangwyn followed his own muse and in doing so found himself at the vanguard of the art world. In 1892 he began working as the designer for the new art magazine, """"""""The Graphic"""""""". In 1895 he was asked to paint murals for the notorious gallery, L'Art Nouveau, in Paris. He won medals for his work in Munich and Paris. At the age of 30, while Britain puzzled over how to evaluate his work, the rest of the world viewed him as the definition of modern British art. He illustrated books: """"""""Don Quixote...

French midcentury decorative carved wood wall panel depicting an abstracted nude woman in the pose of a diver. The piece has an organic and sensuous quality. A panel of knotted and b...

An organic copper panel by Stanislas Wojcieszynski alias Wostan born 1915-?.

Dark oak wood caved panel by Evelyn Ackerman for ERA Industries. It’s marked EA on the lower right corner and Stamped ERA Industries on back. Measurements: 39.18” Wide, 9.5” Hi...