I take great pride in creating one-of-a-kind pieces that reflect the client’s unique style and vision. From ornate hand carved frames, miniature masterpieces, to ornate furniture. I really enjoy the challenge of bespoke commissions. With every bespoke commission, I prioritise collaboration, understanding the brief, and translating them into creations. Here is a selection of my bespoke projects.
I really enjoyed this project. I had the honour of receiving a commission to make a replica of a 17th-century cushion frame in an elegant oval shape.
Using air dried English lime, I hand-carved the frame, embellishing it with the classic motif of repeating leaves and berries.
The frame style was an ideal pairing with the original portrait, the client chose the white gilding to add a radiant silver finish which was correct for the period.
I was given the opportunity to create a custom miniature frame, a task that involved designing and carving a petite oval frame from a single piece of English lime.
This ornate frame, standing at a mere 65mm in height, featured an intricate wreath of delicate leaf patterns adorning its edges. Following the carving process, the frame was then gilded.
I also aged the finished gilding to better suit the age of the miniature portrait.
This historic house, still under the ownership of the Constable family, has gracefully withstood the test of time. The hall still holds a vast array of exquisite furniture and ornate frames, each a testament to the family’s rich lineage. Recently, I had the privilege to work on the restoration of a fully panelled room. The project allowed me to recreate lost decorative mouldings to match the surviving pieces found in storage.
A number of the sections had been lost, so this required the intricate task of hand-carving replacements to precisely match their existing sections.
Each of the new sections were carved from the fine-grained poplar wood to ensure a harmony with the original pieces.
This project was a pleasure to work on, a real dedicated effort to restore the Georgian panelled room to its full splendour, preserving the exquisite craftsmanship that defines this historical space.
I had the privilege of working with Leeds City Council and Temple Newsam House to produce a replica pair of light sconces. To celebrate the career of the senior curator, the aim was to perfectly match two existing pairs the house already had, but finish them in white gold to set them apart.
Every detail of the original sconces was observed and measured to ensure an accurate reproduction.
The sconce was of a stylised eagle in the rococo form, I chose to carve the new set in English lime . The complexity of the bird’s shape presented quite a challenge, but with time (and patience), I brought the eagle to life.
Once the carving was complete, the replicas were finished in white gold and suitable aged.
The completed replica pair of wall-mounted lighting sconces became a stunning addition to Leeds City Council and Temple Newsam House’s collection, sitting perfectly with the existing set.
This magnificent bed, crafted for John, 4th Baron Poulett, at Hinton House in Somerset, is a true testament to the opulence and artistry of its time.
To enable the bed to remain in the rooms for public display, I was commissioned to recreate some sections of the bed. To preserve the delicate and aged silk velvet of the original flying tester, a replica was commissioned so that the original could be stored more safely for its ongoing survival. The new section was constructed from birch ply and carved pine, following precisely the original pattern, to provide a stable foundation onto which new velvet could be applied.
If you’re a collector of fine furniture, you understand the allure of a perfectly matched pair! For a private client who owned a remarkable original Louis XVth Fauteille, stamped by Tilliard, the desire for a complementary chair became a captivating endeavour.
To fulfil the brief I started work on the creation of a full replica, carved in walnut. Although the original chair was made from beech, the decision to use walnut was based on suitability and availability of modern hardwoods for carving the forms required for the intricate chair.
The client now owns a magnificent set of chairs.
Even the tiniest works of art should stand out, I based this frame on the late baroque Lely style. I really enjoy making frames for miniature landscapes, with this piece there were three stages to the final production.
Stage 1: Carved Mahogany – Each intricate detail in the bare mahogany frame was hand carved.
Stage 2: Traditional water gilding – strokes of gold leaf were carefully applied. The gilding process unveils a captivating interplay of light and shadows, especially with burnished highlights.
Stage 3: Finished and Toned – to subtly give the frame a little age to better match the small panel painting.
The result is a masterpiece within a masterpiece! A testament to the synergy between craftsmanship and artistry.
I was asked to make a frame to enhance the captivating portrait of Margaret Brooke, Lady Denham, painted by the renowned Sir Peter Lely in c1664.
The iconic ‘Lely’ panel frame was selected and used by the artist throughout his career so set about creating a replica frame that payed homage to the grandeur of the originals. Commissioned by Sheffield Galleries and Museums Trust.
Using air dried English lime as the base material, I carefully carved each detail, ensuring precision and authenticity.. The frame was then finished with traditional oil and water gilding. The result is a frame that embraces the essence of the era, complementing the portrait perfectly.
I often receive requests from artists and sculptors seeking custom creations for specific aspects of their pieces. In this particular instance, a ceramic artist reached out to me for a special project. They had made an impressive, very large decorative ceramic vase intended for a private client, and they required bespoke, decorative feet to support the vase.
While the task might appear straightforward, it entailed a series of precise steps. I began by shaping the feet from laminated pine sections, ensuring they met the artist’s vision. To achieve a seamless finish, I wrapped the wood in newspaper, concealing the grain. Next, the feet were carefully coated in a gesso primer followed by a clay base, pigmented to match the colour of the ceramics, to provide a smooth base for gilding. Finally, the finishing touch was the application of burnished water gilding.
Ready to bring your bespoke project to life?
Contact me today and let’s get started.
