Bert Marsh (1932–2011) was one of the most accomplished figures in British studio woodturning and part of the generation that helped establish turned wood as a serious studio craft in Britain.

Marsh’s work is characterised by an extraordinary refinement of form. His bowls and vessels are often deceptively simple, relying on proportion, balance and the quality of the turning rather than decoration. Many have exceptionally fine walls, gently curved profiles and small, precisely considered foot rims. There is a delicacy to the best pieces that can make them appear almost ceramic rather than wooden.

This ceramic-like quality is one of the things we particularly love about Marsh’s work. Viewed from a distance, some of the pieces could easily be mistaken for finely thrown pottery. It is only on closer inspection, when the grain and subtle variations in the timber become apparent, that the material reveals itself. The contrast between the apparent fragility of the forms and the warmth and natural variation of the wood gives the pieces a very particular presence.

Marsh himself spoke about striving for the perfect form and the purest possible curves. That philosophy is immediately apparent when handling his work. Despite their apparent simplicity, these are remarkably difficult objects to make well. The profiles are beautifully controlled and there is very little excess material. Edges can be exceptionally fine, while the transition from the body of a vessel to its foot is often handled with great precision. Nothing feels unnecessary. The result is work that appears effortless, although the skill required to achieve that simplicity is considerable.

We were extremely fortunate to acquire this collection from the same private collectors who assembled the group of Ray Key works we also offer. Built up over many years, the collection included pieces by both artists, close friends and contemporaries whose work represents an important period in British studio woodturning.

As with the Ray Key pieces, we were immediately drawn to the Marsh works. There is something very satisfying about their scale, proportion and delicacy. They are tactile objects, but also remarkably beautiful simply to look at. The more pieces we handled together, the more apparent the subtle differences in profile, timber, weight and proportion became.

Marsh and Ray Key were close friends and contemporaries, and both became important figures in the development of British studio woodturning. Their approaches were distinct, but they shared an understanding that the form of an object and the character of the timber could be enough in themselves, without the need for unnecessary decoration.

Marsh was also highly respected within the wider woodturning community. He had a longstanding association with the Worshipful Company of Turners, judging its competitions for many years. In 2002 he was granted Freedom of the Company by Presentation, a rare distinction, and subsequently became a Liveryman. In 2009 he received Honorary Life Membership of the Association of Woodturners of Great Britain in recognition of his contribution to the craft.

His work was exhibited internationally and is represented in public and private collections around the world, including the Minneapolis Institute of Art. Following his death, a retrospective of his work was presented at Wizardry in Wood in 2012. His contribution continues to be recognised by the Worshipful Company of Turners through the Bert Marsh Plate, awarded in a competition held in his memory.

Alongside the works by Bert Marsh, we also have a large collection of pieces by Ray Key.

We haven’t written about each individual item for sale within these descriptions. Instead, we have used the same description across the collection. If you have read this far, all our Bert Marsh descriptions will be the same.

If you are interested in any of the pieces, or would like to see a selection together, we are happy to arrange a video call or send additional images and videos of your chosen pieces grouped together. We feel they work particularly well in groups. Although each piece stands beautifully on its own, seeing several together allows the differences in scale, profile, timber and proportion to become much more apparent. And, as with the Ray Key pieces, we have a thing for odd numbers. Three, five or seven together just seem to work.

We have given each piece a unique number, so please quote this number with any enquiry. The dimensions shown above this description relate to the individual piece, or pieces, photographed within the group on this page.

Each piece is individually signed by the artist to the base.

Viewing is warmly welcomed at our West London showroom.

High-resolution photographs, detailed condition reports and video inspections are available upon request.

We offer local, national and international shipping.

Please contact us for further information or to arrange a private viewing.