Peter Vernon

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peterPeter has developed his own style, and is self-taught. He balances an understanding of the properties of wood with his appreciation of flowing lines and form. His work reflects his love of nature - his inspiration.

He works mainly with locally sourced British hardwoods that can come from ecologically managed woodlands, hedging or the casualties of storms. Peter likes to be involved in every process, from sourcing the timber through to planking some of the wood on his own sawmill. Then the long process of air drying begins, which will take several years before he can start work on a piece of sculpture.

Peter has also created his own method of dyeing, sealing and polishing his work. This has taken him many years to perfect, and with some pressure from the galleries he supplies to name this unique style of finish, he finally decided on a made up word, which uses part of his surname, and called it Vernised .

His work is exclusively displayed, and only available for purchase, via a few selected galleries - mainly situated in the South West of England.


Posted in about

Peter always uses English hardwoods, all of which are locally sourced, & these go through a variety of treatments to produce his finished sculptures. Please note that all of Peter's work is intended for indoor display only; they are not designed for use outdoors. All sculptures are signed by Peter Vernon; the signature is burnt into the base of the work.


This is the name that Peter came up with to describe a method of finish that he has developed over many years of experimentation, and involves the use of dyes, sealing methods and polishing techniques, which enhance his sculptures and also reveal the grain patterns and figuring within the wood. This is especially the case with some of the plainer types of British Hardwoods that he uses, which otherwise could be very bland in appearance.

Renaissance Wax

Renaissance wax polish was originally formulated In the British Museum research laboratories in the early 1950s, in response to a discussion amongst museum technicians at an international conference on fine-art conservation.

In accelerated ageing tests, the British Museum scientist found that all current commercial waxes based on the usual natural waxes (beeswax and carnauba wax) contained acids, which in time, could spoil original finishes on national historic collections of furniture. The Scientist rejected them all and investigated the new so-called ”fossil“ or micro- crystalline waxes being refined out of crude oil. With their distinct characteristics depending on their geographical origins, the new ”man-made“ waxes could be accurately blended to meet the needs of many industries, from cosmetics and pharmaceuticals to heavy engineering. Thus, the waxes combined nature's best qualities with the advantages of modern technology.

The blend, which emerged from that research, was "designed" for long- term protection of all classes of museum exhibits. At last, museum technicians and others caring for important collections could use wax polish that neither caused future conservation problems nor detracted from the intrinsic values of their treasures. The London-based company Picreator Enterprises Ltd under its trade name "Renaissance" ultimately undertook commercial production and distribution of the polish in 1968. The product was quickly accepted in the international museum world and has become a universally respected standard conservation material - probably the most widely specified because of its almost unlimited uses. Peter uses Renaissance Wax on all his finished pieces.


All sculpture sizes are approximate and do vary, especially with the size of the posts for the bird sculptures.


Bird sculptures are fixed to their relevant posts by gluing a length of 6mm dia threaded steel bar into the body of the bird and the post using a two part epoxy resin.

Wall sculptures– Fixing to wall: Each wall sculpture comes with a 25mm round countersunk Neodymium magnet screwed on the back and with each sculpture purchased another magnet is supplied, again 25mm round with a countersunk hole this time, which is to be attached to your wall. Each of these magnets gives a pulling power of 9kg (total direct force of 18kg). On the larger wall mounted sculptures such as large Stingray, 2 x 40mm dia magnets are attached to the sculpture with another magnet supplied for your wall