{"title":"for the collector","description":"\u003cp class=\"p1\"\u003eFor the person who loves the thrill of finding something unusual, has an eye for the overlooked and can always make room for one more piece.\u003c\/p\u003e","products":[{"product_id":"robert-motherwell-by-and-after-motherwell-usa","title":"Lithograph Exhibition Poster by Robert Motherwell from The Cleveland Museum of Art (1989)","description":"\u003cp\u003e\u003cspan\u003eRobert Motherwell, The Cleveland Museum of Art, Museum exhibition poster, printed by Bruce McGaw Graphics, lithograph\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMeasures 116cm x 106cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eRobert Motherwell (1915–1991)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRobert Motherwell was an American painter, printmaker, and writer, best known as a leading figure of Abstract Expressionism. Born in Washington State and educated at Stanford, Harvard, and Columbia, he brought intellectual rigour to the New York School. Motherwell was deeply influenced by literature, politics, and European modernism, and his work often reflected themes of struggle and humanism. He was a pioneer in elevating printmaking, particularly lithography, to a central part of postwar American art. His recurring motifs, such as the \u003ci\u003eElegy to the Spanish Republic\u003c\/i\u003e series, explored the intersection of form, emotion, and historical memory. Motherwell’s prints are celebrated for their gestural precision and poetic resonance.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":55948922257792,"sku":"","price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILY_DICKS_PHOTO_C-306.jpg?v=1746716664"},{"product_id":"art-chicago-lithograph-signed-and-numbered-by-robert-motherwell-1980s-usa","title":"'Art Chicago' by Robert Motherwell Lithograph Exhibition Poster, (1980s) USA","description":"\u003cp\u003e'Art Chicago' by Robert Motherwell exhibition poster.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProduced for the Chicago International Art Exposition. Featuring a richly coloured work by Robert Motherwell, it was printed high quality by Tyler Graphics Mt. Kisco and published by Lakeside Group.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRobert Motherwell (1915-1991) was a leading American Abstract Expressionist painter. He was known for his expressive canvases and collages, often using automation - spontaneous creation to express inner feelings. His work frequently incorporated bold shapes and colours, as seen In this lithograph. Motherwell was also a writer and theorist, connecting pre-war European avant-garde with post-war New York art.\u003c\/p\u003e\n\u003cp\u003eThe Art Institute of Chicago, founded in 1870, houses a vast collection of over 300,000 artworks from various cultures and time periods The city of Chicago has a rich history of public art, with notable works like the Picasso sculpture dedicated in 1967. Motherwell's work is a significant part of the Abstract Expressionist movement and Is featured in collections worldwide. \u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":56084230635904,"sku":"","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILYDICKSPHOTOC-528.jpg?v=1758807785"},{"product_id":"basquiat-andy-warhol-b-1928-87-four-hands-retro-bill-board-exhibition-offset-lithograph-1985","title":"Basquiat, Andy Warhol ‘Four Hands’, Offset Lithograph, (1985)","description":"\u003cdiv\u003eAndy Warhol, Basquiat (b 1928-87) ‘Four Hands’ retro bill board Exhibition, offset Lithograph, 1985\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003ePrinted on Archival quality paper with vibrant colour and Highest Quality Archival Inks, this retro Basquiat v Warhol was one of the most important exhibitions to capture the energy of downtown New York art in 1985. Professionally framed in black wood.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cdiv\u003eLimited Edition: Open Edition with a limited run of 500\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eMedium: Giclee \u0026amp; Iris Print in vibrant colour on 120g arctic gloss paper  \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003ePublished: By vintage posters\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"UTF-8\"\u003e \u003cspan\u003eA3 Size Poster 420mm x 297mm (42cm x 30 cm) - before framing\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eThis a promotional  poster for the now-legendary 1985 exhibition featuring Andy Warhol and Jean-Michel Basquiat, held at the Palladium nightclub in New York City and presented by the Tony Shafrazi Gallery.\u003c\/p\u003e\n\u003cp\u003eThis striking poster captures the collaborative energy between two of the most influential artists of the 20th century. Photographed in boxing gloves and trunks, Warhol and Basquiat are posed as sparring partners, a visual metaphor for their dynamic, often tension-filled partnership. The image, styled like a boxing match promotion, became an icon of 1980s New York art culture.\u003c\/p\u003e\n\u003cp\u003e    •    Date: Saturday, September 14, 1985\u003cbr\u003e    •    Venue: Palladium, 126 East 14th Street, NYC\u003cbr\u003e  \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":56094492787072,"sku":"","price":275.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILY_DICKS_PHOTO_C-547.jpg?v=1749904419"},{"product_id":"finn-juhl-58-chair-watercolour-print-framed","title":"Large Finn Juhl '58 Chair' Watercolour Print, Framed","description":"\u003cp\u003e\u003cspan\u003eFinn Juhl ‘58 Chair’ Watercolour Study Print\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Ordrupgaard Museum, Denmark\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis framed print reproduces a watercolour study by Danish designer and architect Finn Juhl (1912–1989) showing the celebrated ‘58 Chair’ from several angles. Juhl frequently used watercolour and gouache to explore ideas before production, allowing him to refine proportion, structure and the sculptural quality that defines his furniture. The drawing captures the chair’s distinctive form, the floating seat and backrest supported by a refined timber frame, a composition that reflects Juhl’s lifelong interest in the relationship between furniture and the human body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTrained as an architect at the Royal Danish Academy of Fine Arts, Juhl became one of the central figures of Danish modern design. His work broke away from strict functionalism, introducing a more expressive and organic language to mid-century furniture. Designs such as the Pelican Chair (1940), Chieftain Chair (1949) and the ‘58 Chair’ demonstrate his sculptural approach, where individual elements appear almost separate from the frame yet work together as a balanced whole.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original drawing referenced on the print was prepared for the 1953 Cabinetmakers’ Guild Exhibition in Copenhagen, where Danish designers and cabinetmakers presented experimental and forward-looking furniture. These exhibitions were instrumental in establishing Denmark’s international reputation for furniture design during the mid-twentieth century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis example has been newly framed with museum-grade art glass, giving the print a clean, calm presentation suitable for both modern and mid-century interiors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDetails\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrame size: 77 × 59 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublisher: Ordrupgaard Museum, Denmark\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMedium: Printed reproduction of a Finn Juhl watercolour study\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNewly framed with art glass\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":56141718258048,"sku":"","price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILYDICKSPHOTOC-610.jpg?v=1750949046"},{"product_id":"salt-glazed-teapot-by-jeremy-nichols","title":"Salt Glazed Teapot by Jeremy Nichols, UK","description":"\u003cp\u003eSalt-Glazed Teapot by Jeremy Nichols, with potters mark to underside.\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e28 cm from tip of spout to end of handle, base 10.5cm \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA beautifully sculptural salt-glazed teapot by British potter Jeremy Nichols, known for his distinctive approach to form, balance and the expressive possibilities of salt firing. This example shows his signature aerodynamic silhouette, with the extended spout and curved handle. The salt-glaze finish gives the surface its characteristic subtle sheen and fine orange-peel texture.\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePerfect as a functional pot or as a standalone display piece, it sits comfortably within both contemporary and mid-century interiors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: As new \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003eAbout Jeremy Nichols\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJeremy Nichols (b. 1957) is a highly regarded British studio potter best known for his salt-glazed teapots, jugs and pouring vessels. He originally trained in engineering science at Durham University and pursued a career in theatre lighting before studying ceramics at Camberwell College of Arts and the Royal College of Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNichols’ work is distinguished by its architectural precision, meticulously designed components and technical control of the salt-firing process. His teapots - often described as “aerodynamic” or “mechanical”- combine complex construction with a strong sense of balance and playfulness. He is a Fellow of the Craft Potters Association and exhibits internationally, with pieces held in significant private and public collections.\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEach work is formed in stoneware and salt-fired to achieve its unique surface and tonal variation, making every piece one of a kind.\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":56501219099008,"sku":null,"price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILYDICKSPHOTOC-3739.jpg?v=1763037371"},{"product_id":"set-of-four-stainless-steel-bowls","title":"Set of 4 Stainless Steel Bowls in original box by Erik Magussen for Stelton (1960s)","description":"\u003cp\u003eErik Magnussen for Stelton -  Set of Four Stainless Steel Bowls (1960s, Original Box)\u003cbr\u003eA beautifully preserved, unused set of four round stainless-steel bowls designed by Erik Magnussen for Stelton, complete with their original 1960s box - a rare find and a perfect example of Scandinavian modernist utility.\u003c\/p\u003e\n\u003cp\u003eThis set includes:\u003cbr\u003e• Four 15cm round stainless-steel bowls\u003cbr\u003e• Original Stelton packaging with period graphics and labels\u003cbr\u003e• Produced in Denmark, 1960s\u003c\/p\u003e\n\u003cp\u003eThe bowls are classic Magnussen: simple, functional, and refined. The stainless steel is weighty with a soft brushed finish, and each bowl nests neatly within the others. Whether used for serving, displayed as sculptural objects, or kept as part of a design collection, they embody the clean, industrial aesthetic that defined Stelton’s mid-century output.\u003c\/p\u003e\n\u003cp\u003e⸻\u003c\/p\u003e\n\u003cp\u003eAbout Erik Magnussen (1940–2014)\u003c\/p\u003e\n\u003cp\u003eErik Magnussen was one of Denmark’s most influential industrial designers, known for his restrained, fluid forms and uncompromising functionalism. Trained as a ceramicist at the School of Applied Arts and Design in Copenhagen, Magnussen moved seamlessly between materials - ceramics, metal, glass, and plastics - but always with the same design ideology: clarity, precision, and usability.\u003c\/p\u003e\n\u003cp\u003eHis most iconic work is the Stelton EM77 vacuum jug (1977), a piece that became a Danish design classic and remains in production today. Magnussen received numerous awards, including the Lunning Prize and the Red Dot Design Award, and his work is held in major museum collections worldwide.\u003c\/p\u003e\n\u003cp\u003e⸻\u003c\/p\u003e\n\u003cp\u003eAbout Stelton\u003c\/p\u003e\n\u003cp\u003eFounded in 1960 by Niels Stellan Høm and Carton Madelaire, Stelton became internationally recognised for its stainless-steel tableware during the 1960s and ’70s. The company’s breakthrough came with the Cylinda-Line (1967), designed by Arne Jacobsen — a modular series of brushed-steel bar and table pieces that set the aesthetic direction for decades of Stelton products.\u003c\/p\u003e\n\u003cp\u003eThrough collaborations with Erik Magnussen, Peter Holmblad, and Arne Jacobsen, Stelton established itself as a leader of Danish modern design: minimal, architectural, and built to last. Mid-century boxed sets like this are increasingly difficult to find, as most were used heavily and seldom retained with their original packaging.\u003c\/p\u003e\n\u003cp\u003e⸻\u003c\/p\u003e\n\u003cp\u003eCondition\u003c\/p\u003e\n\u003cp\u003e• Bowls: excellent vintage condition, unused\u003cbr\u003e• Box: very good, light age-related wear to edges\u003cbr\u003eA rare opportunity to acquire a complete Magnussen set exactly as it would have been sold in the 1960s.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":56910494663040,"sku":null,"price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILYDICKSPHOTOC-4003.jpg?v=1763656581"},{"product_id":"vintage-chess-set-chess-board-and-draughts-set","title":"Mid Century Turned Boxwood \u0026 Ebony St George Pattern Chess Set (UK)","description":"\u003cp\u003eEarly mid Century Turned Boxwood \u0026amp; Ebony St George Pattern Chess Set\u003c\/p\u003e\n\u003cp\u003eWith Mid-Century Britecrest Folding Chess Board\u003cbr\u003eLargest piece: 11cm\u003c\/p\u003e\n\u003cp\u003eThe Chessmen\u003c\/p\u003e\n\u003cp\u003eThis is an original early mid-century St George pattern set, turned in boxwood and ebony - an English design that pre-dates the dominance of the Staunton pattern and was favoured throughout the 19th and early 20th centuries for club and campaign play.\u003cbr\u003e    •    Kings measure 11cm\u003cbr\u003e    •    Turned boxwood and ebonised hardwood\u003cbr\u003e    •    Distinctive St George silhouettes: tapered kings, open-worked knights, and the characteristic ringed collars\u003cbr\u003e    •    Warm, even patina consistent with age\u003cbr\u003eThe set comes in its original box, now fitted with a newly made replacement lid.\u003c\/p\u003e\n\u003cp\u003eThe Chess Board\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbout Britecrest\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBritecrest was a mid-20th-century British manufacturer known for producing well-made games, puzzles and educational toys. Based in England, the company became recognised for its quality printed game boards and boxed sets, often combining traditional designs with durable materials. Their chess boards in particular are identifiable by their decorative printed borders and crisp graphic layouts, usually marked “Made in England – By Britecrest.” Although not a large-scale maker, Britecrest pieces are now collected for their nostalgic charm and for representing a very specific era of British game manufacturing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWhy St George?\u003c\/p\u003e\n\u003cp\u003eThe St George pattern sits at a fascinating point in chess design history - bridging the elegant, more decorative 19th-century styles and the cleaner, more standardised Staunton design introduced in 1849. Sets like this were commonly used in English clubs and travelling sets, and they’re now increasingly valued for their craftsmanship and historical significance.\u003c\/p\u003e\n\u003cp\u003eCondition\u003cbr\u003e    •    Chessmen in very good antique condition with age-appropriate wear\u003cbr\u003e    •    Original box present with a newly made lid\u003cbr\u003e    •    Folding board in excellent vintage condition\u003c\/p\u003e\n\u003cp\u003eA characterful combination set that brings together two classic design eras - perfect for collectors, mid-century enthusiasts, or anyone who appreciates traditional turning and early English chess design.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":56941811040640,"sku":null,"price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILYDICKSPHOTOC-4252.jpg?v=1764166106"},{"product_id":"ribbon-trail-fluted-vase-smoke-with-orange-by-geoffrey-baxter-for-whitefriars-glass","title":"Ribbon-Trail Fluted Vase, Smoke with orange by Geoffrey Baxter for Whitefriars Glass","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eRibbon-Trail Fluted Vase, Smoke with orange\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eDesigned by Geoffrey Baxter for Whitefriars Glass\u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eThis striking fluted glass vase was designed by \u003c\/span\u003e\u003cspan class=\"s1\"\u003eGeoffrey Baxter\u003c\/span\u003e\u003cspan class=\"s3\"\u003e for \u003c\/span\u003e\u003cspan class=\"s1\"\u003eWhitefriars Glass\u003c\/span\u003e\u003cspan class=\"s3\"\u003e and dates to the late 1960s–early 1970s, a period when Baxter was at his most experimental.\u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eThe vase is formed in a smoky grey glass with a bold \u003c\/span\u003e\u003cspan class=\"s1\"\u003eamber ribbon-trail\u003c\/span\u003e\u003cspan class=\"s3\"\u003e spiralling through the body. The internal trail appears to float within the glass, creating a strong sense of movement and depth. The gently fluted cylindrical form allows the colour to shift as the vase is turned, catching and refracting light beautifully.\u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eRibbon-trail designs were part of Whitefriars’ push beyond traditional domestic glassware into more sculptural, expressive forms. Baxter, trained as a sculptor, was instrumental in this shift. His work at Whitefriars helped define British studio glass of the post-war period, and pieces from this era are now highly collectable.\u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eThis example is substantial and elegant, working equally well as a standalone sculptural object or with long stems. A particularly good scale for floor, console or dining table display.\u003c\/span\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eVery good vintage condition with no chips or cracks. Light surface wear consistent with age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eDetails\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003e– Designer: Geoffrey Baxter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003e– Manufacturer: Whitefriars Glass, England\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003e– Date: c. late 1960s \/ early 1970s\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003e– Colour: Smoke grey with amber ribbon-trail\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003e– Material: Hand-blown art glass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan class=\"s3\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eDimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eHeight: approx. 23 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s3\"\u003eDiameter: approx. 6.5 cm\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":57023766692224,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILY_DICKS_PHOTO_C-4740.jpg?v=1766577529"},{"product_id":"less-and-more-the-design-ethos-of-dieter-rams","title":"Exhibition Poster - Less and More - The Design Ethos of Dieter Rams (2010)","description":"\u003cp\u003eLess and More - The Design Ethos of Dieter Rams\u003c\/p\u003e\n\u003cp\u003eExhibition poster produced for Less and More: The Design Ethos of Dieter Rams, held in South Korea in 2010.\u003c\/p\u003e\n\u003cp\u003eThe graphic features Braun’s L2 loudspeaker as the central motif, reflecting the restrained visual language associated with Dieter Rams’ work at Braun. Rams (b.1932) served as head of design at Braun from 1961 to 1995 and developed a design philosophy centred on clarity, usefulness and reduction - ideas later summarised in his well-known principle that good design is as little design as possible.\u003c\/p\u003e\n\u003cp\u003eThe poster is presented in a matt black wooden frame with art glass. The glass is low-iron and designed to minimise reflections (to less than 0.5%) while providing up to 99% UV protection.\u003c\/p\u003e\n\u003cp\u003eThe poster itself shows some wear and marks consistent with age, which are visible in the photographs.\u003c\/p\u003e\n\u003cp\u003eDetails\u003c\/p\u003e\n\u003cp\u003eExhibition: Less and More – The Design Ethos of Dieter Rams\u003cbr\u003eLocation: South Korea\u003cbr\u003eYear: 2010\u003c\/p\u003e\n\u003cp\u003eFrame dimensions: 73 × 32 cm\u003c\/p\u003e\n\u003cp\u003eMatt black wooden frame with low-reflection art glass.\u003c\/p\u003e\n\u003cp\u003eCondition: Vintage poster with visible age-related marks.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":57661127229824,"sku":null,"price":350.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-3_12a6e98b-4763-48a5-8343-44d3fe6b0853.jpg?v=1774017314"},{"product_id":"a-sarah-walton-b-1945-salt-glazed-studio-pottery-teapot-and-cover-with-bamboo-swing-handle-height-27cm","title":"A Salt Glazed Studio Pottery Teapot and Cover with Bamboo Swing Handle by Sarah Walton (UK) 1970","description":"\u003cp\u003eA salt glazed teapot by British studio potter Sarah Walton, made in her characteristic earthy palette of layered brown glazes. The pot has a generous rounded body with a short, well balanced spout and a recessed lid. A bamboo swing handle is attached through small lugged loops at the shoulder, giving the piece a lightness that contrasts nicely with the weight of the stoneware.\u003c\/p\u003e\n\u003cp\u003eWalton’s work often explores natural textures and restrained forms, drawing on the tradition of British studio pottery while also reflecting the influence of Japanese ceramics. The glaze on this piece moves from a warmer chestnut tone across the shoulder to a darker, slightly textured base, creating subtle variation across the surface.\u003c\/p\u003e\n\u003cp\u003eThe bamboo handle adds both practicality and a quiet decorative element, typical of studio pottery where material choices remain simple but considered. Pieces like this were intended for everyday use rather than display alone, and the scale and proportions make it equally suitable as a working teapot or as a sculptural object on a shelf.\u003c\/p\u003e\n\u003cp\u003eA thoughtful example of late 20th century British studio pottery.\u003c\/p\u003e\n\u003cp\u003eDimensions\u003cbr\u003e27cm high\u003c\/p\u003e\n\u003cp\u003eCondition\u003cbr\u003eVery good vintage condition with no visible damage.\u003c\/p\u003e\n\u003cp\u003e⸻\u003c\/p\u003e\n\u003cp\u003eAbout the Designer\u003c\/p\u003e\n\u003cp\u003eSarah Walton (b. 1945) is a British studio potter whose work is associated with the later generation of the studio pottery movement that followed the influence of Bernard Leach and his circle. Working primarily in stoneware, Walton is known for functional domestic forms such as teapots, bowls, and serving vessels, often finished in rich, natural glazes inspired by traditional East Asian ceramics.\u003c\/p\u003e\n\u003cp\u003eHer pieces emphasise balance, tactility and usability. Rather than decorative excess, Walton’s work focuses on the quiet qualities of clay, glaze and proportion. Many of her teapots incorporate natural materials such as bamboo handles, referencing Japanese and Korean ceramic traditions while remaining rooted in the practical ethos of British studio pottery.\u003c\/p\u003e\n\u003cp\u003eHer work has been widely collected and appears regularly in private collections and specialist galleries dealing in studio ceramics.\u003cbr\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":57712129442176,"sku":null,"price":290.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-3-2_858d94b4-7292-46ef-8718-d1a9f9971af1.jpg?v=1776938080"},{"product_id":"a-fold-of-chairs-city-guide-to-st-albans","title":"A Fold of Chairs, City Guide to St Albans","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eFor years we’ve talked about making a city guide to St Albans. Made by Creatives for Creatives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWhen Marcus \u0026amp; I moved here from London 20 years ago we thought it would just be a calmer, more practical place to raise a family. What we didn’t realise was how many thoughtful, creative people were quietly building lives and practices here.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eOver the years, through schools, nights out and lots of long conversations, we found ourselves surrounded by designers, artists, makers, writers, architects and musicians. That community is what made this lovely city feel like home.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eWe started asking that community to share their favourite places, from architecture, to places to walk, eat \u0026amp; drink, dance \u0026amp; shop. \u003c\/span\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThe result is this pocket sized book. It’s a guide to the places that shape our city and all the independent businesses we love.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eDimensions,\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e100mm x 130mm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":57712176791936,"sku":null,"price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-17_d068abe8-428f-4ac1-9ad6-b40caaf76d06.jpg?v=1775647418"},{"product_id":"ole-wanscher-danish-1903-1985-a-walnut-low-chest-on-stand","title":"Low Walnut Chest of Drawers, Ole Wanscher (1940s) Denmark","description":"\u003cp\u003e\u003cspan\u003eOle Wanscher (1903–1985)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLow Chest of Drawers on Stand, Denmark, circa 1940s\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA beautiful walnut low chest designed by Ole Wanscher in the 1940s, raised on slender tapering legs and fitted with six drawers arranged in two banks of three. The drawers retain their original brass swan neck handles, a restrained detail that complements the elegant proportions of the piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe chest demonstrates Wanscher’s characteristic approach to furniture design, drawing on classical forms while refining them for modern interiors. The clean lines, light structure and carefully balanced proportions reflect the influence of traditional English cabinetmaking, which Wanscher studied closely, translated through the clarity of Danish modern design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe walnut has a beautiful, consistent grain across the drawer fronts, Inside, the drawers remain lined with their original baize.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCompact bit with generous \u003c\/span\u003estorage, the chest works well as a bedroom piece, dressing table base or elegant storage in a living space.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesigner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOle Wanscher (1903–1985)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOle Wanscher was one of the leading figures of twentieth century Danish furniture design. Trained as an architect at the Royal Danish Academy of Fine Arts under Kaare Klint, he later succeeded Klint as Professor of Furniture Design in 1955. Wanscher was known for his scholarly approach to furniture history and his careful study of historical forms, which he translated into modern furniture with exceptional craftsmanship and proportion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMany of his designs were produced by master cabinetmakers including A. J. Iversen and P. Jeppesen and are now considered among the most refined examples of Danish modern furniture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHeight: 63 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWidth: 97 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDepth: 42 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent vintage condition. The drawers run smoothly and retain their original baize linings. The walnut shows a rich tone with only light, age-appropriate wear.\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":57712301179264,"sku":null,"price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-8_3dfc1847-957d-4130-85e9-a58416383341.jpg?v=1775046589"},{"product_id":"michael-kenny-1941-1999-screenprint-hills-and-river-shores-c-1980","title":"Michael Kenny (1941–1999)  Screenprint  Hills and River Shores, c.1980","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eMichael Kenny (1941–1999)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eHills and River Shores, c.1980\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eColour screenprint on paper, signed, titled and numbered 29\/50 in pencil.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA striking and atmospheric screenprint by British artist Michael Kenny, combining expressive mark-making with the geometric forms that became a hallmark of his work. Across the composition, sweeping black passages and energetic linear elements suggest a rugged landscape, while abstract architectural forms emerge on the horizon. The balance between structure and spontaneity creates a work that feels both monumental and deeply connected to the natural world.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA powerful example of British post-war printmaking from an artist whose work bridged abstraction and landscape with remarkable confidence. Combining strong graphic forms with expressive mark-making, \u003ci\u003eHills and River Shores\u003c\/i\u003e is both a significant work by Michael Kenny and a piece with a documented exhibition history beyond the private art market.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKenny was one of the most respected British artists of his generation. Michael Kenny was born in Liverpool in 1941, and before he ever picked up a chisel he was at school with two future Beatles, Stuart Sutcliffe and John Lennon. He went on to study at Liverpool College of Art and then the Slade, where his tutor, the sculptor Reg Butler, nicknamed him “the Liverpool Italian” for his obsession with Giacometti.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProduced in a small edition of only 50 impressions, \u003ci\u003eHills and River Shores\u003c\/i\u003e demonstrates Kenny’s ability to merge drawing, printmaking and painterly gesture into a single image. The layered composition, subtle colour palette and strong graphic presence make it particularly well suited to contemporary interiors, while also appealing to collectors of post-war British art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe reverse retains an original inventory label from the charity \u003cb\u003ePaintings in Hospitals\u003c\/b\u003e, indicating that the work was previously part of their collection and was loaned for display within healthcare settings. Founded in 1959, the organisation places original artworks in hospitals and care environments throughout the UK, and the label provides an interesting piece of provenance linking the print to a long established public arts programme.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eArtist:\u003c\/b\u003e Michael Kenny (1941–1999)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eTitle:\u003c\/b\u003e \u003ci\u003eHills and River Shores\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDate:\u003c\/b\u003e Circa 1980\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMedium:\u003c\/b\u003e Colour screenprint on paper\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eEdition:\u003c\/b\u003e 29\/50\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eSignature:\u003c\/b\u003e Signed, titled and numbered in pencil\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eImage Size:\u003c\/b\u003e 90 x 122 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA bright, well-preserved impression in very good condition. Presented in a white frame behind glass. The frame shows minor signs of age and use consistent with display but remains in good overall condition. Ready to hang.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA powerful example of British post-war printmaking from an artist whose work bridged abstraction and landscape with remarkable confidence.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58260768620928,"sku":null,"price":1700.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-9_4369d342-84be-48e8-9015-21fb7647543a.jpg?v=1781693803"},{"product_id":"peter-wills-b-1955bowl-porcelain","title":"Peter Wills Porcelain Bowl in Dry Blue-Green Glaze (UK)","description":"\u003cp class=\"p1\"\u003eA Peter Wills porcelain bowl finished in a dry blue-green glaze. The bowl has a finely potted, gently flared form with a small foot ring and a translucent glaze that pools and breaks across the surface to create an intricate cellular pattern. The decoration extends across both the interior and exterior, giving the piece a depth and complexity that changes as it catches the light.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe glaze is particularly characteristic of late twentieth-century studio ceramics, where experimentation with materials and firing techniques became as important as form. The pale green tones and organic surface patterning contrast with the precision of the porcelain body, demonstrating the balance between control and chance that is central to studio pottery.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003ePotter\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePeter Wills (b.1955) is a British studio potter known for his porcelain vessels and highly developed glaze effects. He studied ceramics at Camberwell School of Arts and Crafts before establishing his own workshop practice. Throughout his career he has explored the technical possibilities of porcelain and glaze chemistry, producing work that sits between functional pottery and ceramic art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eUnlike many potters working within the Leach tradition, Wills became interested in more experimental ceramic surfaces, developing glazes that produce crystalline, mottled and cellular effects during firing. His work has been exhibited widely and is admired for its combination of technical precision and visual complexity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVery good vintage condition. Craze lines are present within the glaze, consistent with the firing and age of the piece. No evidence of restoration. The bowl rings clearly when tapped.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDiameter: 12.5cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58280105771392,"sku":null,"price":165.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-7_8e23b60a-56b7-4a3f-aa5e-a7229f0962c5.jpg?v=1781696161"},{"product_id":"celadon-green-glaze-stoneware-bowl-by-audrey-stockwin-copy","title":"Celadon-Green Glaze Stoneware Bowl by Audrey Stockwin (1960s)","description":"\u003cp class=\"p2\"\u003e\u003cb\u003eAudrey Stockwin Stoneware Bowl\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eA stoneware bowl by Audrey Stockwin, finished in a soft celadon-green glaze that breaks gently across the surface to reveal the warm iron-rich clay beneath. The form is simple and unforced, with a slightly flared rim and delicate foot ring that lifts the bowl from the table. Flecks and variations within the glaze are the result of the firing process, giving each piece a unique character.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe bowl demonstrates the qualities for which Stockwin’s work is admired: restraint, balance and a deep understanding of materials. Intended for everyday use, it is equally satisfying as a functional object or displayed amongst a collection of studio ceramics.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003eAbout the Potter\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAudrey Stockwin (1936-2018) was one of Britain’s most respected studio potters. Working for much of her career from her pottery in Devon, she became known for quietly elegant domestic wares inspired by Japanese and Korean ceramics, as well as the traditions of British studio pottery established by Bernard Leach.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eStockwin believed that pottery should enrich daily life. Rather than producing decorative showpieces, she devoted herself to making bowls, cups and vessels that could be used and enjoyed every day. Her work is characterised by subtle glazes, carefully considered forms and an appreciation of the natural qualities of clay.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eVery good condition. Potters seal to base.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eDiameter: 11.5 cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58304283607424,"sku":null,"price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-3_6c182f66-3d3e-4ed3-a31c-502c4fc2437b.jpg?v=1782291173"},{"product_id":"mike-dodd-yunomi-bowl-with-foliate-decoration","title":"Mike Dodd Yunomi Bowl with Foliate Decoration","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eMike Dodd Yunomi Bowl \u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA stoneware yunomi by Mike Dodd, decorated with impressed foliate motifs beneath a rich honey and iron glaze. The cylindrical form sits comfortably in the hand, while the carved decoration and flowing glaze create a surface that reveals more detail the longer it is observed. The interior is finished in a soft celadon-grey glaze, contrasting beautifully with the warmer exterior tones.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe yunomi occupies a special place in Japanese ceramics. Unlike a formal tea bowl used in the tea ceremony, a yunomi is an everyday drinking vessel intended for tea enjoyed informally at home. The form was admired by many British studio potters, particularly those influenced by Japanese and Korean traditions, because it combined beauty with daily use. For potters such as Dodd, the yunomi represented the ideal studio pottery object: functional, tactile and deeply personal.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eAbout the Potter\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMike Dodd (born 1943) is one of the most respected figures in British studio pottery. He belongs to the generation of potters who followed Bernard Leach and Michael Cardew, embracing the belief that pottery should be integrated into everyday life rather than separated as fine art.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs a young man, Dodd encountered the work of Leach, Shoji Hamada and Cardew, whose pots demonstrated that ordinary domestic objects could possess extraordinary beauty. He later established Wellrash Pottery in Herefordshire, where he spent decades working largely outside the commercial art world, making pottery using local materials and traditional firing methods.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDodd is known for producing his own ash glazes, often derived from materials gathered around the pottery. His work reflects a deep respect for the relationship between clay, fire and landscape. Collectors admire his pottery for its honesty, quiet confidence and connection to the traditions of both British and Japanese ceramics.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis yunomi demonstrates those influences particularly well. Its form derives from Japanese tea culture, while the earthy glazes and impressed decoration are unmistakably Dodd’s own, resulting in a vessel that feels both ancient and entirely contemporary.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVery good condition. Potters seal to base.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 9 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDiameter: 8 cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58304303202688,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-2_4f533bac-d292-43da-b671-4a47bd3a33d6.jpg?v=1782290914"},{"product_id":"alessandro-albrizzi-lucite-box-with-cane-inlay-1960s-italy","title":"Alessandro Albrizzi Lucite Box with Cane Inlay (1960s) Italy","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eAlessandro Albrizzi Lucite Box with Cane Inlay\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis rectangular box was designed by Alessandro Albrizzi and combines clear lucite with woven cane panels set into the sides. The contrast between the industrial clarity of the acrylic and the warmth of the natural cane is characteristic of Italian design in the 1960s and 1970s, when designers were increasingly interested in combining traditional materials with new manufacturing techniques.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe box is beautifully constructed, with the lucite acting almost like a frame around the woven cane. Light passes through the transparent structure while the cane introduces texture and pattern, creating an object that functions equally well as storage or as a decorative piece. It works particularly well on a desk, dressing table or coffee table, where the materials can be appreciated from all angles.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDesigner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlessandro Albrizzi was an Italian designer and entrepreneur best known for his work with lucite and acrylic furniture and accessories during the 1960s and 1970s. His designs embodied the optimism of the Space Age, embracing modern materials while maintaining the refinement associated with Italian design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWorking from Milan, Albrizzi produced a range of furniture, lighting and decorative objects that explored transparency, reflection and light. Today his lucite pieces are increasingly sought after by collectors for their ability to sit comfortably in both contemporary and mid-century interiors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood vintage condition. The lucite has been professionally polished to reduce surface wear. There are still some light scratches to the top surface, consistent with age and use.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e20cm x 10cm x 7cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58304758972800,"sku":null,"price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00058-3898.jpg?v=1793887356"},{"product_id":"alessandro-albrizzi-lucite-box-with-cane-inlay-1960s-italy-copy","title":"Alessandro Albrizzi Lucite Box with Steel Sides (1960s) Italy","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eAlessandro Albrizzi Lucite Box with Steel Sides\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA rectangular lucite box designed by Alessandro Albrizzi, incorporating polished steel panels within a clear acrylic structure. The simplicity of the form allows the materials to take centre stage, with the reflective steel appearing to float within the transparent lucite body.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlbrizzi was particularly interested in the visual effects created by transparency and reflection, and this box demonstrates that approach perfectly. Depending on the light and viewing angle, the steel surfaces create changing reflections that give the piece a surprising sense of depth. The clean geometric form and restrained material palette make it a particularly versatile decorative object.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDesigner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlessandro Albrizzi was among the designers who helped popularise acrylic furniture and accessories in post-war Italy. His work embraced new materials and manufacturing methods while retaining the elegance and precision associated with Italian modernism.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHis lucite objects became particularly popular during the 1970s, when transparent materials were seen as a symbol of modernity. Decades later, Albrizzi’s work remains highly collectable and is recognised as an important part of Italian design history.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood vintage condition. The lucite has been carefully polished to improve clarity and reduce surface wear. Light scratches remain to the top surface, consistent with age and use.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e17.5cm x 10cm x 4.7cm (largest example)\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58304759595392,"sku":null,"price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00048-3901.jpg?v=1793887326"},{"product_id":"blue-opaque-ashtray-bowl","title":"Robert Goodden for Chance Brothers ‘Orlak’ Art Deco Glass Ashtray\/Decorative Bowl, 1935","description":"\u003cp\u003eAn Art Deco ‘Orlak’ ashtray designed by Robert Goodden for Chance Brothers in around 1935.\u003c\/p\u003e\n\u003cp\u003eMade from pale blue opal pressed glass, the ashtray has a deep circular bowl with broad projecting rests on either side. The stepped, grooved detailing and symmetrical shape are characteristic of the geometric forms used in British Art Deco design during the 1930s.\u003c\/p\u003e\n\u003cp\u003eRobert Goodden was a British designer and silversmith who produced several pressed-glass designs for Chance Brothers during the decade. Chance Brothers was founded in Smethwick in 1822 and became one of Britain’s most important manufacturers of industrial, architectural and domestic glass. The company was particularly known for its technical glass production, including lighthouse lenses, before expanding its domestic ranges during the 20th century. \u003c\/p\u003e\n\u003cp\u003eAlthough originally made as an ashtray, its  proportions allow it to be used as a decorative bowl or vide-poche.\u003c\/p\u003e\n\u003cp\u003eDesigner: Robert Goodden\u003cbr\u003eManufacturer: Chance Brothers\u003cbr\u003eModel: Orlak\u003cbr\u003eDate: circa 1935\u003cbr\u003eCountry of origin: England\u003cbr\u003eMaterial: Pressed opal glass\u003cbr\u003eColour: Pale blue\u003cbr\u003eDimensions: \u003cbr\u003eCondition: Vintage condition with age-related surface marks.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58322971984256,"sku":null,"price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled_73aaafdb-f5d3-46a5-abb2-be5ce2371618.jpg?v=1782290635"},{"product_id":"yellow-murano-glass-perfume-bottle","title":"1940s Etched Amber Glass Perfume Bottle","description":"\u003cp\u003eVintage Etched Glass Perfume Bottle\u003c\/p\u003e\n\u003cp\u003eDelicately proportioned and beautifully detailed, this vintage perfume bottle is crafted from softly amber-tinted glass with elegant hand-etched decoration. Fine geometric and sweeping linear engravings wrap around the body, catching the light and lending the piece a subtle Art Deco character.\u003c\/p\u003e\n\u003cp\u003eThe faceted stopper echoes the clean, angular lines of the bottle below, while the warm honey hue gives the glass a gentle glow. Whether displayed on a dressing table, bathroom shelf or cabinet of curiosities, it is a quietly elegant decorative object that celebrates the craftsmanship of an earlier era.\u003c\/p\u003e\n\u003cp\u003eOriginally intended for perfume or scented oils, it also works beautifully as a decorative accent, styled alongside vintage mirrors, ceramics or glassware. The simplicity of its form allows it to sit comfortably in both traditional and contemporary interiors.\u003c\/p\u003e\n\u003cp\u003eA charming piece of vintage glass with timeless appeal.\u003c\/p\u003e\n\u003cp\u003eCondition\u003cbr\u003eVery good vintage condition with light signs of age and use consistent with its years. The stopper fits well and the etched decoration remains crisp and clear.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58322973032832,"sku":null,"price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-3_c4fe118b-5123-4a24-9b5b-3265fca263cf.jpg?v=1782290714"},{"product_id":"a-murano-sommerso-glass-rectangular-dish","title":"Murano Sommerso Glass Vide-Poche (1960s\/70s)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eMurano Sommerso Glass Vide-Poche\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFor centuries, the Venetian island of \u003cb\u003eMurano\u003c\/b\u003e has been synonymous with the finest art glass in the world. Protected by the Venetian Republic from the thirteenth century onwards, Murano’s glassmakers developed techniques that were closely guarded for generations. By the mid-twentieth century, the island had become the centre of a remarkable period of innovation, with glasshouses such as Seguso, Mandruzzato, Venini and Sommerso producing bold, sculptural objects that came to define Italian modern design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis elegant vide-poche is created using the \u003cb\u003esommerso\u003c\/b\u003e technique, one of Murano’s most celebrated innovations. Meaning \u003ci\u003e‘submerged’\u003c\/i\u003e in Italian, sommerso involves encasing one coloured layer of glass within another layer of crystal while the glass remains molten. The process creates remarkable optical depth, allowing colour to appear suspended within the glass and shift beautifully as the piece catches the light.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIts geometric rectangular form contrasts with the soft, organic bowl that appears to float within it. The combination of cool blue encased within warm peach-tinted crystal creates an ever-changing interplay of colour and reflection, making the piece as sculptural as it is functional.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDesigned as a \u003cb\u003evide-poche -\u003c\/b\u003eliterally ‘empty pockets’- it is the perfect resting place for keys, jewellery or other treasured objects, while also serving as a striking standalone work of glass sculpture. Pieces of this quality demonstrate why Murano glass remains among the most collected decorative arts of the twentieth century.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDetails\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eOrigin:\u003c\/b\u003e Murano, Italy\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDate:\u003c\/b\u003e c.1960s-70s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eTechnique:\u003c\/b\u003e Sommerso\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaterials:\u003c\/b\u003e Hand-blown blue glass encased in peach-tinted crystal\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWidth: 13 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDepth: 8 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 5 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVery good vintage condition with light age-related wear consistent with use.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58458862551424,"sku":null,"price":220.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC01839-681.jpg?v=1784208176"},{"product_id":"a-murano-bullicante-glass-lamp-in-pale-pink","title":"Murano Bullicante Glass Lamp in Pale Pink, Italy, c.1960s","description":"\u003cp class=\"p1\"\u003eMurano Bullicante Glass Table Lamp, Italy, c.1960s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA Murano glass table lamp in pale pink bullicante glass, retaining its etched Murano maker’s mark. The lamp measures 44cm in diameter and 23cm high and is raised on a simple circular base.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe bullicante technique was developed on the island of Murano during the 1930s and became one of the defining innovations of post-war Italian glassmaking. The process involves trapping a regular pattern of tiny air bubbles between layers of molten glass using a mould fitted with metal spikes. A second layer of glass is then applied, permanently sealing the bubbles within the body of the piece. The technique requires exceptional control of temperature and timing, making it one of Murano’s most technically demanding decorative processes.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the 1950s and 1960s, Murano glasshouses including Venini, Barovier \u0026amp; Toso, Seguso Vetri d’Arte, Cenedese and Archimede Seguso experimented extensively with bullicante, producing lighting, vases and sculptural glass that combined traditional Venetian craftsmanship with modern forms. While many pieces remain unattributed to a specific designer, the technique itself has become synonymous with Murano’s post-war revival and its influence on twentieth-century glass design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis lamp is in excellent conditon.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58458931364224,"sku":null,"price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC01915-757.jpg?v=1784283385"},{"product_id":"alan-wallwork-1931-2019-a-studio-pottery-split-pod","title":"ALAN WALLWORK (1931-2019): A studio pottery \"Split Pod\"","description":"\u003cp\u003e\u003cspan\u003eAlan Wallwork Split Pod Stoneware Vase (1960s)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesigner:\u003c\/span\u003e\u003cspan\u003e Alan Wallwork (1931-2019)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eOrigin:\u003c\/span\u003e\u003cspan\u003e Britain\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003cspan\u003e Late 20th century\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMaterial:\u003c\/span\u003e\u003cspan\u003e Glazed stoneware\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003cspan\u003e 22.5 cm high\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn unusual ‘Split Pod’ stoneware vase by British studio potter Alan Wallwork, its distinctive double form inspired by the coco de mer seed. The two rounded sections sit closely together, with small openings at the top and a richly textured surface combining pale cream, earthy brown and charcoal tones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe base bears Wallwork’s incised mark, which has been scored through to indicate that the piece was considered a second by the artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlan Wallwork was an important figure in postwar British studio pottery. Born in Watford in 1931, he studied at Goldsmiths College before establishing his own pottery in south London during the late 1950s. His early career included collaborations and exchanges with fellow ceramicists Bernard Rooke and Louis Hudson, at a time when British ceramics was moving beyond traditional domestic pottery towards more experimental, sculptural work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWallwork moved to Dorset in 1965, where the surrounding landscape increasingly informed his work. Seeds, fossils, weathered stones and natural growth became recurring sources of inspiration. His later pieces often explored the relationship between natural forms and the effects of time and erosion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis work is now recognised as an important contribution to the development of British studio ceramics.\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58459092976000,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC03824-1520.jpg?v=1787909410"},{"product_id":"shoji-hamada-japanese-1894-1978-stoneware-hexagonal-vase","title":"Shoji Hamada (1894-1978), Stoneware Hexagonal Vase with Signed Display Box (c.1960) Japan","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eShoji Hamada Hexagonal Stoneware Vase\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA studio pottery stoneware vase by \u003cb\u003eShoji Hamada (1894-1978)\u003c\/b\u003e, of hexagonal form with a hand-painted foliate motif. The vase measures 19.5cm high and is accompanied by its original signed wooden presentation box.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHamada was one of the most important figures in twentieth-century studio pottery and a central figure in the Japanese \u003cb\u003eMingei movement\u003c\/b\u003e, which sought to recognise the beauty and importance of traditional, utilitarian craft. After studying ceramics at Tokyo Technical College, Hamada met British potter Bernard Leach and travelled with him to England in 1920, helping to establish the Leach Pottery in St Ives. \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eReturning to Japan, Hamada settled in the pottery town of Mashiko, where his work became closely associated with locally sourced materials, traditional firing techniques and decoration applied with an intentionally direct, spontaneous hand.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1955 Hamada was designated a \u003cb\u003eLiving National Treasure\u003c\/b\u003e by the Japanese government in recognition of his contribution to ceramics.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions:\u003c\/b\u003e H 19.5cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition:\u003c\/b\u003e Excellent condition. No damage to vase. Wooden box has no chip and ribbon with no tears.  Please refer to photographs for full details.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eProvenance:\u003c\/b\u003e With signed wooden presentation box.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58459129971072,"sku":null,"price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC01811-657.jpg?v=1784207790"},{"product_id":"bernard-leach-1887-1979-a-st-ives-studio-pottery-small-stem-vase","title":"Bernard Leach (1887-1979) Tenmoku Glazed Stem Vase, Leach Pottery, st Ives (c1960s) UK","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eBernard Leach Tenmoku Glazed Stem Vase\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA small studio pottery stem vase by\u003cstrong\u003e \u003c\/strong\u003eBernard Leach (1887–1979), finished in a rich dark tenmoku glaze. The base bears both the impressed Leach Pottery seal and Bernard Leach’s personal seal.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBernard Leach was one of the most influential figures in twentieth century British studio pottery. Born in Hong Kong and raised partly in Japan, his work brought together Japanese ceramic traditions with ideas drawn from English slipware and European pottery.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1920, Leach returned to England with the Japanese potter\u003cstrong\u003e \u003c\/strong\u003eShoji Hamada, establishing the Leach Pottery in St Ives, Cornwall. The pottery became enormously influential, helping to shape the development of studio ceramics in Britain and introducing generations of potters to Japanese approaches to materials, firing and craftsmanship.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTenmoku glazes have their origins in Chinese ceramics and were particularly admired in Japan. Their characteristic deep brown-black surface can vary considerably in the firing, giving each piece a subtly individual finish.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions:\u003c\/b\u003e H 8.5cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaker:\u003c\/b\u003e Bernard Leach\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eManufacturer:\u003c\/b\u003e Leach Pottery, St Ives\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaterial:\u003c\/b\u003e Stoneware\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eGlaze:\u003c\/b\u003e Tenmoku\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMarks:\u003c\/b\u003e Impressed Leach Pottery and Bernard Leach personal seals\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNo signs of damage or restoration.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58459150549376,"sku":null,"price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC01745-722.jpg?v=1788430162"},{"product_id":"duckling-vase-by-per-lutken-for-holmegaard-denmark-1960s-copy","title":"'Duckling Vase' by Per Lütken for Holmegaard (Denmark) 1960s","description":"\u003cp\u003eA beautifully designed vase by Per Lütken for Holmegaard, Denmark’s most celebrated glassworks. Lütken, who shaped the company’s identity from the 1940s through the 1970s, was known for his fluid, organic forms, pieces that feel almost alive in the hand. This sculptural vase is a perfect example of that vision.\u003c\/p\u003e\n\u003cp\u003eHand-blown in clear glass with a soft wash of blue at the base, the form rises into a long, elegant neck with a subtle branch-like projection, a hallmark of Lütken’s ability to make glass behave like a natural material. The shape is both delicate and dramatic, a single continuous gesture captured in glass.\u003c\/p\u003e\n\u003cp\u003eHolmegaard pieces from this period were made using traditional free-blowing techniques, and the clarity, weight and balance of this vase show the skill behind it. It’s a beautiful standalone object, ideal for a single stem or for displaying as a sculptural piece on a shelf or sideboard.\u003c\/p\u003e\n\u003cp\u003eCondition\u003cbr\u003eVintage condition with light signs of age consistent with hand-blown mid-century glass.\u003c\/p\u003e\n\u003cp\u003eAbout the Designer - Per Lütken (1916–1998)\u003c\/p\u003e\n\u003cp\u003ePer Lütken was one of Denmark’s most influential glass designers and the creative force behind Holmegaard for more than four decades. Joining the glassworks in 1942, he went on to design over 3,000 individual pieces, shaping the visual identity of Danish glass throughout the mid-20th century.\u003c\/p\u003e\n\u003cp\u003eLütken believed glass should feel “alive” - fluid, organic, and expressive - and he pushed Holmegaard’s craftsmen to master increasingly complex free-blown forms. Many of his designs begin with a single sweeping gesture: a curve, a tilt, a soft distortion of symmetry that gives the object a quiet sense of movement. His work often feels like a captured breath in glass: elegant, controlled, and deeply tactile.\u003c\/p\u003e\n\u003cp\u003eSome of his most recognisable series include Arkipelag, Stub, Ship’s Glass, and Carnaby, each showcasing his instinct for combining simple silhouettes with subtle shifts in weight and colour. Today, Lütken’s pieces are highly collected for their craftsmanship, purity, and the unmistakable softness that defines his style.\u003c\/p\u003e\n\u003cp\u003eAbout the Manufacturer - Holmegaard Glassworks, Denmark\u003c\/p\u003e\n\u003cp\u003eFounded in 1825, Holmegaard is Denmark’s oldest and most prestigious glassworks. What began as a small royal glass factory in a marshland village grew into a defining symbol of Scandinavian craftsmanship and design. Throughout the 20th century, Holmegaard collaborated with leading designers - Per Lütken, Jacob Bang, and later Bang’s successors - each bringing a modernist sensibility to traditional techniques.\u003c\/p\u003e\n\u003cp\u003eHolmegaard is celebrated for its commitment to hand-blowing, clarity, and precision. The company’s mid-century output, particularly under Per Lütken’s artistic direction, is characterised by sculptural forms, subtle colour gradients, and a deep respect for the properties of molten glass. Their pieces were designed not as decorative objects alone, but as functional, everyday art to be handled and lived with.\u003c\/p\u003e\n\u003cp\u003eVintage Holmegaard glass is now collected worldwide for its balance of innovation and craftsmanship, and for its role in shaping the language of Scandinavian modernism.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58709294285184,"sku":null,"price":155.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/EMILYDICKSPHOTOC-3952.jpg?v=1763653290"},{"product_id":"genni-armchair-by-gabriele-mucchi-for-zanotta-italy","title":"\"Genni\" Armchair by Gabriele Mucchi for Zanotta, Italy","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eDesigned in 1935 by Gabriele Mucchi, the Genni chair is one of the earliest and most enduring examples of Italian modernist furniture design. Combining a lightweight tubular steel frame with suspended leather upholstery, Mucchi created a chair that embodied the functional ideals of the Modern Movement while remaining remarkably elegant and comfortable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eOriginally conceived in the 1930s and later reissued by Zanotta, the design has become an icon of twentieth-century Italian furniture. The chairs feature two seating positions, allowing the sitter to adjust between a more upright and a more relaxed reclining posture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis set comprises a pair of matching Genni lounge chairs together with the original matching footstool. Both chairs retain their original maker’s plaques to the underside.\u003cbr\u003e\u003cspan class=\"s2\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eThe original black leather upholstery has developed a gentle patina over time and has been professionally cleaned and conditioned. It remains in very good overall condition, with no tears, splits or significant rubbing. There is a small area of compression to the leather at the base of one chair, though it is not particularly noticeable in use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eThe chromed steel frames have been carefully cleaned and polished, with light surface corrosion sympathetically removed. The metalwork presents well overall, retaining the crisp architectural quality that defines the design. There is some minor age related pitting visible on close inspection, consistent with the age of the chairs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s2\"\u003eA rare opportunity to acquire a complete Genni seating group, retaining its original leather upholstery and offering a beautifully balanced combination of comfort, craftsmanship and Italian modernist design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions \u003cbr\u003e\u003cspan\u003e58cm wide x 48cm deep x 80cm high\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58851504882048,"sku":null,"price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/Untitled-3_56965d69-ff51-4629-aea6-c7032a7ffd2c.jpg?v=1788443639"},{"product_id":"holmegaard-16912-vase-by-peter-lutken-for-holemgaard-denmark-1960s","title":"Holmegaard #16912 Vase by Peter Lutken for Holmegaard, Denmark (1960s)","description":"\u003cp\u003eHolmegaard model #16912 Vase designed by Peter Lutken for Holmegaard.\u003c\/p\u003e\n\u003cp\u003eAbout the Designer - Per Lütken (1916–1998)\u003c\/p\u003e\n\u003cp\u003ePer Lütken was one of Denmark’s most influential glass designers and the creative force behind Holmegaard for more than four decades. Joining the glassworks in 1942, he went on to design over 3,000 individual pieces, shaping the visual identity of Danish glass throughout the mid-20th century.\u003c\/p\u003e\n\u003cp\u003eLütken believed glass should feel “alive” - fluid, organic, and expressive - and he pushed Holmegaard’s craftsmen to master increasingly complex free-blown forms. Many of his designs begin with a single sweeping gesture: a curve, a tilt, a soft distortion of symmetry that gives the object a quiet sense of movement. His work often feels like a captured breath in glass: elegant, controlled, and deeply tactile.\u003c\/p\u003e\n\u003cp\u003eSome of his most recognisable series include Arkipelag, Stub, Ship’s Glass, and Carnaby, each showcasing his instinct for combining simple silhouettes with subtle shifts in weight and colour. Today, Lütken’s pieces are highly collected for their craftsmanship, purity, and the unmistakable softness that defines his style.\u003c\/p\u003e\n\u003cp\u003eAbout the Manufacturer - Holmegaard Glassworks, Denmark\u003c\/p\u003e\n\u003cp\u003eFounded in 1825, Holmegaard is Denmark’s oldest and most prestigious glassworks. What began as a small royal glass factory in a marshland village grew into a defining symbol of Scandinavian craftsmanship and design. Throughout the 20th century, Holmegaard collaborated with leading designers - Per Lütken, Jacob Bang, and later Bang’s successors - each bringing a modernist sensibility to traditional techniques.\u003c\/p\u003e\n\u003cp\u003eHolmegaard is celebrated for its commitment to hand-blowing, clarity, and precision. The company’s mid-century output, particularly under Per Lütken’s artistic direction, is characterised by sculptural forms, subtle colour gradients, and a deep respect for the properties of molten glass. Their pieces were designed not as decorative objects alone, but as functional, everyday art to be handled and lived with.\u003c\/p\u003e\n\u003cp\u003eVintage Holmegaard glass is now collected worldwide for its balance of innovation and craftsmanship, and for its role in shaping the language of Scandinavian modernism.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58899308642688,"sku":null,"price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC04425-1875.jpg?v=1788950030"},{"product_id":"holmegaard-15391-hellas-smokey-grey-glass-vase-by-per-lutken-denmark-1950s","title":"Holmegaard #15391 \"Hellas\" Smokey Grey Glass Vase by Per Lütken, Denmark (1950s)","description":"\u003cp\u003eHolmegaard #15391 \"Hellas\" Smokey Grey Glass Vase by Per Lütken, Denmark (1950s)\u003c\/p\u003e\n\u003cp\u003eAbout the Designer - Per Lütken (1916–1998)\u003c\/p\u003e\n\u003cp\u003ePer Lütken was one of Denmark’s most influential glass designers and the creative force behind Holmegaard for more than four decades. Joining the glassworks in 1942, he went on to design over 3,000 individual pieces, shaping the visual identity of Danish glass throughout the mid-20th century.\u003c\/p\u003e\n\u003cp\u003eLütken believed glass should feel “alive” - fluid, organic, and expressive - and he pushed Holmegaard’s craftsmen to master increasingly complex free-blown forms. Many of his designs begin with a single sweeping gesture: a curve, a tilt, a soft distortion of symmetry that gives the object a quiet sense of movement. His work often feels like a captured breath in glass: elegant, controlled, and deeply tactile.\u003c\/p\u003e\n\u003cp\u003eSome of his most recognisable series include Arkipelag, Stub, Ship’s Glass, and Carnaby, each showcasing his instinct for combining simple silhouettes with subtle shifts in weight and colour. Today, Lütken’s pieces are highly collected for their craftsmanship, purity, and the unmistakable softness that defines his style.\u003c\/p\u003e\n\u003cp\u003eAbout the Manufacturer - Holmegaard Glassworks, Denmark\u003c\/p\u003e\n\u003cp\u003eFounded in 1825, Holmegaard is Denmark’s oldest and most prestigious glassworks. What began as a small royal glass factory in a marshland village grew into a defining symbol of Scandinavian craftsmanship and design. Throughout the 20th century, Holmegaard collaborated with leading designers - Per Lütken, Jacob Bang, and later Bang’s successors - each bringing a modernist sensibility to traditional techniques.\u003c\/p\u003e\n\u003cp\u003eHolmegaard is celebrated for its commitment to hand-blowing, clarity, and precision. The company’s mid-century output, particularly under Per Lütken’s artistic direction, is characterised by sculptural forms, subtle colour gradients, and a deep respect for the properties of molten glass. Their pieces were designed not as decorative objects alone, but as functional, everyday art to be handled and lived with.\u003c\/p\u003e\n\u003cp\u003eVintage Holmegaard glass is now collected worldwide for its balance of innovation and craftsmanship, and for its role in shaping the language of Scandinavian modernism.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":58899331711360,"sku":null,"price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC04430-1872.jpg?v=1788950255"},{"product_id":"fluted-porcelain-bowl-by-david-leach-for-lowerdown-pottery","title":"Fluted Porcelain Bowl by David Leach for Lowerdown Pottery","description":"\u003cp\u003eDavid Leach (1911-2005) was born in Tokyo and was first taught to pot not by his father, the renowned ceramist, Bernard but by Shoji Hamada. He studied at North Staffs Technical College and in 1930 joined Leach Pottery where he stayed, on and off, for twenty five years. He helped the family business in artistic, practical, technical and managerial capacities. \u003c\/p\u003e\n\u003cp\u003eIn 1953 he headed the ceramics department of Loughborough College. He started the Aylesford Pottery in 1954, handing it over a year later to Colin Pearson. \u003c\/p\u003e\n\u003cp\u003eAfter the handover of Aylesford pottery he moved to Bovey Tracey in Devon and set up Lowerdown Pottery.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":59919031370112,"sku":null,"price":420.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF2433-2201.jpg?v=1789734406"},{"product_id":"porcelain-teapot-celadon-glaze-by-david-leach-for-lowerdown-pottery-uk-1990","title":"Porcelain Teapot (Celadon Glaze) by David Leach for Lowerdown Pottery, UK 1990","description":"\u003cp\u003eDavid Leach (1911-2005) was born in Tokyo and was first taught to pot not by his father, the renowned ceramist, Bernard but by Shoji Hamada. He studied at North Staffs Technical College and in 1930 joined Leach Pottery where he stayed, on and off, for twenty five years. He helped the family business in artistic, practical, technical and managerial capacities. \u003c\/p\u003e\n\u003cp\u003eIn 1953 he headed the ceramics department of Loughborough College. He started the Aylesford Pottery in 1954, handing it over a year later to Colin Pearson. \u003c\/p\u003e\n\u003cp\u003eAfter the handover of Aylesford pottery he moved to Bovey Tracey in Devon and set up Lowerdown Pottery.\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":59919071052160,"sku":null,"price":420.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF2422-2197.jpg?v=1789734958"},{"product_id":"bernard-leach-st-ives-arists-by-edmund-de-waal-book","title":"Bernard Leach, St Ives Arists by Edmund de Waal Book","description":"","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":59920368894336,"sku":null,"price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF2449-2212.jpg?v=1789741843"},{"product_id":"john-mitchell-palladium-b-c-1998-acrylic-on-whatman-vintage-paper","title":"John Mitchell 'Palladium b:c' 1998 Acrylic on Whatman Vintage Paper","description":"\u003cp\u003e\u003cspan\u003eJohn Mitchell (1942-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePalladium b:c, 1998\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal acrylic painting on vintage Whatman paper\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eSigned and dated 1998\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eFramed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBritish artist John Mitchell was an important figure in geometric abstraction, whose paintings and sculptures explored the relationship between mathematics, proportion, colour and space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in Surrey, Mitchell studied at Kingston School of Art before embarking on a career that combined his own artistic practice with teaching. He taught at Coventry and Stourbridge Colleges of Art before being appointed Gregory Fellow in Painting at the University of Leeds in 1978. The prestigious fellowship had previously been held by artists including Terry Frost, and Mitchell was its final recipient.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis first solo exhibition took place at Camden Arts Centre in 1972, followed by exhibitions at the Ikon Gallery in Birmingham, the Serpentine Gallery in London and Galerie Swart in Amsterdam, where he exhibited on several occasions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat makes Mitchell’s work particularly interesting is his fascination with mathematical systems, especially the Fibonacci sequence, in which each number is the sum of the two preceding numbers. Rather than using mathematics simply to create patterns, he investigated how carefully measured proportions could produce unexpected visual relationships.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis working methods were equally considered. He preferred tracing, transferring, masking and ruling to freehand drawing, building compositions through a series of deliberate decisions. Yet despite this rigorous approach, his paintings often create a surprising sense of movement and ambiguity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePalladium b:c\u003c\/span\u003e\u003cspan\u003e, painted in 1998, belongs to this mature period of geometric abstraction. Two overlapping arrangements of black and deep red create an almost architectural composition, with small triangular openings allowing glimpses of the underlying colour. The apparent symmetry is subtly disrupted, encouraging the eye to move between the different shapes and spaces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe painting is executed in acrylic on vintage Whatman paper, with its original deckled edges visible within the frame. It is signed and dated 1998 in pencil at the lower right, with the title inscribed at the lower left.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMitchell continued developing his ideas across painting, drawing and sculpture throughout his career. His work is represented in several important public collections, including the Arts Council Collection, Leeds Art Gallery and the University of Leeds Art Collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis original painting was acquired from Lay’s Auctioneers in Cornwall, where a substantial collection of Mitchell’s work has been offered following his death in 2014.\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60185165660544,"sku":null,"price":495.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9902.jpg?v=1793274166"},{"product_id":"john-mitchell-palladium-a-d-2001-ink-on-paper","title":"John Mitchell 'Palladium a:d' 2001 Ink on Paper","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Mitchell (1942-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePalladium a:d, 2001\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInk on paper\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eSigned on reverse\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eFramed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBritish abstract artist John Mitchell spent much of his career exploring the relationship between mathematics, geometry and art. His work was concerned with how a simple set of rules could generate an almost endless series of variations, an approach that became central to his painting and sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in Walton-on-Thames, Surrey, Mitchell studied at Kingston College of Art before embarking on a distinguished career as both an artist and teacher. He taught at Coventry and Stourbridge Colleges of Art, later becoming Course Director of Fine Art at Birmingham Polytechnic. In 1978 he was appointed Gregory Fellow in Painting at the University of Leeds, becoming the last artist to hold the prestigious fellowship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis first solo exhibition was held at Camden Arts Centre in 1972. Further exhibitions followed at the Serpentine Gallery in London and Galerie Swart in Amsterdam, where he exhibited repeatedly.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat I find particularly interesting about Mitchell is his fascination with the Fibonacci sequence, the mathematical progression in which each number is the sum of the two preceding numbers. He began incorporating these proportional relationships into his work during the 1960s, using mathematical systems as a starting point for exploring form, colour and space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe also drew inspiration from an unexpected source: Samuel Beckett’s novel \u003c\/span\u003e\u003cspan\u003eMolloy\u003c\/span\u003e\u003cspan\u003e. A passage describing four different ways of wearing a shirt encouraged Mitchell to consider how many variations could be developed from a single idea. He would repeatedly ask himself questions about changing an object’s proportions, orientation or relationship to the surrounding space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work, \u003c\/span\u003e\u003cspan\u003ePalladium a:d\u003c\/span\u003e\u003cspan\u003e, dates from June 2001 and belongs to his later period of geometric abstraction. The composition brings together a dark central form and a pale green arrangement of stepped shapes. Small openings and subtle irregularities interrupt the apparent symmetry, creating an interesting tension between mathematical order and visual perception.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMitchell eventually settled in Cornwall, working from his home and studio overlooking Newlyn Harbour. His work continued to explore the possibilities of geometric abstraction throughout his life, moving between painting, drawing and sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn August 2026, Lay’s Auctioneers held a dedicated sale of his personal collection and studio, bringing together decades of work and offering a fascinating insight into the consistency and development of his artistic ideas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn original work on paper from Mitchell’s Palladium series, dated June 2001 and signed on the reverse.\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60185304105344,"sku":null,"price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9888.jpg?v=1793274133"},{"product_id":"john-mitchell-palladium-diptych-ad-ab-2001-ink-on-paper","title":"John Mitchell 'Palladium Diptych ad:ab' 2001 Ink on Paper","description":"\u003cp\u003e\u003cspan\u003eJohn Mitchell (1942-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePalladium Diptych ad:ab, 2001\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrint on paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBritish artist John Mitchell developed a distinctive approach to abstract art, exploring the relationship between mathematics, geometry and colour. His paintings, drawings and sculptures were often developed through carefully calculated systems of proportion, particularly the Fibonacci sequence, in which each number is the sum of the two preceding numbers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in Walton-on-Thames, Surrey, Mitchell studied at Kingston College of Art before beginning a long career combining his own artistic practice with teaching. He taught at Coventry College of Art and Stourbridge School of Art, before being appointed Gregory Fellow in Painting at the University of Leeds in 1978. He was the final artist to receive this prestigious fellowship, which had previously been awarded to artists including Terry Frost.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis work attracted considerable attention during the 1970s and 1980s, with exhibitions at Camden Arts Centre, the Serpentine Gallery in London and Galerie Swart in Amsterdam. He later became Senior Research Fellow in Fine Art at Cardiff School of Art and continued teaching at Wimbledon School of Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough his work was rooted in mathematical systems, Mitchell was equally interested in the unpredictable relationships between colour, form and space. The calculations provided a structure within which more intuitive decisions could be made.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMade in 2001, \u003c\/span\u003e\u003cspan\u003ePalladium Diptych ad:ab\u003c\/span\u003e\u003cspan\u003e brings together two closely related geometric compositions. Both share a distinctive stepped perimeter, but their internal arrangements differ. The left-hand form is punctuated by four triangular spaces, while the right has a more enclosed centre. Placed alongside one another, they explore the relationship between positive and negative space, a recurring concern throughout Mitchell’s career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMitchell worked from his studio overlooking Newlyn Harbour in Cornwall, where he continued developing his ideas about proportion and abstraction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis work is represented in public collections including the Arts Council Collection, Leeds Art Gallery and the University of Leeds Art Collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003cspan\u003e John Mitchell (1942-2014)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003cspan\u003e Palladium Diptych ad:ab\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003cspan\u003e 2001\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003cspan\u003e Print on paper\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eCountry:\u003c\/span\u003e\u003cspan\u003e UK\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003cspan\u003e Framed 25.5 × 29 cm\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60185328255360,"sku":null,"price":275.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9891.jpg?v=1793274087"},{"product_id":"placeholder","title":"John Mitchell 'Palladium 2011 black\/red' Ink on Aluminium","description":"\u003cp\u003e\u003cspan\u003eJohn Mitchell (1943-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePalladium 2011, Black\/Red\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInk on aluminium, 2011\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn original work by British abstract artist John Mitchell, whose career spanned more than five decades and explored the relationship between mathematics, colour, painting and sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in Walton-on-Thames, Surrey, Mitchell studied at Kingston College of Art before establishing himself as an artist and influential teacher. His first solo exhibition was held at Camden Arts Centre in 1972, followed by exhibitions at the Ikon Gallery in Birmingham and Galerie Swart in Amsterdam.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1978, he was awarded the prestigious Gregory Fellowship in Painting at the University of Leeds, previously held by Terry Frost. The fellowship gave Mitchell two years to concentrate on his own work and culminated in a major exhibition at Leeds University Galleries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThroughout his career, Mitchell was particularly interested in the Fibonacci sequence, a mathematical progression in which each number is the sum of the preceding two. He used these proportional relationships to explore geometry, repetition and the sometimes surprising ways in which apparently identical forms can be perceived differently.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePalladium 2011, Black\/Red\u003c\/span\u003e\u003cspan\u003e belongs to Mitchell’s later period, when his longstanding investigation of geometric abstraction increasingly crossed the boundaries between painting and sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe work is created in black and red ink on aluminium, with a series of precisely arranged geometric projections forming an almost circular composition. The red appears intermittently behind the black, creating a subtle relationship between the two colours and suggesting another layer beneath the surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis relationship between what is visible and what is concealed was central to Mitchell’s work. He was fascinated by how small changes in proportion, orientation or colour could fundamentally alter our understanding of a form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 2011, Mitchell’s work was the subject of an exhibition titled \u003c\/span\u003e\u003cspan\u003eIncised and Cut Tondos\u003c\/span\u003e\u003cspan\u003e at Lemon Street Gallery in Truro, reflecting his continuing interest in circular compositions and the relationship between two-dimensional images and three-dimensional objects.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMitchell spent his later years working from his studio overlooking Newlyn Harbour in Cornwall, continuing to develop his ideas through painting, drawing and sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn an appreciation of his work written in 2011, fellow artist David Ross described Mitchell’s achievement as a willingness to explore rather than explain, allowing highly ordered systems and intuition to coexist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn interesting example of Mitchell’s later work, made just three years before his death.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003cspan\u003e John Mitchell (1943-2014)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003cspan\u003e Palladium 2011, Black\/Red\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003cspan\u003e 2011\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003cspan\u003e Ink on aluminium\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eOrigin:\u003c\/span\u003e\u003cspan\u003e United Kingdom\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003cspan\u003e John Mitchell’s Personal Collection \u0026amp; Studio Sale, Lay’s Auctioneers, Cornwall, August 2026\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePresentation:\u003c\/span\u003e\u003cspan\u003e Framed\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60185349325184,"sku":null,"price":240.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9896.jpg?v=1793274018"},{"product_id":"john-mitchell-steel-house-like-shapes","title":"John MITCHELL (1943-2014) Steel  'House-Like' Shapes","description":"\u003cp\u003e\u003cspan\u003eJohn Mitchell (1943-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e'House-Like' Shapes\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach of steel construction, each 13cm x 13cm x 13cm.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA pair of wooden sculptures by British abstract artist John Mitchell, acquired from the dispersal of his personal collection and studio at Lay’s Auctioneers in Penzance in August 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Mitchell was an artist whose work explored the relationship between mathematics, proportion and visual perception. Born in Walton-on-Thames, Surrey, he studied at Kingston College of Art before embarking on a career that encompassed painting, sculpture and teaching.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCentral to his practice was the Fibonacci sequence, a mathematical progression in which each number is the sum of the previous two. Mitchell began incorporating this system into his work during the 1960s, using numerical relationships to determine proportions and investigate the interaction between geometric forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe was particularly interested in the possibilities that could emerge from repeatedly altering a single form, exploring variations through changes in proportion, orientation and arrangement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of his influences was an observation by the American artist Jasper Johns about taking an object and repeatedly doing something different to it. Mitchell also drew inspiration from Samuel Beckett’s novel \u003c\/span\u003e\u003cspan\u003eMolloy\u003c\/span\u003e\u003cspan\u003e, particularly a passage exploring the different ways of wearing a shirt. Both ideas contributed to his interest in creating numerous variations from a limited set of possibilities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis approach became an important element of his \u003c\/span\u003e\u003cspan\u003eFrustums and Fillers\u003c\/span\u003e\u003cspan\u003e series, which encompassed paintings and sculptures in wood and bronze.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA frustum is the geometric form produced when the pointed end of a cone or pyramid is removed. Mitchell returned to these forms repeatedly, investigating their mathematical relationships and the different ways they could occupy and interact with space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis first solo exhibition took place at Camden Arts Centre in London in 1972, followed by exhibitions at Ikon Gallery, Birmingham, and Galerie Swart in Amsterdam, where he subsequently held five further solo exhibitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1978, he was appointed the final recipient of the Gregory Fellowship in Painting at the University of Leeds. The fellowship allowed him two years to concentrate on his artistic practice and was followed by exhibitions at Leeds University Galleries and the Serpentine Gallery in London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside his own work, Mitchell pursued a substantial teaching career, holding positions at Coventry College of Art, Stourbridge College of Art, Birmingham Polytechnic and Cardiff College of Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe eventually established his studio in Newlyn, Cornwall, overlooking the harbour, where he continued developing his investigations into geometry, colour and spatial relationships.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn August 2026, Lay’s Auctioneers held a two-day sale of Mitchell’s personal collection and studio, bringing together work spanning his artistic career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese sculptures were acquired from that sale and belong to his wider exploration of conical forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003cspan\u003e John Mitchell (d. 2014)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003cspan\u003e Conical Frustums\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003cspan\u003e Steel\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eCountry:\u003c\/span\u003e\u003cspan\u003e England\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003cspan\u003e Undated\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003cspan\u003e John Mitchell Personal Collection \u0026amp; Studio Sale, Lay’s Auctioneers, Penzance, 13 August 2026, \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60191659524480,"sku":null,"price":800.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9870.jpg?v=1794566306"},{"product_id":"john-mitchell-projected-fibonacci-cube-2000-technical-drawing-on-paper","title":"John Mitchell 'Projected Fibonacci Cube' 2000, Technical Drawing on Paper","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Mitchell (1943-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProjected Fibonacci Cube, 2000\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal technical drawing on paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBritish artist John Mitchell (1943-2014) developed a fascinating body of work exploring the relationship between mathematics, geometry, painting and sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in Walton-on-Thames, Surrey, Mitchell studied at Kingston College of Art before establishing a career as both an artist and an influential teacher. His first solo exhibition was held at Camden Arts Centre in 1972, followed by exhibitions at Ikon Gallery in Birmingham and Galerie Swart in Amsterdam. In 1978, he was awarded the prestigious Gregory Fellowship at the University of Leeds, a position previously held by artists including Terry Frost and Trevor Bell. He also exhibited at London’s Serpentine Gallery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom the 1960s onwards, the Fibonacci sequence became an important influence on Mitchell’s work. This mathematical progression, in which each number is the sum of the previous two, provided him with a system for investigating proportion, repetition and the relationship between two and three-dimensional forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProjected Fibonacci Cube\u003c\/span\u003e\u003cspan\u003e, dated 2000, is a particularly interesting example of this approach.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrawn on graph paper, the work resembles an architectural or engineering plan, with carefully measured lines, geometric projections and overlapping forms. Mitchell uses the language of technical drawing to investigate how a three dimensional structure might be constructed and understood through a series of two-dimensional projections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhat makes Mitchell’s drawings particularly interesting is that they occupy a space between mathematical investigation and independent works of art. Rather than simply illustrating an idea for a sculpture, the drawing becomes another way of exploring the same questions about proportion, space and form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMitchell spent much of his later life working from his home and studio overlooking Newlyn Harbour in Cornwall. His work continued to explore geometric relationships through painting, drawing and sculpture, often developing numerous variations from a single mathematical idea.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis drawing was acquired from \u003c\/span\u003e\u003cspan\u003eJohn Mitchell’s Personal Collection \u0026amp; Studio Sale\u003c\/span\u003e\u003cspan\u003e, held by Lay’s Auctioneers in Penzance in August 2026, when an extensive collection of works from the artist’s studio was brought to auction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003cspan\u003e John Mitchell (1943-2014)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003cspan\u003e Projected Fibonacci Cube\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003cspan\u003e 2000\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003cspan\u003e Technical drawing on paper\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eOrigin:\u003c\/span\u003e\u003cspan\u003e United Kingdom\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003cspan\u003e John Mitchell’s Personal Collection \u0026amp; Studio Sale, Lay’s Auctioneers, Cornwall, August 2026\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003ePresentation:\u003c\/span\u003e\u003cspan\u003e Framed\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60191717556608,"sku":null,"price":395.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9906.jpg?v=1793273978"},{"product_id":"john-mitchell-conical-frustums-wooden-sculpture","title":"John Mitchell (1943-2014) Conical 'Frustums' Wooden sculptures","description":"\u003cp\u003e\u003cspan\u003eJohn Mitchell (1943-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConical Frustums, wood\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA pair of wooden sculptures by British abstract artist John Mitchell, acquired from the dispersal of his personal collection and studio at Lay’s Auctioneers in Penzance in August 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Mitchell was an artist whose work explored the relationship between mathematics, proportion and visual perception. Born in Walton-on-Thames, Surrey, he studied at Kingston College of Art before embarking on a career that encompassed painting, sculpture and teaching.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCentral to his practice was the Fibonacci sequence, a mathematical progression in which each number is the sum of the previous two. Mitchell began incorporating this system into his work during the 1960s, using numerical relationships to determine proportions and investigate the interaction between geometric forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe was particularly interested in the possibilities that could emerge from repeatedly altering a single form, exploring variations through changes in proportion, orientation and arrangement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of his influences was an observation by the American artist Jasper Johns about taking an object and repeatedly doing something different to it. Mitchell also drew inspiration from Samuel Beckett’s novel \u003c\/span\u003e\u003cspan\u003eMolloy\u003c\/span\u003e\u003cspan\u003e, particularly a passage exploring the different ways of wearing a shirt. Both ideas contributed to his interest in creating numerous variations from a limited set of possibilities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis approach became an important element of his \u003c\/span\u003e\u003cspan\u003eFrustums and Fillers\u003c\/span\u003e\u003cspan\u003e series, which encompassed paintings and sculptures in wood and bronze.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA frustum is the geometric form produced when the pointed end of a cone or pyramid is removed. Mitchell returned to these forms repeatedly, investigating their mathematical relationships and the different ways they could occupy and interact with space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis first solo exhibition took place at Camden Arts Centre in London in 1972, followed by exhibitions at Ikon Gallery, Birmingham, and Galerie Swart in Amsterdam, where he subsequently held five further solo exhibitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1978, he was appointed the final recipient of the Gregory Fellowship in Painting at the University of Leeds. The fellowship allowed him two years to concentrate on his artistic practice and was followed by exhibitions at Leeds University Galleries and the Serpentine Gallery in London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside his own work, Mitchell pursued a substantial teaching career, holding positions at Coventry College of Art, Stourbridge College of Art, Birmingham Polytechnic and Cardiff College of Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe eventually established his studio in Newlyn, Cornwall, overlooking the harbour, where he continued developing his investigations into geometry, colour and spatial relationships.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn August 2026, Lay’s Auctioneers held a two-day sale of Mitchell’s personal collection and studio, bringing together work spanning his artistic career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese sculptures were acquired from that sale and belong to his wider exploration of conical forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003cspan\u003e John Mitchell (d. 2014)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003cspan\u003e Conical Frustums\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003cspan\u003e Wood\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eCountry:\u003c\/span\u003e\u003cspan\u003e England\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003cspan\u003e Undated\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003cspan\u003e John Mitchell Personal Collection \u0026amp; Studio Sale, Lay’s Auctioneers, Penzance, 13 August 2026, \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003cspan\u003e Each 12.7 cm high x 7.6 cm diameter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60191824675200,"sku":null,"price":595.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9881.jpg?v=1794566224"},{"product_id":"john-mitchell-conical-frustums-bronze-and-brass","title":"John Mitchell (1943-2014) Conical 'Frustums' Bronze and brass","description":"\u003cp\u003e\u003cspan\u003eJohn Mitchell (1943-2014)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConical Frustums, Bronze and Brass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA pair of bronze and brass sculptures by British abstract artist John Mitchell, acquired from the dispersal of his personal collection and studio at Lay’s Auctioneers in Penzance in August 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Mitchell was an artist whose work explored the relationship between mathematics, proportion and visual perception. Born in Walton-on-Thames, Surrey, he studied at Kingston College of Art before embarking on a career that encompassed painting, sculpture and teaching.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCentral to his practice was the Fibonacci sequence, a mathematical progression in which each number is the sum of the previous two. Mitchell began incorporating this system into his work during the 1960s, using numerical relationships to determine proportions and investigate the interaction between geometric forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe was particularly interested in the possibilities that could emerge from repeatedly altering a single form, exploring variations through changes in proportion, orientation and arrangement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of his influences was an observation by the American artist Jasper Johns about taking an object and repeatedly doing something different to it. Mitchell also drew inspiration from Samuel Beckett’s novel \u003c\/span\u003e\u003cspan\u003eMolloy\u003c\/span\u003e\u003cspan\u003e, particularly a passage exploring the different ways of wearing a shirt. Both ideas contributed to his interest in creating numerous variations from a limited set of possibilities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis approach became an important element of his \u003c\/span\u003e\u003cspan\u003eFrustums and Fillers\u003c\/span\u003e\u003cspan\u003e series, which encompassed paintings and sculptures in wood and bronze.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA frustum is the geometric form produced when the pointed end of a cone or pyramid is removed. Mitchell returned to these forms repeatedly, investigating their mathematical relationships and the different ways they could occupy and interact with space.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis first solo exhibition took place at Camden Arts Centre in London in 1972, followed by exhibitions at Ikon Gallery, Birmingham, and Galerie Swart in Amsterdam, where he subsequently held five further solo exhibitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn 1978, he was appointed the final recipient of the Gregory Fellowship in Painting at the University of Leeds. The fellowship allowed him two years to concentrate on his artistic practice and was followed by exhibitions at Leeds University Galleries and the Serpentine Gallery in London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside his own work, Mitchell pursued a substantial teaching career, holding positions at Coventry College of Art, Stourbridge College of Art, Birmingham Polytechnic and Cardiff College of Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe eventually established his studio in Newlyn, Cornwall, overlooking the harbour, where he continued developing his investigations into geometry, colour and spatial relationships.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn August 2026, Lay’s Auctioneers held a two-day sale of Mitchell’s personal collection and studio, bringing together work spanning his artistic career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese sculptures were acquired from that sale and belong to his wider exploration of conical forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003cspan\u003e John Mitchell (d. 2014)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003cspan\u003e Conical Frustums\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003cspan\u003e Bronze and brass\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eCountry:\u003c\/span\u003e\u003cspan\u003e England\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003cspan\u003e Undated\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003cspan\u003e John Mitchell Personal Collection \u0026amp; Studio Sale, Lay’s Auctioneers, Penzance, 13 August 2026, Lot 221.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003cspan\u003e Each 12.7 cm high x 7.6 cm diameter.\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60191868092800,"sku":null,"price":650.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSCF9876.jpg?v=1794565895"},{"product_id":"biomorphic-abstract-vase-by-jessie-tait-in-black-and-maroon","title":"Biomorphic Abstract Vase by Jessie Tait in Black and Maroon (1950s)","description":"\u003cdiv\u003e\n\u003cp class=\"p1\"\u003eAn unusual sculptural ceramic vase designed by Jessie Tait for Midwinter Pottery, England, circa 1950s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe vase features an asymmetric, biomorphic form with two upward-sweeping points framing a curved central opening. Its dramatic silhouette is emphasised by contrasting glazes in deep maroon, black and pale grey.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe design reflects the growing influence of abstract sculpture and organic modernism on British decorative arts during the postwar period. Its fluid, almost abstract animal-like form makes it as much a small sculpture as a functional vase.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAn uncommon example of Midwinter’s more experimental decorative ceramics, demonstrating the departure from traditional pottery forms that characterised British design during the 1950s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDesigner and Manufacturer\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eJessie Tait (1928–2010) was a British ceramic designer whose work helped establish Midwinter as one of the most progressive manufacturers of domestic ceramics in postwar Britain.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBorn in Stoke-on-Trent, Tait studied at the Burslem School of Art before beginning her career working alongside ceramic designer Charlotte Rhead. She subsequently joined W.R. Midwinter, where she remained for almost three decades.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the 1950s, Midwinter underwent a significant transformation under Roy Midwinter, who had been inspired by contemporary American ceramics and the growing demand for modern domestic design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTait became instrumental in developing the company’s new visual identity, producing bold, abstract and often playful designs that contrasted with the traditional floral decoration of earlier British tableware.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer best-known patterns include Primavera, Red Domino, Zambesi and Festival, many of which are now represented in museum collections.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlongside her tableware designs, Tait experimented with sculptural ceramic forms and decorative vases, exploring the possibilities of colour, shape and abstraction.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHer work remains an important part of the history of British midcentury ceramics.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVintage condition. Please refer to photographs for details.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 17.5 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDesigner: Jessie Tait\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eManufacturer: W.R. Midwinter Ltd\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOrigin: Staffordshire, England\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePeriod: Circa 1950s\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"translate\"\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373628027264,"sku":null,"price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00710-4062.jpg?v=1794493002"},{"product_id":"robert-welch-designed-candleholder","title":"Robert Welch designed candleholder","description":"\u003cp\u003e\u003cspan style=\"font-size: 1rem;\"\u003eA small modernist cast iron candelabrum designed by British designer Robert Welch during the 1960s.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe CD55 design features eight slender candle holders arranged in a circular formation above a tapered pedestal base. Made from blackened cast iron, its simple geometric construction is characteristic of Welch’s early work in the material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesigned to hold eight fine taper candles, approximately 7 mm in diameter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn original example of British midcentury design, complete with its original Robert Welch Designs presentation box.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesigner and Manufacturer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRobert Welch (1929–2000) was a British silversmith and industrial designer who established his studio in Chipping Campden, Gloucestershire, in 1955, following his studies at the Royal College of Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInitially working in silver and stainless steel, Welch began experimenting with cast iron in the early 1960s. His first cast iron candle holders proved commercially successful, leading to an expanded collection of domestic objects produced under the Campden Designs name.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe CD55 candelabrum was produced in England by Victor Cast Ware during the 1960s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGood vintage condition. Complete with original Robert Welch Designs box.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApproximately 8 cm high × 10 cm diameter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDesigned for fine taper candles, approximately 7 mm in diameter.\u003c\/span\u003e\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373718172032,"sku":null,"price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00777-4089.jpg?v=1794493437"},{"product_id":"black-glazed-ikebana-vase","title":"Loré Beesel Sculptural Ceramic Vase, Netherlands, c.1970s","description":"\u003cp class=\"p1\"\u003eAn sculptural ceramic vase produced by Loré in Beesel, Netherlands, dating from approximately the 1970s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFinished in a satin black glaze, the vase has an abstract, architectural form with four individually positioned openings rising from a continuous, organically shaped body. Its unusual construction lends itself to ikebana, the Japanese art of flower arranging, in which careful consideration is given to line, space and the relationship between individual stems.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe vase works equally well as a sculptural object without flowers.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHand marked Loré and Beesel to the underside.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaker\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLoré Keramische Industrie was established in Beesel, Netherlands, in 1954 by Louis Thijssen and René Peeters, both former employees of the St. Joris pottery factory. The name Loré combines the first two letters of their respective names.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe company produced decorative ceramics alongside architectural tiles and other ceramic products, collaborating with several Dutch artists and sculptors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the late 1960s and 1970s, sculptor Matt Camps designed a series of experimental ceramic vases for Loré, characterised by their unusual asymmetrical and sculptural forms. Although this vase shares characteristics with that collection, its individual designer has not been established.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLoré continued production until 1981.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood vintage condition with minor surface marks consistent with age. Please refer to photographs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eApproximately 18 cm high × 20 cm wide.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDetails\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eManufacturer:\u003c\/b\u003e Loré Keramische Industrie\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eOrigin:\u003c\/b\u003e Beesel, Netherlands\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDate:\u003c\/b\u003e c.1970s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaterial:\u003c\/b\u003e Glazed ceramic\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eColour:\u003c\/b\u003e Black\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMarkings:\u003c\/b\u003e Hand marked Loré, Beesel\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373742944640,"sku":null,"price":275.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00725-4069.jpg?v=1794493321"},{"product_id":"no-1387-riihimaen-lasi-oy-glass-pablo-vase-by-errikitapio-siiroinen","title":"No.1387 Riihimaen Lasi Oy Glass 'Pablo' Vase by Errikitapio Siiroinen (1970s) Finland","description":"\u003cp class=\"p1\"\u003eA Finnish midcentury glass ‘Pablo’ vase designed by Erkkitapio Siiroinen for Riihimäen Lasi Oy in the 1970s, pattern number 1388.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMade from vibrant red glass encased in clear glass, the vase features a cylindrical neck and a geometric body formed by angular, projecting facets. The contrasting forms create a sculptural silhouette, with the transparent glass base providing a visual separation between the coloured body and the surface beneath.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProduced in several colours, including red and blue, the Pablo vase reflects the experimentation with bold colour, geometry and sculptural form that characterised Finnish glass design during the 1970s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDesigner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eErkkitapio Siiroinen (1944-1996)\u003c\/b\u003e was a Finnish glass designer known for his experimental approach to form, colour and the expressive possibilities of glass.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eInitially interested in painting and music, Siiroinen studied industrial design at the Institute of Industrial Arts in Helsinki, where he was taught by Kaj Franck, one of Finland’s most influential modernist designers.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1968, while still a student, he began working as a freelance designer for Riihimäen Lasi. His work ranged from functional tableware to highly sculptural decorative glass, often incorporating strong colours, geometric shapes and unusual surface treatments.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong his best-known designs are the Kasperi and Jesperi glassware ranges and a series of sculptural bottles, including the Noppapullo (Dice Bottle), Veturipullo (Locomotive Bottle) and Tellus.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHis work represents a more playful and experimental direction in Finnish glass design during the late 1960s and 1970s, moving beyond the restrained functionalism traditionally associated with Scandinavian modernism.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eManufacturer\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eRiihimäen Lasi Oy\u003c\/b\u003e was established in Riihimäki, Finland, in 1910 by M. A. Kolehmainen and his son A. P. Kolehmainen.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eInitially producing domestic and container glass, the company expanded throughout the twentieth century, becoming one of Finland’s largest glass manufacturers. By the 1920s, it had developed into an important centre for Finnish glass production, manufacturing both functional household wares and decorative glass.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFrom the 1930s onwards, the company increasingly collaborated with prominent Finnish designers. Its postwar collections included work by Aimo Okkolin, Helena Tynell, Nanny Still and Tamara Aladin, whose designs helped establish the company’s reputation for modernist glass.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the 1960s and 1970s, Riihimäen Lasi became particularly associated with colourful, sculptural glassware, combining industrial production with contemporary Finnish design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe company ceased glass production at its Riihimäki factory in 1990. Its decorative glass from the postwar period remains an important part of Finland’s twentieth-century design history.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVintage condition. Please refer to photographs for details of any age-related wear.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 20 cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373796979072,"sku":null,"price":265.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00806-4107.jpg?v=1794493253"},{"product_id":"a-riihimaen-lasi-oy-glass-pablo-vase-by-erkkitapio-siiroinen-pattern-no-1388","title":"A Riihimaen Lasi Oy glass 'Pablo' vase by Erkkitapio Siiroinen, pattern No.1388 (1970s) Finland","description":"\u003cp class=\"p1\"\u003eA Finnish midcentury glass ‘Pablo’ vase designed by Erkkitapio Siiroinen for Riihimäen Lasi Oy in the 1970s, pattern number 1388.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMade from vibrant red glass encased in clear glass, the vase features a cylindrical neck and a geometric body formed by angular, projecting facets. The contrasting forms create a sculptural silhouette, with the transparent glass base providing a visual separation between the coloured body and the surface beneath.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eProduced in several colours, including red and blue, the Pablo vase reflects the experimentation with bold colour, geometry and sculptural form that characterised Finnish glass design during the 1970s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDesigner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eErkkitapio Siiroinen (1944-1996)\u003c\/b\u003e was a Finnish glass designer known for his experimental approach to form, colour and the expressive possibilities of glass.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eInitially interested in painting and music, Siiroinen studied industrial design at the Institute of Industrial Arts in Helsinki, where he was taught by Kaj Franck, one of Finland’s most influential modernist designers.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1968, while still a student, he began working as a freelance designer for Riihimäen Lasi. His work ranged from functional tableware to highly sculptural decorative glass, often incorporating strong colours, geometric shapes and unusual surface treatments.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong his best known designs are the Kasperi and Jesperi glassware ranges and a series of sculptural bottles, including the Noppapullo (Dice Bottle), Veturipullo (Locomotive Bottle) and Tellus.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHis work represents a more playful and experimental direction in Finnish glass design during the late 1960s and 1970s, moving beyond the restrained functionalism traditionally associated with Scandinavian modernism.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eManufacturer\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eRiihimäen Lasi Oy\u003c\/b\u003e was established in Riihimäki, Finland, in 1910 by M. A. Kolehmainen and his son A. P. Kolehmainen.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eInitially producing domestic and container glass, the company expanded throughout the twentieth century, becoming one of Finland’s largest glass manufacturers. By the 1920s, it had developed into an important centre for Finnish glass production, manufacturing both functional household wares and decorative glass.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFrom the 1930s onwards, the company increasingly collaborated with prominent Finnish designers. Its postwar collections included work by Aimo Okkolin, Helena Tynell, Nanny Still and Tamara Aladin, whose designs helped establish the company’s reputation for modernist glass.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDuring the 1960s and 1970s, Riihimäen Lasi became particularly associated with colourful, sculptural glassware, combining industrial production with contemporary Finnish design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe company ceased glass production at its Riihimäki factory in 1990. Its decorative glass from the postwar period remains an important part of Finland’s twentieth-century design history.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eExcellent vintage condition. No chips\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 20 cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373802287488,"sku":null,"price":220.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00793-4117.jpg?v=1794493166"},{"product_id":"poole-pottery-grey-glaze-vase","title":"Poole Pottery Ceramic Grey Glaze Vase (1950s-60s)","description":"\u003cp class=\"p1\"\u003eA midcentury ceramic vase by Poole Pottery, England, dating to the 1950s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe vase has an elongated, gently rounded body that tapers towards a narrow neck and flared rim. Finished in a soft, pale grey glaze, its simple, sculptural silhouette is characteristic of British postwar modernist ceramics.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe underside bears the original Poole Pottery backstamp and impressed shape number 710. This form is documented within the pottery’s Freeform range, developed during the 1950s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Poole Pottery dolphin backstamp was introduced in 1952, with variations used throughout the decade. Shape 710 is documented in examples dating from 1952 to 1959.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaker\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003ePoole Pottery\u003c\/b\u003e, established in Poole, Dorset, became an important centre for British modernist ceramics during the postwar period. Under the influence of designer Alfred Read, the pottery introduced its Freeform range in the early 1950s, combining organic shapes with contemporary decorative finishes.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood vintage condition with light surface marks consistent with age and use. Minor discolouration to the unglazed foot rim. Original factory backstamp and impressed shape number 710 visible to the underside. Please refer to photographs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 19.5 cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373810905472,"sku":null,"price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00840-4133.jpg?v=1794500619"},{"product_id":"blue-glaze-vase-by-poole-pottery","title":"Blue Glaze Ceramic Vase by Poole Pottery (1950's-60s) UK","description":"\u003cp class=\"p1\"\u003eA large midcentury ceramic vase by Poole Pottery, England, dating to the 1950s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe vase has a generous, rounded body with gently tapering shoulders rising to a long, narrow neck and slightly flared rim. Finished in a soft powder blue glaze, its simple, sculptural form reflects the influence of modernism on British ceramic design during the postwar period.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe underside retains a faint blue Poole Pottery dolphin backstamp. Introduced in 1952, variations of this mark were used throughout the 1950s, with examples dating from 1952 to 1959.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaker\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003ePoole Pottery\u003c\/b\u003e, established in Poole, Dorset, developed an international reputation for its decorative and modernist ceramics. During the 1950s, designers including Alfred Read and Guy Sydenham introduced new forms that reflected the growing influence of modernism on British domestic design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood vintage condition with some light surface scratches and marks consistent with age and use. Some discolouration to the unglazed foot rim and remnants of previous labels to the underside. The original dolphin backstamp is faint but still visible. Please refer to photographs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 29.5 cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373813297536,"sku":null,"price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00848-4137.jpg?v=1794500674"},{"product_id":"white-glaze-vase-by-poole-pottery","title":"White Glaze Ceramic Vase by Poole Pottery (1950s-60s) UK","description":"\u003cp class=\"p1\"\u003eA midcentury ceramic vase by Poole Pottery, England, dating to the 1950s.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe vase has a rounded that tapers towards a narrow neck, finished with a gently flared rim. Its simple sculptural form is complemented by a smooth, ivory white glaze.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAn understated example of British postwar ceramic design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe underside bears the blue Poole Pottery dolphin backstamp, introduced in 1952, with several variations used throughout the decade. The mark is consistent with examples dating from 1952 to 1959.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eMaker\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003ePoole Pottery\u003c\/b\u003e, established in Poole, Dorset, developed an international reputation for its decorative and modernist ceramics. During the 1950s, designers including Alfred Read and Guy Sydenham introduced new forms that reflected the growing influence of modernism on British domestic design.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eCondition\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eGood vintage condition with some light surface marks and scratches consistent with age and use. Some discolouration to the unglazed foot rim. Please refer to photographs.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eDimensions\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHeight: 20 cm\u003c\/p\u003e","brand":"a fold of chairs","offers":[{"title":"Default Title","offer_id":60373815001472,"sku":null,"price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/files\/DSC00833-4129_dd351c89-04f9-4ece-bae9-efa67153d03c.jpg?v=1794500743"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/3093\/collections\/DSC00175-4169.jpg?v=1794575534","url":"https:\/\/www.afoldofchairs.com\/collections\/for-the-real-gamer.oembed?page=2","provider":"a fold of chairs","version":"1.0","type":"link"}