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LUCIO FONTANA (Rosario, Argentina, 1899 - Comabbio, Italy, 1968)."White Manifesto 1946, Spazialismo".Book.Includes facsimile of the original edition (1946) of the White Manifesto and has publisher's slipcase.Hand signed by the artist.Size: 48 x 25 cm (Signature); 48,8 x 33,8 (book).he Manifiesto Blanco, or White Manifesto, was written in 1946 by artists and students in Buenos Aires, Argentina, under the direction of Lucio Fontana. The manifesto emphasised the importance of new technologies with regard to the arts and the quest for the integration of art and science. "This idea of synthesis is based on the concept that certain scientific and philosophical developments have transformed the human psyche to such an extent that traditional forms of 'static art' and the differentiation of artistic disciplines have become obsolete. A new synthetic art is advocated which will involve the dynamic principle of movement through time and space.A sculptor and painter, Fontana trained in Italy, at the Brera Academy in Milan, and was a pupil of A. Wildt. He made his individual debut in 1930 at the Il Milione gallery in Milan. In the 1930s he travelled several times in Italy and France, establishing contact with the Lombard abstract movement and the Abstraction-Création, as well as with the Expressionists. He lived for some years in Paris and, during the Second World War, in Argentina. In Buenos Aires he founded the Altamira Academy and, in 1946, wrote the "White Manifesto", a declaration of spatialist poetics which would take shape in the works he produced after his return to Italy in 1947: the "environments", designed to be neither painting nor sculpture, but "forms, colours, sounds through space"; and the "spatial concepts", where the problem of representing space is tackled by perforating or cutting the base used (paper, canvas, plastic, etc.). Fontana participated in the São Paulo Biennial and in numerous exhibitions in Europe and Asia, as well as in London, Paris and New York. Shortly before his death, he was present at the "Art of Destruction, Destroy to Create" event at the Finch College Museum of Art in New York. Lucio Fontana is represented in leading modern art museums around the world, including the Guggenheim and MoMA in New York, the Galleria Nazionale d'Arte Moderna in Rome, the foundation that bears his name in Milan, the Kunstmuseum in Basel, the Reina Sofia and Thyssen-Bornemisza in Madrid, and the Tate Gallery in London, among many others.

RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the Sambra International Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.

VICTOR VASARELY (Pécs, Hungary, 1906 - Paris, 1997)."Untitled", ca.1970-80.Lithograph, copy 29/90.Hand signed and numbered.Size: 66.5 x 66.5 cm; 71 x 71 cm (frame).Syncopated geometric rhythms and patterns immerse us in a work that is completely distinctive of Vasarely's language. In it, the Franco-Hungarian artist relies on pure geometric composition to draw us into a cosmic universe, in which the dice seem to liquefy, defining the vibrant rhythm of his imagery.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus pupil. He settled in Paris in 1930, where he produced what is now considered the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style shifted from figurative expression to a constructive and geometric type of abstract art, with an interest in the representation of perspective without vanishing points. Between 1936 and 1948 he participated regularly in the Salon des Surindependants and the Salon des Nouvelles Réalités. From 1948 onwards he exhibited regularly at the Denise René gallery. In the 1950s his work moved towards the use of new materials and supports, such as aluminium and glass. He also began to produce works that integrated with space, such as Homage to Malevich. In the 1960s he took part in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received during his lifetime, the Guggenheim Prize (1964), the Brussels Art Critics' Prize and the gold medal at the Milan Triennial are particularly noteworthy. In 1970 he was made a Knight of the Order of the Legion of Honour. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important contemporary art centres in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice and the Reina Sofía in Madrid.

JAMES ROSENQUIST (United States, 1933)."Spring Cheer (2nd state)", 1978.Etching, issue 6/78.Aripeka Ltd. Editions publisher, Charles Levine printer.Signed, dated, titled and justified by hand.Measurements: 44.5 x 91 cm (print); 58 x 101 cm (paper).Work catalogued in "Time dust James Rosenquist, Complete Graphics: 1962-1992", by Constante W. Glenn, no. 129A (Rizzoli, 1993).An exponent of American Pop Art, Rosenquist moved to New York in 1955 to join the Art Students League. However, he left school a year later and began painting billboards. In 1960, however, he quit this job and rented a small studio in Manhattan, where his neighbours included artists such as Robert Indiana, Ellsworth Kelly and Jack Youngerman. Two years later he held his first solo exhibition at the Green Gallery in New York. From then on his work would be included in the groundbreaking exhibitions that would establish Pop Art as a movement. In 1965 Rosenquist achieved international recognition with his monumental work "F-111" (MoMA), in which he combined painting with a collage of prints, drawings and other elements. Since the 1960s the artist has received numerous awards: he was chosen as a Young Talent in the Arts in America in 1963, honoured by the National Council on the Arts in 1978, and in 1987 he was made a Fellow of the American Academy and Institute of Arts and Letters. In 1972 the first retrospective exhibition of his work was held at the Whitney Museum of American Art and the Wallraf-Richartz Museum in Cologne, and since then he has been the subject of numerous exhibitions held in museums and galleries around the world. He is currently represented at the Metropolitan Museum, MoMA, the Brooklyn and Whitney Museums in New York, the Tate Gallery in London, the Guggenheim Museums in New York and Bilbao, the National Gallery in Washington D.C., the San Francisco Museum of Modern Art, the Albright-Knox Gallery in Buffalo, the Museum of Modern and Contemporary Art in Trento, the Thyssen-Bornemisza in Madrid and many others.

MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987).Untitled, circa 1970.Oil on panel.Attached certificate issued by Jacobo Viola, son of the artist.Signed in the lower right corner.Measurements: 60 x 40 cm.In this apparently simple work, Viola, introduces on the black, only the primary colours, which he manipulates with a great mastery, to create a whole range of tonalities, which melt between the brushstrokes of the artist, who lets rest on the support a great quantity of matter.The piece shows the habitual use of black as a background on which the tonalities are reversed, and in turn emerge as flashes of light, in an immense inconcrete void. A pictorial space, which becomes a visual poetry, where the tensions generated by the artist, through the contrast of tonalities, such as blue and yellow, directly question the spectator. José Viola Gamón adopted the name by which he is known, Manuel Viola, after the Civil War. A member of the El Paso group, his painting is characterised by an informalist and colourist treatment, in line with the avant-garde movements developed in Spain from the 1950s onwards. He began studying philosophy and literature in Barcelona, but was forced to abandon them because of the war. His first drawings date from these years. After the war he went into exile in France, where he wrote for the surrealist poetry magazine "La main à plume". There he began to exhibit his work in the exhibitions of the so-called Spanish School of Paris. He returned to Spain in 1949, and in 1958 his truly personal style began to emerge, and at the same time he joined the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Les essències de la terra". 1969.Lithograph, copy 6/200.Signed with monogram and justified by hand.Work published in the catalogue raisonné "Miró Litógrafo" Vol.IV Ed.Polígrafa, pg 26. ref.625.Measurements: 75 x 57,5 cm.; 88 x 70 cm.(frame).This lithograph was reproduced in the Italian edition (Juan Perucho, Milan, 1969) of "Les essències de la terra", a compendium of old Catalan texts illustrated with original lithographs by Miró.Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. This lithograph shows us the most essentialist Miró in his search for minimal and suggestive forms. Ranges limited to a few colours applied to flat, shiny surfaces combine to evoke the lyrical communion between man and his environment.

EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003)."Boots", 1978.Oil on canvas.Signed and dated in the lower left corner.This work was painted after the exhibition "Campo de estrellas", Galería Multitud, Madrid, 1977, and participated in other exhibitions of the aforementioned gallery as it belongs to its own collection.Size: 163 x 113 cm.Eduardo Úrculo was one of the best exponents of pop art in Spain, as is shown in the work presented here. His painting emerged in the second half of the 1960s with a radiant pictorial technique similar to that used industrially in the American mass media of the time. This fact, coupled with the erotic and provocative subject matter that permeated her canvases, aroused the deepest passions of a restless and discerning public who saw in her work a spicy and sensual touch. The subtle crossing of the model's legs, the high patent boots and the pop aesthetic accentuate the erotic charge of a composition in which Úrculo makes a suggestive turn towards American pop art, achieving a singular aesthetic and finding a language of his own.A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid and began to take classes at the Círculo de Bellas Artes. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In 1967 he made a trip to Northern Europe, and it was then that he first came into contact with American pop art. In the 1980s he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.

RAFAEL CANOGAR (Toledo, 1935)."The shroud", 1964.Oil on canvas.Signed and dated in the central right area; signed, dated and titled on the back.Work reproduced and inventoried in the artist's online catalogue.EXHIBITIONS:- 1965. Canogar. Madrid, Juana Mordó Gallery, 27 March-2 April.- 1966. Rafael Canogar. Trieste (Italy), Sala Comunale di Palazzo Constanzi, 10-27 February.- 2001. International art in Prato. Open Art, sguardi sul presente. Prato (Italy), Galleria Open Art, April.BIBLIOGRAPHY:- Canogar. Madrid, Galería Juana Mordó, 1965 (Repr. bl. and n. s/pag.)- Rafael Canogar. Trieste, Asociazione Laureati dell'Università di Trieste / Roma, Istituto Grafico Tiberino, 1966 (Cit. s/p., nº 22) cat.exp.Size: 146 x 114 cm; 152 x 120 cm.Between 1963 and 1964, after his strictly informalist period (being one of the founders of El Paso), Rafael Canogar's work turned towards political criticism and social commitment. It was a (brief but significant) parenthesis in the heart of his abstract practice, during which, both in the titles and in the veiled references to a gloomy reality, Canogar felt the need to pierce the difficult historical moment in which Spaniards were stuck: Franco's dictatorship, State crimes, repression and summary trials. "La mortaja" is fully in line with this courageous conceptual shift. Canogar, however, chooses to suggest with a subtle plastic rather than simply "represent", thus evading a literal reading of the subject and favouring an ambiguous and universal interpretation.Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon moving towards abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became an increasingly complex narrative figuration. From the 1960s onwards he achieved international recognition as a guest professor at the Milles College in California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. He has been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the International Triennial of Painting in Sofia (1982), the National Prize for Plastic Arts in Madrid (1982), etc. Canogar is currently represented in the most important modern art collections around the world, such as the Reina Sofía Museum, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Rufino Tamayo Museum in Mexico and the Chicago Art Institute, among many others.

TWO MODERN ART GLASS VASES

Modern Interiors: Two contemporary wall plaques / decorative art panels, one of fish design approx 123cm in length

A modern Art Deco style table lamp with polished metal exterior bears stamp to base David Hunt Lighting Ltd (36cm to top of lampholder)

Bidermanas, Izis. Paris des Reves, Lausanne, 1950; Gray, Andrea. Ansel Adams. An American Place; Isherwood, Christopher and Don Bachardy. October, signed by both with inscription "for Colin, Christmas 1983. Peter Blake"; Earp, T.W. The Modern Movement in Art. Studio Special Spring Number 1935; Modotti, Tina. Asunta Adelaide. Luigia Modoti detta Tina.

Fluxus - - Ben Vautier. Ben Dieu art total sa revue. Nice, centre d'art total, 1963-1964. Mit zahlreichen von Vautier gestalteten Fluxus Original-Einlagen und Multiples. 65 Bll. Kl.-Folio. Lose Lagen und Klammerheftung in Umschlag. Vgl. Fondazione Bonotto FX1263, MoMA Gilbert and Lila Silverman Fluxus Collection, 2747.2008. Von Vautier selbst publizierte Künstlerbuch bzw. Zeitschrift mit zahlreichen Fluxus Einlagen und Multiples, die auf je serielle Unikate waren. Die identischen Ausgaben in der Fondazione Bonotto und im Museum of Modern Art enthalten teilweise differente Einlagen und Texte, so dass keine präzise Aussage zur Vollständigkeit gemacht werden kann. Die Mappen u.a. bestehend aus: Fotos, gedruckten Ausschnitten, maschinengeschriebenen Texten, eingefügten Objekten (Spiegelfragment auf der Seite "Ben portrait"; gedruckter Text "La bande à Ben", datiert Dezember 1962, Haarnadel auf der Seite "Cela ou n'importe quoi"), Rasierklinge (Seite "Solution n°17"), ein Stück weißes Papier (Seite "Mystère n°17"), eine Postkarte von der Jungfrau (Seite "Prise de possession du tout", "Le contenu de cette carte postale est une ouvre d'art (partie du tout) BEN (1960)"), ein kaschiertes gedrucktes Attest (Seite "Le temps : création (1961)"), eine weitere kaschierte gedruckte Bescheinigung (Seite "Coups de pied: créations (1961)"), ein kaschiertes Weinetikett "Mon rouge", ein kaschiertes gefaltetes blaues Blatt (Seite "Feuille plié à déplier et à replier geste Ben 1962"), eine Schallplatte von Annick Bouquet, eine gefaltete Papiertüte mit dem Aufdruck "Je sors du trou" (Ich komme aus dem Loch) und verschiedene kaschierte Drucksachen, Erklärungen und andere Blätter. Haupttext: Wer ist Ben? (18 S.) u.a. Der Appendix Appendice 1964 à la réimpression de mon manifeste de 1961, (suivi de) Troupe d'art total 1964, 20 maschinengeschriebene Blätter (Über seine Teilnahme am New Yorker Fluxus-Festival 1964). Sehr selten. With numerous Fluxus original inserts and multiples designed by Vautier. 65 ll. 4° Loose quires and staple binding in cover. Cf. Fondazione Bonotto FX1263, MoMA Gilbert and Lila Silverman Fluxus Collection, 2747.2008. Artist's book or magazine published by Vautier himself with numerous Fluxus inserts and multiples, each of which was a serial unique specimen. The identical editions in the Fondazione Bonotto and in the Museum of Modern Art contain partly different inserts and texts, so that no precise statement on completeness can be made. The portfolios consist of: Photographs, printed cuttings, typewritten texts, inserted objects (mirror fragment on the page "Ben portrait"; printed text "La bande à Ben", dated December 1962, hairpin on the page "Cela ou n'importe quoi"), razor blade (page "Solution n°17"), a piece of white paper (page "Mystère n°17"), a postcard of the Virgin (page "Prise de possession du tout", "Le contenu de cette carte postale est une ouvre d'art (partie du tout) BEN (1960)"), a laminated printed certificate (page "Le temps : création (1961)"), another laminated printed certificate (page "Coups de pied: créations (1961)"), a laminated wine label "Mon rouge", a laminated folded blue sheet (page "Feuille plié à déplier et à replier geste Ben 1962"), a record of Annick Bouquet, a folded paper bag with the imprint "Je sors du trou" (I come out of the hole) and various laminated printed matter, statements and other sheets. Main text: Who is Ben? (18 pp.) a.o. The Appendix Appendice 1964 à la réimpression de mon manifeste de 1961, (suivi de) Troupe d'art total 1964, 20 typewritten sheets (About his participation in the New York Fluxus Festival 1964). Very rare.

Beuys, Joseph - - The secret block for a secret person in Ireland. Handsignierter Ausstellungskatalog. Mit zahlr. Abb. in schwarz-weiß. Oxford, Museum of Modern Art, 1974. 160 unpag. S. 4°. Ill. OBroschur (HDeckel mit kl. Fehlstelle, Rücken leicht verfärbt). Erste Ausgabe. Von Beuys unter der Abbildung seines Porträtphotos in Graphit handsigniert sowie lokalisiert und datiert "Oxford, 7.4.74". - Gutes Exemplar. Handsigned exhibition catalogue. With numerous ill. in black and white. Ill. orig. paperback. - First edition. Signed by Beuys under his portrait. - Good copy.

ETHEL LEONTINE GABAIN (1883-1950) 'War Work at Williams & Williams Reliance Works, Chester' signed to the margin and in plate, lithograph, 55cm x 63cm. Brought up in an Anglo-French family, Ethel studied at the Slade, in Paris and at the Central School of Art where she developed her lithographic techniques. She was a founder member, with her husband, John Copley, of the Senefelder Club, set up to pursue and exhibit modern lithography, She also worked as a book illustrator and painter and at the outbreak of WW2, she was employed as an Official War Artist, with the specific brief to document the war work undertaken by women in what had been traditionally male crafts and trades. She also received commissions from a number of commercial organisations involved in war work, including Ferranti and Richard Haworth.This lithograph is from a series commissioned by Williams & Williams and depicts lathe operators making aircraft parts.

Hans Wegner (Danish 1914-2007) for Johannes Hansen 'Peacock' Chair, designed 1947 model JH550, ash, teak, and papercord, 1970s production, stamped 'JOHANNES HANSEN / COPENHAGEN / DENMARK' and with manufacturer's stamp(105.5cm high, 76cm wide (41.5in high, 29.75in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-1 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Vilhelm Lundstrom (Danish 1893-1950) Still Life from 'Klingen', circa 1940 signed in pencil (lower right), lithograph(27cm x 22cm (10.5in x 8.75in))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-32 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Kay Bojesen (Danish 1886-1958) for Tenestue Rocking Horse, 1950s-60s beech, stamped mark(55cm high, 84.5cm long, 22.5cm deep (21.6in high, 33.2in long, 8.8in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-99 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Jens Hjorth for Randers Stolefabrik Armchair, circa 1954 model 306, beech and oak moulded plywood, traces of paper label(81.5cm high, 54cm wide, 56cm deep (32in high, 21.2in wide, 22in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-53 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Illum Wikkelsø (Danish 1919-1999) for Niels Eilersen 'Gyngestol No. 3' Rocking Chair, designed 1958 oak(89cm high, 57cm wide, 71cm deep (35in high, 22.5in wide, 28in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-56 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Peter Hvidt (Danish 1916-1986) & Orla Mølgaard-Nielsen (Danish 1907-1993) for Fritz Hansen Two AX beech and teak moulded plywood, faint maker's stamp(75cm high, 60.5cm wide, 66cm deep (29.5in high, 23.8in wide, 26in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-52 (one illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

§ Richard Mortensen (Danish 1910-1993) Four Abstracts one from 'Atelier 143', 1965, the others dated 1968, 1968 and 1969, 17/75, III/III, 11/76, 25/75, each signed, dated and numbered in pencil (in the margin), silkscreens(the sheets 69cm x 49cm (27in x 19.25in); 62cm x 74cm (24.3in x 29in); 74cm x 55cm (29iin x 21.5in); 74cm x 58cm (29in x 22.75in) respectively)Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-36, 3-37, 3-38 and 3-39(illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

§ Richard Mortensen (Danish 1910-1993) Three Abstracts dated 1961, 1965 and 1965, 15/300, 17/75 and 17/75, each signed, dated and numbered in pencil (in the margin) silkscreen(the sheets 60cm x 46cm (23.6in x 18in); 69cm x 49cm (27.1in x 19.3in); 69cm x 49cm (27.1in x 19.3in) respectively)Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-33, 3-34 and 3-35 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Finn Juhl (Danish 1912-1989) for Niels Vodder Armchair, designed 1946 model FJ46, teak and cloth, branded mark(84cm high, 66cm wide, 52cm deep (33in high, 26in wide, 20.5in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-24 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Hans Wegner (Danish 1914-2007) for Carl Hansen & Son 'Wishbone Chair / Y-Chair', designed 1950 model CH24, oak and papercord, manufacturer's label, and stamped 'KB77'(72cm high, 56.5cm wide (28.5in high, 22.25in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-3 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Finn Juhl (Danish 1912-1989) for France & Søn Coffee Table, 1950s model FD531/45, teak(45cm high, 175.3cm wide, 60.3cm deep (17.7in high, 69in wide, 23.7in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-27 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Finn Juhl (Danish 1912-1989) for France & Søn 'Japan' Sofa, designed 1953 model 137, teak and wool with brass fittings,(72cm high, 127cm wide, 68cm deep (28.3in high, 50in wide, 26.8in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-29 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Finn Juhl (Danish 1912-1989) for France & Daverkosen Side Table, circa 1950s model FD531, teak, 'France and Son' label, 'FRANCE AND SON / DENMARK / 36060'(39.5cm high, 59.5cm wide, 42.5cm deep (15.5in high, 23.4in wide, 16.7in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-26 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Finn Juhl (Danish 1912-1989) for Kay Bojesen Bowl, designed 1951 teak, stamped 'DESIGN / FINN JUHL / TEAK'(17cm high, 36.5cm wide, 34cm deep (6.75in high, 14.3in wide, 13.3in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-28 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

§ Vassilakis Takis (Greek 1925-2019) Signal, 1968 series 3, number 96, titled and numbered on 'Unlimited Bath Widcome Manor' label (to underside), enameled aluminium, chrome-plated metal, plastic, glass and electric system(220cm high, 23cm wide, 26cm deep (86.7in high, 9in wide, 10.25in deep))Footnote: “It’s only about revealing, in one way or another, the sensory vibrations or the interlacing potentials for energy that exist in the universe […] I think that’s the role of an artist” (Takis in an interview in G. Brett & M. Wellen (ed.s), Takis, Tate Modern, London and tour, exh. cat., 2019) Panayiotis Vassilakis, known as Takis, is considered one of the most important figures of international contemporary art. Despite having no formal training and not beginning to practice art until the age of twenty, Takis became one of the leading artists of the twentieth and twenty-first century, in particular for his development of kinetic art from the late 1950s. His early work in the 1940s was strongly influenced by Picasso and Giacometti – their exaggerated, caricatural figures were particularly interesting to the young artist. The 1950s saw Takis begin his instantly recognizable Signals series, one which he returns to throughout his career. It is said that his inspiration for this series arose while waiting for a train and becoming fascinated by the trackside signals, which provoked him to reject representational art and pursue sculpture that includes light and movement. These sculptures are imposing, otherworldly creations topped with metal shapes or flashing lights which sway in response to vibrations around them. This series would go on to include motors, bulbs, and fireworks and demonstrates his interest in researching movement and energies. His interest in the interlacing potentials for energy was so prolific that he was awarded a scholarship at the Massachusetts Institute of Technology in the Center of Advanced Visual Studies where he continued his studies into electromagnetic forces and the importance of energy binding us together. We are delighted to offer the important number 96 from Series 3 of the Signals series dating to 1968. This piece comprises two long enamelled aluminium poles standing over two metres high with flashing green, amber, and orange lights to the top. These long, flexible rods bend and move to create an almost musical harmony of colour and vibration. Takis’s legacy is clear from his extensive career: from his first one-man show in London in 1955 to his retrospective at Tate Modern in 2019, months before his death at the age of 93. Not only remembered for his important contribution as a visual artist, in 1969 he was also a co-founder of the Art Workers’ Coalition who fought for economic and political rights for artists in New York. Moreover in 1986 he founded the Takis Foundation in Athens, a foundation whose mission is to research and develop the arts and sciences, continuing his work and ensuring his legacy. The works of Panayiotis Vassilakis are important both in the development of a new aesthetic language exploring vibrations and light, and in their scientific exploration of energy. His work, and particularly his celebrated Signals series can be found in many important public collections such as Tate Modern in London, MoMA in New York, and in the UNESCO art collection in Paris.

Finn Juhl (Danish 1912-1989) for Søren Willadsen Møbelfabrik Chair, designed 1956 model 96, teak and rattan upholstery, with metal fittings(78cm high, 75cm wide, 66cm deep (30.7in high, 29.5in wide, 26in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-30 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Finn Juhl (Danish 1912-1989) for France & Søn Chair, designed 1959 model FD192, teak and vinyl seat, makers label 'AF FRANCE / 6255671'(83cm high, 70cm wide, 58cm deep (32.6in high, 27.5in wide, 22.8in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-31 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

§ Kathleen Hyndman (British 1928-) Rain & Mist, Gorge De La Jonte, 1984 inscribed, titled and dated (to reverse), oil on canvas(82cm x 114cm (32.3in x 44.8in))Footnote: Kathleen Hyndman's work explores arithmetical sequences and geometry as a means of distributing motifs, shapes and colours. Interrelations in her works and to the whole are aimed at achieving a calm and balanced unity, in the attempt of being a visual version of ‘truth’ – an attempt to make no false move in colour, tone or value. Hyndman trained at the Kingston-on-Thames School of Art, and has exhibited extensively since the 1970s, including at the Museum of Modern Art, Oxford in 1972 and at the Hayward Art Gallery, London in 1982. She has also exhibited her work internationally featuring in exhibitions in France, Germany, Poland, the Netherlands and South Africa.

§ Gary Hume (British 1962-) Dolphin Painting No.3, 1991 signed, titled and dated (to reverse of each panel), gloss household paint on board, in two parts(each panel 208.5cm x 139.5cm (82in x 54.9in); overall 208.5cm x 279cm (82in x 109.8in))Provenance: Matthew Marks Gallery, New York; The Boston Children's Heart Foundation, Boston; Sotheby's, London, 7 February 2001, Lot 17.Footnote: ‘The doors swing to and fro, all day and all night long…’ (Adrian Searle, ‘Gary Hume’, Frieze, 5 June 1993, online). The Door Paintings hold a foundational place in Gary Hume’s oeuvre, and have often been discussed as seminal works. Made up of around 50 paintings, ranging from the elegant and reflective Magnolia and Dolphin doors of the late 1980s and early 1990s to the starker and more luminous colour paintings of the early 2000s, they are a reflection of Hume’s meditations on the every day. Hume came to international prominence after graduating from Goldsmiths College where he was a member of the Young British Artists group. He participated in the 1988 exhibition Freeze, organised by Damien Hirst, that marked the emergence of this new art movement, including contemporaries such as Tracey Emin, Agnus Fairhurst, and Mat Collishaw. In 1996, Gary Hume was nominated for the Turner Prize, and three years later he represented Great Britain at the Venice Biennale in 1999. In Hume’s Dolphin Painting No. 3 from 1991, the viewer looks at the structure of a double door, made up of neutral hues, with faint indications of circular windows, and in the context of a hospital they act in a barrier between life and death. Hume explained ‘I went to St Bartholomew's Hospital with a tape measure and a piece of paper, measured numerous doors and made schematic copies of them. I used house paint in an institutional colour, magnolia, which is a colour of no choice…it was about democratic use of the symbol of the door. I had to use a totally democratic door. That's a hospital door the institution of the hospital won't care whether I'm Gary Hume the artist or Gary Hume the dustman. At the point of crisis I will be passing through those doors, so I wanted to make them democratic. I'm not naming the political, but the human. (Gary Hume, quoted in 'Brilliant': New Art from London, exh. cat., Walker Art Center, Minneapolis, 1995, p. 45) The series refers to the metaphorical idea that doors represent passageways into an array of internalised experiences in reality and in painting. These life-size representations of hospital, museum, or cafeteria doors occupy a space between abstraction and reality due to their largely monochromatic and simplified formation that contained almost-figurative elements that accurately recall real doors. Hume’s blend of the mysterious nature of an unpassable doorway combined with the fundamentally domestic and everyday nature of their institutional context allows the viewer to instantly connect to the works and reflect upon the sublimity and uncertainty of domesticity. The reflective nature of the work also contributes to its' success, as Hume said: '... it reflects the environment which the works are shown in... everything would be reflected within the painting, including yourself... So they made you think about light and about where the paintings begin and end.' (A. Searle, "Beyond the Face of the Door", in Gary Hume, exh. cat., London, Whitechapel Gallery, 1999). Hume’s later works continue his interest in everyday objects and materials, as he continues to employ household gloss paint on aluminium panels to explore a simplified palette and themes of everyday life and popular culture. Around 2005 Hume revisited the Doors series, arranging them in pairs as lovers and anthropomorphising them to continue to develop this interest, blending the sublime with the mundane. Today Hume’s work is held in numerous prominent public and private collections, including the Tate in London, Museum of Modern Art in New York and the Art Institute of Chicago amongst many others.

Tove & Edvard Kindt-Larsen (1906-1994 & 1901-1982) for France & Daverkosen Armchair, designed 1956 model 117, oak, teak, and wool upholstered cushions, branded mark 'FRANCE AND DAVERKOSEN'(72.5cm high, 68cm wide, 74cm deep (28.5in high, 26.8in wide, 29in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-54 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Karen & Ebbe Clemmensen (Danish, 1917-2001 & 1917-2003) for Fritz Hansen Two Safari Armchairs, model 4305, ash with original wool upholstery, leather star arms, with brass fittings, applied foil label(72.5cm high, 61.5cm wide, 66cm deep (28.5in high, 24.2in wide, 26in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-55 (one illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Børge Mogensen (Danish 1914-1972) for Fredericia Stolefabrik Armchair, designed 1967 model 2225, oak and leather(76cm high, 69cm wide, 73cm deep (30in high, 27in wide, 28.7in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-8 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Hans Wegner (Danish 1914-2007) for Carl Hansen & Son Armchair, designed 1950 model CH22, oak and papercord(72.5cm high, 68cm wide (28.5in high, 26.75in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-4 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Børge Mogensen (Danish 1914-1972) for FDB Five Chairs, designed 1947 model J39, beech and oak, unmarked(77cm high, 49cm wide, 40cm deep (30.3in high, 19.3in wide, 15.7in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-7 (one chair illustrated). Exhibited (one chair): Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Georg Jensen (Danish 1866-1935) 'Blossom' Tureen, conceived 1905 model 2C, silver, stamped with manufacturer's mark and '925S / DENMARK / STERLING / 2A', import marks for 1937(12cm high, 32cm wide (4.75in high, 12.6in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 2-7 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Arno Malinowski (Danish 1899-1976) for Georg Jensen Brooch, circa 1944 model 5001c, iron and silver, stamped artist's monogram and 'GEORG JENSEN 5001C'; together with a Kinmark Resistance Medal, circa 1940, silver and enamel, commemorating Danish King Christian X’s 70th Birthday, stamped '925'(brooch 4.2cm wide (1.7in wide); the medal 3cm high (1.2in high))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 2-9 and 2-10 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.Footnote: Brooch 5001c was produced during the war years when silver was scarce due to the allied blockade. Consquentely Jensen had to be creative in its use of materials during this period, finding new ways to create jewellery whilst using as little silver as possible.

Nanna & Jørgen Ditzel (Danish 1923-2005 & 1921-1961) for Georg Jensen Black Pearl and Shell Brooch, model 328, silver and hematite, stamped manufacturer's marks, 'STERLING DENMARK / 328 / NJ' and import marks for 1961; and ring, model 92, stamped with manufacturer's mark and 'STERLING DENMARK / 92'(the brooch 5.3cm wide (2.1in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-81 and 3-82 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Henning Koppel (Danish 1918-1981) for Georg Jensen 'Splash' Earrings, designed 1965 model 1118, gold, each stamped manufacturer's marks, '750 / DENMARK / 1118' and with import marks(each 3.2cm high (1.25in high))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-80 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Henning Koppel (Danish 1918-1981) for Georg Jensen Brooch, designed 1947 model 306, silver and blue enamel, stamped manufacturer's mark, 'STERLING / DENMARK / HK / 306'(5cm wide (2in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-73 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Henning Koppel (Danish 1918-1981) for Georg Jensen Brooch, designed 1954 model 314, silver and dark red enamel, stamped manufacturer's mark and '925S DENMARK / HK /314'(7cm long (2.75in long))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-76 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Henning Koppel (Danish 1918-1981) for Georg Jensen Brooch, designed 1947 model 307, silver and mottled purple enamel, stamped 'GEORG JENSEN & WENDEL / STERLING / DENMARK / HK / 307'(6.4cm wide (2.5in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-47 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Hans Wegner (Danish 1914-2007) for Carl Hansen & Son Easy Chair, designed circa 1951 model CH27, oak and cane, stamped 'MADE IN DENMARK / BY CARL HANSEN & SON / ODENSE DENMARK / DESIGNER / HANS WEGNER'(77cm high, 73cm wide (30.25in high, 28.75in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-5 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Henning Koppel (Danish 1918-1981) for Georg Jensen 'Caravel' Flatware Set, designed 1957 silver, stainless steel and plastic, comprising three forks, four knives, two spoons and pair of salad servers, each stamped with manufacturer's mark and 'STERLING / DENMARK', one fork with import marks(the salad servers 29cm long (11.3in long) and the largest spoon 22cm long (8.7in long))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-83 and 3-84 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Henning Koppel (Danish 1918-1981) for Georg Jensen Three 'Taverna' Saucepans and Casserole, copper and steel, each stamped 'GEORG JENSEN DESIGN / HK / DENMARK'(the largest 47cm wide (18.5in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-86 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Jens Quistgaard (Danish 1919-2008) for Dansk International Designs Ice Bucket, Salad Bowl Set and the ice bucket, teak and plastic, stamped 'STAVED TEAK / DANMARK / JHQ'; the bowl, teak, stamped 'DANSK / DESIGNS / DENMARK / JHQ'; 'Crown' candle holder, steel, marked 'DANSK DESIGNS / JAPAN' and two further cast iron candle holders, each stamped with manufacturer's marks(ice bucket 48.3cm high (19in high); the bowl 11cm high, 23cm wide (4.3in high, 9in wide); the steel candle holder 8cm high (3.1in high, the larger cast iron candle holder 18cm wide (7in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-66, 3-67, 3-69, 3-70 and 3-71 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Jacob Jensen (Danish 1926-2015) for Bang & Olufsen 'Beogram 1200' Record Player, designed 1969 aluminum, plastic, and wood; 'Beomaster 1200' FM Tuner, no 12964/Amplifier no 52948, 11.5cm high (4.5in), 44cm wide (17.25 in); 'Beogram 4000' Record Player, no 132920, designed 1972, 9.5cm high (3.75in), 48cm wide (18.8in); and 'BeoVox 1702' speakers 53245 and 53240, designed 1972, 33.5cm high (13.25in), 18cm wide (7in)Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-59a, 3-59b, 3-61 (illustrated). Speakers not illustrated. Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Arne Jacobsen (Danish 1902-1971) for Fritz Hansen School Desk, designed 1955 beech moulded plywood, chromed steel and formica(72.5cm high, 61cm wide, 51cm deep (28.5in high, 24in wide, 20in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-14 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Arne Jacobsen (Danish 1902-1971) for Fritz Hansen Five Chairs comprising 'Series 7' chair, designed 1955, dated 1967, model 3107, laminated oak, produced 1967, stamped 'FH / BY FRITZ HANSEN / MADE IN DENMARK 1967'; two model 3105 chairs, designed 1955, one in teak, the other beech ply and chromium plated steel legs, teak stamped 'FH DANMARK', beech with paper label 'FH MADE IN DENMARK BY FRITZ HANSEN / 0463'; two model 3103 chairs, designed 1955, teak and moulded plywood and ribbed plastic covered steel legs, both with paper label 'FH BY FRITZ HANSEN / MADE IN DENMARK / 1065'(Series 7 Chair: 78cm high (30.5in high); Model 3105 Chairs: 77cm high (30.3in high); Model 3103 Chairs: 78cm high (30.7in high))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-9, 3-11, 3-12, 3-13 (one example of each chair illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Arne Jacobsen (Danish 1902-1971) 'Citroner' Textile woven viscose, marked 'CITRONER / KOMP / ARNE JACOBSEN' to the selvedge(200cm high, 129cm wide (78.5in high, 50.5in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 2-19 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Arne Jacobsen (Danish 1902-1971) Table, designed 1958 ebonised wood and aluminium(47cm high, 58cm diameter (18.5in high, 22.8in diameter))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-17 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Arne Jacobsen (Danish 1902-1971) for Fritz Hansen 'Swan' Chair, designed 1957-58 marked 'FH / Made in Denmark by Fritz Hansen / 0467', aluminium and wool upholstery(75cm high, 75.5cm wide, 51cm deep (29.5in high, 29.7in wide, 20in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-16 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Hans Wegner (Danish 1914-2007) for Johannes Hansen 'Round Chair / The Chair', designed 1949 model JH503, teak and bamboo, stamped 'JOHANNES HANSEN / COPENHAGEN / DENMARK' and with manufacturer's stamp(76cm high, 63cm wide (30in high, 24.75in wide))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-2 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

§ Robert Jacobsen (Danish 1912-1993) Two Abstracts one signed and inscribed 'E.A.' in pencil (in the margin), the other unsigned, silkscreen(the sheets 63cm x 85cm (24.75in x 33.5in) and 60.5cm x 85.5cm (23.75in x 33.5in) respectively)Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-40 (one illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Poul Henningsen (Danish 1894-1967) for Louis Poulsen Three Pendant Lights model PH5, and two model PH4/3, aluminium, the latter two each with manufacturer's label (one partial)(22cm high, 51cm diameter (8.6in high, 20in diameter) and 19cm high, 40cm diameter (7.5in high, 15.7in diameter))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-44 and 3-46 (illustrated). Only one PH4/3 illustrated. Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Poul Henningsen (Danish 1894-1967) for Louis Poulsen 'PH Contrast' Pendant Light, designed 1958-62 aluminium, with paper manufacturer's label(36cm high, 44cm diameter (14in high, 17.3in diameter))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-45 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.