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Metal legs with cowhide seats edged with grommets whip-stitched to metal frame.

Perspex

Glazed ceramic

Pyrite stone, metal base

Petrified wood with crystalline formation inclusion, on salvaged cast iron frame and legs

French H 37 cm / W 60 / D 65 cm

Limited edition no. 2/5

For Orrefors Clear glass with inclusions Signed 'Orrefors 90591390 Olle Alberius Gallery 19-24-81

For Orrefors Clear glass trailed with brown threads, orange inclusions, and with cut with concave 'lens'

Woven seagrass and natural fibres

For Georg Jensen, model no. 136

Clear glass with 4 apertures

Glass with gold inclusions in occhi technique

To Order: Polished, hand-wrought, articulated bronze rings with LEDs concealed by opaque glass tesserae

patinated steel and ceramic

black enamel and brass

For Venini Burgundy glass cased by turquoise glass

For Venini Clear glass with blue, yellow and brown concentric circles

Swedish by Bröderna Johansson Auto-Metallfabrik., Skellefteå (BJS), Model 51/M brass and wood, with pivoting shade

Black-stained wood re-upholstered in watermelon pink velvet.

Brazilian wood and silver plate

For Galerie FLAT, Paris

Aluminium modular frame with polished black perspex table top.

Clear and multi-coloured glass

Enamelled metal

Enamelled metal

Enamelled metal

Enamelled metal

For Georg Jensen Silver

Limited edition of 50 10 available Rolled and welded sheet aluminium, designed for Tom Dixon's Coal Office restaurant in King's Cross, London. With removable seat cushions. H 84 / ⌀ 40 cm With Certificate of Authenticity signed by the artist.

Limited edition of 50 1 with removable turquoise seat cushions 3 with removable blue seat cushions Rolled and welded sheet aluminium, designed for Tom Dixon's Coal Office restaurant in King's Cross, London. Each chair: H 84 / ⌀ 40 cm £2,000 + VAT each With Certificate of Authenticity signed by the artist.

Free formed extruded PETG plastic Limited edition no. 5/12

Mixed natural fibres

For Skruf Clear and dark smoke glass with internal 'frozen liquid' bubbles forming naive figures.

For Skruf Clear and milky glass with internal bubbles

Italy For i4 Mariani Leather topped desk with recessed aluminium channel spanning the width. With companion cabinet with leather-faced drawers and aluminium drawer pulls. Desk legs and cabinet re-covered in faux suede. NB 'Starblack' was the first collection of office furniture introduced by i4 Mariani since it was founded in 1957.

Wire metal with coloured and gilt enamel details

Hand coloured transfer printed on wood, lacquer finish (ex-display : has a small chip to lacquer on underside) New one : lead time tbc, £3760

Hand decorated transfer printed on porcelain.

Hand decorated transfer printed on porcelain.

Hand decorated transfer printed on porcelain.

Hand decorated transfer printed on porcelain.

Hand decorated transfer printed on porcelain.

Hand decorated transfer printed on porcelain.

Hand decorated transfer printed on porcelain.

Hand decorated transfer printed on porcelain.

Lithographic print

Lithographic print

Italy Lithographic zinc plate

Hand coloured transfer printed on porcelain

Gilt and hand coloured transfer printed on porcelain

For Salviati Coloured and transparent glass on black glass base

Uganda Papier maché 'beads', snap closure on back

Note: Talented across a multitude of disciplines (city planning, engineering, theoretical discourse), Giordani was also an active contributor to publications addressing architecture and urban strategy. One magazine, 'Architettura' in their July - August 1955 issue, illustrated furniture Giordani only designed in the first half of the 1950s. These works, during this brief period, are animated by dynamic angles and balanced asymmetry.

Woven grasses and textiles with copper wires

Italy Acrylic and metal

Cibachrome print Dye destruction print. Photograph using recycled household products. (ESG before its time) Limited edition of 3 + AP Note: An example of this photograph is in the permanent collection of the Victoria & Albert Museum: "Whether Head is working with photography, installation or painting, his art is underpinned by concerns about human relationships with the world. During the 1980s he began to explore the tension between the organic and artificial in consumer culture. His apocalyptic 'toxic' landscapes serve as metaphors for our polluted environment. Deliberately exploiting the saturated colours of advertising, these images both appeal and repel." Tim Head was one of the artists representing GB at the Venice Biennale in 1980.