Anthony Gormley was commissioned to create street bollards for London City. Stylish bollards which are dug into the ground will impress any entrance. Grob Gallery has four beautiful Gormley 'Bollards' for indoor or outdoor centrepieces.

Briefly, it was an open edition which is now closed. Unknown edition numbers.

Please note! each (4) bollard is 130.5cm high overall and 34cm diameter approximately. Each weighing 100kg.

Moore visited Paris for the first time in 1922 with his friend Raymond Coxon. On this visit they particularly wanted to see the works of Cézanne, an artist who Moore respected and drew inspiration from throughout his life. After Moore had married Irina Radetzky more visits followed, continuing throughout the 1930s often in the company of Coxon and his wife Edna. Animal Head was not executed until 1956, but has a striking resemblance to the famous gargoyles on the outside of the spires of Notre Dame. Although there is no conclusive evidence of a visit by Moore to the cathedral, through studies of the sculptural treasures he would have found, it seems highly unlikely that he would not have been aware of these carvings during the earlier visits.

Animal Head is an unusual sculpture as it appears to have been perceived by the artist as a wall-mounted object. Moore's dictum was always that a sculpture had a front, two sides and a back. Complete three-dimensionality of form was his essential artistic concern. The only other sculptural pieces excempt from this credo, coming from the 1950s, are the wall reliefs (LH 365-373a), the Three Forms Relief 1955 (LH 374), and the large brick construction for the Bouwcentrum in Rotterdam, executed in 1955 (LH 375)

In Coeurs Volants [Fluttering Hearts], Marcel Duchamp flutters between the symbolic and the subversive, presenting the heart—a form steeped in sentimentality—as a disembodied glyph, stripped of romance yet throbbing with possibilities. The doubled motif of red and blue hearts operates like a visual pun, a rhythmic oscillation that seems to mock the heart’s association with love while invoking its universality as a cipher for desire, vulnerability, and obsession.

One might call this Duchamp’s valentine to perception itself, a playful critique of how we assign meaning to form. The composition is both symmetrical and offset, balanced and unstable—a nod to the precision of design but also to the contingency of human experience. The red heart contains the blue heart, but does it nurture it, or does it constrain it? Duchamp, no stranger to ambiguity, lets the viewer decide, knowing full well that no decision could ever be definitive.

Borrowing the language of modernist advertising and graphic design, Duchamp repurposes the familiar into a provocation. These hearts, so simple in their repetition, beat with the pulse of his ongoing interrogation of art and objecthood. In the tradition of his readymades, Coeurs Volants dares us to ask: Is this art, or is it merely decoration? Is it meant to evoke emotion, or does it seek to dismantle it?

Like the artist himself might quip, "A heart flutters, but does it mean to?" Duchamp’s genius lies in his ability to frame that flutter as both question and answer, leaving the viewer suspended in perpetual contemplation.

Created in 1980, Reclining Woman No. 2 reflects Henry Moore’s deep connection to nature and the human form. This bronze sculpture captures a serene, abstracted female figure, echoing the strength and softness of the natural landscape. Moore’s work after World War II often explored themes of resilience and harmony, and this piece is a powerful example of that. The flowing lines and organic shape invite a sense of calm and reflection, making it a striking piece for anyone drawn to art that speaks to human connection and timeless beauty.

estimated only 30 from the edition were signed by Hirst (the remainder were stamped. This is both stamped and signed.

Photo from japan.

In Simone + Nina, Piazza di Spagna Nr. 2, Rome (Vogue) Capucci, William Klein masterfully orchestrates a tension between the photographic medium’s inherent immediacy and its capacity for symbolic resonance. The composition, with its play of gestural elegance and urban modernity, situates itself at the intersection of reportage and abstraction. The poised figures of Simone and Nina—simultaneously iconic and intimate—are set against the textured geometry of Rome’s Piazza di Spagna, a site laden with historical and cultural memory.

Klein’s lens becomes an arbiter of simultaneity: the fashion narrative is not merely recorded but dynamically interrogated. The Capucci designs draped on the models evoke sculpture in motion, while the image’s tonal contrast accentuates Klein's enduring interest in rhythm and structure. This photograph transcends its initial commission for Vogue, serving as both a critique and celebration of modernity’s fractured glamour. The result is an indelible synthesis of form, content, and context—Klein’s signature achievement.

A beautiful Miro with themes of femininity, nature and abstraction. Everything from a woman leg to a butterfly it is a work that keeps the eyes jumping.

Certificate by Monsieur Jacques Dupin dated 13 September 1985

Pochoir print in colours on stiff cream wove paper

Unsigned as issued. A separate edition of 48 signed impressions was printed using the same stencils. Executed at the Atelier Crété, Paris, and published by Christian Zervos for Cahiers d'Art, Paris, Nos. 1–4.

Series: This work is from the edition produced for the album Cahiers d'Art, 1934.

From Cahiers D’Art

"Le Nu Provençal", is the photograph of Roni's wife washing her face using an antiquated washbasin in their summer cottage in Provence. With its timeless depiction of a woman addressing a bodily need on a warm summer afternoon, the unpretentious nakedness in this picture strikes the viewer before it might evoke any kind of sensuality or eroticism. With its nearly tangible depiction of the light, textures, smells and atmosphere of a warm afternoon, this has become Roni's most widely published picture.

"Miracles exist. I've encountered them" said Willy Ronis. In his own words, this is the whole story of how the series "Le Nu Provençal" happened:

"Summer 1949, in the ruined house acquired the previous year, in Gordes. I tinker in the attic and I need a certain trowel left on the ground floor. I climb down the stone stairs that pass through our bedroom on the first floor. Just out of her siesta, Marie-Anne swishes in the basin (we would fetch water from the fountain). I shout: "Stay as you are!" My Rolleiflex is on a chair, very close. I go up three steps and take four shots, hands patched with plaster. I have chosen the second one. All this took less than two minutes. This is my fetish photo which has appeared, since then, without interruption, here and everywhere".

The story of "Le Nu Provençal" agrees with Ronis's often stated claim that he never chased after the extraordinary, allowing serendipity to take its course.

© Cigdem Mirol

In Backstage Christian Lacroix, Paris, 1992, William Klein transforms the frenetic energy of a fashion show’s backstage into a dynamic study of light and motion. The photograph brims with the immediacy of movement—fabric swirls, gestures blur, and Klein’s lens captures the chaotic choreography of preparation. The interplay of light, both harsh and fleeting, illuminates the textures of couture while dissolving boundaries between figure and ground.

This image is less a documentation of fashion than an exploration of photography’s capacity to render flux and spontaneity. Klein’s dynamic composition denies stillness, insisting instead on the vibrancy of becoming. The fractured, shimmering quality of the scene suggests that the essence of fashion lies not in its finished form but in its process—a momentary convergence of creativity, chaos, and glamour.

Klein’s work here operates as both an homage to fashion’s artifice and a critique of its ephemerality, situating Backstage Christian Lacroix as a luminous meditation on modernist aesthetics and the velocity of contemporary life.

A super stylish chair, designed in the late 80s. To complete any luxurious home.
20 of edition + 5 APs

In Antonia + Simone, Barbershop, New York (Vogue), 1961, William Klein boldly challenges societal norms and expectations through his provocative composition. Set within the gritty backdrop of a New York barbershop, Klein juxtaposes a striking image of a Black man in the window display with the poised presence of two female models in the doorway. This stark contrast creates a charged tension between race, gender, and power dynamics, challenging the viewer to question the roles prescribed by society.

Captured in 1961, the photograph encapsulates Klein's fearless exploration of culture and identity, framed through his signature use of dynamic composition and high-contrast imagery. The scene’s unexpected juxtaposition and the stark interplay of light and shadow give the image an almost cinematic quality, with each figure positioned as part of a larger social commentary.

This gelatin silver print, available in a limited edition, is a powerful representation of Klein’s ability to merge fashion photography with a critique of contemporary social structures. The work’s raw energy and unflinching portrayal of urban life make it an iconic example of mid-century modernism and a significant piece for any collector.

In Hat + Five Roses, Paris (Vogue), William Klein engages in a deft critique of the collision between commercial glamour and high art, positioning the image as both artifact and argument. The exaggerated contours of the hat dominate the composition, transforming a functional accessory into an icon of sculptural form. Meanwhile, the roses—arranged with a painter’s precision—gesture toward classical still-life traditions, yet their ephemeral delicacy is subverted by the bold, graphic contrasts of Klein’s photographic language.

Klein’s collaboration with Vogue operates as a double-edged gesture: he accepts the constraints of the fashion industry only to transcend them, using its aesthetics as a platform for conceptual play. The image situates itself within the discourse of the art world, drawing on modernism’s insistence on form while challenging its exclusion of popular culture.

The Parisian setting imbues the work with a sense of history and cultural cachet, yet Klein’s lens deconstructs its grandeur, layering wit and irony into the composition. In Hat + Five Roses, the boundaries between art, fashion, and commerce dissolve, leaving the viewer in a space where the ephemeral assumes the permanence of art.

In Smoke + Veil, Paris (Vogue), William Klein distills the ephemeral into a visual tension that transcends the conventions of fashion photography. The interplay between the translucent veil and the swirling smoke creates a dynamic field where solidity dissolves into atmosphere, and the subject’s presence flickers between concealment and revelation.

Klein’s mastery lies in his ability to choreograph this fleeting drama within the frame. The veil, both a barrier and a lens, refracts the model’s figure, while the smoke curls unpredictably, suggesting the volatility of the modern moment. Paris, as evoked here, is less a location than an aura—a convergence of elegance and mystery, embodied through Klein’s radical manipulation of light and texture.

The photograph refuses to settle into a singular reading. Instead, it oscillates between the iconic and the abstract, reinforcing Klein’s preoccupation with the instability of perception. What might initially register as a scene of glamour becomes a meditation on the transient and the illusory, elevating Smoke + Veil to a statement about the very nature of photographic art.