My pleasure is in making something that hasn't been made before...in a very simplified way and thinking entirely of utility. How can you make this thing work in the fewest possible lines and the minimum of material, not necessarily for the money economics of it, but the visual and aesthetic economics. That's what I'm after.
Arthur Espenet Carpenter
Peter Loughrey was a talented pioneer motivated by a restless enthusiasm, crucially driven by the willingness to communicate, to share and to discover. An intuitive feel for the burgeoning interest in post-war design led Peter to establish the nascent LA Modern Auctions in 1992 — soon to evolve into the very first dedicated auction platform of its type. Although the initial turnover those first years was modest, LAMA’s impact and resonance was to spearhead a new era of collecting. With these auctions Peter, together with his wife and co-director Shannon, swiftly developed an interactive platform for what was evolving as an increasingly globalised tide of enthusiasts, dealers, curators and collectors. His auctions became a raison d’être, justification to what many of us were at the time tentatively yet willingly exploring. Here, in these auctions, post-war design was spot-lit centre stage, and celebrated as a movement in its own right.
If these initial auctions consolidated and gave focus to the market, then they also gave us an identity — achieved very simply through the semantics of the company that celebrated ‘modern’. A simple and obvious choice, but so influential and less cumbersome than the prevailing options of "twentieth century" or "post-war." Auctions at that time were traditionally associated with antiques, and there was a general disinterest within the trade to consider anything less than seventy years old as having any cultural or collectible value. Although this market had been described as being "modern" for some years already in the US, the word had not yet been internationalised beyond American shores to represent a collecting movement.
LAMA was established at exactly the right time. The zeitgeist was perfect, and helped guide many of us. Around this time I returned from the US and was shortly set to curate my first design auctions for Christie’s in London. Peter’s catalogues during this explorative period were invaluable. Perhaps difficult to understand now, in our era of immediate communication, but the fully illustrated printed LAMA catalogues were the equivalent of a fanzine that would be passed around, photocopied and then memorised. Nowhere else at the time was contained the detailed information that could allow us, many thousands of miles away in London, to distinguish between an early or a late example of, say, an Eames LCW, or to be exposed to the furniture of Schindler or Neutra. And crucially, there were prices. The prices meant that the market was real. And every so often there would be something in Peter’s sales — a trophy lying in wait for the knowledgeable — that would yield a revolutionary price, setting new records and issuing concentric ripples that gave us the confidence to recognise that our passion for this material was no daydream.
Peter had the fortune to discover his calling, and the certainty to pursue it, his delight for discovery underpinned by curatorial seriousness. Together with Shannon, LAMA established a keystone in the foundations of the modern market, flag-bearers of international design and with a global message. Today LAMA co-anchors a dedicated and influential network of US auction sites, all specialised graduates of that early era of modern discovery. A shared mission is always the most pleasurable, so thank you Peter, for helping guide the way.
Simon Andrews
Curator and advisor
Andrews Art Advisory
Arthur Espenet Carpenter 1920–2006
Arthur Espenet Carpenter was a renowned American woodworker and furniture designer, known for his masterful craftsmanship and the distinctive, sculptural quality of his furniture. Born in New York City in 1920, Carpenter initially pursued an education in economics at Dartmouth College but found himself increasingly drawn to woodworking after World War II. His decision to devote his life to craft led him to become one of the most influential figures in the American studio furniture movement.
In the 1950s, Carpenter moved to Bolinas, California, a small coastal town that would become both his home and the center of his creative life. Working out of his studio, Carpenter embraced the philosophy of self-reliance, handcrafting all his pieces with a small team of workmen and without the use of industrial machinery. His work is characterized by its organic forms, elegant curves, and seamless joinery, revealing his deep appreciation for the natural beauty of wood. Carpenter often allowed the grain and texture of the wood to guide his designs, blending form and function in a way that emphasized both utility and artistry.
One of Carpenter’s most iconic pieces is his Wishbone chair, a design that exemplifies his approach to furniture-making—clean lines, graceful proportions, and a commitment to craftsmanship. The chair’s minimalist design, combined with its ergonomic comfort, demonstrates Carpenter’s ability to merge practicality with aesthetic appeal. His other notable works include distinctive dining tables, desks, and cabinets, all featuring the same refined craftsmanship and sculptural elegance.
Throughout his career, Carpenter received numerous accolades for his work. In 1984, he was named a California Living Treasure, four years later he became an Elected Fellow of the American Craft Council, cementing his reputation as a key figure in the contemporary craft movement, and in 2001 he received The Furniture Society’s Award of Distinction. His furniture has been exhibited in major museums and galleries across the United States, including the Smithsonian Institution, where his work is part of the permanent collection.
In addition to his work as a craftsman, Carpenter was a dedicated teacher and advocate for the craft community. He was a member of the Baulines Craft Guild for decades, an organization created to promote traditional crafts in Northern California and provide mentorship to emerging artisans, through which he would teach approximately 250 apprentices. Carpenter’s commitment to passing on his knowledge and skills helped shape the next generation of American woodworkers.
Auction Results Arthur Espenet Carpenter
