Editor's Letter: Lucinda Bredin

"In September, Bonhams staff gathered to say farewell to Robert Brooks, who had, as Chairman, transformed the auction house from three salerooms – Knightsbridge, Lots Road... and Honiton – to a global operation with thriving salerooms in New Bond Street, New York, Los Angeles, Hong Kong and Sydney. As Matthew Girling, the Global CEO, said, "It is the end of an era." It is also the ushering in of a new era, as the company welcomed our new Executive Chairman, Bruno Vinciguerra.

In this issue, Bruno reveals that he has been struck by how the passion for connoisseurship and working with clients underlies everything at Bonhams. As he says, "For everyone here, it's much more than a job – it's their way of life!" And, indeed, what a privilege it is to be surrounded by extraordinary works, the enthralling storeys of how they were created – and the extraordinary people who have owned them. In this issue, the Pulitzer Prize-winning author Tim Page writes about his friend, the pianist Glenn Gould, whose annotated score of the Goldberg Variations is offered in New York in December. Just looking at Gould's score, with its angst-ridden criss-cross of lines, one can sense the electricity of his definitive recording.

Another unique creation that's coming up for auction is Henry Moore's alabaster Mask. As Claire Wrathall writes in her story about the work, Moore was plunged into depression until he found his creative voice by looking past Renaissance sculpture and connecting to Pre-Columbian art. The mask is stylised and yet, at the same time, full of humanity. Just as Moore's story allows one to see behind the mask, there are some astonishing drawings offered in December that reveal the workings of another creative mind. These are the sketchbooks of John Mollo, the great British costume designer, who was contacted by George Lucas to conjure up a universe for the young director's low-budget film, Star Wars. (Mollo was bang on the money when he described it as a "sort of space western, and one of the heroes is a dustbin".) Turn to page 34 to read Matthew Sweet's account of how Darth Vader came to life.

Enjoy the issue."

Lucinda Bredin

Editor's Letter: Lucinda Bredin

"In September, Bonhams staff gathered to say farewell to Robert Brooks, who had, as Chairman, transformed the auction house from three salerooms – Knightsbridge, Lots Road... and Honiton – to a global operation with thriving salerooms in New Bond Street, New York, Los Angeles, Hong Kong and Sydney. As Matthew Girling, the Global CEO, said, "It is the end of an era." It is also the ushering in of a new era, as the company welcomed our new Executive Chairman, Bruno Vinciguerra.

In this issue, Bruno reveals that he has been struck by how the passion for connoisseurship and working with clients underlies everything at Bonhams. As he says, "For everyone here, it's much more than a job – it's their way of life!" And, indeed, what a privilege it is to be surrounded by extraordinary works, the enthralling storeys of how they were created – and the extraordinary people who have owned them. In this issue, the Pulitzer Prize-winning author Tim Page writes about his friend, the pianist Glenn Gould, whose annotated score of the Goldberg Variations is offered in New York in December. Just looking at Gould's score, with its angst-ridden criss-cross of lines, one can sense the electricity of his definitive recording.

Another unique creation that's coming up for auction is Henry Moore's alabaster Mask. As Claire Wrathall writes in her story about the work, Moore was plunged into depression until he found his creative voice by looking past Renaissance sculpture and connecting to Pre-Columbian art. The mask is stylised and yet, at the same time, full of humanity. Just as Moore's story allows one to see behind the mask, there are some astonishing drawings offered in December that reveal the workings of another creative mind. These are the sketchbooks of John Mollo, the great British costume designer, who was contacted by George Lucas to conjure up a universe for the young director's low-budget film, Star Wars. (Mollo was bang on the money when he described it as a "sort of space western, and one of the heroes is a dustbin".) Turn to page 34 to read Matthew Sweet's account of how Darth Vader came to life.

Enjoy the issue."

Lucinda Bredin

Editor's Letter: Lucinda Bredin

"In September, Bonhams staff gathered to say farewell to Robert Brooks, who had, as Chairman, transformed the auction house from three salerooms – Knightsbridge, Lots Road... and Honiton – to a global operation with thriving salerooms in New Bond Street, New York, Los Angeles, Hong Kong and Sydney. As Matthew Girling, the Global CEO, said, "It is the end of an era." It is also the ushering in of a new era, as the company welcomed our new Executive Chairman, Bruno Vinciguerra.

In this issue, Bruno reveals that he has been struck by how the passion for connoisseurship and working with clients underlies everything at Bonhams. As he says, "For everyone here, it's much more than a job – it's their way of life!" And, indeed, what a privilege it is to be surrounded by extraordinary works, the enthralling storeys of how they were created – and the extraordinary people who have owned them. In this issue, the Pulitzer Prize-winning author Tim Page writes about his friend, the pianist Glenn Gould, whose annotated score of the Goldberg Variations is offered in New York in December. Just looking at Gould's score, with its angst-ridden criss-cross of lines, one can sense the electricity of his definitive recording.

Another unique creation that's coming up for auction is Henry Moore's alabaster Mask. As Claire Wrathall writes in her story about the work, Moore was plunged into depression until he found his creative voice by looking past Renaissance sculpture and connecting to Pre-Columbian art. The mask is stylised and yet, at the same time, full of humanity. Just as Moore's story allows one to see behind the mask, there are some astonishing drawings offered in December that reveal the workings of another creative mind. These are the sketchbooks of John Mollo, the great British costume designer, who was contacted by George Lucas to conjure up a universe for the young director's low-budget film, Star Wars. (Mollo was bang on the money when he described it as a "sort of space western, and one of the heroes is a dustbin".) Turn to page 34 to read Matthew Sweet's account of how Darth Vader came to life.

Enjoy the issue."

Lucinda Bredin

Editor's Letter: Lucinda Bredin

"In September, Bonhams staff gathered to say farewell to Robert Brooks, who had, as Chairman, transformed the auction house from three salerooms – Knightsbridge, Lots Road... and Honiton – to a global operation with thriving salerooms in New Bond Street, New York, Los Angeles, Hong Kong and Sydney. As Matthew Girling, the Global CEO, said, "It is the end of an era." It is also the ushering in of a new era, as the company welcomed our new Executive Chairman, Bruno Vinciguerra.

In this issue, Bruno reveals that he has been struck by how the passion for connoisseurship and working with clients underlies everything at Bonhams. As he says, "For everyone here, it's much more than a job – it's their way of life!" And, indeed, what a privilege it is to be surrounded by extraordinary works, the enthralling storeys of how they were created – and the extraordinary people who have owned them. In this issue, the Pulitzer Prize-winning author Tim Page writes about his friend, the pianist Glenn Gould, whose annotated score of the Goldberg Variations is offered in New York in December. Just looking at Gould's score, with its angst-ridden criss-cross of lines, one can sense the electricity of his definitive recording.

Another unique creation that's coming up for auction is Henry Moore's alabaster Mask. As Claire Wrathall writes in her story about the work, Moore was plunged into depression until he found his creative voice by looking past Renaissance sculpture and connecting to Pre-Columbian art. The mask is stylised and yet, at the same time, full of humanity. Just as Moore's story allows one to see behind the mask, there are some astonishing drawings offered in December that reveal the workings of another creative mind. These are the sketchbooks of John Mollo, the great British costume designer, who was contacted by George Lucas to conjure up a universe for the young director's low-budget film, Star Wars. (Mollo was bang on the money when he described it as a "sort of space western, and one of the heroes is a dustbin".) Turn to page 34 to read Matthew Sweet's account of how Darth Vader came to life.

Enjoy the issue."

Lucinda Bredin