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We remember that the painter J.M. Whistler and members of the Aesthetic Movement loved to lacquer in white old Regency settees and chairs. M o r r i s o n 's p ro d u c t i o n s would be at home with this e x q u i s i t e s e n s i b i l i t y ; just as Whistler and his architect, E.W. Godwin venerated Japan, breathing in the perfume of its influence, so we sense Japan at work in Morrison's reduction of a chair or table to its essen- tial elements: top, legs, seat, back. These, in turn, are rendered with mindful plainness yet a strange expressivity. The legs of a Morrison chair often flare outwards; there is the faintest whiff of the gamin about his otherwise stern, almost Zen creations. once workmanlike in their simplicity, elegant in their silhouettes. One can imagine implanting his "Orla" sofa for Cappellini as the sole contemporary interloper among a room of Regency or Biedermeier furniture. HYLAND Miro Zagnoli Orla (Sofa, Armchair and Two-Seater). Cappellini.