furniture with fetishist and sado-masochist overtones." The first three sculptures were each sculpted from Jones' drawings, with Jones overseeing professional sculptor as he produced the figures in clay. The three female figures were then cast in plaster by a company that specialised in producing shop mannequins. Each of the original three figures was produced in an edition of six. Jones first group of erotic fibreglass sculptures, of a Hatstand, Table and Chair gained international attention when exhibited in 1970. The works were met with strong protests for perceived misogyny, which succeeded in making Jones a "cultural hot potato". Laura Mulvey writing for Spare Rib magazine suggested the sculptures was inspired by latent castration anxiety. Almost a decade later, when they were put on display at the Institute of Contemporary Arts in 1978, they were attacked with stink bombs. Eight years later, on International Women's Day, Chair was damaged by paint stripper while exhibited at the Tate. According to art historian and curator, Marco Livingstone, writing in 2004: "More than three decades later, these works still carry a powerful emotive charge, ensnaring every viewer's psychology and sexual outlook regardless of age, gender or experience." The severe reaction from the art world, feminists, and the mainstream press after the sculptures' debut would limit Jones' exhibition career in England over the next several decades. When asked about their effect on his career, Jones was quoted stating "it's collateral damage. I wanted to offend the canons of accepted worth in art. I found the perfect image to do that, and it's an accident of history that these works coincided with the arrival of militant feminism." Roman Polanski, Elton John and Gunter Sachs all owned a piece at one stage, with one of the sets selling at auction in 2012 for £2.6 million. The sculptures have also been referenced in Stanley Kubrick's 1971 film A Clockwork Orange. Maîtresse and teaching (1973–1980s) Jones, photographer Brian Duffy, and air brush specialist Philip Castle were commissioned to collaborate on the annual and often salacious Pirelli calendar in 1973, resulting in a unique edition that Clive James would later jokingly call "the only Pirelli Calendar that nobody bothered to look at twice". In 1973, Jones spent time as a guest lecturer at the University of California, Los Angeles, and after visiting Japan in 1974, the following year he toured Canada. Jones designed Barbet Schroeder's 1975 film Maîtresse. Starring Bulle