Jackson Design, TEFAF New York 2023, stand 336.

12th of May - 16th of May, Stand 336

TEFAF New York 2023

&nbsp; &nbsp; <a href="https://galerie56.com">www.galerie56.com</a>

At Galerie 56, New York, 12 OCT - 28 NOV

Garden of Celestial Delights

Stand 321, 30 June - 6 July

Masterpiece London 2022

MAY 05 - MAY 10

TEFAF NEW YORK 2022

March 07 - March 15

TEFAF 2020

Nov 14 - Dec 24

ALFRED GRENANDER

Sep 12 - Sep 15

Grand Antiques 2019

Chair by Arne Norell 1954Tony Matelli, Weed 73-08, 2008, Bronze

"Spättan" Carpet by Barbro Nilsson for Märta Måås Fjetterström 1950s "Sleigh" Armchair and Footstool by Børge Mogensen 1953 Table Pierre Jeanneret 1950s Sofa by Greta Magnusson Grossman 1940s Side Table 'Mora' by Axel Einar Hjorth 1930Nandipha Mntambo ,Quiet Acts of Affection XV, 2012 Cow hair on Fabriano paper, each, incl. frame (diptych) Amy Feldman,Unitiled,2015 - 2017, Acrylic on canvas,Frida Orupabo, Untitled, 2018, framed pigment prints on acid free semigloss cotton paper

Damien Hirst, Indole 3 Ethanol, 2007Ryan Mrozowski, Untitled (orange painting) 2015, acrylic on linen

Paul Fägerskiöld, Untitled 2017, acrylic on linen with walnut frame

April 11 - May 29

The Curated Home

March 16 - March 24

TEFAF MAASTRICHT 2019

Feb 05 - Feb 15

IWATEMO AT JACKSONS

In the Spirit of Estrid Ericson

Christmas

Sep 19 - Sep 21

Grand Antiques - Liljevalchs 2018

March 10 - March 18

TEFAF 2018

March 10 - March 19

Tefaf Maastricht 2017

Unique coffee table with sculptural frame of black lacquered, laminated wood. Circular clear glass top. Prototype. Designed 1952. Manufactured 1952 by Fritz Hansen. Provenance: Family of Jorgen Hoyer, who worked from 1950 to 1952 with Poul Kjærholm in Fritz Hansen's office in Christianshavn. Holscher Chair, 1952. Ref: 7150. The chair acquired its name because of the steel tube construction made by the blacksmith Svend Holscher, the father of professor Knud Holscher. Svend Holscher was a blacksmith in the small town of Rødby, his son Knud was a good friend of Poul Kjærholm. The chairs were only manufactured for the Kjærholm family and friends. The winding of the flag halyard was done by Hanne and Poul Kjærholm, Knud Holscher and in this case, Holø Bergljot.&nbsp;

April 30 - July 21

Poul Kjærholm 2016

Table in laminated birch and ebonised solid wood. Circa 1953. One of three known to be produced. Manufactured by Cabinet maker Martti Lindqvist together with Tapio Wirkkala. Ref: 7261.

Leaf by Tapio Wirkkala. 1950s. Laminated birch. Signed TW. Produced by Soinne et Kni. Ref. 7038

Feb 26 - April 23

High Resolution - Tapio Wirkkala 2016

PH Tennis Lamp. Poul Henningsen. Produced by Louis Poulsen. 1927. The final shape of this lamp was the result of a series of tests Poul Henningsen carried out with tennis player Einar Middleboe. The lamps were installed in the Københavns Boldklubs indoor tennis court. Provenance: Collection Poul Henningsen. Ref. 15248.

Left. Unique Sven Markelius Desk. Produced by NK. 1930s. Macassar ebony, nickel-plated fitments. Markelius designed this unique desk for personal use in his home in Nockeby, Stockholm. He later gave the desk to artist Vicke Lindstrand. Ref. 8561.

Ideal Table. Otto Wretling. 1930s. Rosewood top and base. Birch interior, black painted decoration. Black laquered column. Adjustable in height and length. Can function as a dining table, coffee table, or console table. Cabinetmaker Otto Wretling made furniture for the Royal Court. He designed the table together with his son Bo Wretling in 1935. Patented in 1936. Patent No 99346. Ref. 4559.

Kaare Klint "Addition" Sofa and Footstool. Produced by Rud Rasmussen. 1933. Legs of Cuban mahogany, upholstered in original, natural Niger leather. Ref. 7711.

Surrea Vase. Wilhelm Kåge. 1940. Stamped Gustavsberg manufacturer's mark, artist stamp Kåge and impressed S. The Surrea series was first shown at the exhibition "Chaos in the oven" held at Nordiska Kompaniet. Kåge experimented with cutting vases into two or three parts and then re-assembling them. Ref. 8743.

April 27 - June 20

Nordic Modernism 2015

"The designs of AAS Gonzales Haase are investigations on various modes of assembling, and they are also forming assemblages between building, interior and objects, which are not just challenging convention, but also the viewer’s own imagination." Hehl Rainer

Since founding their Atelier for Architecture and Scenography in Berlin and Paris in 1999, Pierre Jorge Gonzalez and Judith Haase have experimented with new ways of approaching design at the confluence of art and architecture. Designing spaces that are narrative, performative and playful, Gonzalez Haase AAS apply to a range of projects including galleries, residential spaces, as well as to furniture and stage design. The interaction of lighting and architecture remains a primary focus for their conception of spatial contexts.

Hamletmachine Chair, 1987. Ref. 5431. Designed by Robert Wilson for Heiner Müller's play 'Hamletmachine'."If the assemblage becomes a happening it acts like an instrument that should be versatile enough to assemble almost any kind of imagination and project within a given space: sound, lighting, object design, architecture, movement, narrative construction, etc. Or, if we put it in the words of Robert Wilson, who probably more than any other artist is standing for the intersection between performing arts, scenography, visual arts, object design and architecture: 'The first thing you must know as an actor or director is the space you will inhabit. See the architecture; imagine where things can happen in space.'" Hehl Rainer

"If we consider assemblages as installations enabling disposition, architecture and furniture design are equally loosing their object quality in favor of multi‑scalar interaction.The distinction between architects who design objects and object designers who conceive architectures is then loosing ground. The more in-depth knowledge we have about the way things are assembled the more we are able to fine-tune the relationship between parts and the whole. And vice versa, if objects are projected like architectures their performance increase as they have the capacity to absorb more external factors. As soon as equipment is designed like architecture it acts itself as an assemblage—as a framework for spatial disposition pertinent enough to hold other objects and artifacts (in place)." Hehl Rainer

Feb 28 - April 18

Assembling — Gonzalez Haase 2015

The standout piece in the exhibition at Jacksons is a gold mosaic table depicting Apollo in the Chariot by Swedish artist Einar Forseth. The original mosaic top—one of the samples made in 1921 for the competition to design the Golden Hall of the City Hall in Stockholm—was produced by the leading glass firm for glass mosaics, Puhl &amp; Wagner in Berlin. Forseth and Puhl &amp; Wagner were then commissioned to design the interior of the Golden Hall. Between 1921 and 1923, more than 18 million glass mosaic tiles were installed there. Ref. 9132.

Ref. 9063, This black lacquered wood and velvet upholstered chair by Gunnar Asplund was designed 1922 to 1923 and is an original piece from the Skandia Theater.

Ref. 7472. Lacquered wood table base designed by Uno Åhren. Pewter engraved top by Tyra Lundgren. Stamped "SVENSKT TENN B8". B8 = year 1928. The works of Tyra Lundgren are driven by her commitment to both art and design. In the 20s she designed tableware for the Moser factory in Karlsbach.  She has been influenced by the artistic movement “Valori Plastici”. After having gained international success, Tyra Lundgren started collaborating with Italian designer Paolo Venini, one of the leading figures in the production of Murano glass.

The big international breakthrough for Swedish Grace and Swedish Design came at the Paris World Exhibition in 1925. The Swedish National Pavilion in Paris, designed by distinguished architect Carl Bergsten, took the form of a white neo-Greek temple with Ionic columns, furnished by Gunnar Asplund and Carl Malmsten. Artist Simon Gate designed Baroque-inspired covered urns that guarded the entrance hall. Uno Åhrén’s “Lady’s Salon” was a standout installation, admired as an international highlight of the decade. Engraved glass by Gate for Orrefors, ceramics by Wilhelm Kåge for Gustavsberg, and iron works from Näfveqvarns bruk also symbolized the accomplishments of the decorative arts by Sweden’s leading designers.

The Swedish National Pavilion captured the attention of the most demanding critics of the decade, and was awarded 31 grand prizes and a number of honour diplomas. The movement was embraced by the international press and Sweden was heralded as a leading nation in craft and design. The movement was subsequently dubbed “Swedish Grace” by English critic Morton Shand.

Neoclassical Pewter Box, inscribed Nils Fougstedt, Ref. 3325. Craftsman and sculptor Nils Fougstedt mainly worked in pewter, often creating engraved scenes of figures and animals. Together with Estrid Ericson he founded the company Svenskt Tenn. Engaging the in the neo-classicist movement in the 1920s, he later turned to functionalism. His unique, early pieces are today highly collectable.

Notable contemporary museums and collectors in the 1920’s were eager to acquire the objects displayed at these prestigious exhibitions. Due to the tremendous international success in Paris 1925, Sweden was the first European country to exhibit at the Metropolitan Museum in New York at the exhibition “Contemporary Swedish Decorative Arts” in 1927. For the first time, Swedish Grace was exposed to high-demanding consumers across the Atlantic in Manhattan. Näfveqvarn table No.10, Ref. 7641.

Exhibition View featuring one panel of artist Ola Kolehmainen's photographic septych “Gyllene Salen” (1999) on right.

Ref. 7263, Rare hand-carved lion and engraved copper top table by artist Anna Petrus, which was originally exhibited at the Paris World Exhibition in 1925. The copper tray features engravings of stylized fishing scenes. Oak base and tray signed A.Petrus.

Detail, Ref. 7263, Anna Petrus is one of the most exceptional Swedish artists of the early 20th century. Active in a group of avant-garde artists, she created new forms of artistic expression. Her work composes an imaginative mix of drama, dance, music, visual arts as well as furniture design. The artist's favored materials were stone, wood, marble, iron and tin. In her designs she often re-interpreted Greek myths and approached them from an innovative, feminist perspective. She frequently used the rebel lion as a symbol.

This short-lived period of Swedish Grace overlapped with the emergence of modernism at the Stockholm Exhibition of 1930, which was held in white exhibition halls and glass facades designed by chief architect Gunnar Asplund. Radical young architects focused on new functionalist ideas that demonstrated the Swedish contribution to international modern industrial design. Swedish Grace had been responsible for positioning Sweden as a leading nation in design during the 20th-century, and is now being revisited on this rare occasion at Jacksons.

Nov 14 - Feb 14

Swedish Grace 2014

No. 4248: Poul Henningsen's "Septima" Lamp from the 1930's, produced by Louis Poulsen, features wood moulded and acid etched glass shades with nickel-plated brass. Throughout his lifetime, Henningsen denounced what he viewed as artistic pretension in Scandinavian design and urged for a more utilitarian approach to accommodate good design for all. At the time of his death, he left over 100 lighting designs, some of which were issued posthumously.

No. 8667: Poul Henningsen's Star Chandelier made between 1931 and 1937, produced by Louis Poulsen, is a six-shaded lamp with 2/2 brown amber glass shades. Fitting in bronze patinated metal and stamped PH-2 patented.

No. 8939: Yrjö Kukkapuro's 100A Reflector Lamp, produced by Haimi, was designed in 1968 for the Milan Triennial in small edition. As a central figure in Finnish functionalist, Kukkapuro's furniture designs were intended to complement the architecture of the building without dominating it.

No. 9023: Aage Rafn's Ceiling Lamp, produced by Lauritz Rasmussen, was exhibited in the Danish Pavillion at the Paris World Fair 1925. It has a white single layer glass with gloss interior, matted exterior, and bronze fitment. As a supporter of Neoclassicism, Rafn ran his own design studio from 1916 until his death.

o. 5896: Henningsen's "Light of the Future" Ceiling Lamp, produced by Louis Poulsen, was designed in 1959 for "The House of the Day after Tomorrow" exhibition. It is reminiscent of the Artichoke Lamp in the Langelinie Pavilion. The lighting engineering is based on the color concept, that the red end of the light spectrum reproduced texture better than the colder color rays. Only about 15 lamps made in total.

No. 8988: Simon Henningsen's Ceiling Lamp "Casablanca" from the 1960s, manufactured by Lyfa. Square chromium-plated steel, lacquered interior. Simon Henningsen was the son of Else Strøyberg and Poul Henningsen. In 1948 he assumed his father‘s position as an architect for the amusement park Tivoli in Copenhagen.

No. 8854: PH Table Lamp from 1927 produced by Louis Poulsen. This is an early example, stamped PAT APPL. Painted copper shades with bronze base.

May 01 - June 29

Nordic Light 2014

Top: Library 2 by Ola Kolehmainen, 2011, Vyborg Library, ca. 175 x 236 cm. Bottom: Pair of Alvar Aalto Tank Chairs, 1930s. Produced by Artek. Laminated birch, original wool textile with leather piping.

March 14 - April 26

Encounters with Aalto 2014

No.7261. Rare Tapio Wirkkala Table in laminated birch and ebonised solid wood. One of three known to be produced. Manufacterd by Cabinetmaker Martti Lindqvist together with the Tapio Wirkkala. Made in 1953.

No.8639. Malmsten Sofa, pair of armchairs, and table in rosewood, inlays of several different fruit woods. Ca 1940.

No.7972. Fritz Henningsen Wingback Chair and Footstool. Natural leather and oak legs, original buttons. Rare example with footstool. Fritz Henningsen had been both a cabinet maker and retailer. Ca 1940.

No.7452. Hjorth Desk &amp; Chair. Oak and original leather and leather covered buttons. Exhibited at the Stockholm exhibition 1930. Metal Label R35325-C MÖB. Model "Funkis".

Oct 10 - Nov 23

Jacksons at Asprey London 2013

No. 8280, Paimio Bed and Side Tables, 1930. Green laqcuered steel. Designed in 1931-32 for the Paimio Sanatorium, Finland. Provenance: Formens Hus, Haellefors - House of Design. Torbjoern Lenskog Design Collection.

No. 8281, Paimio Hand Basin, 1930. Brand: Arabia. Wash basin, designed for the Paimio Sanatorium. Porcelain, stamped Mod 280 ARABIA.

No. 7023, Aalto Wall Lamp, 1932. White painted metal, clear glass and original glass cylinder. Designed for the Paimio Sanatorium, 1929-32. This lamp was placed in the middle of each patient room.

No. 8282, Paimio Hall Stool, 1930's. Steeltube stool for the hall of the Paimio Sanatorium, 1932. Brand: Huonekalu-ja Rakennustyoetehdas Oy Turku.

No. 8283, Paimio Door, 1930. Brand: Huonekalu-ja Rakennustyoetehdas Oy Turku. Door from Paimio Sanatorium, 1932. Two different colored sides.

No. 8462, Alvar Aalto Paimio Cabinet, 1932. Brand: Huonekalu-ja Rakennustyoetehdas Oy Turku. Cabinet from Paimio Sanatorium. Aalto´s most famous commission. Each bedroom had two of the cabinets screwed directly to the wall.

No. 8505, Aalto Spittoon, 1930. Brand: Karhula.

June 12 - June 17

Paimio Sanatorium - Design Basel 2013

Hjalmar Jackson Library Table, 1934.Cabinet Maker: Hjalmar Jackson. Attributed to Oscar Nilsson. Ebony, pear wood, inlaid with bone and rosewood. Top has an architectural curved pattern. The disc of ebony inlaid with stylized books, hand carved with relief decoration of open books. Legs in pear wood, rounded frame with two drawers.

Pair of Hjalmar Jackson Chairs, 1934.Cabinet Maker: Hjalmar Jackson. Attributed to Oscar Nilsson. Carved and sculpted pear wood. Original brown leather.&nbsp;

"Princess" Desk, 1950's. Cabinet Maker: AJ Iversen. Designer: Jacob Kjaer. Rio Palisander, three drawers with brass handles. Top section with tambour doors, interior of birds eye maple, adjustable shelves. Brass handles. This model was given to the Princess of Denmark on her eighteenth birthday.&nbsp;

Small Malmsten Bureau, 1920's. Cabinet Maker: Hjalmar Jackson. Designer: Carl Malmsten. Birch side, back and top. Carved feet. Front of rosewood with inlays of different woods, crossbanding. Silvered bronze handles.&nbsp;

Fritz Henningsen Wingback Chair and Footstool, 1940.Natural leather and oak legs, original buttons. Rare example with footstool. Henningsen had been both a cabinet maker and retailer.&nbsp;

Peder Moos Rosewood Table, 1943. Rosewood with inlay. Round tapered legs. Signed Peder Moos 1943. This table has an interesting strength inlay construction made by Moos himself, underneath, to stabilize a crack due to the nature of the wood.&nbsp;

Music Stand, 1965. Designer: James Krenow. Untreated pear wood, double music stand, two drawers, on tall legs. Incised signature underneath JK.&nbsp;

Klint Desk chair, 1940. Cabinet Maker: Rud Rasmussen. Designer: Kaare Klint. Cuban mahogany. Original Nigerian goat leather, which has acquired beautiful color and patina over the years. Brass nails. Inspired by English cabinetmaking. Cabinetmakers Rud Rasmussen label.

1930's Bar. Designer: David Blomberg.Original black lacquered doors with inlays of different woods (i.e. teak) and brass. Red lacquered interior, metal details and light. Pull out serving shelf and two drawers. Nickel brass and birch shelves inside.

March - July

The Cabinet Maker 2013

Original black leather "X 602" stools. Legs of bent massive birch. Design 1954. Patent No 154562 applied 3rd of April 1954.

Sculpture, arranged detail of the Paimio chair attached to laminate board. Photographed for ARTEK advertisement.

Black leather "No.10,68" Chair. Designed in 1954 for the Rautatalo Café in Helsinki.

Wall lamp. White painted metal and glass. Original glass bulb.Designed for Paimio Sanatorium, 1929-32.

SEP 2012 - FEB 2013

Alvar Aalto 2012 - 2013

Hans J Wegner, 1950. Unique oak-slatted long bench. Provenance: Anker Petersen, owner and founder of AP Stolen.

Hans J Wegner, 1953. Legs of oak. Upholstered with original olive-green wool, armrests and back in original natural leather.Provenance: Danish Cabinet Makers Guild Exhibition 1953.

Hans J Wegner, 1950's. The "Roman" chair is a prototype armchair in oak and original patinated leather. Provenance: The chair was given as a retirement present from Hans Wegner to a carpenter at Johannes Hansen.

Alvar Aalto, 1937. Chaise lounge, molded laminated beach frame and padded seat. Small edition produced in the 1930´s.&nbsp;

Nils Landberg. Tulip Vase. Signed Orrefors Expo Nu-97-54.

Nils Landberg vases, 1960s. Signed Orrefors 605-57.

Axel Einar Hjorth Desk &amp; Chair, 1930. Oak and original leather, with leather-covered buttons. Exhibited at the Stockholm Exhibition 1930. Metal Label R35325-C MÖB.Model "Funkis".

Axel Salto Vase, 1940. Glazed ribbed ceramic vase. Signed Salto.

Pavo Tynell Lamp, 1940. Polished brass and shades in cased glass.&nbsp;

Josef Frank Cabinets, 1958. Commissioned by Swedish consul Erik Svedelius on Estrid Ericsson's trip to Brazil in the 1950's. The two sideboards were especially designed for their living room.&nbsp;

Kaare Klint and Edvard Kindt Larsen, 1930. Cuban mahogany frame and original Nigerian goat leather. Brass nails.

Axel Einar Hjorth Ceiling Lamp, 1930. Nordiska Kompaniet 1930, steel with opaline coloured glass panels.

Alvar Aalto's "Beehive" Lamp A332, 1950. Original black painted metal and brass.

Josef Frank Cabinet, 1960. Model 2237th. Thirteen different sized drawers of oak, walnut and mahogany. Sides and top veneered with amboyna root, legs of walnut, pull handles and knobs of brass.

12 JUN - 17 JUN

Design Basel 2012

March 10 - July 23

In Order of Appearance 2012

Pair of Fulvio Bianconi Wall Lamps for Venini from the 40's. White and clear glass. Brass fittings.

Kaare Klint Lounge Chair. Designed in 1933. Solid teak frame with retractable footrest. Cane and loose canvas cover. Paper label RR.

Two pairs of Bianconi lamps for Venini from the 50's. White glass, coloured glass rosettes.

Kaare Klint "Addition" Chairs and Stools. Legs of Cuban mahogany, upholstered in original, natural Niger leather. Designed in 1933.

Farsta vases. Running blue glaze. Incised and impressed decoration. Signed Farsta and Gustavsberg studio and date mark.

Wegner Dining Table. Rosewood top, steel base. Detachable leaves.

Large Hans J Wegner Dining Table. Teak top, oak base with brass fitments. Branded manufacturers stamp, Arkitekt Hans J Wegner Andr. Tuck Made in Denmark&nbsp;

Large Kraitz Sculpture. Stoneware sculpture with filling of gold. Signed KRAITZ.

Berlin Autumn Exhibition

Poul Kjaerholm "Holscher" Chairs. Seat and back with flag Halyard wound by Holø Bergljot from 1952.

Aluminium, frame made of beech, seat and back in twisted leather, legs in aluminium. Marked with label: "ALUMINIUMFÅTÖLJ NO 72/200 MATS THESELIUS 1990 KÄLLEMO AB".

Ingeborg Lundin. Apples and Melon.&nbsp;

Alvar Aalto "Beehive" Lamp. Model A331 ceiling lamp. Painted aluminium and brass rings. Designed 1953. First introduced at the University of Jyväskylä, Finland.

Rare Josef Frank leather cabinet, model 2192. Covered in light red leather. Base and interior in walnut. Designed in 1954.