Lookbook Spring 2024 - Jackson Design

LOOKBOOK

Spring 2024

jacksons.se

HUGO ELMQVIST, ELSA KOCK

Vase

Circa 1900

Patinated bronze with decoration in relief

Signed to the base

HUGO ELMQVIST

Sculpting the Ethereal

Hugo Elmqvist (1862-1930), a Swedish sculptor, carved a distinctive niche with his sculptural works, diverging from the region’s celebrated tradition of functional design to explore realms of symbolic and aesthetic expression. Born amid the picturesque landscapes of Sweden, Elmqvist’s oeuvre was deeply influenced by his surroundings, seamlessly blending naturalistic forms with the emergent currents of Art Nouveau that swept through Europe at the turn of the century.

His educational journey started at the Royal Swedish Academy of Fine Arts, where he matured into a sculptor with a profound understanding of both classical traditions and contemporary movements. Elmqvist’s work is typified by a dynamic interplay of form and emotion, capturing the delicate nuances of the human condition alongside the sublime beauty of the natural world.

His preference for bronze as a medium extended beyond stylistic choice; it was a declaration of his artistic mission. Bronze, with its enduring strength and subtle warmth, enabled Elmqvist to encapsulate the ephemeral beauty of nature and the intricate delicacies of human emotion in a manner that was both monumental and intimate. His sculptures frequently depicted human figures and elements of nature entwined, suggesting a symbiotic relationship wherein each derives strength and exposes vulnerability.

Elmqvist transformed bronze—a material noted for its heft and permanence—into ethereal forms that appear to whisper secrets of the natural world. With his touch, bronze blossomed into delicate leaves, gentle waves, and expressive human forms, each piece bearing witness to his ability to transcend the material’s inherent characteristics.

Vase

Circa 1900

Patinated bronze with decoration in relief

Signed to the base

HUGO ELMQVIST

FLEMMING LASSEN

Sofa Circa 1940

Ash, sheepskin upholstery

WILHELM KÅGE

Vessel with Lid

1951

Glazed stoneware, carved and applied relief

Impressed with manufacturers mark and dated

Produced by Gustavsberg Studio

BERTIL BRISBORG, OLLE ELMGREN

Monumental Wall Lamp

1951

Lacquered tubular steel, engraved glass, brass

Produced by Nordiska Kompaniet

Provenance:

Cinema, “Forellen”, Luleå, Sweden, 1951.

Cinema, “Forellen”, Luleå, Sweden, 1951.

WILHELM KÅGE

Large Bowl 1957

Carved, inscribed and glazed stoneware

Impressed with manufacturers mark and dated

Produced by Gustavsberg Studio

1917 Glazed, carved stoneware

Signed with manufacturers mark and dated

Produced by Gustavsberg Studio

JOSEF EKBERG ‘Sgraffito’ Vase

‘Tulip’ vases, information on next page.

Bathing

crowd, Öresjö; Trollhättan, Sweden, 1958, Stig Olsson, Vänersborgs Museum.

NILS LANDBERG ‘Tulip’ Vases Circa 1950 Hand blown glass Signed with manufacturers mark and numbered Produced by Orrefors Sold individually

GERHARD HENNING Bronze Sculpture Circa 1920 Patinated bronze Signed with manufacturers and artist mark Produced by Lauritz Rasmussen Provenance: Sigrid and Folke Isacsons collection; Art dealer Tore Gerschmans (1913-1992) collection.

Frontside

JOHAN AXEL GUSTAF (J.A.G.) ACKE

Painting ‘Study for Östrasalt’

1906

Oil, lined canvas, lacquered wood

Study to the reverse

Signed by the artist

Provenance:

Sigurd von Kock; Rikard Lindström; Villa Akleja, Vaxholm.

J.A.G. ACKE

‘A Study for Östra Salt’, 1906

The Swedish painter J.A.G. Acke, was as a Swedish painter, who was notable invloved in the Arts and Crafts movement in Sweden. The painting ‘Östrasalt’, or as it is actually called, ‘Eistrasalt’, refers to the ancient name for the Baltic Sea. The painting embodies Acke’s spiritual quest and is an apotheosis of the archipelago, as well as a symbolic attitude order to humanity’s over-civilised dealings with mother earth.

The men are painted standing on a rock outside Örno, Stockholm. The three people epitomise painter Rikard Lindström, composer Sigurd von Kock, and Johan Axel Gustaf Acke himself. The painting ‘Östrasalt’ was initially bought by the Gothenburg Art Museum, but was not delivered promptly since the left corner was yet to be completed. Instead of finishing the corner, Acke cut the painting in two parts, and presented each part to the models. He then painted a replica indoors, which he delivered to the museum in Gothenburg.

Many years later, after Acke and Sigurd von Kock’s death, Rickard Lindström reunites the two parts. He joins the picture together, and completed the unfinished corner of the painting. Lindström then also signs his contribution.

¨To successfully paint the sea with its varying lustre and roaring waves, requires a lifetime of training. Ake’s seascapes are more like improvisations, where he wrestles with the paint like a skilled swimmer with the power of the ocean wave. With in the foreground bathing figures, whose skin colour shines like opal against the navy blue bay.¨

Ord och Bild, 1926, words by Klas Fåhræus

Backside

SIMON GATE

Pair of Vases

Circa 1930

Gray tinted blown and moulded glass

Inscribed with manufacturers marks

Produced by Orrefors

Sold individually

BARBRO NILSSON

‘Stjärnflossan, Blå’, Carpet

Circa 1950s

Hand woven knotted pile wool

With woven signature ‘AB MMF / BN’

Produced by Märta-Måås Fjetterström AB

AXEL SALTO

VASE

Circa 1940

Stoneware in Solfatara glaze, with decoration in relief Manufacturers and artists mark to the underside

Provenance:

C.C. Thomsen, Mrs. Esther Thomsen; Thence by Descent.

GUNNAR ASPLUND

Ceiling Lamp

1930

Attributed to Gunnar Asplund

Blown glass, painted metal, steel threads

Height can be adjusted to suit

Provenance: Architect John Elisasson.

Perspective Sketch

of the Stockholm Stadsbiblioteket and Observatorielunden, Gunnar Asplund, 1931, Arkitekturmuseet Stockholm.

GUNNAR ASPLUND

The Senna Lounge Chair

Gunnar Asplund (1885-1940) is held in high esteem in Swedish design history. As an architect and designer, his contributions were central to defining the modernist movement in the Nordics, blending modern design’s simplicity and utility with a unique lyrical quality. His works shaped not just buildings and interiors but the very essence of integrating beauty, functionality, and harmony into everyday spaces.

Asplund’s ‘Senna’ lounge chair, was crafted for the 1925 Paris Exhibition. Emblematic of his innovative vision, it united elegance with comfort in a way that was revolutionary. With its fluid curves and understated elegance, the ‘Senna’ chair exemplifies Asplund’s design ethos: objects should be functional yet also stimulate the senses and uplift the soul. The studio he designed for the exhibition included a desk, two chairs, a bookcase, and the lounge chair. All pieces were created by David Blomberg, a distinguished figure in Stockholm. After sketching several iterations, Asplund finalised the ‘Senna’ chair design, drawing inspiration from Tutankhamun. The studio was highly acclaimed at the exhibition and honoured with the Diplôme d’Honneur by the international jury.

Despite this success, the furniture proved too costly for mass production and was never manufactured beyond the exhibition prototypes, which remained with the Blomberg family. In the 1970s, the armchair was donated to the Nordiska Museet in Stockholm, with the desk and other chairs joining the museum collection in 1987. In 1983, Cassina, a prominent design firm, produced a limited edition of the armchair, then introduced as the ‘Senna’ chair. The name references the title of the studio at the exhibition, ‘Vers la Seine’, alluding to the Seine River, which is ‘Senna’ in Italian.

GUNNAR ASPLUND

‘Senna’ Lounge Chair

Circa 1980

Walnut, decorated leather, cast decoration

Manuafcturers marks to the base

Produced by Cassina

View of Interior for Paris Exhibition 1925, ‘Tack vare våra Vänner!’, Nordiska Museet, 1994, p.116.

EINAR FORSETH

Coffee Table

1921

Glass mosaic, brass frame

Height can be adjusted to suit

Produced by Puhl & Wagner Gottfried Heinersdorff

Provenance: August Wagner Archive; Florian Wagner; Private Collection, London, acquired from the above, 1982; Acquired from the above, 2003;

Thence by Descent.

History:

A study for part of the monumental mosaic that was created for the Golden Hall in Stockholm from 1921 to 1923. The work would become known as Swedish artist, Carl Einar Forseths greatest work. Forseth drew inspiration for the Byzantine style of the scheme during his time spent in Instanbul.

Stadshuset, Rägnar Östberg, 1923.

Stockholm

Sold individually

BIRGER KAIPIAINEN Platter Circa 1970 Glazed stonware, iridescent glaze, applied beads in motif Engraved with manufacturers mark Produced by Arabia

HANS J. WEGNER

‘Papa Bear’ Arm Chair

Circa 1950

Oak arms, nails and legs, wool upholstery

Manuafcturers marks to the base

Produced by AP Stolen

Available in several colors

MÄRTA

MÅÅS FJETTERSTRÖM

Tapestry ‘Vildhästen’ (The Wild Horse)

After 1950

Handwoven wool and linen, on linen warp

Signed with manufacturers marks

Produced by Märta Måås-Fjetterström AB

Laminated beech, original wool upholstery with leather buttons

Signed with manufacturers marks and dated Produced by Firma Karl Mathsson

BRUNO MATHSSON ‘Berlin’ Daybed 1972

Bruno Mathsson, 1951, Gullers, K.W., Nordiska Museet.

Produced by Orrefors

SIMON GATE ‘Graal’ Vase 1919

Hand blown glass in the Graal tecnhnique Blown by Knut Bergqvist, engraved by Heinrich Wollman Inscribed with manufacturers marks and numbered

TAPIO WIRKKALA

‘Leaf’ Dishes Circa 1950

Walnut, maple. beech, stained ash Inscribed with artist marks

Produced by Soinne et Kni Sold individually

TAPIO WIRKKALA

From Forest to Form

Tapio Wirkkala (1915-1985) embodies the deep connection between nature and Finnish design philosophy. As an artist and designer, his work traversed a wide spectrum of materials and forms, encompassing everything from precious metals to paper. Nonetheless, it was his profound bond with nature that distinctly characterised his aesthetic, yielding designs that were at once innovative and innately organic.

Wirkkala’s engagement with nature was at the core of his design philosophy. He regarded the forests, lakes, and light of Finland not as mere backdrops but as essential components to be interlaced with the fabric of his creations. This deep bond is apparent in his scrupulous attention to natural forms, from the complex patterns of a leaf to the fluid motion of water. His designs represent a conversation between material and nature, with each piece embodying a concentrated expression of nature’s splendour.

His fascination with the natural world is poignantly manifested in his iconic wooden leaf dishes. These dishes, shaped with meticulous precision, echo the fine veins and unique asymmetry of leaves. Choosing wood pays tribute to Finnish forests and imparts a tangible warmth, allowing nature’s essence to be experienced in every contour and surface.

Wirkkala’s influence on glass design is equally celebrated. His work in this domain demonstrates remarkable adaptability, spanning from functional items to pure artistry. His glass pieces often replicate elements of nature — water, ice, and light — enshrining their transient beauty in a medium both delicate and resilient. His skill in shaping glass to echo the fluidity and liveliness of the natural world established him as an adept of the craft.