TEFAF 2019

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Jacksons Stockholm, TEFAF Stand #617

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GERALD SUMMERS P l y w o o d A r m c ha i r Cut and bent wood sheet bi rch- l ami nated pl y wood .

Produced by Makers of Si m pl e Furni ture, Engl and.

De s igned i n 1934 Summers’ organi c al l y - shaped arm c hai r, comfor tabl e e v e n wi thout cushi ons. W i th i ts sm ooth sur face and lack of m etal c onnectors, i ts unusual shape probabl y s te ms from Al var Aal to’s furni ture, especi al l y the s pe ctac ul ar “Pai mi o” c hai r, whi c h was shown i n L on don i n 1933 .

Unde r hi s own company, Makers of Si mpl e Furni ture, L td. , f ounded i n 1929 , Summ ers produc ed onl y 120 e xampl es of the chai r. Despi te i ts construc ti v adv antages, the producti on c osts of the c hai r, and th us the sal es pri c e, were hi gher than the desi gns o f the popul ar Fi nni sh versi on.

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WILHELM KÅGE G r o u p o f Fa rs t a v a s e s The “ Fars ta ” s e r ie s w as f irst presented at the Stoc khol m Ex hi bi ti on 193 0 and is cons ide re d by m any to be the hei ght of pai nter and c era micis t Wilhe lm Kåge ’s work.

Kå g e s tar te d at Gus tav s be rg porcel ai n factor y i n 1917, where he w a s cre ativ e dire ctor f or more than 3 0 y ears. He i s vi ewed as one o f t he mos t impor tant ce ram i c i sts i n Sweden of the 20 th Centur y.

I n 1942, Kåge f ounde d the Gustavsberg Studi o worki ng wi th Sti g Li n d be rg an d Be r nt Fr ibe rg . The studi o was an ar ti sti c l aborator y w h i ch ran paralle l to the G ustavsberg Factor y.

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J o s e f F r a n k ( 18 85 - 1967 ) w a s a n A u s t r i a n a r c h i t e c t , designer and theorist, educated in Vienna justafter t h e t u r n o f t h e c e n t u r y. H e w a s k n o w n a s o n e o f t h e l e a d i n g m o d e r n i s t s o f t h e 1920 s , b u t a l s o f o r h i s c r i t i c i s m o f 193 0 s m o d e r n a r c h i t e c t u r e . H e d i s m i s s e d uniformit y, insisting that it was pluralism that most characterised life in the new machine age.

Frank called for a more humane modernism, one that r e s p o n d e d t o p e o p l e ’s e v e r y d a y n e e d s , w h i l s t leaving room for sentimentalit y and historical influences. It was this basic set of ideas that Frank b r o u g h t w i t h h i m t o S t o c k h o l m i n 1933 .

His decision to seek exile in Sweden from the rising threat of fascism was prompted in par t by an of fer from Estrid Ericson, owner of the furnishings firm, S v e n s k t Te n n . A t E r i c s o n ’s c o m p a n y F r a n k w e n t o n t o work as chief designer for more than thir t y years.

JOSEF FRANK U p ho l s t e r e d C a b i n e t P roduced by Svenskt Tenn 194 6 .

Mahogany wi th i nteri or of bi rch.

Ori gi nal c hi ntz uphol ster y.

Model 95 5

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H A R A L D WA D S J Ö Floor Candelabras Pro d u c ed b y Näf v e qv ar n s Br uk , Sweden, 1920 s Co m p o s ed b y archite ct H arald Wadsj ö.

M o d el ex h i b i te d at the Sw e dis h Pavi l i on at the Pari s Worl d Ex hi bi ti on in 1925 . The Sw e dis h pav ilion w as desi gned by Carl Bergsten and took t he f o rm o f a n e o-Gre e k te mple w ith at tenuated Ioni c c ol umns.

Neo - G reek f ur niture de s ign e d by E ri k Gunnar Aspl und compl emented t he a rc h i t ec t ure .

Hara l d Wa d sjö´s le gacy as an archi tect i s predomi nantl y centred upon h is d es i g n o f s e v e ral ce me te r ie s in S weden. In 1914 , al ongsi de Ester Cla es s o n , he par ticipate d in a comp eti ti on for the famous Woodl and Cem et er y i n S tock holm, w he re the ir c ontri buti on “Cumul us” rec ei ved t h i rd p ri ze.

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G Ö S TA ADRIAN NILSSON Gösta Adri an Ni l sson (GAN ) w as born i n Stockhol m , Sweden, i n 18 84 , and i s c onsi dered one o f the pi oneers of Swedi sh m odern i st ar t. Bet ween 1920 - 1925 he l i v ed i n Pari s and was associ ated w i t h Al ex ander Arc hi penko and Fernand Léger. One can i den t i f y the i nfl uence of Léger i n G AN ’s m achi ne - l i ke fi gures i n the sh a pe of athl etes, sai l ors and sol di ers.

Clown for Joy Pro v en a n c e: Joy, one -ye ar -old daug hter to a r ti s t s G ö s t a Nys troe m an d Gladys Hey m an GAN w a s c l o s e f r ie nds w ith both Nystroem a n d H ey m a n an d made th is re lie f f or thei r d a u g h t er J o y at Chr is tmas in 1923.

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RUNAR ENGBLOM Chest of Drawers in Rosewood Veneer Pro d u c ed b y Stock holm Stads H an t verksfรถreni ng, Sweden 194 0 .

M a d e b y c a b in e t make r Car l Be rgs ten.

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P A AV O T Y N E L L S n o w f l a ke C ha n d e l i e r L e a di n g a rc h ite cts of the time s uch as Al var Aal to, Paul i Bl omstedt, Eri k Br y ggma n a n d A a rn e Er v i c ommis s ion e d Paav o Tynel l to desi gn l i ght fi x tures for thei r i nteri ors. The lig h t f i x t u res a re n otable f or the ir atmospheri c l i ght and di sc i pl i ned y et poeti c desi gn .

Thei r d u ra b i l i t y and high-qualit y are evi denc e of Ty nel l ’s ri gorous prec i si on, a q u a l i t y c o n t ro l t h a t man y appre n tice s had to get used to through thei r educati on at Tai to.

I n t he l a t e 1940s , Taito made its way to Am eri can m arkets i n New York wi th the hel p of F in l a n di a H o us e , ope n e d in 1948. Ty nel l ’s l i ght fi x tures were sol d i n the bui l di ng ’s F in n i s h d es i g n boutique , but on ce agai n m any archi tects began to ask hi m to crea t e c u s t o m d esi g ns f or the ir proje cts . There was an especi al l y great desi re for uni qu e w a l l a n d c ei l i n g l a mps .

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FLEMMING LASSEN A Ve r y Ra r e S o f a Fle mmi ng Lassen worked together wi th vari ous cabinetmakers i n the mi ddl e of the 193 0 s, presentin g his modern, organi c furni ture at the annual Cabin etm akers’ Gui l d Ex hi bi ti ons.

Tw o cabi netmakers, Jac ob K j ær and A.J. Iversen, both c ounted as fi rst am ong equal s and other wi se he av ily i nfl uenc ed by the 18 th c entur y Engl i sh f ur niture tradi ti on, woul d be Lassen’s par tners for hi s mos t ic oni c pi eces.

Th is e xtrem el y rare sofa i n ori gi nal tex ti l e i s probabl y the be st sofa Lassen desi gned and y et has rem ai ned more or l ess unknown. As wi th hi s “ Ti red Man Chai r” , the s ofa takes a basi c form and stretches i t i nto s ome thi ng sc ul ptural . Thi s ex am pl e was made i n c. 1935 by cabi netm aker Jac ob K j ær.

M ode l presented at The Copenhagen Cabi netmakers’ Guild Ex hi bi ti on 1935 .

Prov e nanc e: The fam i l y of Jac ob K j ær

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MARCEL BREUER Ra r e C ha i s e Lo u n g e The c h a i s e l o unge e xe mplif ie d modern i deal s of c om for t and l ei sure, and Marc el Breu er w a s o n e o f t he many de s igne rs around the worl d who ex pl ored vari ati ons on the f o rm.

I n sea rc h o f ne w oppor tunitie s , Bre uer m oved to Engl and i n 1935 to work for the I soko n Fu r n i t u re C o mpany unde r the dire cti on of Jack P ri tchard and Wal ter Gropi us. This ra re c h a i s e l o u n g e was re taile d at H ills depar tment store i n London.

I s o ko n Fu rn i t ure Compan y mate r iall y ar ti c ul ated modern thought through i nnovat i v e d es i g n a n d c o s t-e f f e ctiv e manuf acturi ng. Thi s recl i ni ng c hai r proved to Breuer the fin a n c i a l b en ef its of cut plywood. The real i zati on of thi s speci fi c rec l i ni ng chai r i s c r i t i c a l t o u n d e rs tanding the ge n e ral l i neage of Breuer’s desi gns, as i t por tends h i s a b a n d o n m en t of moulde d plyw ood a l together and ser ves as the avant- garde p re d ec es s o r of h is cre ativ e output. The arm c hai rs c reated i n 193 6 for the Ventri s a p a r t m en t i n Lon don e xhibit Bre ue r ’s ex peri mentati on wi th cut pl y wood. Onc e set t l ed in t he S t a t es i n 1937, the re clin in g c hai rs c om mi ssi oned for the Frank House refl ec t a fu r t her d ev el opme n t, as the y combined both the form of a recl i ni ng c hai r and the c u t - o u t c o n st r uction of the Ve ntr is apar tment arm c hai r.

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BJÖRN TRÄGÅRDH L i b r a r y Ta b l e Sw e dis h bor n Björn Trägårdh was a pai nter and i nteri or archite ct. H e was the ar ti sti c advi sor i n the earl y y ears of the compan y Sv enskt Tenn before m ovi ng to Engl and i n 1937, and the n la ter to France i n 1939 .

Wh ile in Nor mandy he star ted a c om pany m aki ng ex cl usi ve ar tis tic but tons , whi c h af ter the war suppl i ed the fashi on hous e s of Bale n ci aga, Sc hi aparel l i and Wor th.

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PA L L E S U E N S O N Boardroom Humidor D e si g n ed i n 1957 by arch ite ct Palle Suenson, t h i s b o a rd ro om h umidor is made in sol i d teak w it h t a m b o u ri n e doors s h ape d as f lutes, a n i n t eri o r o f ce dar an d a hygrome ter to c o n t ro l h u m i dit y.

Pro v en a n c e: Made f or the Dan is h com pany F. L . S m i d t h & Co. he adquar te rs at Vi gersl ev A ll ĂŠ, a l s o d es igne d by Palle Sue ns on.

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AAGE RAFN Police Headquarters Ceiling Lamp 1925 Pro d u c ed b y L aur itz Ras mus s e n.

Wh i t e si n g l e laye r glas s with glos s i nteri or a n d m a t t e ex te r ior. Bronze f itme n t.

O r i g i n a l l y d es igne d f or the re pre s e ntati ve o f f i c es a t t he Police H e adquar te rs in Co p en h a g en , wh ich we re comple te d i n 1924 .

E x a m p l e ex h i b ite d in the Danis h Pavi l i on Pari s Worl d Fa i r 1925 Pro v en a n c e: Family of Aage Raf n

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Molo deliquae labora volor autem que eum rest magnia de pla voloreprae BVerum I R G E R K A IPIAINEN modi cum nobis qui ad quisitatque

Crehent e r alaccabori m i c aliquias P l a tvolest t e r eum

quatemperum eos ex earum fugiasp erorionsed ut liquiduntium facilitio. Itae. Et Pvoloreicata ro d u c ed by Finland, 194 0 s. nosArabia, si cullabores expernate Pa i n tutem ed drepudi e coration w ith etce ramic appl i ed beads. ium con perchil S i g n ed Ka i piaine n Arabia

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AXEL EINAR HJORTH C o n s o l e Ta b l e – Å b o Pro d u c ed b y NK Nordis k a Kompani et, Sw ed en , 193 0s .

Re d l a c q u ered w ood with gold h ighl i ghts.

Po l i shed s t eel and glas s .

Th ree d ra w ers. M ode l Åbo.

Seri es exh i b i te d at the St o c k ho l m Exh ibition, 1930

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WILHELM KÅGE S u r r e a Va s e P ro d u c ed by Gus tav s be rg, Swe den, 194 0 s.

C a rra ra g l aze d s tone ware , h andpai nted dec orati on.

S t a m p ed Kåge Gus tav s be rg.

Kå g e exp e r ime nte d with cut tin g vases i nto t wo or three par ts, then rea s s em b l i ng the pie ce s in to dif f erent forms. The “Surrea ” seri es w a s f i rst show n in 1940 at an e xhi bi ti on at NK i n Stoc khol m c al l ed “ C h a o s i n the O v e n ” .

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HANS J WEGNER S e t o f Tw e l v e C o w H o r n C ha i rs Pro d u c ed b y Joh ann e s H an s e n, De nm ark, 195 0 s.

A s p a r t o f h i s de s ire to pay homage to the breath- taki ng beaut y of sol i d wood ma n u al l y c a r v ed i n t o organ ic s hape s , We gn e r dec i ded to make a compact c hai r, where the n u m b er o f p i ece s of s olid wood us e d to form the arm rests and bac k was reduc ed t o t w o , j o i n ed i n the middle . The join t needed to be al i gned wi th the grai ns of the wo o d w it h so m e ki n d of te non that could be dowel l ed, but i n thi s case, Wegner dec i de d t h at in st ea d o f h i ding the un av oidable joi nt he woul d rather enhance i t as a decorati v e fe a t u re o f t he de s ign. To obtain the ful l vi si bl e ef fect, Wegner used wood of a c o n t ra s t i n g c olour.

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JEAN RENÉ GAUGUIN S o n g o f Ro s e s The f o u r t h c h i ld of Paul Gauguin ( 184 8 – 19 0 3 ) and Met te Sophi e Gad (185 0 – 1920).

J e a n Ren é Gauguin was bor n in Par i s i n 18 81. Hi s fam i l y moved to Copenhagen i n 18 84 . S i x m o nths late r, h is f athe r lef t Copenhagen to pursue hi s l i fe of c reati vi t y a n d w a n d erl u s t . J e an Re n é las t s aw his father at age ten when Paul spent t wo weeks i n Co p en h a g en be f ore le av in g f or Tahi ti . Al though comi ng from a bourgeoi s Dani sh f ami l y he w a s b ro u gh t up in v e r y mode s t c i rc um stances.

A t t he a g e o f e igh t he f e ll out a th ird- fl oor wi ndow and sustai ned severe i nj uri es f ro m w h i c h he rec ov e re d. H e le f t s chool i n 1895 and under took an 11 - month sai l or’s t ra i n i n g p ro g ra m . There af te r he appre n tice d as a c arpenter but hated the trade and went bac k t o w o rk i n g a s a s ailor. In 1904, s ho r tl y af ter Paul Gaugui n’s death, he i nheri ted t h ree of h is f a t her’s p a intin gs th at he imme di atel y sol d. W i th these funds he travel l ed throu g ho u t E uro p e, v en t ur ing as f ar as Gre e ce , vi si ti ng m useums and vi ewi ng monuments wherev er he w en t . Thes e trav e ls initiate d h is l ong ar ti sti c career.

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FOLKE BENSOW Näf veqvarn Table No. 10 S w edi sh Ko lmårds mar ble top, cast i ron fram e.

Th i s m o d el was s how n at the Par is Worl d Ex hi bi ti on i n 1925 , w h i c h m a rke d the inte r n ational breakthrough for Swedi sh Desi gn.

C era m i c u rn by Ge org Thyls tr up, 1925 , for Roy al Copenhagen.

B ro n ze b a s e an d lid.

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FRIEDL HOLZER-K JELLBERG F l o o r Va s e 194 6 P ro d u c ed by Arabia, Finland.

Ru n n i n g o xblood glaze .

S i g n ed A rabia F H K J . 1946.

On e o f F i nland’s mos t in f lue ntial c eram i c i sts of the 20 th c entur y, who rai sed F i n n i s h i n dus tr ial ar t to in te r national accl ai m.

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Jacksons Showroom, Stockholm

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