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J a c k so n s is de ligh te d to be re turni ng to New York af ter several y ears to p resen t s e le ctions f rom our Scandi navi an c ol l ecti on, wi th rare pi ec es by d esi g n ers and ar tis ts s uch as J osef Frank, P eder Moos, Tapi o W i rkkal a, A x el S a l to an d Paav o Tyne ll. H i g h l i g h ts include a rare ‘Par is’ c abi net by Josef Frank: a c a b i n et cov e re d w ith Ge orges P el ti er’s ‘P l an de Pari s à vol d’oi seau’, p ro d u c ed by Sv e ns k t Te nn ( c. 1937 - 194 3 ). We l o o k f or w ard to con ne ctin g wi th ol d fri ends and new.
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Jacksons Stockholm, TEFAF Stand #337
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JOSEF FRANK J o s ef Frank ( 1885-1967) grew up i n Vi enna and studi ed archi tecture at Ku nst g ewe r be s chule . In 1925 he star ted the Haus & Gar ten i nteri or fi rm tog et her w i t h arch ite ct colle ague s Oskar W l ac h and Wal ter Sobotka. Frank was o n e o f t he f ore mos t f igure s of e ar ly m oderni sm i n Vi enna, but from the earl y 1920s he b egan to que s tion the movement’s growi ng pragm ati sm. Central to th i s q u es tion in g w as a re f us al of puri tani cal pri nci pal s, feari ng that standardi sed i n t er iors w ould in s til in pe opl e a ri gi d uni formi t y. Th ro ugh h is ow n inte r pre tati on of moderni sm , Frank represented a freer, mo re a r t i s tic s t yle , in w h ich v alues such as comfor t, hom el i ness and a weal th of c o l o ur w e re ch ampione d. Resi sti ng l i mi tati ons and rej ec ti ng the use of t u bu l ar st eel , the mode ls f or his f urni ture and tex ti l es were deri ved from an ex p a n si v e set of re f e re n ce s th at pr iv ileged the form s and col ours of nature i n orde r t o b rea the lif e in to in te r ior s pac es. Fra n k be gan w or k ing at Svenskt Tenn i n 1934 and, j ust a few y ears l ater, t he Fran k -E r ics on duo made thei r i nternati onal breakthrough. Svenskt Te n n ’s exh i bition rooms at the Worl d Ex hi bi ti ons i n Pari s i n 1937 and New Yor k i n 1939 we re comple te ly contrar y to the i deal s of the ti m e wi th bol d contra st s b et w e e n mate r ials , colours and pri nts. The duo recei ved a great deal of att en t i on an d be came , s ome what paradox i cal l y, the model for the ex pressi o n ‘S w e dis h M ode r n ’.
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JOSEF FRANK Ra r e C a b i n e t C i rc a 1937-1943. Oa k , bras s h in ge s , the s ide wi th a pl aque of l eather stati ng “ P LAN DE PARIS A V O L D’OISEAU G P ELTIER”, The i nte r ior w ith s he lv e s . Key i nc l uded. Exec ute d by Nordis k a Kompani et AB, Sweden
The Fre n ch car tographe r G eorges P el ti er m ade thi s ver y detai l ed p l a n ov e r how Par is was f o r the y ear 1920 . It took Georges P el t i er more than 20 ye ars to make thi s remarkabl e m ap of Pari s. It t o o k 30. 000 man-hours of research and sketc hi ng. Ever y si ngl e Pa ri s s tre e t is s e e n on the map, even the ti ni est ones. P eopl e that a re f amiliar w ith Par is w ill recogni ze famous l andmarks suc h as t he Eif f e l Tow e r, the Bas tille and al l trai n stati ons. Ni ne edi ti ons o f t he map w e re publis he d bet ween 1920 and 1985 .
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JOSEF FRANK L i b r a r y C o n s o l e , M o d e l n o . 2226 1950s Walnut, brass. Produced by Svenskt Tenn Sweden
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JOSEF FRANK C o f f e e Ta b l e M o d e l n o . 2110 1960s Mahogany with inset pewter top. Produced by Svenskt Tenn, Sweden
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AXEL SALTO A xel Salto ( 1889 1961) was born i n Copenhagen and studi ed at the Ro y al D a n i s h Acade my of Fin e Ar ts from 19 0 9 - 1914 , af ter whi c h he travel l ed t o Pa ri s and me t M atis s e an d P i casso, am ong others. I n p a r ticular, this me e tin g wi th P i c asso heavi l y i nfl uenc ed hi s vi ew of a r t , l ea din g h im to f oun d the ar t magaz i ne K l i ngen and form i ng the progressi v e, m o d e r n ar t colle ctiv e De Fire. Sal to par ti ci pated i n the Worl d Ex hi bi ti on i n Pa ri s in 1925, w he re h is cerami cs for Bi ng & Grøndahl i gni ted great ad mira t i o n . D u ri ng th is pe r iod in the 1920 s, hi s focus shi f ted from pai nti ng to c eram i c s. Fro m 1933 un til the 1950s he desi gned stoneware for Roy al Copenhagen . To d ay, Salto is cons ide re d one of the m ost i mpor tant Dani sh desi gners i n c era mic ar t, n otable f or his ex peri mentati ons wi th organi c sc ul ptural forms a n d glaze s that take in s pirati on from nature.
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AXEL SALTO La r g e a n d U n i q u e ‘ S p i r a l ’ Va s e Han d t h ro w n un glaze d s tone ware . Un d ersi d e p a inte d ‘SALTO ’ with three l i ne wave mark. L it e ra t u re: ‘ D a n s k Ku n st haan dv ær k ,’ No. 1, 195 5 , front cover ‘ N eu e Fo rm aus Dän e mar k ’, e xh. ca t., 195 6 , p. 35 B a sed o n c u rre n t re s e arch, th is unusual and l arge vase was ex ecuted i n 195 3 and w a s p ro b a b l y e xhibite d the f ollow ing y ear at the Kunsti ndustri museet ( t od a y D esi g nmus e um De n mar k ) to cel ebrate the oc c asi on of Ax el Sal to’s 6 5 th b ir t h d a y. I n 1956, the v as e was de pi c ted i n the above l i sted ex hi bi ti on catal ogu e ‘ N eu e Fo rm aus Dän e mar k ’, a Ge r man travel l i ng ex hi bi ti on that vi si ted Hamburg , M ü n c hen , W i e n, Fran k f ur t, Stut tgar t, Berl i n, K i el , and Fl ensbur. How ev er, i t i s like ly th is v as e was never i ncl uded as shi ppi ng doc um ents from Roy a l C o p en hage n do n ot lis t it as p ar t of the ei ght pi eces that were a par t of t h i s exh i b i t i o n. Its whe re abouts we re unknown af ter thi s poi nt unti l today. Th i s f o rm i s a n unus ual ae s the tic de p ar ture from the ‘Sprouti ng St y l e’ pi eces u s ua l l y g l azed in Sun g, Solf atara or Bl ue Mussel gl azes we are so fami l i ar wi th t o d a y. The s p iral f or m is was s ome thi ng Sal to was obvi ousl y i nterested i n as d ra w i n g s o f his f rom th is time pe r iod depi c t the form repeatedl y, i ncl udi ng hi s e arl i er m a st erpie ce ‘The Road to L a Gaude’ (1939 ). We w o u l d l i ke to th ank Dr. Sus an ne Bruhn for her assi stance wi th the catal ogui ng o f t h i s p i ec e.
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AXEL SALTO Ra r e ‘ Fe t i s h ’ Va s e 196 9 - 1973 Su n g g l azed s ton e w are . Pro d u c ed b y Royal Cope nh age n , Denm ark The m o d el d esigne d 1946, this e xampl e ex ec uted 196 9 - 1973 . I n s c ri b ed ‘S ALTO ’ w ith manuf acturer’s m ark and m odel number. L it e ra t u re: Su sa n n e B ru hn , Pia Wir nf e ldt, e ds , ‘Ax el Sal to - Master of Stone w a re’, ex h . c at. , Ke ramik mus e um Danm ark, Mi ddel far t, 2017, p. 179 , f i g . 26 8 A xel S a l t o , ‘D e n Spire n de Stil’, Copenhagen 195 0 , p. 78
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AXEL SALTO Va s e , M o d e l n o . 2 0 . 5 6 0 1943 St o n ew a re i n Solf atara glaze w ith branches i n rel i ef. I n s c ri b ed ‘S ALTO / 1943’ with painted three bl ue waves Pro d u c ed b y Royal Cope nh age n L it e ra t u re: “A xe l Salto - M as te r of S toneware”, Kerami km useum Danm ark, m o d el i l l . p . 173, f ig. 148.
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PEDER MOOS Pe der Mo o s ( 1906 - 1991 ) was e du cat e d in Ju t lan d bu t att e n ded e v e ning cla sses at the Royal Dan is h A cade my of Fin e A rt s wh e re h e s tudied under E ina r Ut z on - Fran k an d Kaare Klin t . From 1 9 2 6 t o 1 9 2 9 he wo r ked in Pa r is , Ge n e va an d Lau s an n e , bu t in 1 9 3 5 mov ed t o Bredga de in the centre of Cope n h age n wh e re h e ope n e d h i s o w n wo r ksho p, which he main t ain e d for 2 0 years . M o os ha d his o wn idio s yn crat ic way of workin g, s ou rcin g wood h i mself a nd ma king f ur nit u re be fore draft in g t h e plan s . His piec es w ere theref o re unique i n t h e ir e le gan ce , wit h a s t yle re min is cen t o f A rt N o uv ea u, but mo re de licat e an d re fin e d in comparis on . Wo r king ma inly with wood, Moos wou ld s an d h is pie ce s s e ve ra l t i m es with v er y f ine sa ndpape r, was h in g t h e m off each t ime , w h i c h re s u lted in a n especia lly fin e fin is h . In place of n ails an d s cre ws , h e u s ed do wels a nd wedge s made from ot h e r kin ds of wood t o creat e s pecia l eff ects a lmo st li ke marqu e t ry. Moos on ly creat e d s ome 30 t o 4 0 pieces, but ea ch w it h t h e ir own dis t in ct ive qu alit y.
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PEDER MOOS S i d e C ha i r Th e m o d e l d e s i g n e d 194 8 , t h i s e x a m p l e e x e c u t e d 1954 . D a n i s h w a l n u t , w i t h o r i g i n a l n a t u r a l l y p a t i n a t e d l e a t h e r. D r i l l e d s i g n a t u r e ‘ M O O S 194 8 ’ w i t h i n s c r i b e d d a t e ‘ 24 I 1954 ’ a n d s i g n a t u r e . Literature: F. S i e c k , D a n i s h F u r n i t u r e D e s i g n , C o p e n h a g e n , 20 0 0 , p . 182 f o r a s i m i l a r e x a m p l e . P. M o o s , P e d e r M o o s , C o p e n h a g e n , 19 8 8 , p p . 6 , 11
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P A AV O T Y N E L L Pa a v o Tyn e ll ( 1890-1973) began hi s c areer as a m etal smi th apprenti ce , w h i l e at the s ame time s tudy i ng at the Central School of Ar ts and Craf ts (t od a y Aalto Un iv e rs it y) . In 1918 , Ty nel l founded Oy Tai to Ab, whi ch beca me t he Finn is h lightin g indus tr y trendset ter duri ng the i nter war peri od. Tai to’s f i rst y e ars of mak ing coincided wi th the el ectri fi c ati on of soci et y, l eadi n g t o a n e xpone ntial growth in the market for the l amps that he was c reati ng . Ty n e ll us e d bras s as the mai n materi al i n hi s l amps, and they became a g rea t s ucce s s , e s pe cially in the Uni ted States. The e nd of the 1940s w as a produc ti ve peri od duri ng whi ch Ty nel l pol i s hed h i s de corativ e s t yle , an d h is l amps became m ore and m ore i ndi vi dual i n t hei r appe aran ce . Af te r the Fi rst and Sec ond Sovi et- Fi nni sh Wars, Ty ne l l ’s d es i gn s took on a romantic spi ri t ex pressed through neat, organi c form s, su c h as f low e rs and le av e s. The most si gni fi c ant cl i entel e of the l amps t h at Ty n e ll de s igne d w e re arch itec ts, whi ch l ed hi m to bec om e the l eadi ng l i gh ti n g de s igne r f or public s pac es.
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P A AV O T Y N E L L “ S n o w b a l l ” C ha n d e l i e r Circ a 195 0 s B ra ss B ra ss , bras s wire , pain te d brass, opal i ne gl ass shades. Pro d u c ed b y Taito O y, Finland O ne o f o n l y f our e xample s produced. I m p res s ed TA ITO to ce ntral e le me n t. Pro v en a n c e : Re s tauran t Suur hok k i, Hel si nki
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P A AV O T Y N E L L Ra r e Ta b l e La m p , M o d e l n o . 5 4 6 D 195 0 s B ra ss , o ri g i n al ple ate d s ilk s hade . I m p res s ed w i th man uf acture r ’s mar ks and m odel number to base. Th i s m o d el w a s include d in the inte ri ors of the Hotel Vaakuna, Fi nl and, 1952 . L it e ra t u re: ‘ F i n l a n d H o u s e : H ar mony in L ightin g for Harm ony i n Li vi ng’, Sal es Catal ogue, c i rc a 195 0 , p . 26 V il l e L i n n a , ‘Paav o Tyn e ll: Ch as ing Li ght’, Hel si nki , 20 20 , p. 85
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P A AV O T Y N E L L Ty n e l l F l o o r La m p 195 0 s Wh i t e p a i n t ed pe r f orate d bras s s h ad e wi th frosted gl ass top i l l um i nator. Sil k h a n g i n g dre s s s h ade . Bras s base and stem wi th l eather wrappi ng. O r i g i n a l h a n ging s w itch. Pro v en a n c e: I m a t ra n Vo i m a H e adquar te rs , H e ls inki , desi gned by Aarne Er vi
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TA P I O W I R K K A L A Ta p i o Wir k k ala ( 1915-1985 ) rose to gl obal fame i n the earl y 195 0 s f o l l o w ing the bre ak through of Fi nni sh i ndustri al desi gn. H e was an e xce ption ally p rol i fi c ar ti st who mastered al most any m a t e r ial, de s igning both e ver y day obj ects and uni que works of ar t. A f t er w inn in g v ar ious de s ig n competi ti ons, W i rkkal a graduated as a d ec o rativ e car v e r f rom Taideteol l i suuskeskuskoul u (the Sc hool of Ar t a n d De s ign ) in 1936. H e s oon began to devel op a reputati on as a p i o n ee r of glas s an d s ilv e r, wi th Kul takeskus becomi ng one of hi s most i m p or tant par tn e rs in the s i l ver i ndustr y. W i rk k ala wor ke d f or s e v e ral c om pani es si m ul taneousl y on both l a rg e -s cale production an d more i ndi vi dual desi gn proj ec ts. A key poin t of in s piration f or m any of hi s desi gns was the natural l a n d scape s of L aplan d, w here he l i ved wi th hi s fam i l y for par t of t he y e ar. The f or ms of s now and the m el ti ng i ce that he encountered t here in f or me d the de s ign s of many of hi s gl ass obj ec ts, as wel l as the sh a pe s of boats and le av e s.
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TA P I O W I R K K A L A Ra r e Ta p i o Ta b l e 195 0 s Ta bl e i n l a m i nate d birch and e bon ised sol i d wood. O ne o f t h ree k now n to be produce d. M a n u f a c t u red by Cabin e tmake r M a r t ti Li ndqvi st together w it h Ta p i o Wir k k ala in 1953. L it e ra t u re; Pu b l i shed f i rs t time as a mode l in DOMUS Magaz i ne 284 , 195 3 , p . 4 0 9 . Ta pi o W i rk ka la E ye , H and and Thought, p. 28 0 .
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TA P I O W I R K K A L A Le a f D i s h L am i n a t ed b i rch plyw ood. I n s c ri b ed ‘T W ’ to unde rs ide . M o d el c rea t e d circa 1950 L it e ra t u re : - H . D a h l b ä c k-L ut te man , M . Uggla, The Lunni ng Pr i ze, S t o c ko hlm Nation almus e um, 198 6 , si m i l ar m o d el p . 3 8 - M . A a v, F i n nis h M ode r n De s ign : U topi an Ide a ls a n d Ev er y day Re alitie s , 1930-19 97, Ed. Yal e Un i v ers i t y P re s s , Ne w Yor k , 1998, si mi l ar m odel p . 24 4 , 289
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FRITS HENNINGSEN Fr i t s H en n i n g s e n ( 1889-1965) compl eted hi s c abi netmaker apprent ic esh i p w i t h on e of the mos t re cogni sed c abi netmakers of hi s day, I.P. M ø rc k. Fo l l o win g trav e ls in E urope to gai n ex peri enc e and i nspi rati on, he ret u rn ed t o Cope nh age n in 1915. It was there that he opened hi s own fu rn i t u re sho p, drawing on cus tome r i nput to bet ter understand demand a n d i m p ro v e production proce s s e s . A s a m em b er of the Cope n hage n Cabi netm akers Gui l d, Henni ngsen b ec a m e a m a jor dr iv e r of the f ur n iture ex hi bi ti ons of the peri od, g a i n i n g rec o gnition f or his pe r f e ctioni st st y l e and vi brant personal i t y. He g a v e n ew e xpre s s ion to traditional desi gns and drew i nspi rati on from t he Fren ch E mpire , Rococo, and Bri ti sh 17 th- centur y furni ture. He n n i n g s en w as gre atly in f lue nce d by Kaare K l i nt, and the competi ti on t h a t a ro s e b et w e e n the m le d to a constant renewal and rei nterpretati on o f f u rn i t u re c raf ts mans hip on both s i des. Henni ngsen’s m ore functi onal d es i g n st y l e de v e lope d f rom h is tor ical l y i nspi red to si m pl er, ti m el ess w o rk t h a t rem ain s re le v an t today. H i s work i s rooted i n c l assi c craf tsm a n s h i p w i t h a de s ign e xpre s s ion that has broad appeal .
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FRITS HENNINGSEN Ra r e Pa i r o f A r m c ha i rs 194 0s S t a i ne d be e ch le gs with or i gi nal natural l y pati nated Ni ger l ea t he r uphols te r y. P ro v e nan ce : A c q uire d dire ctly f rom Fr its Henni ngsen i n the 194 0 s
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BARBRO NILSSON B a rbro Nils s on ( 1899-1983 ) had a sol i d educati on i n tex ti l es and ar t. A t t he age of 14, s he e nrol l ed at a weavi ng school and recei ved t ra i ning in colour in g w ith both vegetabl e and sy ntheti c dy es. A v er y tale nte d colour is t, she began to teac h whi l e sti l l a student at t he S chool of Indus tr ial Ar ts i n Stockhol m, where she l ater became d ep ar tme ntal he ad of te xtiles. In col l aborati on wi th her husband, sc u l p tor Robe r t Nils s on, s he c reated a great num ber of gobel äng fl at w ea ve s f rom 1936 to 1961. Barbro Ni l sson had a superb comm and of w ea vin g te chn ique s an d col ours. I n 1942, at the age of 43, she became a mem ber of the board of the n ew limite d compan y M M F AB and i ts ar ti sti c di rec tor, tasked wi th m a n aging M är ta M åås -Fje t terström’s sketches, worki ng drawi ngs and y a rn s ample s as w e ll as the ex per ti se of the weavers of the Båstad st u di o. Nils s on was als o tasked wi th c reati ng new c om posi ti ons and f u r t he r de v e loping the s tudi o. W i th her profound knowl edge of the ar t o f g obe län g f lat w e av in g she adapted the gobel äng fl at weave tec hn i q u e to the cor re ct mate r ia l s and created desi gns for hardweari ng f l o o r r ugs . The s e a and the beac h were Ni l sson’s mai n sourc es of i nsp i ration. She con v e ye d the col ours masterl y and constantl y i nvented n ew combin ations f or he r rug composi ti ons. In addi ti on to her post as a r t i s tic dire ctor f or M M F AB, Ni l sson conti nued teachi ng at Konst fac k, U n i v e rs it y of Ar ts , Craf ts a nd Desi gn i n Stoc khol m .
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“Gyllenrutan” Carpet
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1950s - Hand flat woven and knot ted pile wool. With woven signature ‘AB MMF / BN’
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FRIEDL HOLZER-K JELLBERG Fri edl H olze r Kje llbe rg ( 19 0 5 - 19 93 ) studi ed ar t and desi gn i n her n a t i ve Aus tr ia, at the Kun s tgewerbesc hul e desi gn school i n Graz , and u p o n graduating was of f e red a posi ti on as a desi gner at the Arabi a c era mics manuf acture r in Hel si nki . She j oi ned the c om pany i n 1924 , a n d s taye d the re he r e ntire c areer unti l her reti rem ent 4 6 y ears l ater i n 1971. H e r de s ign s t yle h as been c haracteri sed as ‘modern cl assi c i sm’ b a se d on tradition , but te mpered by cl ean si m pl i ci t y. Throughout her l i f e, s he is k n own to h av e b een i nspi red by the methods and shapes of C h i ne s e ce ramics . M any of her l ater works m ake use of bol d desi gns a n d s tr ik ing colours , s uch as bl ood red and turquoi se.
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M o n u m e n t a l Va s e 1949 Running Celadon glaze. Signed Arabia -F.H.Kj -49.
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Jacksons Showroom, Stockholm
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