Taylor Donsker Chairs

Single 19th century Italian finely carved walnut throne chair with mohair fabric.

A Chinese Hongmu corner chair, 19th century. The horseshoe-form back with molded crest above a pair of open carved splats with fruiting and fl...

Liberty and Co. Regent St. London. An Aesthetic Movement ebonized corner armchair from the Argyll suite designed in 1884, after a Sussex chair design by Ford Maddox Brown...

Solid varnished oak. A company that has always attributed such great importance to the author of the designs could never forget the great figures in history. That is why the BD catalogue of contemporary creations has always included those by admired classical masters. Antoni Gaudí (1852/1926) is, without doubt, the most internationally well-known Spanish architect. But is not only his buildings and brilliant architectural solutions that have travelled the globe. His integrated conception of architecture led him to pay attention, not only to structural calculations, but also to all the decorative elements, including furniture, that would form part of the building. The admiration felt by modern designers for the furniture designed by Gaudí has not gone unnoticed by BD which was the first company to rescue them from history by embarking on their serial production using traditional art and craft techniques and the same materials –varnished solid oak– in order to reproduce all the rich detail displayed by the originals when they were first produced. The Calvet chair...

Collectible design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulate them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis...

A sculptural Jorgen Hovelskov designed harp chair. Solid oak and rope.   

Solid varnished oak. A company that has always attributed such great importance to the author of the designs could never forget the great figures in history. That is why the BD catalogue of contemporary creations has always included those by admired classical masters. Antoni Gaudí (1852/1926) is, without doubt, the most internationally well-known Spanish architect. But is not only his buildings and brilliant architectural solutions that have travelled the globe. His integrated conception of architecture led him to pay attention, not only to structural calculations, but also to all the decorative elements, including furniture, that would form part of the building. The admiration felt by modern designers for the furniture designed by Gaudí has not gone unnoticed by BD which was the first company to rescue them from history by embarking on their serial production using traditional art and craft techniques and the same materials –varnished solid oak– in order to reproduce all the rich detail displayed by the originals when they were first produced. The Batlló chair...

Antique Baroque carved walnut throne chair, circa 1880. The chair having a carved crest with a shell motif to the center flanked by a pair of fin...

A stunning set of six Masonic throne armchairs in oak. Carved triangular pediments with broad back panels and carved finials over a dished seat. Each armrest features two quatrefoil ...

A fine quality pair of hand carved walnut Host and Hostess throne chairs. Upholstered in a coral tone velvet. Carving with a center cabochon form cartouche surrounded by floral scrol...

African chair made of solid wood, known as a "palaver" chair. The two-part structure can be disassembled, handcrafted and decorated with geometric patterns on the seat and along the ...

Design Miami; Art design; Art Basel; Atelier Lionel Jadot; Stools; Everyday Gallery; Contemporary; Belgian design; Belgian Art; Chair; Seating; Functional Sculpture; Artwork; Collect...