Dana Nicholson Studio Inc.

French, late 1940’s Jacques Adnet stool in Cerused white oak purchased from Miguel Saco Inc. in New York City. Upholstered in Ashbury calf hide leather in a warm off white with sligh...

Wonderfuly streamlined Swedish Art Deco three-door sideboard/credenza designed by architect Carl Bergsten. Overall piuece is elm wood and Mahogany and inlaid with two widths of pewte...

The most comfortable wooden framed small scale lounge chair I have ever sat in. Designed by Jack Van Der Molen for the Jamestown Lounge Furniture Company during the 1950’s. Construc...

Our Sphinx is Persephone, and she started as an old kingdom Egyptian relic. I then turned her musculature into mechanical appendages like she was an icon or idol off the set of the 1927 film, “Metropolis”. She was going to be an AI sphinx but I still wanted to incorporate Rhubarb within her adornment as she is a Nordic or Maritime sphinx. Big leafed rhubarb didn’t resonate with the mechanized look I had just executed beautifully. At the very least she is a North American sphinx with feather and wheat motifs. I included for symbolism and beauty (of course), ancient Egyptian and Greek floral references befitting a worldly creature. I took liberties and referenced eighteenth and nineteinth "Orientalism". The Sphinx is a mythological creature and not anything that moved across terrains anywhere that most of us have been. The AI sphinx was too fascist and severe for most gardens. I liked it deeply and may revisit that avenue once this sphinx’s’ plaster dust has settled. I love the Baroque, so I decided to go Baroque by giving the lions coat some seriously carved fur and curly cues. She looked like any one of the seventeenth century Louis’ characters crossed with a French poodle. That was a bad notion. I then created a sphinx that I like, a sphinx from my soul but seriously influenced by other artists. In the end she is uniquely elegant and powerfully poised, with distinct features. Compared to most sphinx throughout history her breasts are too high on her chest but seductive none the less (she is a contemporary sphinx). Her head is elongated, much like the busts of the Armana period in Egypt, but that’s just her hair and headdress, not her skull. Her rump and back are sensual. The Rhubarb Sphinx, embodies a history of sphinxes created by Europeans after the Napoleonic invasion and the extensive survey of Egypt which ignited a design frenzy of all things ancient Egypt. She is an esoteric garden folly...

4, 1940’s French style small scale club chairs in Cerused White Oak from France. One purchased through Miguel Saco Inc. in New York City. Three club chairs are precision crafted ...

An ebonized English walnut center table in the ‘Egyptian Style” of the late Empire period. Four elongated lion legs resting atop Ivory sph...

A pair of oak stained and painted occasional tables. The upper surface and lower shelf are in a painted finish easy to alter in a color of your choice if blue/gray is not ideal. The ...

Two (of four) designed and handmade frames by Dana Nicholson at Altura Studio in New York. Solid Mahogany and rosewood assembled in a heavy torsion box method. Custom cast brass fitt...

The table was in part influenced by Armand Albert Rateau and Eileen Gray. Their influence is evident in this complex piece of many art processes. Sketched while listening to Bjork’s song “Bachelorette”, (which has absolutely nothing to do with the show or dating), the table is dark and pays homage to the cephalopods of the deep and the corals near the surface, while octopus’ suckers or coral polyps break the surface. Comprised of custom cast and blacken bronze of great weight supporting an ultra-thin and hollow surface of a moonlit blue...

Perhaps lost to antiquity is “The Floating World”. Ancient Persia, China and Egypt, all supported the idea of intoxicating tranquility and relaxation through the boundless beauty of ...