NELLS NELSON
Uncompromising craftsmanship, modern sophistication
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ART

 NELLS NELSON ART

 

“When something is truly beautiful, I can’t stop looking at it. I don’t care about the value so much; I care about the emotion and beauty it brings. I hope someone can see the same emotion and share the same emotion these pieces have brought me.”

For the first time, these loved pieces collected by Nelson are available to other discerning collectors. Nelson, isn’t finished with his collecting, rather, he is ready to share these finds with others so he can continue to search out more. “Your eyes are like a muscle, you have to train your eyes. The more you see; the better your eye gets and I want to continue to look.”

 
 

PROUST CHAIR BY ALESSANDRO MENDINI

Nelson’s Note:

“I was totally amazed by it when I first saw it in the early 80’s. Imagine it was designed in 1978 and it became the example of Post Modern design. Caught the attention of all the insiders in the international scale.
Always dreamed to have it but never find a spot where it deserves to honor it.
When this ceramic miniature came out in 2009, I was obsessed and had to have it.
For me, only the Gold justified this historic iconic design by the master and it is what I got.”

 
ETTORE SOTTSASS - DIVA, 1984 Mirror with plastic laminate designed by Ettore Sottsass for Memphis Milano in 1984. . "When I began designing machines I also began to think that these objects, which sit next to each other and around people, can influence not only physical conditions but also emotions. They can touch the nerves, the blood, the muscles, the eyes and the moods of people.” Ettore Sottsass [repost from @memphis_milano] Nelson’s Note: “Ettore Sottsass! Who can express his design philosophy better than him. His work always gave the kind of sensation only he can and he does it effortlessly. Without fail, this piece brings back the child inside me and amuses me. Love his works! I couldn’t resist when I saw this mirror, the Diva! It is the Diva in all sense and I feel it.

ETTORE SOTTSASS - DIVA, 1984
Mirror with plastic laminate designed by Ettore Sottsass for Memphis Milano in 1984.
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"When I began designing machines I also began to think that these objects, which sit next to each other and around people, can influence not only physical conditions but also emotions. They can touch the nerves, the blood, the muscles, the eyes and the moods of people.”

Ettore Sottsass
[repost from @memphis_milano]

Nelson’s Note:

“Ettore Sottsass! Who can express his design philosophy better than him. His work always gave the kind of sensation only he can and he does it effortlessly.

Without fail, this piece brings back the child inside me and amuses me.

Love his works! I couldn’t resist when I saw this mirror, the Diva! It is the Diva in all sense and I feel it.

 

ABYSS – SALVIATI 2005
Hand blown glass
Height: 19cm, Diameter: 32 cm

Nelson’s Note:

“Johanna Grawunder - love how she plays the lights with geometric shapes and it is hard to describe the feeling - but whenever I see her pieces in person, the feeling and emotion is so intense that it stays with me like I just saw it yesterday.

I saw this piece with Sisi when we walked into Moss in Soho - they put it on top of a light box. It seems like there is a gigantic egg yoke floating in the green sea, gave me such an emotion but some how I did not get it immediately so I lost as it is a very small limited edition.

After years, I saw it again and it came with the original box, I had to get it! Now, I am considering to part with it as I do not have a right place for it - which is not fair to the piece. “

 

VENINI - FASCE SOMMERSE TRIANGULAR VASE, 1992
Hand blown glass
Height: 11.25 in., Width: 6.25 in.

Nelson’s Note:

“Fulvio Bianconi - The master of Murano glass work. When he was the artistic director of Venini, he turned the page of glass design and came up with so many master pieces which influenced the world of glass art. Always amazing and breath taking.

One of his most known work for Venini is the series of Pezzato. It is a patch work of beautiful colors. It is so unique and has vast followers.

I love his way of handling this piece which was different from his usual Pezzato works, and yet it was him. The color bands are floating behind the thick glass and usually he did not use much of the triangle shape. This made the colors look different from different angles.”

 

VENINI - HAPPY PILLS VASE, 2012
Hand blown glass from Murano, Italy
Height: 13 in., Diameter: 4.53 in.

Nelson’s Note:

“I always like this vase not only because of the ancalmon glass-blowing technic, but also for its sense of humor. Somehow I did not have the chance to see it in real. When I happened to see and touch it, I came to truly appreciate it even more. It had such a feeling with such a simple shape.

Then, there happened to be an auction for all the belongings of Actress Carrie Fisher when she and her mother passed away. This vase caught my eye immediately and it was the color combo that I wanted!

I had to have it - I won the bid.”

2007 Limited Edition Molded Plywood Eames Elephant Chair Nelson’s note: “The Eameses are known for their groundbreaking contributions to architecture and designs. Their vision of lifestyle was so far ahead in their time and it still impacted us today. Their experiments with Evans on the molded plywood were so advance. The chair of the century - their molded plywood chair and so many other functional and practical pieces in molded plywood are still beautiful today after all these years. Not sure how many of us know about their Plywood Elephant until 2007 when Vitra managed to produce and to offer in limited edition to celebrate the 100th birthday of Charles Eames. It was only offered 1000 pieces in natural maple wood and 1000 pieces in red stained maple wood. Both of them were fascinated by elephants and they designed it in 1945 with only two known prototypes made. It was not in production until 2007, when Vitra and the Eames Office worked closely together to create the tooling to finally put this amazing dream piece into production as originally Eameses desired. Being a lover for sitting machines, our son Nells was 3 years old when it was launched in 2007 and it was his birthday. How could we resist? We got it for his 28 years old birthday present and naturally it is the red version. We opened it, admired it, pampered it and put it back in its bag and box, closed it and wrapped it, it is in our storage ever since. When Nells opens it in his 28th year, hopefully he will feel and understand the feeling we had for him. Still another 12 years to go! Can’t wait! “

2007 Limited Edition Molded Plywood Eames Elephant Chair

Nelson’s note:


“The Eameses are known for their groundbreaking contributions to architecture and designs. Their vision of lifestyle was so far ahead in their time and it still impacted us today.

Their experiments with Evans on the molded plywood were so advance. The chair of the century - their molded plywood chair and so many other functional and practical pieces in molded plywood are still beautiful today after all these years.

Not sure how many of us know about their Plywood Elephant until 2007 when Vitra managed to produce and to offer in limited edition to celebrate the 100th birthday of Charles Eames. It was only offered 1000 pieces in natural maple wood and 1000 pieces in red stained maple wood.

Both of them were fascinated by elephants and they designed it in 1945 with only two known prototypes made. It was not in production until 2007, when Vitra and the Eames Office worked closely together to create the tooling to finally put this amazing dream piece into production as originally Eameses desired.

Being a lover for sitting machines, our son Nells was 3 years old when it was launched in 2007 and it was his birthday. How could we resist? We got it for his 28 years old birthday present and naturally it is the red version. We opened it, admired it, pampered it and put it back in its bag and box, closed it and wrapped it, it is in our storage ever since. When Nells opens it in his 28th year, hopefully he will feel and understand the feeling we had for him.

Still another 12 years to go! Can’t wait! “

 
JASPER MORRISON – PLY-WOOD CHAIR 1989 Laminated plywood, with birch face veneer, metal screws Height: 84cm, Width: 39.4cm, Depth: 46.5 cm Nelson’s Note: The bare bone of the “Thinking Man‘s Chair” from Jasper Morrison. It reduced down to the structure; nothing extra or anything un-necessary with the beautiful lines and a little simple rounded disc for cup at the end of the arm rest! Breathtaking and it is comfortable. Love at first sight when it first came out in 1986 and still desirable. It’s a powerful feeling when I first saw the Ply-Chair in 1988; I jumped on one immediately when later presented by Vitra- I had to have it. Personally love the open back version, so sexy. Made with plywood, the simple honest material with simple sensual lines. So pure, so essential, nothing extra and yet so beautiful, it’s perfect! I look at it, sit on it everyday - still beautiful and new. It moved with me from Italy, to Hong Kong, to Japan and now in New York; I do not want to part with it.

JASPER MORRISON – PLY-WOOD CHAIR 1989
Laminated plywood, with birch face veneer, metal screws
Height: 84cm, Width: 39.4cm, Depth: 46.5 cm

Nelson’s Note:

The bare bone of the “Thinking Man‘s Chair” from Jasper Morrison. It reduced down to the structure; nothing extra or anything un-necessary with the beautiful lines and a little simple rounded disc for cup at the end of the arm rest! Breathtaking and it is comfortable. Love at first sight when it first came out in 1986 and still desirable.

It’s a powerful feeling when I first saw the Ply-Chair in 1988; I jumped on one immediately when later presented by Vitra- I had to have it. Personally love the open back version, so sexy.

Made with plywood, the simple honest material with simple sensual lines. So pure, so essential, nothing extra and yet so beautiful, it’s perfect! I look at it, sit on it everyday - still beautiful and new. It moved with me from Italy, to Hong Kong, to Japan and now in New York; I do not want to part with it.

 

INGO MAURER FOR SALVIATI - BLUSHING
Hand blown glass
Height. 500mm

Nelson’s Note:

“In my opinion, Ingo Maurer is the best lighting designer. His unique way of thinking and treating lights, his way of making light, is creative technically and aesthetically, and always unexpected. Another thing I love about his works is the poetry. It was a must for me to drop by his store on Grand Street frequently. It was always a treat.

There are so many great pieces designed by him - countless! Many times my jaws dropped when I see his works - amazed! One of the elements he often used was hearts and he used it so well in an unexpected way.

When I saw this piece of work he did with Salviati in glass! I have the same sensation for his lights but this was in glass, and I am crazy for glass. I fell in love with it immediately.

To me this piece is symbolic and poetic like his works - so pleasing to look at and full of love!

It had been in our bedroom all these years until we changed our bedroom not long ago.”

 

ALBERTO MEDA - LIGHT LIGHT CHAIR, 1987
Carbon fiber and Nomex composite honeycomb
29 1/4 x 21 3/4 x 19 1/2"

Nelson’s Note:

“Alberto Meda is one of the very few architects and designers who incorporate construction and functional details into the design. This fascinated me - he is so good at creating a well thought out and beautifully executed design. Love his works.

I am a chair lover - It is a sculpture with many restrictions, so it needs to be well thought out for the right balance under their functionality. It is truly form follows function.

When I first arrived in Italy during the early 80’s, I lived in a sea side town Chiavari where the famous Chiavari chair was originated and created back in 1807. The character is super light and extremely strong. The Superleggero designed by Gio Ponti for Cassina was based on the same criteria and method of the Chiavari Chair.

I was so curious when Light Light was presented in 1988. The first carbon fiber chair ever made, Alberto Meda understood the material - the chair is feather weight and again, he comes up with unexpectedly beautiful lines and shapes.

I was living in Bologna Italy during the 90’s and it was my hobby to visit stores and galleries with beautiful objects whenever and wherever I had the chance.

There was this furniture store with beautiful pieces in great design where I first saw the Light Light in person - I was stunned by it. The owner refused to part with it even with my repeatedly begging and offering (we ended up becoming friends until today). This chair has no commercial value to him as it was never put into production.

After years, finally I went to see him with US dollars cash right before August Holiday and started to offer him bundles after bundles of US dollars. At one point I told him this is it, take it or leave it. He turned his head away and said, “Take it and get out of here real quick”. I chose the right moment when Italians want US dollars the most - for their overseas holiday.

This is the number 4 out of only 40 pieces that were made. It is one of the few chairs I do not want to part with - unless the right buyer shows up with an offer I cannot refuse.”

 

ANNA GILI - RIGATI GIACINTO, 1996
Hand blown glass from Murano, Italy

Nelson’s Note:

”The design of Anna Gili always has a sense of humor. Something about it makes me smile.
This piece to me looks like a lady putting her hands on her hip and staring at you - except she has four arms.

It is one of the piece I liked and I always looked for it but the one I saw usually came in color combo of Yellow, Red and Black - which I do not fancy. Then I saw this with the streak of hot pink which is rare and it is so Anna Gili - I had to get it. “

Alcor by Ettore Sottsass, 1983 . Nelson’s Note: “It was the first few pieces of hand blown glasses Sottsass designed for Memphis Milano. If I remember correctly from one of the interviews I read about Ettore Sottsass, he said he did not touch much on glass because Murano did not understand him. He did a lot of amazing ceramic works instead. Glass, I have a special love for their colors, shapes they achieve, their textures, their lights and reflections, all those unique characters. And, being a fan of Ettore Sottsass, I was amazed at how he handled glass with his design philosophy, through his eyes with the playfulness and always that sense of humor. It might seem like an odd match but the outcome is pleasantly surprising, so un-expected, out of the box, beautiful and happy. His Memphis Milano glass pieces were revolutionary with a fresh point of view. Those early pieces he designed in 1982, Sottsass treated glass like a translucent clay, not overly perfect, so relaxed and free. Expressed fully the soul of Memphis Milano in glass. Alcor, one of my favorite! It says so much and can totally see the waves it made when it first came out in 1983. Wow! “

Alcor by Ettore Sottsass, 1983
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Nelson’s Note:

“It was the first few pieces of hand blown glasses Sottsass designed for Memphis Milano.

If I remember correctly from one of the interviews I read about Ettore Sottsass, he said he did not touch much on glass because Murano did not understand him. He did a lot of amazing ceramic works instead.

Glass, I have a special love for their colors, shapes they achieve, their textures, their lights and reflections, all those unique characters. And, being a fan of Ettore Sottsass, I was amazed at how he handled glass with his design philosophy, through his eyes with the playfulness and always that sense of humor. It might seem like an odd match but the outcome is pleasantly surprising, so un-expected, out of the box, beautiful and happy.

His Memphis Milano glass pieces were revolutionary with a fresh point of view. Those early pieces he designed in 1982, Sottsass treated glass like a translucent clay, not overly perfect, so relaxed and free. Expressed fully the soul of Memphis Milano in glass.

Alcor, one of my favorite! It says so much and can totally see the waves it made when it first came out in 1983. Wow! “

 

SHIRO KURAMATA - FEATHER STOOL, 1990
Acrylic, aluminum and feathers
21 x 13 x 13 in
Nelson’s Note:

“Shiro Kuramata is one of the founders for the Memphis Milano with Ettore Sottsass. His works were dreamy and poetic with joy, it is delicate and yet child like. Love the child like feeling that is always inside us.

All his pieces are breath taking whenever I see it! His lightest armchair in the world - How High the Moon, which I have and never get tired of looking at it and love to sit on it. His Miss Blanche chair, his Sing Sing Chair and many more.

I first saw the feather stool in Spiral store Tokyo Axis building in late 70’s to early 80’s, fell in love with it but I was told it was not in production.

When Shiro Kuramata passed away in his young age - 52. Mrs Kuramata made 40 pieces as limited edition as the memorial of her husband. I was very lucky to obtain one through the ex-president of Issey Miyake. Do not know how to describe this stool, it is fragile? Poetic for sure, just purely beautiful and extraordinary.”

 

ETTORE SOTTSASS - FLAVIA TOTEM, 1964
Height. 165 cm Dimens. 65 cm

Nelson’s Note:

“I am a fan of Ettore Sottsass, not only when he revolutionarily started the statement with Memphis Milano which is historical and completely broke the up-tight rigid design world. It brings the freedom and way of thinking which still influenced many design today.

He is an architect who loves design. I am always fascinated with his buildings - which is fun, happy and child like. The colors he used - so unique and daring, beautiful!

All his totems are like a tower and I love it, I want them all and wish they were built - it will make our urban environment much more fun and pleasing.

I got this piece with another 5 as a group but I never managed to pick them up except this one. The friend who kept it for me got an ugly divorce and I can’t obtain the rest of the pieces. Still remember them.”

 

VENINI - SCULPTURAL IRIDESCENT GREEN MURANO GLASS VASE, 2010
Hand blown glass from Murano, italy
Height. 12.5 in, Diameter. 10.25 in

Nelson’s Note:

“Fulvio Bianconi was the artistic director of Venini, Murano during the 1950’s. During that period, he revolutionized the art of glass. Not only the technic, but also the point and view was revolutionary in his days. It influenced not only glass, but also the art world in whole.

This piece is one of the rare examples he made back then. It is unique not only from the complex technical difficulties, but also from the strong point of view in design - which is out of ordinary even today.

Venini still makes limited editions in the same vase with different color or effects - each series look different and beautiful in its own way, and each series are limited editions.

Love the Iridescent effect on this series which push his message even further.”