Karl Springer LTD
Copyright © 2017 Todd Merrill All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher, addressed “Attention: Permissions Coordinator,” at the address below. Todd Merrill & Associates, Inc. 80 Lafayette Street New York, NY 10013 www.toddmerrillstudio.com Printed in the United States of America Karl Springer LTD Karl Springer LTD / Todd Merrill. 1. artist — monograph. Book design by Dallas Dunn Photography by Simon Leung
Karl Springer LTD Self published by Todd Merrill Studio
Todd Merrill Studio Exclusively Reissues Karl Springer Designs Todd Merrill, a preeminent dealer in 20th and 21st century studio furniture and art, has chosen a selection of Karl Springer’s most iconic designs to be reissued exclusively at his gallery, Todd Merrill Studio, in partnership with Mark Eckman, President of Karl Springer Ltd. Today, the reissues are available through Todd Merrill Studio exclusively on a commission basis, with custom dimensionality, materials, and finishes available. Iconic designs such as the Free Form Low Tables, Mushroom Lamps, and Sculpture Bench are some of the first designs to be released in this unique, highly anticipated partnership. In 2016, Eckman, an admirer of Merrill’s intuition and experience in the vintage marketplace, approached the gallery in order to give exclusive rights to reissue Merrill’s hand-picked collection of Springer’s timeless classics, “I wanted to perpetuate iconic Karl Springer designs that epitomize the glamorous look that Springer created,” says Todd Merrill. Today, Karl Springer Ltd. upholds the tradition started by its namesake founder in the early 1970s to create bench made pieces with authentic materials, superb craftsmanship, and extreme attention to detail. The entire collection is American made by some of the same artisans who originally worked with Springer himself. “The quality of the reissued work is equal or superior to the original pieces as technique and technology have advanced” noted Eckman. Eckman first met Springer in the mid-1970s when he was an in-
house designer for a Lucite fabricating company in northern Manhattan. At the time, Springer was seeking a Lucite source for his lamps, boxes and mounted objects --details that would come to define many of his unique designs. When Karl Springer Ltd. relocated to a small atelier on east 61st Street, Eckman and Springer collaborated on occasional tables to add to its growing line. This partnership continued as the business grew and their joint projects became more complex. In 1987, Springer hired Eckman as his assistant. They worked together until Springer’s death from AIDS in 1991 and Eckman left the company the following year. In 1994, Eckman acquired the rights to Karl Springer Ltd, including intellectual property, design, logo and trademarks. Over the years, Eckman has been a vital source to provide authentication, appraisal and repair services for original Springer pieces. KARL SPRINGER 1930-1991 Though born in pre-war Germany and working off classical European forms, Springer developed an irreverent idiom of bold proportions, highly exotic finishes, and an often flashy palette that identified him strongly with his American clientele. His work speaks with the confidence and energy of the highest-end furnishings associated with the “disco decade,” and now finds new relevance in the contemporary design world.
Free Form Low Table Mirror Polished Stainless Steel
Todd Merrill Studio is pleased to unveil the Free Form Low Table, the first piece created under the gallery’s new, exclusive representation of Karl Springer Studio. The gallery will be reissuing a selection of Springer’s unique designs on a commission basis, such as this unique amorphic table. Available in three forms, the height of each is customizable from 14”- 18” inches. Sleek and elegant, the mirror-polished stainless steel low table is set on hidden recessed casters allowing it to move and pivot with ease. Made in Springer’s exact original design, the Free Form Low Table is available by commission in stainless steel, brass, or polished bronze, with white or black glass tops available separately. Originally created in the 1970s during the designer’s showroom expansion to a 20,000 squarefoot penthouse on East 61st street, the free-form table is one of Springer’s most iconic designs in his extensive body of work. Springer worked to perfect the shape of each table. The prototypes were made in polished stainless steel, subsiquently with a ¾” black or white glass top. At once functional piece and unique sculptural objet d’art, the Free Form Low Table makes its contemporary design debut with Todd Merrill Studio Table A: 33” x 23” x 14 -18” H Table B: 46” W x 26” L x 14-18” H Table C: 49” W x 33” L x 14-18” H
Polished stainless steel , 49” W x 33” L x 14-18” H
Polished stainless steel , 46” W x 26” L x 14-18” H
Polished stainless steel , 33” x 23” x 14 -18” H
Sonnenteller (Sun Plate) Mirror Polished Stainless Steel
An iconic design by Karl Springer, this unique sculpture debuted in 1979 and is said to have been inspired by a sun mask from the African art collection of one of Springer’s friends. It was originally made in two sizes and available in both polished stainless steel and polished bronze. The commanding sculpture is displayed on an granite base. Karl Springer LTD pieces are available exclusively through Todd Merrill Studio on a commission basis. Custom dimensionality and materials may be accommodated. Large: 38” Diameter Small: 26” Diameter
Monumental Goatskin Dining Table
The exquisite dining table, made of freeform inlay natural goatskin in warm pearl grey, features classic Art Deco lines, the round base blossoms into four elegant pillars that support the monumental three inch thick circular top. The table is finished in a polished lacquer. Springer is often credited with reviving the art of applying skins to furniture, a practice long associated with French Deco masters including Jean Michel Frank, Jean Dunand, and Emile-Jacques Ruhlmann. Able to seat up to twelve people, the table is an iconic Springer design and a fantastic example of his signature works in which elegant forms and proportions meet opulent materials and finishes. Shown Dimensions: 30h x 72 diameter
Designed by Karl Springer in the 1980’s, The Mushroom Lamp is offered today anew with dimmable LEDs, reissued by Karl Springer Studio exclusively for Todd Merrill Studio. The lamp features a brass cylindric base and rounded shade. A small dimming knob at the bottom of the base and a unique honeycomb light diffuser under the shade allow for beautiful light levels. An iconic design, it both emits and reflects light around it. The first lamp, a table sized piece, is pictured in Karl Springer’s Upper East Side apartment as published by Architectural Digest in the 1980s. Documented in Todd Merrill’s “Modern Americana: Studio Furniture from High Craft to High Glam” (Rizzoli, 2008). Karl Springer LTD pieces are available exclusively through Todd Merrill Studio on a commission basis. As such, custom dimensionality as well materials may be requested for a bespoke piece. Available materials include: polished golden brass, polished gunmetal, polished royal bronze, polished nickel, polished bronze, Parisian gold, brushed pewter, and brushed oxidized bronze. Table Lamp: 30” H x 18” Diameter Floor Lamp: 57.5” H x 18” Diameter
Sculpture Leg Table
An iconic design by Karl Springer, the unique Sculpture Leg Table debuted in 1971 and is being reissued today exclusively with Todd Merrill Studio. Featuring a cylindrical metal base, an elegant cantilevered fan-shaped glass extends from the top, offering a striking equilibrium between its light, floating effect to its weighted solid metal base. As they are available by commission, custom finishes can be accommodated, including stainless steel, gunmetal, royal bronze, amongst others. Signature stamp is marked on the eye below the cap. The glass tops can be commission in a fan shape or a rectangular shape. Base: 10” Diameter x 19”H Glass: 19” x 19” x 1”
As the authorized representative of Karl Springer LTD, Todd Merrill Studio is pleased to reintroduce Springer’s elegant and timeless Sculpture Bench from the iconic American designer’s studio. This piece exemplifies the artist’s penchant for integrating sleek lines with exotic skins and finishes, creating unique sculptural designs that are at once beautiful as they are functional. The shown model features an alligator embossed black two-tone glazed calfskin. 24”H x 72”W x 20”D
Available on a commission basis, custom dimensionality and materials are available, including brass and steel. For leather upholstery, any custom color given by the client will be matched and a strike-off for approval will be provided.
Karl Springer From window dresser and bookbinder to major designer and couture furniture manufacturer, Karl Springer captured the spirit of his age, the raging 1970s and ’80s. He was inspired by the deco classics from another indulgent period, the 1920s, but by taking advantage of a convergence possible only in New York—of free-flowing cash and the inexpensive labor of recent emigrants possessing old-world craft skills—Springer was able to transform existing styles into his own distinctive expressions. Though born in prewar Germany and working off European classical forms, Springer developed an irreverent and nondoctrinaire idiom of bold proportions, highly exotic finishes, and a sometimes flashy palette that identified him strongly with his American clientele. His work spoke with the confidence and energy of the highest-end productions associated with the disco decade. With his death from complications of AIDS in 1989, Springer joined the tragically swelling ranks of designers felled by that scourge in those years. Above all, furnishings by Springer, whether python-covered desk accessories or a shagreen dining table, possessed the verve and contemporary glamour of enduringly popular classics. Karl Springer was born in Berlin in 1931. His family background has never been part of his story, apart from references to his study of bookbinding and working as a window dresser at a prominent Berlin clothier. He arrived in New York in the late fifties, following a brief stint in California; his exit from Germany—the details of which remained vague—was probably arranged with the help of a gay American military officer. Aged twenty-six and with no formal training, Springer found work styling windows at Lord & Taylor. Eager to move on, he started applying his bookbinding skills to making animal skin–covered jewel PREVIOUS PAGE: Karl Springer Apartment Circa.1989
boxes, desk accessories, and telephone tables. His work attracted the attention of a buyer for Bergdorf Goodman and, in a story he told often, a snakeskin phone table caught the eye of the Duchess of Windsor, whose patronage quickly moved Springer and his expanding line of furnishings onto a society fast track, where he reveled in keeping pace. Springer opened a small shop on First Avenue, wrapping leather, applying faux finishes, and working for decorators interested in intriguing accent pieces. He then moved to East Fifty-third Street, known as Boutique Row, where the backrooms were crowded with refugees from Europe and Asia adept in refined craft skills—such as lacquering, batiking, and leatherwork—that were not particularly common to American furniture making, rooted as it was in more basic Colonial-style paint finishes and carving.
Sculpture Bench, Karl Springer LTD Catalog Circa 1980
As his career flourished, Springer’s own homes were a most convincing showcase of his evolving sensibility. From a sky-lit artist’s studio at the top of a Gramercy Park townhouse, where a bedroom was squeezed into a hallway and a cabinet was retooled from an antique confessional that appeared in the New York Times in 1967, to the plush apartment on the forty-fifth floor of an Upper East Side tower published in Architectural Digest in 1989, these homes displayed his flair for glamour without ostentation. If the earlier place showed off Springer’s early ingenuity, the latter featured the extraordinary range of his aesthetic interests. There was a Chinese antique drum as
a side table, alongside an Ashanti stool, a sixteenth-century Italian wrought-iron chest, and an eighteenth-century gold-leafed Japanese screen. The well-endowed proportions of his own upholstered pieces, metal tube lamps, and lacquered tables added muscle to this precious, eclectic collection. And a final layer of gloss came with walls and ceilings lined in antiqued copper-leaf and mirrored window niches. Even the closets were lined with lacquered bird’s-eye maple, and his Lucite headboard was illuminated. The writer for Architectural Digest attributed a “well-burnished masculinity” to the place that was yachtlike, while the silver-maned Springer himself came across as an adventuresome sea captain. Certainly, Springer was an omnivore of world styles and rare techniques well before globetrotting became the favorite pastime of decorators in search of inspiration. He focused especially on materials with texture, from Japanese prints to African mud cloths, and his showrooms were stacked with such exotic finds as ostrich eggs and Venetian hand-blown glass. But his real signature was furniture covered in lacquered skins: goat, lizard, alligator, fossilized coral, shark, cobra, and even frog. He is often credited with having revived the fad for shagreen, long associated with such French deco masters as Jean-Michel Frank, Jean Dunand, and Emile-Jacques Ruhlmann. The Springer look, however, didn’t derive from deco alone; it borrowed as well from ancient Greek and chinoiserie motifs, pumping up and simplifying familiar shapes, then reinvigorating them with exotic finishes in unusual colors (purple python was a favorite). “I may be inspired by
Ivory Laquered Sculpture Bench, Karl Springer Circa 1970
other designers,” he told Architectural Digest in the late eighties, “but the interpretations are strictly my own.” It was a significant break from the more staid interior fashions of the day that tended toward ball-and-claw Americana, French Louis-by-the-numbers, and pervasive beige. Mark Eckman, an industrial designer who worked for Springer in the sixties, specializing in making Lucite furniture, described Springer’s style in an interview as “crude chic,” noting that the designer “liked the material to be really out there, screaming.” Gutsy simplicity remained Springer’s hallmark. His most iconic pieces resonated with a sense of history while striking a clear contemporary note. One of his earliest classics, the JMF chair, which he named after his idol, Jean-Michel Frank, possesses the clarity of classical form injected with Springer’s
be either smooth or scored, and in later years shagreen with bone inlays. Belying its simple form, the JMF chair was extremely difficult to make. It was pieced together without distracting decorative flourishes, resulting in an elegance that depended on seamless lines and flawless craftsmanship. Each piece took about a week to complete, and lacquer finishes could require as many as twenty coats. The Regina chair, with an upholstered seat and back within a wood frame, was another iconic piece, one reflecting the slightly less rigorous side to Springer’s later work and exhibiting his interest in ever-more-exotic finishes. But the most copied of all his pieces was most likely the telephone table on castors, with its slender proportions and two tiers with gallery edges. The originals, noted Eckman, were very low at twelve to fourteen inches, to stand alongside the low-slung slipper chairs made so popular by the decorator William Haines.
ABOVE: Sculpture Table, Karl Springer LTD Catalog Circa 1980
signature boldness. While the JMF chair was always very expensive, ranging from $1,400 to $2,200 according to Eckman, depending on the finish, it remained one of Springer’s most popular and in-demand pieces throughout the seventies. He made numerous variations using different materials: shiny black lacquer, veneered oak, a leather that could
Springer was well attuned to society tastes, whether he was working for King Hussein or Tina Turner, Jackie Onassis or the soap-opera actress Loretta Young. When Diana Vreeland declared seashells were divine, no one was faster at coming up with a snazzy showstopper, such as a lamp with a sea-urchin base, or an irresistible ostrich-feather pillow. While individual clients encouraged Springer to produce overthe-top, tour-de-force creations (for instance, interior decorator Jane Baum commissioned a coffee table with massive eight-inch-diameter legs carved entirely from Lucite), he was equally happy producing what he called “stock,” favorite pieces to have always on hand. That adaptable sensibility naturally endeared him to decorators at the highest end of the design spectrum, including Billy Baldwin, Valerian Rybar, Robert Metzer, and Jay Spectre. Springer never advertised, and for a long time, his personal charisma—dashingly handsome even when his beard turned snowy white—
was all that was needed to attract enough new business to keep a one-hundred-person-strong operation buoyant. At a charity auction in the eighties, Laurence Rockefeller declared furnishings by Springer to be the “antiques of tomorrow,” a declaration reflecting how costly they were even in their own day. In 1980, according to an article in the New York Times, a glass-topped table by Springer with a Lucite base cost $12,630, while a parchment-covered side chair covered in twenty-four coats of clear lacquer sold for $1,450. Perhaps because he was self-taught, Springer tended to develop and convey his ideas for new furniture with models made of cardboard rather than drawings or blueprints. In this way, too, he could make on-the-spot alterations and variations as well as ornamental flourishes without concern for having to transpose his notions into a technical language that could be reproduced. Thus he was cleverly able to convert a shortcoming—his lack of training—into an asset, even a desirable commodity: “Because I insist on the same standards, there could never be any mass production in my workshops. We make one piece at a time,” he once told a design journalist. While the main Karl Springer showroom was opened on East Sixty-third Street in 1969, the workshops, where pieces were assembled in several stages by different craft specialists, were scattered all around the city, and eventually around the world. He turned to a Japanese woman living in SoHo for linen lacquer and batik. On the Upper
ABOVE: Mushroom Lamp, Karl Springer LTD Catalog Circa 1980
with styles liberated from traditional strictures, but it also led to unforeseen dependencies as the most talented craftspeople eventually wanted to spin off on their own, while the occasionally unscrupulous ones sold unauthorized copies or watered-down knockoffs on the side. Springer’s main workshop was managed in the seventies by Ron Seff, one of his closest friends who shared the designer’s zeal about quality control. In the early eighties, however, the two had a falling out, and Seff opened his own showroom where he produced variations on key Springer designs with slight alterations. For collectors, the situation is exacerbated by the fact that in the early years, Springer rarely signed pieces, only occasionally adding a leather flap stamped with his name. It was only in the late eighties that he introduced an official stamp ABOVE: Freeform Tables, Karl Springer LTD Catalog Circa 1980 for hides and sometimes engraved his name East Side, Chinese men (by the 1980s they were mostly Vietnamese) did into Lucite; but signing for Springer was an lacquering and parchment. His lamp fitters were on Fifty-ninth Street, inconsistent art. near York Avenue; in Queens, there was a woodworking shop; and among artists manqué in Manhattan, he found virtuoso faux painters. Ultimately, and perhaps as a way to avoid Nowhere other than New York would it have been possible to find so such pitfalls as well as to get a handle on many different people trained in different skills from different traditions. rising costs, Springer moved as much production as possible abroad. By 1983, at the Springer’s product depended on all of their varying degrees of exper- height of his business, Springer furnishings tise, casting the designer himself into the role of constant quality-control were available not only in Manhattan but master. This subcontracting allowed for a unique freedom of expression, in showrooms in Los Angeles, Munich, and
Tokyo. Lacquered goatskin pieces were made in Mexico; shagreen and coral in the Philippines and Indonesia. Springer, whose lamps carved in Lucite and glass were especially popular, established a relationship with a Murano glass manufacturer, Seguso, and worked with glassblowers in applying an ancient antiquing technique, called scavo, to create a series of distinctive chandeliers, candlesticks, and sconces with a modern sensibility. As the Karl Springer business expanded and became more complicated, Springer’s brother Joachim joined in and took over the idiosyncratic bookkeeping (some of it not entirely by the book; employees remember seeing shopping bags of cash). It was a heady time, and Springer himself was flush with disco fever, clubbing at Studio 54 and diving into the notorious Fire Island parties of 1982 and 1983. By the mid-1980s the Karl Springer dynasty was ending. Shortly before his death in 1989, Karl’s health began to rapidly decline, and he was no longer able to pay the close attention to detailing and quality control that had always characterized his process. He sold the company, and subsequently, Karl Springer Ltd. filed for Chapter 11 in 1993. In the late eighties, tastes were also changing. Ronald Reagan conservatism and Ralph Lauren traditionalism were in vogue, and American reproductions were outselling creative spirits like Springer, Tommi Parzinger, and Paul Evans. These designers, who all stumbled into highly successful businesses, at least for a time, may have
sought glory and fame but never brand domination: keeping the artistry alive was their higher goal. And as the disco decades became an aesthetic punch line, with John Travolta’s black and white rayon suit as benchmark, a sense of the achievements of these exclusive artist-designers was lost. Further complicating matters in Springer’s case, questions have lingered over how the sale of his company and existing inventory were handled in the nineties. For collectors, it is not easy to discern true Springer originals from the authorized and gypsy reproductions, the fakes and the copies that all abound. Until recently, resale of Springer pieces did not even keep up with the original high prices. That is changing, and in 2006, at the Sotheby’s sale of furniture from the Tony Ingrao collection, a rare Springer table from 1979 with a steel base and a top with feathers under glass sold for $66,000.
Collectors are again taking stock of Springerâ€™s work, recognizing that the early pieces have the allure of the twentieth-century masters Emile-Jacques Ruhlmann and Jean-Michel Frank. Exquisitely made for a short period of time by traditionally trained artisans, Springerâ€™s furnishings captured the look and vitality of a unique moment in modernity that flourished, then blazed out like a supernova star. Exceprts from: MODERN AMERICANA Studio Furniture From High Craft to High Glam Rizzoli 2008
Photos Courtesy of Mark Eckman
Todd Merrill Studio For over fifteen years, Todd Merrill Studio has exhibited and purveyed the finest selection of post-war American studio furniture. Shortly after Rizzoli published his seminal book on the subject, “Modern Americana: Studio Furniture from High Craft to High Glam”, 2008, Merrill launched Studio Contemporary, representing the work of an international group of established and emerging contemporary artists. Today, their work is sought after by a wide range of art patrons, from collectors and decorators, to curators and museum academics. While each artist uses his or her own chosen medium--from textile to porcelain, to marble and LEDs--their joint curation at Studio Contemporary relies upon their shared drive to push those materials to their absolute aesthetic limits. The result: dynamic, handmade, and unique pieces that contribute to today’s increasingly relevant “grey space” between art and design. The gallery has progressively cultivated and established new artists, placing their work into private and public collections which include The Cooper Hewitt National Design Museum (New York), The Museum of Fine Arts (Boston), The Museum of Art and Design (New York), The Victoria
and Albert Museum (London), Centre Georges Pompidou (Paris), The High Museum of Art (Atlanta), and The Brooklyn Museum (New York), amongst others. Currently, Studio Contemporary represents the work of Niamh Barry, Ezra Cohen, Sophie Coryndon, Amy Cushing, Marc Fish, Nader Gammas, Stephane Graff, Markus Haase, Molly Hatch, John Hersey, Beth Katleman, Karl Springer LTD, Gary Magakis, Knox Martin, Shari Mendelson, Gareth Neal, Jake Phipps, John Procario, Yard Sale Project, Alex Roskin, Chris Rucker, and Erin Sullivan. Throughout the year, the gallery exhibits at the best art and design fairs worldwide, including: Design Days Dubai (Dubai), Collective Design Fair (New York), Art Miami (Miami), Design Miami (Basel, Miami), FOG: Design + Art (San Francisco), Pavilion of Arts & Design (New York, Paris, London), Masterpiece (London), Gallery Seoul (South Korea), Spring Masters (New York), The International Fine Art and Antiques Dealer Show (New York), Zona MACO (Mexico City), Salon Art + Design (New York) and The Winter Antiques Show (New York).
A unique partnership between Todd Merrill Studio and Karl Springer Studio.