Room 125 was born of the love of interesting objects, a fascination with history and a passion for discovery. Jenn Szekely began the collection over 15 years ago in the Pioneer Valley, exploring barns and estates throughout the area.
In 1997, Room 125 opened an antiques cooperative just outside of Boston. Before long, word got out and antique pickers would arrive daily to share and sell their amazing finds. A second store specializing in vintage fashion and accessories opened shortly thereafter at 125 Charles Street in Beacon Hill. The stores became a gathering place for kindred spirits—a forum for ongoing discussions that celebrated art, fashion and design.
A journey never ends and this one took Jenn to New York City. However, her heart never left Room 125. With a continued desire to inspire and be inspired, Room 125 is pleased to offer a collection of art editions. The art is offered in limited quantities, with editions of 175. Like the fascinating objects depicted within each work, the collection is brought to life with every detail considered—from their scale, to the exquisite image quality, to the fine paper they are printed on, to the custom American-made reclaimed frames that house them.
Surrounded by art as a child, Jenn was most influenced by her grandfather who owned a printing company on Van Dam Street in NYC. Jenn spent much of her childhood watching him produce fine artist prints for galleries around the city. While she recalls painting from an early age and received an award at the Guggenheim Museum at the age of 11 for one her pieces, she transitioned from making art to collecting it during her teen-age years.
While running the gallery in Boston, Jenn became fascinated with the history of the antique objects she sold. It wasn’t the value of the objects that interested her, it was the detail and care that was taken in crafting each piece. What can be described as a contemporary take on still life, Jenn’s work tells stories of everyday life and culture over the last 250 years. Thoughts about the evolution of global production and the tension and balance of hand craftsmanship versus mass production are inherent in her work. Jenn’s photographs celebrate individual objects by isolating them in the visual field, magnifying them and expanding the scale of each piece. While the subject of much of her work can fit in the palm of one's hand, the great scale of the photographs allow the viewer to appreciate the often overlooked fine details (be it the gut string that ties the feathers of a 19th century shuttlecock or the facets on a Victorian garnet).
As an archeologist of material culture—from the 18th century to today— Jenn can be found digging up new pieces at her studio on the Lower East Side of Manhattan.