Lot 30
  • 30

J.B. Blunk 1926-2002

Estimate
15,000 - 20,000 GBP
bidding is closed

Description

  • Low Table
  • 42.2 by 61.6 by 40.6 cm.
  • 16 5/8 by 24 1/4 by 16 in.
redwood and epoxy

Literature

Glenn Adamson, 'California Spirit:  Rediscovering the Furniture of J.B. Blunk,' Woodwork, October 1999, p. 25 (for a variant side table)

Condition

Overall in excellent condition. This work has been recently oiled and professionally restored to repair wear sustained from its time in a tropical climate. Catalogue illustration is slightly more dense in colour than the actual table. Minor scratches to surface.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Sculptor J.B Blunk began working with clay in 1952 in Japan. After meeting Isamu Noguchi in a mingei (craft) shop he was introduced to famed potter Rosanjin Kitaoji, who he later apprenticed with.  After moving to Northern California in 1958 he was introduced, through Noguchi, to Surrealist painter Gordon Onslow Ford, who encouraged Blunk's creative development. Blunk began working with wood in the early 1960's first making stools and small tables and eventually earned commissions for large-scale wood environments and public works. All of his work is premised on a balanced symmetry that can be traced back to the forms and practices of the Japanese artists he worked with early on his career. Each piece by Blunk is a fully realised, unique expression.  This table is from one of Blunk's earliest commissions, and is part of a group of furniture executed for a private residence in Montego Bay, Jamaica.