- 11
George Nakashima
Estimate
100,000 - 150,000 USD
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Description
- George Nakashima
- "Minguren II" Coffee Table
- signed with client's name to underside
- spalted Buckeye maple burl and American black walnut
Provenance
Acquired directly from the artist by David Marshall, New York
Moderne Gallery, Philadelphia, 2002
Moderne Gallery, Philadelphia, 2002
Condition
Overall excellent original condition. The top of this coffee table is executed in a magnificent fully freeform Buckeye burl that presents with extraordinarily intricate detailing in the figuring throughout. The burled free edge is consistent throughout the table and displays a rich tone and highly artistic irregular edges. The base of this table is executed in a beautifully contrasting and deeply figured walnut. The table with a few very shallow surface scratches. The top has retained the original burled edge which shows some occasional minor edge separations which are inherent in the original board and were purposefully maintained by Nakashima in the execution of the table. This magnificent table is a true masterwork of sculpture displaying superb scale and form throughout, and represents one of the best examples of Nakashimas work to ever appear at auction.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
IN CONTEXT:
In the 1940s freeform meant a man-made shape. My father was using freeform as a form that was created by nature. Each one was different. In the beginning people did not understand what he was doing. We depend entirely on the natural shapes and colors of the wood to inspire and determine the course of our work, and never apply artificial colors or shiny finishes. The woodpile outside was his inspiration.
In the 1940s freeform meant a man-made shape. My father was using freeform as a form that was created by nature. Each one was different. In the beginning people did not understand what he was doing. We depend entirely on the natural shapes and colors of the wood to inspire and determine the course of our work, and never apply artificial colors or shiny finishes. The woodpile outside was his inspiration.
It is actually very problematic to respect and honor natural forms, so that each piece is individual and different from the next. This means many hours searching for the ideal slab of wood and resolving not only the variations of each piece, but dealing with client requests as well. While it is true that he incorporated natural forms of wood into his designs, his work involved far more than simply cutting down trees and making use of those forms.
There was a place across the river in New Jersey that sold burls and he thought these woods were interesting. The spalted Buckeye burl used for this coffee table was made from a very limited supply of lumber purchased by my father in the 1980s from California.
— Mira Nakashima