Lot 22
  • 22

George Nakashima

Estimate
10,000 - 15,000 USD
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Description

  • George Nakashima
  • Bench
  • American black walnut and East Indian rosewood

Provenance

Acquired directly from the artist by the Newberry Family
Moderne Gallery, Philadelphia, 2001

Condition

Overall very good original condition. This is a superb large-scaled bench showing a deeply sculptural free edge and beautifully colored sap line. The bench also retains some of the original details of the walnut board, which was an important design element for George Nakashima. There is a recessed area measuring three inches in length along the centerline of the bench, which is inherent in the board and was left in its current condition by Nakashima. On the opposite side of the bench there is a decorative butterfly key installed by Nakashima to stabilize a natural fissure. The bench with a few shallow and minor surface scratches, and a few concentrated scratches and edge nicks to the lower portion of the feet consistent with age and gentle use.
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:
The lumber is taken off trucks by hand, each board quickly studied for its ultimate use.  Sometimes an immediate role is assigned; a coffee table, a dining table, an end table.  Other planks are separated into general categories according to probable future use and stored.  Size, shape, thickness, figuring and unusual graining, even defects, all contribute to the decision as to what the future life of the board will be...Some slabs are selected for uniqueness.  There may be a large hole where decay has started and the tree has healed itself, a positive statement of life which makes an extraordinary design expression.

— George Nakashima, Soul of A Tree, 1981