George Nakashima Single-arm lounge chair 1960 American black walnut, hickory. 84.4 x 77.7 x 74.4 cm (33 1/4 x 30 5/8 x 29 1/4 in.) Underside of arm and seat indistinctly inscribed in red marker LONDONER. Together with a letter of authenticity from Mira Nakashima and a copy of the original order card.
Provenance Mrs. Stanley Londoner, Trenton, New Jersey, 1960 Moderne Gallery, Philadelphia, Pennsylvania Literature George Nakashima The Soul of a Tree, A Woodworker's Reflections, Tokyo, 1981, p. 143 for a drawing, pp. 173, 181 Derek E. Ostergard, George Nakashima Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 160 Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima New York, 2003, p. 82 for a drawing from a 1955 catalogue, pp. 97, 156 Artist Bio George Nakashima American • 1905 - 1990 Working out of his compound in rural New Hope, Pennsylvania, George Nakashima produced some of the most original and influential furniture designs of the post-war era. Nakashima aimed to give trees a second life, choosing solid wood over veneers and designing his furniture to highlight the inherent beauty of the wood, such as the form and grain. To this end, his tables often feature freeform edges, natural fissures and knot holes. Nakashima was an MIT-trained architect and traveled widely in his youth, gaining exposure to modernist design the world over. The signature style he developed was the distillation of extraordinary, diverse experiences, which led to the establishment of his furniture-making business in 1946. In particular, his practice of Integral Yoga, which he studied while working under the architect Antonin Raymond on the construction of the Sri Aurobindo Ashram in Pondicherry, India, had a lasting impact on his philosophy as a designer. After returning to the U.S. in 1940, Nakashima's family was interned in an American concentration camp, a horrible ordeal that nevertheless introduced him to traditional Japanese joinery by way of a Nisei woodworker he met in the camp. He incorporated these techniques and also drew on American vernacular forms, such as the Windsor chair. These diverse influences have resulted in immense crossover appeal in the world of twentieth-century design collecting. View More Works
George Nakashima Single-arm lounge chair 1960 American black walnut, hickory. 84.4 x 77.7 x 74.4 cm (33 1/4 x 30 5/8 x 29 1/4 in.) Underside of arm and seat indistinctly inscribed in red marker LONDONER. Together with a letter of authenticity from Mira Nakashima and a copy of the original order card.
Provenance Mrs. Stanley Londoner, Trenton, New Jersey, 1960 Moderne Gallery, Philadelphia, Pennsylvania Literature George Nakashima The Soul of a Tree, A Woodworker's Reflections, Tokyo, 1981, p. 143 for a drawing, pp. 173, 181 Derek E. Ostergard, George Nakashima Full Circle, exh. cat., American Craft Museum, New York, 1989, p. 160 Mira Nakashima, Nature, Form & Spirit: The Life and Legacy of George Nakashima New York, 2003, p. 82 for a drawing from a 1955 catalogue, pp. 97, 156 Artist Bio George Nakashima American • 1905 - 1990 Working out of his compound in rural New Hope, Pennsylvania, George Nakashima produced some of the most original and influential furniture designs of the post-war era. Nakashima aimed to give trees a second life, choosing solid wood over veneers and designing his furniture to highlight the inherent beauty of the wood, such as the form and grain. To this end, his tables often feature freeform edges, natural fissures and knot holes. Nakashima was an MIT-trained architect and traveled widely in his youth, gaining exposure to modernist design the world over. The signature style he developed was the distillation of extraordinary, diverse experiences, which led to the establishment of his furniture-making business in 1946. In particular, his practice of Integral Yoga, which he studied while working under the architect Antonin Raymond on the construction of the Sri Aurobindo Ashram in Pondicherry, India, had a lasting impact on his philosophy as a designer. After returning to the U.S. in 1940, Nakashima's family was interned in an American concentration camp, a horrible ordeal that nevertheless introduced him to traditional Japanese joinery by way of a Nisei woodworker he met in the camp. He incorporated these techniques and also drew on American vernacular forms, such as the Windsor chair. These diverse influences have resulted in immense crossover appeal in the world of twentieth-century design collecting. View More Works
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