由Dr. Arthur and Evelyn Krosnick於1990年直接購自藝術家
〈貴族樹的新生活：Dr. Arthur and Evelyn Krosnick收藏〉，紐約，蘇富比，2006年12月5日，拍品編號304
加利福尼亞私人收藏
〈二十世紀設計，蒂芙尼工作室及Geyer家族收藏〉，紐約，蘇富比，2013年3月6日，拍品編號248
現藏者購自上述拍賣
中島勝寿著，《樹的靈魂：木工師的思考》，東京，1981年，第142頁
Derek E. Ostergard著，《中島勝寿著：全循環》，展覽圖錄，美國工藝博物館，紐約，1989年，第139頁
Mira Nakashima著，《自然、形態、靈魂：中島勝寿的一生》，紐約，2003年，第82、88、151、183頁
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.
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