GARNET VALLEY, Pa. — The work of renowned furniture craftsman George Nakashima ruled the day at the Briggs September Modern Auction that featured an extensive private collection from a home furnished entirely in works by the most iconic artisans of the 20th Century Modern period.

“It was a fantastic sale and the consignors were ecstatic with the results,” said Stephen Turner, Appraiser and Manager of Business Development. “The pre-auction previews were very well attended and we sold more in-house than usual, although both online and phone bidding was also heavy. We set up the preview in a museum-like setting, and partially in situ, and it made quite a presentation. The Adelman Estate Collection from Delaware highlighted the sale. Most of their items were purchased new and maintained as a collection, as well as for their home environment. The pieces sold with the original receipts and were in excellent condition. Bidders came from all platforms, including private collectors, dealers and retailers, decorators and designers; it was a nicely balanced mix and bidding was aggressive.”

In addition to the Adelman collection, fine selections from Philadelphia and Main Line, Pennsylvania, and Delaware Valley Estates were also offered in the 316-lot auction that also presented work by Finn Juhl, Arne Vodder, and Charles and Ray Eames, among several other top ranking craftsmen. Artwork, decorative arts, and jewelry from famous makers was also part of the sale, and high prices were realized in all categories.

The top four lots of the sale were all from George Nakashima (1905-1990), the master craftsman who led the field of organic furniture design in his day and whose work is still considered among the most desirable in the Modern arena.

A Nakashima room divider cabinet, that was commissioned by the Adelmans was made in two identical sections and sold separately in two consecutive lots. Each one was made of black walnut and measured 24 inches tall by 6 inches long by 18 inches deep. They were created in a dovetail construction, with an overhanging free-edge slab top over two sliding pandanus cloth doors and interiors that were fitted with adjustable oak shelves. Each was signed and dated, Jan 17, 1989, and sold with a copy of the artist’s original drawing and copy of the receipt. They surpassed the high estimate of $20,000 to realize $33,040 for each cabinet section.

A claro walnut Odakyu end table was classic to Nakashima’s organic works, with a free form top made from a tree that was cut through and through in order to preserve the natural formation of the wood as nature made it. The slab, which was cataloged as “extra thick,” was mounted on a black walnut Minguren I base of geometric design and measured 28 inches wide by 20 inches tall. It was signed and dated, “George Nakashima, Jan 17 1989,” and sold with the original receipt and drawing for $28,320, against an estimate of $15,000 to $20,000.

A double-pedestal desk had a single-board black walnut free-form slab top with two rosewood butterflies, which are Nakashima’s signature joinery element. The desk was set on two three-drawer pedestals with finished backs, and the lowest drawer was fitted with Pendaflex file adapters. The 66 inch long desk was also accompanied by the original drawing and receipt and brought $25,960, again topping the high estimate.

The sum of $14,042 was paid for a set of six rare Finn Juhl BO 116 dining chairs with teak frames covered in Effka 635-Lamhult green wool fabric. They had Bo-EX Bovrike Export Division stamps and were purchased by George Tanier Inc., NY, in 1962. A copy of the receipt was provided.

The iconic Charles & Ray Eames Lounge Chair and Ottoman was also represented. The rosewood lounge chair (No. 670) and ottoman (No. 671), with the classic black leather upholstery, had Herman Miller tags on both pieces. The set achieved a strong $4,012, outdistancing the high estimate of $2,500.

A bidding frenzy broke out over an Andrew Grima 18K yellow gold, emerald, and diamond ring. It had an unusual and highly presentational square-shaped design with two uncut emerald crystals in hexagonal form and two straight diamond baguettes. The original drawing design for the ring was marked “HJ Co.” and signed “Grima,” and it had a receipt from Georg Jensen Co. Stephen Turner noted, “The bidding was very aggressive and mostly from Europe and other countries abroad, but most specifically from London. However, the desirable ring sold in the U.S.” The ring sold well past the mark of $1,000 to $3,000, commanding an impressive $11,800.

Works of art included a framed under glass lithograph by Roy Lichtenstein (American, 1923-1997). The offset lithograph in colors on wove paper, titled Temple 1964, was signed and dated in pencil and numbered 163/300. It was published by Leo Castelli Gallery, New York and achieved $4,484.

Contact: (610) 566.3138,

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