Steel, damascus steel and yellow gold container, Daniel Brush, 1992

Of tapered designed, the lid and the underside both embellished with gold granulation, opening to reveal two compartments, mounted in steel and Damascus steel, height approximately 113mm, case.

Cf: Daniel Brush, Gold Without Boundaries, New York, 1998.

In very good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. 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. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Please refer to Daniel Brush website www.danielbrush.com

'Over the course of thirty years, working in virtual seclusion from the mainstream, Daniel Brush has created an unparalleled body of work. His career includes international painting exhibitions, a fifteen-year period of seclusion and study, and an intense immersion into the mysteries of gold. His large-scale canvases and drawings-inspired by the expressive, disciplined gestures of the Noh theatre-integrate the artist's profound understanding of Asian thought with the removed drama in modernist painting. Brush's three-dimensional works-products of solitary thought, study and experimentation-are included in many public, private and royal collections. These works include delicate granulated gold domes in the traditions of the ancient goldsmiths, jewel-encrusted objects of virtue and fantasy and gold and steel sculptures, some only a few inches high. Imbued with a timeless quality and mesmerizing in the intricacy and daring of the fabrication, Brush's objects bear comparison with the work of historical masters. His current wall pieces in blued steel and pure gold engage the ambient light. Brush's table works in stainless steel and pure gold, hand-engraved with thousands of rhythmic lines, are visual poems that record the passage of time. Daniel Brush has developed a rigorous personal aesthetic marked by its intellectual force, mastery of techniques and the science of materials. His idiosyncratic, contemplative work marks a journey of evolving mastery, and bodies forth a deeply expressive voice in American art'.