Original Bertoia Side Chair Revisited By Clement

Sculptor, furniture and jewelry designer, graphic artist and metalsmith, Harry Bertoia was one of the great cross-disciplinarians of 20th-century art and design and a central figure in American mid-century modernism. Among furniture aficionados, Bertoia is known for his chairs such as the wire-lattice Diamond chair (and its variants such as the tall-backed Bird chair) designed for Knoll Inc. and first released in 1952.

As an artist, he is revered for a style that was his alone. Bertoia’s metal sculptures are by turns expressive and austere, powerful and subtle, intimate in scale and monumental. All embody a tension between the intricacy and precision of Bertoia’s forms and the raw strength of his materials: steel, brass, bronze and copper.

Fortune seemed to guide Bertoia’s artistic development. Born in northeastern Italy, Bertoia immigrated to the United States at age 15, joining an older brother in Detroit. He studied drawing and metalworking in the gifted student program at Cass Technical High School. Recognition led to awards that culminated, in 1937, in a teaching scholarship to attend the Cranbrook Academy of Art in suburban Bloomfield Hills, one of the great crucibles of modernism in America. 

At Cranbrook, Bertoia made friendships — with architect Eero Saarinen, designers Charles and Ray Eames and Florence Schust Knoll and others — that shaped the course of his life. He taught metalworking at the school, and when materials rationing during World War II limited the availability of metals, Bertoia focused on jewelry design. He also experimented with monotype printmaking, and 19 of his earliest efforts were bought by the Guggenheim Museum.

In 1943, he left Cranbrook to work in California with the Eameses, helping them develop their now-famed plywood furniture. (Bertoia received scant credit.) Late in that decade, Florence and Hans Knoll persuaded him to move east and join Knoll Inc. His chairs became and remain perennial bestsellers. Royalties allowed Bertoia to devote himself full-time to metal sculpture, a medium he began to explore in earnest in 1947.

By the early 1950s Bertoia was receiving commissions for large-scale works from architects — the first came via Saarinen — as he refined his aesthetic vocabulary into two distinct skeins. One comprises his “sounding sculptures” — gongs and “Sonambient” groupings of rods that strike together and chime when touched by hand or by the wind. The other genre encompasses Bertoia’s naturalistic works: abstract sculptures that suggest bushes, flower petals, leaves, dandelions or sprays of grass. 

As you will see on these pages, Harry Bertoia was truly unique; his art and designs manifest a wholly singular combination of delicacy and strength.

Find vintage Harry Bertoia sculptures, armchairs, benches and other furniture and art on 1stDibs.

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

Chairs are an indispensable component of your home and office. Can you imagine your life without the vintage, new or antique chairs you love?

With the exception of rocking chairs, the majority of the seating in our homes today — Windsor chairs, chaise longues, wingback chairs — originated in either England or France. Art Nouveau chairs, the style of which also originated in those regions, embraced the inherent magnificence of the natural world with decorative flourishes and refined designs that blended both curved and geometric contour lines. While craftsmanship and styles have evolved in the past century, chairs have had a singular significance in our lives, no matter what your favorite chair looks like.

“The chair is the piece of furniture that is closest to human beings,” said Hans Wegner. The revered Danish cabinetmaker and furniture designer was prolific, having designed nearly 500 chairs over the course of his lifetime. His beloved designs include the Wishbone chair, the wingback Papa Bear chair and many more.

Other designers of Scandinavian modernist chairs introduced new dynamics to this staple with sculptural flowing lines, curvaceous shapes and efficient functionality. The Paimio armchair, Swan chair and Panton chair are vintage works of Finnish and Danish seating that left an indelible mark on the history of good furniture design.

“What works good is better than what looks good, because what works good lasts,” said Ray Eames. 

Visionary polymaths Ray and Charles Eames experimented with bent plywood and fiberglass with the goal of producing affordable furniture for a mass market. Like other celebrated mid-century modern furniture designers of elegant low-profile furnishings — among them Ludwig Mies van der Rohe and Finn Juhl — the Eameses considered ergonomic support, durability and cost, all of which should be top of mind when shopping for the perfect chair. The mid-century years yielded many popular chairs.

The Eameses introduced numerous icons for manufacturer Herman Miller, such as the Eames lounge chair and ottoman, molded plywood dining chairs the DCM and DCW (which can be artfully mismatched around your dining table) and a wealth of other treasured pieces for the home and office. 

A good chair anchors us to a place and can become an object of timeless appeal. Take a seat and browse the rich variety of vintage, new and antique chairs on 1stDibs today.