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Important 1950s Harry Bertoia "Design of Wire Form" Pod Sculpture

About

This remarkable piece consisting of 68 expandable stainless wires offers a glimpse into the genius of Harry Bertoia’s design process. This early design wire form sculpture, made by Harry Bertoia in the 1950s, would be refined years later as the highly recognizable wire “Pods” shown on the dust cover and pages 165, 166 and 167 of the book, “World of Bertoia” by Nancy N. Schiffer and Val O. Bertoia. The wire form diameter could be expanded and contracted allowing Harry Bertoia the ability to experiment with the spacing and interaction of the stainless steel wires. A truly magnificent piece of design history from one of America’s greatest sculptors. "Certificate of Authenticity" from Bertoia Studios available.   

Details

  • Condition
    Excellent. Sculpture mounted on stainless steel base by Bertoia Studio..
  • Wear
    Wear consistent with age and use.
  • Dimensions

    H 46 in. x W 6 in. x D 6 in.

    H 116.84 cm x W 15.24 cm x D 15.24 cm

  • Seller location
    Pittsburgh, PA
  • Reference number
    LU166423545322

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About Harry Bertoia (Maker)

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 modernism. Among furniture aficionados he is known for 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, Bertoia 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. There, 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 Cranbrook, 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.

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