Harry Bertoia for Knoll Associates Molded Shell Stool, Signed First Generation
- Of the Period
- Place of Origin
- Date of Manufacturecirca 1950s
- Materials and Techniques
- Condition DetailsGood original vintage condition. Structurally solid ready to be used immediately. For a first generation example, the condition is excellent and is ideal for the Mid-Century Modern collector and design enthusiast.
- WearWear consistent with age and use.
- DimensionsH 42 in. x W 21 in. x D 20 in.H 106.68 cm x W 53.34 cm x D 50.8 cm
- Seat Height30 in. (76.2 cm)
- Seller LocationLos Angeles, CA
- Reference NumberLU1330215666641
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- Return Policy
A return for this item may be initiated within 14 days of delivery.See Details
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About Harry Bertoia (Designer)
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.
About the Seller
This dealer is the premier source for early-production originals of hard-to-find 20th-century designs and functional art, serving a range of clients, from celebrities and interior designers to aficionados with modest budgets. Its 20,000-square-foot Los Angeles space is packed with rare examples o...