{"id":1979,"date":"2013-12-18T14:58:44","date_gmt":"2013-12-18T13:58:44","guid":{"rendered":"http:\/\/www.arietobertoia.com\/wp\/?page_id=1979"},"modified":"2015-03-27T15:12:40","modified_gmt":"2015-03-27T14:12:40","slug":"images","status":"publish","type":"page","link":"https:\/\/www.arietobertoia.com\/?page_id=1979","title":{"rendered":"Images (259)"},"content":{"rendered":"

Image Archive<\/strong><\/p>\n

This archive contains photographic documents of Harry Bertoia
\n\u25fe for consultation enter the search key (tag, date, name, year, …) in the “Search: …………….”
\n\u25fe all columns can be sorted alphanumerically by clicking on the arrows in the column headers
\n\u25fe the last entries have the highest sequential number (first column)<\/p>\n\n\n\n\n\t\n\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t
#<\/th>ICON<\/th>DESCRIPTION______<\/th>AUTHOR________<\/th>SOURCE___________<\/th>FILE TYPE___<\/th>CATEGORY<\/th>TAGS_____<\/th>\n<\/tr>\n<\/thead>\n
264<\/td>\"\"<\/a><\/td>Bertoia, 1975<\/td>Photo by and courtesy of Beverly H. Twitchell<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>portrait, sound, sculpture<\/td>\n<\/tr>\n
263<\/td>\"\"<\/a><\/td>Bertoia working on his sculptures in his renovated Pennsylvania Deutsch fieldstone barn that he used as a studio for recordings.<\/td>n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>studio, pennsylvania, work, portrait<\/td>\n<\/tr>\n
262<\/td>\"\"<\/a><\/td>Harry Bertoia (c. 1970s). Photo: courtesy Harry Bertoia Foundation<\/td>n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>sculpture, portrait<\/td>\n<\/tr>\n
261<\/td>\"\"<\/a><\/td>Harry Bertoia and Thomas Zung at University of Akron<\/td>n.a.<\/td>JPG<\/td>JPG<\/td>SCULPTURE<\/td>sculpture, pubblic commission, <\/td>\n<\/tr>\n
260<\/td>\"\"<\/a><\/td>Outgoing art museum president Robert L. Silber and Mrs. Silber were honored at Thursday's annual museum meeting. Sculpture, their gift to museum, is by Harry Bertoia.<\/td>Denver Post Archive
\nNov. 19, 1971
\nGetty Images<\/td>		JPG<\/td>JPG<\/td>SCULPTURE<\/td>sculpture, exhibition<\/td>\n<\/tr>\n
259<\/td> <\/td>Bertoia with sounding sculpture
\nCourtesy Bente Torjusen<\/td>		Clifford B. West<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>sound, sculpture<\/td>\n<\/tr>\n
258<\/td> <\/td>Svea Kline, Marguerite Kimball, Lillian Holm, and Joy Griffin West at the opening night of the student exhibition, May 1944. Cranbrook Archives. <\/td>n.a.<\/td>JPG<\/td>JPG<\/td>JEWELRY<\/td>cranbrook, jewelry<\/td>\n<\/tr>\n
257<\/td> <\/td>Harry Bertoia, 1975
\n\"Sonambient \/ Sounding Sculpture\" for the Standard Oil Plaza, Chicago, Illinois.
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>standard oil, chicago, public commission<\/td>\n<\/tr>\n
256<\/td> <\/td>Bertoia working with an acetylene torch, 1952.
\nKnoll archives<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>sculpture<\/td>\n<\/tr>\n
255<\/td> <\/td>Harry Bertoia, 1975
\n\"Sonambient \/ Sounding Sculpture\" for the Standard Oil Plaza, Chicago, Illinois.
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>standard oil, chicago, public commission<\/td>\n<\/tr>\n
254<\/td> <\/td>Portraits of Harry Bertoia from a photograph contact sheet for Knoll publicity materials.
\nKnoll Archives<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>knoll, chair, portrait<\/td>\n<\/tr>\n
253<\/td> <\/td>Harry Bertoia - The Artist, c. 1943. Cranbrook Academy of Art, Bloomfield Hills, Michigan.
\nA true Renaissance man of worldwide! Quickly becoming a household name for his timeless Art & Design & for the man he was... an extraordinary man of nature vs. metal.
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>cranbrook, portrait<\/td>\n<\/tr>\n
252<\/td> <\/td>Harry relaxing, Knoll showroom, 1965
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>knoll, chair, showroom<\/td>\n<\/tr>\n
251<\/td> <\/td>Bertoia with massive gong
\n'70<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>gong, sculpture<\/td>\n<\/tr>\n
250<\/td> <\/td>Harry relaxing, Knoll showroom, 1965
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>knoll, chair, showroom<\/td>\n<\/tr>\n
249<\/td> <\/td>Gordon Bunshaft, left, partner in the architectural firm of Skidmore, Owings & Merrill, designers of Manufacturers Hanover Trust Company's new Fifth Avenue Office, discusses blueprints for the erection of the six-ton sculptured metal screen (1954) created by Harry Bertoia, right.
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>new york, sculpture, panel, screen, mht, bunshaft, public commission<\/td>\n<\/tr>\n
248<\/td> <\/td>Harry and Brigitta Valentiner Bertoia, April, 1969.
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>portrait, private, brigitta<\/td>\n<\/tr>\n
247<\/td> <\/td>Harry Bertoia, 1975
\n\"Sounding Sculpture\" for the Standard Oil Plaza, Chicago, Illinois.
\n
\nBertoia enjoying one of his Sonambient \/ Sound sculptures which he refers to as his \"Offering to the Wind.\"
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>standard oil, chicago, public commission<\/td>\n<\/tr>\n
246<\/td> <\/td>Thomas Zung, architect, and Harry Bertoia worked on several projects together in the 1970s. The last one was the Glenville, Ohio, Library. Harry designed and laid out the pieces for the sounding sculpture for the 1978 commission, but became too sick with cancer to continue. His son, Val Bertoia, took over and welded the rods together to complete the tonal sculpture. It is considered a Harry Bertoia, as it was drawn, planned, designed and prepared by Harry, but the final work was finished by Val.
\nCourtesy Celia<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>glenville, sound sculpture, zung, public commission<\/td>\n<\/tr>\n
245<\/td> <\/td>Bertoia working in his studio
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>studio, portrait<\/td>\n<\/tr>\n
244<\/td> <\/td>Harry Bertoia with bush sculpture
\nCourtesy P. Ihlenfeld<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>sculpture, bush, studio<\/td>\n<\/tr>\n
243<\/td> <\/td>Bertoia's tools
\nIn Nelson, June Kompass. Harry Bertoia, Printmaker. Monotypes and Other Monographics. Detroit, Wayne State University Press, 1988.
\np. 35<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>monoprints, tools, studio<\/td>\n<\/tr>\n
242<\/td> <\/td>Bertoia's hands
\nIn Nelson, June Kompass. Harry Bertoia, Printmaker. Monotypes and Other Monographics. Detroit, Wayne State University Press, 1988.
\np. 35<\/td>		George Cserna<\/td>JPG<\/td>JPG<\/td>PORTRAIT<\/td>private<\/td>\n<\/tr>\n
241<\/td> <\/td>In 1974,\u00a0Bertoia\u00a0began work on a commission for the Standard Oil Building in Chicago. To complement Edward Durell Stone's modernist masterwork, Bertoia envisioned a collection of eleven sound sculptures stationed in a 4,000-square-foot reflecting pool at the skyscraper's foot.\u00a0<\/td>Wright Auctions
\nNew York, Chicago<\/td>		JPG<\/td>EXT.LINK<\/td>PORTRAIT<\/td>public commissions, chicago, standard oil, wright<\/td>\n<\/tr>\n
240<\/td> <\/td>Untitled, 1668
\nc. 1970's
\nInk on Paper
\n24\" x 18\"
\nPlaced in a Private Collection<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
239<\/td> <\/td>Untitled, 1597
\nc. 1950's
\nInk on Paper
\n10\" x 21\"<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
238<\/td> <\/td>Untitled, 1203
\nc. 1960's
\nInk on Paper
\n13\" x 24\"<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
237<\/td> <\/td>Untitled, 803
\nc. 1940's
\nInk on Paper
\n14\" x 20\"<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
236<\/td> <\/td>Untitled, 799
\nc. 1940's
\nInk on Paper
\n16\" x 20\"<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
235<\/td> <\/td>Untitled, 462
\nc. 1970's
\nInk on Paper
\n25\" x 13\"<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
234<\/td> <\/td>Untitled, 328
\nc. 1940's
\nInk on Paper
\n9\" x 7\"
\nPlaced in a Private Collection<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
233<\/td> <\/td>Untitled, 70a
\nc. 1940's
\nInk on Paper
\n10\" x 22\"<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
232<\/td> <\/td>Untitled 3034
\nc. 1960s
\nMonoprint on rice paper
\nInscribed in pencil \"3034\" verso<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
231<\/td> <\/td>Untitled 300
\n1939-78
\nMonoprint, ink on rice paper
\n\"300\" lower right
\nSheet: 5.5\" x 23.5\"; Frame: 8.75\" x 26.75\"<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
230<\/td> <\/td>Untitled 270
\n1939-78
\nMonoprint, ink on rice paper
\n\"270\" lower right
\nSheet: 8.75\" x 24\"; Frame: 12\" x 27\"<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
229<\/td> <\/td>Untitled 712
\n1939-78
\nMonoprint, ink on rice paper
\n\"712\" lower right
\nSheet: 12.875\" x 24\"; Frame: 16\" x 27\"<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
228<\/td> <\/td>Monoprint (XV1.1)
\nExecuted 1945-47
\nColored inks and oils on heavy map paper
\nLabel on verso of mat \"Nierendorf Gallery\"
\nLiterature: Nelson, June Kompass. Harry Bertoia. Printmaker: Monotypes and Other Monographics. Michigan: Wayne State University Press, 1988. p 76.<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
227<\/td> <\/td>Brooch
\nExecuted c. 1946
\nProvenance: From the collection of James Byrnes, Los Angeles<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>JEWELRY<\/td>brooch<\/td>\n<\/tr>\n
226<\/td> <\/td>Untitled (sculpture)Executed c. 1975
\nWelded and patinated bronze and copper
\nProvenance: Private collection (acquired from the artist).<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>bush<\/td>\n<\/tr>\n
225<\/td> <\/td>Untitled
\n1961
\nInk on paper
\nRetains two Staempfli Gallery labels and paper label inscribed \"8-P Harry Bertoia Untitled Drawing 1961\" verso<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
224<\/td> <\/td>Untitled (early monographic work)
\nc. 1940-1943
\nMonoprint
\nBears the inscription \"Bertoia 1940\" on the frame backing verso
\nLiterature: Nelson, June Kompass. Harry Bertoia, Printmaker. Detroit: Wayne State University Press, 1988. pp 58-60 for similar examples.<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
223<\/td> <\/td>Brooch (untitled)
\nExecuted 1943-50
\nHand-hammered silver
\nLAMA would like to thank Celia Bertoia for her assistance in cataloging this work
\nProvenance: Private Collection, Santa Cruz, California<\/td>		Los Angeles Modern Auctions<\/td>JPG<\/td>JPG<\/td>JEWELRY<\/td>brooch<\/td>\n<\/tr>\n
222<\/td> <\/td>Untitled, from \"Collection of 29\" 71 11
\n1940s-50s
\nBlack and white monotype
\nsheet: 7 13\/16 in. x 5 5\/16 in. (19.8 cm x 13.5 cm); image: 7 5\/8 in. x 5 1\/4 in. (19.4 cm x 13.3 cm)
\nGift of Gil Einstein and Anne MacDougall
\n2003.71.11 <\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
221<\/td> <\/td>Untitled, from \"Collection of 29\" 71 9
\n1940s-50s
\nBlack and white monotype
\nsheet: 7 5\/16 in. x 5 5\/16 in. (18.6 cm x 13.5 cm); image: 6 13\/16 in. x 5 in. (17.3 cm x 12.7 cm)
\nGift of Gil Einstein and Anne MacDougall
\n2003.71.9 <\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
220<\/td> <\/td>Untitled, from \"Collection of 29\" 71 6
\n1940s-50s
\nMonotype
\nsheet: 8 7\/8 in. x 5 5\/16 in. (22.5 cm x 13.5 cm); image: 7 3\/4 in. x 4 1\/4 in. (19.7 cm x 10.8 cm)
\nMuseum purchase, Erna Bottigheimer Sands (Class of 1929) Art Acquisition Fund
\n2003.71.6 <\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
219<\/td> <\/td>Untitled, from \"Collection of 29\" 71 5
\n1940s-50s
\nMonotype
\nsheet: 7 7\/8 in. x 7 1\/4 in. (20 cm x 18.4 cm); image: 4 5\/16 in. x 6 5\/16 in. (11 cm x 16 cm)
\nMuseum purchase, Erna Bottigheimer Sands (Class of 1929) Art Acquisition Fund <\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
218<\/td> <\/td>Untitled, from \"Collection of 29\" 71 4
\n1940s-50s
\nColor monotype
\nsheet and image: 8 3\/8 in. x 11 15\/16 in. (21.3 cm x 30.3 cm)
\nMuseum purchase, Erna Bottigheimer Sands (Class of 1929) Art Acquisition Fund <\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
217<\/td> <\/td>Untitled, from \"Collection of 29\" 71 3
\n1940s-50s
\nColor monotype
\nsheet and image: 8 7\/16 in. x 10 15\/16 in. (21.4 cm x 27.8 cm)
\nMuseum purchase, Erna Bottigheimer Sands (Class of 1929) Art Acquisition Fund
\n<\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
216<\/td> <\/td>Untitled, from \"Collection of 29\" 71 2
\n1940s-50s
\nColor monotype
\nsheet and image: 8 7\/16 in. x 10 15\/16 in. (21.4 cm x 27.8 cm)
\nMuseum purchase, Erna Bottigheimer Sands (Class of 1929) Art Acquisition Fund
\n<\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
215<\/td> <\/td>Untitled, from \"Collection of 29\" 71 1
\n1940s-50s
\nColor monotype
\nsheet and composition: 8 7\/16 in. x 10 15\/16 in. (21.4 cm x 27.8 cm)
\nMuseum purchase, Erna Bottigheimer Sands (Class of 1929) Art Acquisition Fund <\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
214<\/td> <\/td>Maquette for Conceptual Sculpture
\nca. 1953
\nBrass welded coating on steel wire
\noverall: 18 in. x 19 1\/8 in. x 9 5\/8 in. (45.7 cm x 48.6 cm x 24.5 cm)
\nGift of Jacqueline Loewe Fowler <\/td>		Davis Musem at Wellesley College, Wellesley MA<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>maquette<\/td>\n<\/tr>\n
213<\/td> <\/td>Moma garden with Bertoia chairs<\/td>n.a.<\/td>JPG<\/td>EXT.LINK<\/td>CHAIRS<\/td>chairs, side<\/td>\n<\/tr>\n
212<\/td>\"\"<\/a><\/td>Bertoia is buried behind the Sonambient Barn under a huge 1-ton gong in Barto
\nBerks County
\nPennsylvania, USA
\nHis grave is behind the barn. No headstone, just a huge gong\u2019s dark disk. Three tall logs intersect in a pyramid, and suspended from its apex is the gong, its bottom inches about the surface of the leaves covering his grave. An epitaph stands nearby: \u201cHe heard the voice of the wind bringing sound from form to life.\u201d <\/td>		n.a.<\/td>JPG<\/td>EXT.LINK<\/td>PRIVATE, SCULPTURES<\/td>gong<\/td>\n<\/tr>\n
211<\/td> <\/td>Untitled, ca. 1943. Monoprint, 6 1\/2 \u00d7 8 inches (16.5 \u00d7 20.3 cm). Solomon R. Guggenheim Museum, New York<\/td>Solomon R. Guggenheim Founding Collection 43.912.74 <\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>guggenheim, monoprint<\/td>\n<\/tr>\n
210<\/td> <\/td>Monoprints by Harry Bertoia. Executed between the early 1950's and 1970's.
\nVarious colors of inks on rice paper.<\/td>		n.a.<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
209<\/td> <\/td>Monoprints by Harry Bertoia. Executed between the early 1950's and 1970's.
\nVarious colors of inks on rice paper.<\/td>		n.a.<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
208<\/td> <\/td>Monoprints by Harry Bertoia. Executed between the early 1950's and 1970's.
\nVarious colors of inks on rice paper.<\/td>		n.a.<\/td>JPG<\/td>EXT.LINK<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
207<\/td> <\/td>Wire Form Sculpture 1965
\nLarge \"Bundle Formed\" sculpture. Kinetic sculpture of steel wires that sway gently to the touch, stainless steel base<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>wires, steel<\/td>\n<\/tr>\n
206<\/td> <\/td>Unique and Fine 1962 Wire Sculpture maquette
\nHandformed using brass coated piano wire. A light and airy piece, with a light vibration<\/td>		n.a.<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>wire, maquette<\/td>\n<\/tr>\n
205<\/td> <\/td>Southdale Center
\n<\/td>		Victor Gruen Arch.
\nEdina, Minnesota
\n1956<\/td>		JPG<\/td>JPG<\/td>PUBLIC COMMISSION<\/td>sculpture<\/td>\n<\/tr>\n
204<\/td>\"\"<\/a><\/td>Brooch, sterling silver.
\nCourtesy of Mark McDonald, 555 Warren St., Hudson, New York <\/td>		Photo by Bill Hibbs<\/td>JPG<\/td>EXT.LINK<\/td>JEWELRY<\/td>brooch<\/td>\n<\/tr>\n
203<\/td>\"\"<\/a><\/td>Bertoia in his studio<\/td>n.a.<\/td>JPG<\/td>EXT.LINK<\/td>PORTRAIT<\/td>bush, sculptures<\/td>\n<\/tr>\n
202<\/td><\/td>Ceiling sculpture for Manufacturers Hanover Trust, New York<\/td>1954<\/td>JPG<\/td>EXT.LINK<\/td>SCULPTURES<\/td>ceiling<\/td>\n<\/tr>\n
201<\/td> <\/td>Study, for the four-panel screen at Dulles International Airport, Chantilly, VA, ca. 1963
\nPatinated poured bronze.\u00a0
\n34.3 cm. high<\/td>		Phillips Auction, New York, 2009<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>dulles, airport, public commission<\/td>\n<\/tr>\n
200<\/td> <\/td>Rare \u201cStraw\u201d sculpture, 1960s
\nBronze- and brass-covered steel rod.
\n24.4 x 29.2 x 10.2 cm., including base<\/td>		Phillips Auction, New York, 2009<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>straw<\/td>\n<\/tr>\n
199<\/td> <\/td>Rare \u201cBush\u201d sculpture, ca. 1965
\nPatinated copper.
\n38.7 cm. high<\/td>		Phillips Auction, New York, 2009<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>bush<\/td>\n<\/tr>\n
198<\/td> <\/td>Untitled monoprints (group of 6), circa 1955
\nSix monoprints, on thin Japanese paper, with uneven margins or the full sheet,
\nvarious sizes
\napprox. 19.1 x 14 cm
\nall with the 'Harry Bertoia monoprint' stamp on the reverse, all in very good condition, all unframed<\/td>		Phillips Auction, New York, 2009<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprints, <\/td>\n<\/tr>\n
197<\/td> <\/td>Hemispherical \u2018Bush\u2019 sculpture, 1961
\nCopper.
\n17.1 x 30.5 x 19.1 cm.<\/td>		Phillips Auction, New York, 2009<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>bush<\/td>\n<\/tr>\n
196<\/td> <\/td>\"Golden Rods\" melt-coated wire sculpture, circa 1959
\nBrass-covered steel, phosphor bronze.
\n125.1 x 185.4 x 22.2 cm<\/td>		Phillips Auction, New York, 2009<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>golden, rods<\/td>\n<\/tr>\n
195<\/td> <\/td>Early \"Bush\" sculpture, ca. 1960
\nWelded patinated bronze and copper, stone.<\/td>		Phillips Auction, New York, 2009<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>bush<\/td>\n<\/tr>\n
194<\/td>\"\"<\/a><\/td>Bertoia was a Scholastic Award winning in 1934 and 1936- but not for design or sculpture! Check out this ink drawing he won for in 1936 entitled \u201cWash Dry\u201d while attending\u00a0Cass Technical High School in Detroit.<\/td>Harry Bertoia, 1936<\/td>JPG<\/td>EXT.LINK<\/td>ADS<\/td>drawing, award, cass, 1936<\/td>\n<\/tr>\n
193<\/td> <\/td>Untitled Sounding Sculpture, 1975
\nCopper-beryllium alloy rods welded to plates of naval brass and mounted on granite pedestals
\nAon Center 200 East Randolph Street Plaza Chicago Illinois 60680
\nleven clusters of rods have been welded to plates of naval brass which rest on granite pedestals. The clusters, set at right angles to each other, form a sculpture capable of producing sound from wind. The clusters are placed in a large reflecting pool<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, sound, public work, aon center, standard oil plaza<\/td>\n<\/tr>\n
192<\/td> <\/td>#1117 Monotype on paper, 1954-1956 ca.
\nSmithsonian American Art Museum, Gift of B. Valentiner Bertoia<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
191<\/td> <\/td># 1260 Monotype on paper, 1940s
\nSmithsonian American Art Museum, Gift of B. Valentiner Bertoia<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
190<\/td> <\/td>Untitled Sculpture
\nSculpture: bronze; Base: concrete
\nLocated Lake Clifton Senior High School 2801 St. Lo Drive Baltimore Maryland 21213
\n<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture<\/td>\n<\/tr>\n
189<\/td> <\/td>Untitled, 1965
\nStainless steel wires set in artist's concrete base with aluminum trim
\nHirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, wires<\/td>\n<\/tr>\n
188<\/td> <\/td>Untitled, 1965
\nStainless steel wires set in artist's concrete base with aluminum trim
\nSmithsonian Institution Hirshhorn Museum and Sculpture Garden<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, wires<\/td>\n<\/tr>\n
187<\/td> <\/td>Untitled, 1950
\nBronze
\nMuscatine Art Center 1314 Mulberry Avenue Muscatine Iowa
\nStructure made of interrelated bronze wire cubes, arranged into seven layers. Flat, rectangular pieces of bronze and small bronze triangles are suspended in cubes. Whole structure is supported by four thin bronze legs<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture<\/td>\n<\/tr>\n
186<\/td> <\/td>Sunburst, 1959
\nBronze illuminated by light bulb
\nLocated CIBA-GEIGY Corporation West Caldwell New Jersey
\nSunburst formation composed of small, flat metal rectangles attached to metal rods. Light bulb in center<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, sunburst, ciga<\/td>\n<\/tr>\n
185<\/td> <\/td>Sounding Sculpture, 1976
\nSculpture: Tobin bronze rods or brass; Base: Marble
\nLocated Bowling Green State University Fine Arts Building Bowling Green Ohio
\nRods (52 or 62) of different height are placed in rows and make sound when they move<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, sound<\/td>\n<\/tr>\n
184<\/td> <\/td>Sonambient, 1976-1977
\nSculpture: bronze, naval brass, beryllium copper, silver; Base: cement
\nLocated Sculpture Garden Church Street & New Street Bethlehem Pennsylvania
\nA wind chime constructed with twenty rods topped by small cylinders which move in the wind producing a chime when they hit one another. The rods are encircled with two hoops that keep the rods in place. The sculpture has a greenish-grey patina and is mounted on a flat square base<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, sound<\/td>\n<\/tr>\n
183<\/td> <\/td>Untitled, cast 1962. Dedicated 1982
\nSculpture: cast bronze; Base; polished black granite
\nLocated State Plaza Near 621 Penn Street Reading Pennsylvania
\nCast panel with rough holes and indentations on integral cast base. All mounted on polished black granite base<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, cube<\/td>\n<\/tr>\n
182<\/td> <\/td>Island of Moss, 1967. Dedicated 1982
\nSculpture: bronze, with patina; Base: concrete and stone
\nLocated State Plaza Between 6th & 7th, Penn Street Reading Pennsylvania
\nA gathering of sculpted bronze moss. A molten, irregular base supports hundreds of 8 inch stems with noduled tips. They branch out in a swaying pattern. The entire piece sets atop a six-sided concrete base, the surface covered with white and tan pebbles of varying sizes<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture<\/td>\n<\/tr>\n
181<\/td> <\/td>Interrupted Flight, Jan. 22, 1975. Dedicated Sept. 9, 1975
\nSculpture: bronze with antique green patina; Base: concrete
\nLocated A. Price Woodard, Jr. Memorial Park At Century II Wichita Kansas
\nAn abstract bird-like figure with tail raised, wings extended and head turned back in repose. The shape flares out from a single, hollow open oval stem or leg<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, wichita memorial, public work<\/td>\n<\/tr>\n
180<\/td> <\/td>Gong Sculpture, 1970-71
\nSculpture: sheet bronze; Base: concrete
\nAllentown Art Museum Fifth & Court Streets
\nConical sculpture which narrows at the top has two V-shaped arms which each hold a large disc<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, gong<\/td>\n<\/tr>\n
179<\/td> <\/td>Gong Tree
\nSculpture: bronze; Base: concrete
\nReading Area Community College, Reading PA
\nAn abstract tree with a trunk made of 4-inch tubing and branches made of 2-inch tubing. Hanging from the branches are five rounded triangular shapes. Each shape is flat and has a circle cut out of the center. The bronze sculpture stands on a concrete base<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, gong<\/td>\n<\/tr>\n
178<\/td> <\/td>Golden Dandelions, 1964 c.
\nSculpture: gold-plated metal; Base: concrete
\nLocated National Technical Institute for the Deaf Gannett Building courtyard Rochester New York
\nFive dandelions comprised of gold-plated wire bristles of varying height and circumference, with bronze globe core<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, dandelions, rochester, public work<\/td>\n<\/tr>\n
177<\/td> <\/td>Fountain
\nSculpture 1957: bronze, welded; Foundation: concrete
\nFirst Place Plaza Lower level, on 4th Street, east of Main Tulsa Oklahoma
\nA fountain resembles a plant with tendrils and leafy twigs. Water flows out of the leaves to the ground. Fountain is centered in a circle of flat bricks
\n<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, fountain, tulsa, public commission<\/td>\n<\/tr>\n
176<\/td> <\/td>The Family, 1964
\nSculpture: bronze; Base: concrete
\nLocated Stemmons Towers 2730 Stemmons Freeway Dallas Texas.
\nFour abstract figures installed in a shallow garden pool in a courtyard. One figure is shaped like an upside-down cone with a circular shape on top of it. Another figure is shaped like an upside-down cone with an octagonal shape on top of it; a smaller figure with the same shapes shadows this. The last figure is a brush-like clump, with its ends fanning out toward the top. The figures appear to rest on the surface of the water<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, fountain<\/td>\n<\/tr>\n
175<\/td> <\/td>Sounding Sculpture, dedicated June 1976
\nCopper rods attached to brass plate mounted on a pedestal of aggregate-faced concrete
\nLocated Ideal Plaza 17th & Curtis Streets Denver C90 copper rods, arranged in 18 rows of 5 each, attached to a brass plate mounted on a pedestal of aggregate concrete. Sound is created by the wind movement of the copper rodsolorado
\n<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, sound, denver, public work<\/td>\n<\/tr>\n
174<\/td> <\/td>Sculpture, dedicated June 1974
\nculpture: bronze with green patina; Base: cement
\nNational Bank of Boyertown Philadelphia
\nA huge, biomorphic tulip with two large leaves that unfold from a center stem. Water spouts up from the stem and gently rolls over the petals and into a fountain basin below. The entire surface of the sculpture has a rippled texture<\/td>		Art Inventories Catalog, Smithsonian American Art Museums<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>sculpture<\/td>\n<\/tr>\n
173<\/td> <\/td>Portrait of grandmother by Harry
\nin N. N. Schiffer, V. O. Bertoia, The world of Bertoia, 2003; p. 14.<\/td>		n.a.
\n1927 c.<\/td>		JPG<\/td>JPG<\/td>FAMILY HISTORY<\/td>drawing<\/td>\n<\/tr>\n
172<\/td> <\/td>Arieto Bertoia (age 7-8 months c.) with a lieutenant in San Lorenzo, 1915 (during I world war).
\nin N. N. Schiffer, V. O. Bertoia, The world of Bertoia, 2003; p. 13.<\/td>		n.a.
\n1915<\/td>		JPG<\/td>JPG<\/td>FAMILY HISTORY<\/td>portrait, private<\/td>\n<\/tr>\n
171<\/td> <\/td>Harry's school class photo
\n<\/td>		n.a.
\n1920<\/td>		JPG
\nOriginal item
\navailable at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>FAMILY HISTORY<\/td>family history, private<\/td>\n<\/tr>\n
170<\/td> <\/td>The Italian-American artist Harry Bertoia exhibited his works at the Henie Onstad Art Centre in B\u00e6rum (Norway). Here the artist from one of the sculptures.<\/td>Ole Christian Frenning, June 17, 1977<\/td>JPG<\/td>JPG<\/td>EXHIBITIONS<\/td>exhibition, sculpture, gongs<\/td>\n<\/tr>\n
169<\/td> <\/td>The Italian-American artist Harry Bertoia exhibited his works at the Henie Onstad Art Centre in B\u00e6rum (Norway). Here the artist from one of the sculptures.<\/td>Ole Christian Frenning, June 17, 1977<\/td>JPG<\/td>JPG<\/td>EXHIBITIONS<\/td>exhibition, sculpture, willows<\/td>\n<\/tr>\n
168<\/td> <\/td>The ancient church of San Lorenzo<\/td>n.a.<\/td>JPG
\nOriginal item
\navailable at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>HISTORY<\/td>san lorenzo<\/td>\n<\/tr>\n
167<\/td> <\/td>San Lorenzo's square;
\nbehind, a gypsy caravan<\/td>		1930s<\/td>JPG
\nOriginal item
\navailable at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>HISTORY<\/td>san lorenzo<\/td>\n<\/tr>\n
166<\/td> <\/td>Giuseppe Bertoia, Harry's father<\/td>n.a.<\/td>JPG
\nOriginal item
\navailable at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>FAMILY HISTORY<\/td>giuseppe bertoia<\/td>\n<\/tr>\n
165<\/td> <\/td>Mussio family. Above from left: Alice, Irene, Caterina, Maria (Harry's mother), Grazia and Celeste Mussio<\/td>n.a.<\/td>JPG
\nOriginal item
\navailable at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>FAMILY HISTORY<\/td>maria mussio<\/td>\n<\/tr>\n
164<\/td> <\/td>The wheat harvest<\/td>1930s<\/td>JPG
\nOriginal item
\navailable at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>HISTORY<\/td>family<\/td>\n<\/tr>\n
163<\/td> <\/td>Harry (right) and Oreste (left) in Detroit<\/td>1930s<\/td>JPG<\/td>JPG<\/td>FAMILY HISTORY<\/td>portrait, private<\/td>\n<\/tr>\n
162<\/td> <\/td>Harry with a straw hat<\/td>n.a.<\/td>JPG<\/td>JPG<\/td>PORTRAITS<\/td>portrait, private<\/td>\n<\/tr>\n
161<\/td>\"\"<\/a><\/td>Harry Bertoia portrait in book \"Metal Sculpture\" , J. Lynch, 1957<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>PORTRAITS<\/td>portrait, sculpture<\/td>\n<\/tr>\n
160<\/td>\"\"<\/a><\/td>Cass Technical High School Detroit Michigan.
\nBertoia stayed in Michigan to attend Cass Technical High School (1932-1936), a public school with a special program for talented students in arts and sciences. Bertoia get in touch with two exceptional teachers, Louise Greene and Mary Davis<\/td>		n.a.<\/td>EXT. LINK<\/td>JPG<\/td>HISTORY<\/td>school<\/td>\n<\/tr>\n
159<\/td> <\/td>Detroit Society of Arts & Crafts.
\n47 Watson Street in Brush Park, Detroit. Demolished in 2005 after a long period of fires and general decay. Fig 299 scanned from W. Hawkins Ferry's book \"The Buildings of Detroit\". Bertoia<\/td>		1916<\/td>EXT. LINK<\/td>JPG<\/td>HISTORY<\/td>school <\/td>\n<\/tr>\n
158<\/td> <\/td>The Vignellis designed the Knoll au Louvre exhibition which was held at the\u00a0Musee des Arts Decoratifs\u00a0in the\u00a0Pavillion de Marsan in 1972. The Vignellis also designed the catalog for the exhibition and\u00a0Herbert Matter\u00a0did the photography.
\nSketches for\u00a0Knoll\u00a0au Louvre exhibition catalog
\nPencil and ink on paper
\nBox 570, Massimo and Lella Vignelli papers
\nVignelli Center for Design Studies\u00a0
\nRochester, New York<\/td>		Massimo Vignelli, 1972<\/td>EXT. LINK<\/td>JPG<\/td>EVENTS, EXHIBITIONS<\/td>knoll<\/td>\n<\/tr>\n
157<\/td>\"\"<\/a><\/td>Hans Knoll (1914-1955) in his office in New York. Behind, a Bertoia sculpture<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>PORTRAITS<\/td>hans, knoll, sculpture<\/td>\n<\/tr>\n
156<\/td>\"\"<\/a><\/td>Diamond two tone with sculpture<\/td>Herbert Matter<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>diamond, sculpture<\/td>\n<\/tr>\n
155<\/td> <\/td>Knoll advertise <\/td>1957<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>chiar<\/td>\n<\/tr>\n
154<\/td> <\/td>Bertoia Wire Chair Study
\nVintage gelatin silver print
\nArtist's studio stamp on reverse. Inscribed in pencil on reverse: [Bertoia story 8\/15\/52 L. Knoll]
\n<\/td>		Herbert Matter, 1952<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>diamond, side, prototypes<\/td>\n<\/tr>\n
153<\/td> <\/td>Rapson Shop Inc. in Boston <\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>diamond, bird<\/td>\n<\/tr>\n
152<\/td> <\/td>The prototype dowel
\nc.1940
\nAn important developmental chair by Bertoia. While the overall form of the chair is heavily influenced by the work of Aalto and Breuer, Bertoia's treatment of the seat with its structure of repeated wooden dowels points the way to Bertoia's breakthrough furniture series comprised of metal rods. Bertoia's furniture designs are among the most commercially successful of the twentieth century. This experimental chair is from the artist's personal collection and is quite probably the earliest seating design of Bertoia's career.<\/td>		Wright Auctions
\nNew York, Chicago<\/td>		EXT.LINK<\/td>JPG<\/td>CHAIRS<\/td>prototype, wood, chair, eames office, california<\/td>\n<\/tr>\n
151<\/td>\"\"<\/a><\/td>The Conservation of Harry Bertoia\u2019s Sculpture Group Symbolizing World\u2019s Communication in the Atomic Age <\/td>Smithsonian American Art Museum\u2019s, 2005<\/td>EXT. LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>Zenith Radio, Chicago, 1959<\/td>\n<\/tr>\n
150<\/td> <\/td>One of 3 Sonambient sculptures at Kentuck Knob.
\nThis house represents a refinement of the many principles of organic architecture Mr. Wright explored throughout his long career. Today, the interior reflects the taste and personalities of the current owners, Lord and Lady Palumbo, who are committed to preserve and maintain the house for the enjoyment of all those who, like them, share a deep admiration for Frank Lloyd Wright\u2019s genius.<\/td>		Chalk Hill, PA, 2009
\nCourtesy Arch. Mario Dall'Agnese, Zoppola PN<\/td>		EXT.LINK
\nOriginal item available at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>SCULPTURES<\/td>sound<\/td>\n<\/tr>\n
149<\/td> <\/td>Pierre Soulages's studio at S\u00e8te (France) early '60<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>diamond, side<\/td>\n<\/tr>\n
148<\/td><\/td>Bertoia design in the movies<\/td>La Proie pour l'ombre,\u00a01961
\ndirected by A. Astruc<\/td>		EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>diamond<\/td>\n<\/tr>\n
147<\/td><\/td>Bertoia design in the movies<\/td>The devil wears Prada, 2006
\ndirected by D. Frankel<\/td>		EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>diamond<\/td>\n<\/tr>\n
146<\/td><\/td>Bertoia design in the movies<\/td>The lake house, 2006 directed by A. Agresti<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>side<\/td>\n<\/tr>\n
145<\/td>\"\"<\/a><\/td>Bertoia design in the movies
\n<\/td>		Vertigo, 1958
\ndirected by A. Hitchcock<\/td>		EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>barstool<\/td>\n<\/tr>\n
144<\/td>\"\"<\/a><\/td>Asymmetric Chair
\nThe chair was never before produced beyond the prototypical form. This version was produced from 2006<\/td>		n.a.<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>chair<\/td>\n<\/tr>\n
143<\/td>\"\"<\/a><\/td>Permanent sounding studio in the barn<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>SONAMBIENT<\/td>studio, barn, sound, sculptures<\/td>\n<\/tr>\n
142<\/td><\/td>A remarkable group of sound sculptures<\/td>Cornell University<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sound<\/td>\n<\/tr>\n
141<\/td><\/td>Sonambient cover.
\nDuring the last decade of his life, Bertoia recorded several of his own symphonic performances with dozens of these \u201ctonals\u201d he assembled in a converted barn at his home in Bartow, Pennsylvania. The recordings fill eleven vinyl LPs, collectively titled Sonambient.<\/td>		n.a.<\/td>EXT. LINK<\/td>JPG<\/td>SONAMBIENT<\/td>album, cover, sound<\/td>\n<\/tr>\n
140<\/td><\/td>Untitled, 15p
\nc. 1940's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
139<\/td><\/td>Untitled, 156a
\nc. 1940's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
138<\/td><\/td>Untitled, 502
\nc. 1950's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
137<\/td><\/td>Untitled, 666
\nc. 1957-58
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
136<\/td><\/td>Untitled, 715
\nc. 1960's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
135<\/td><\/td>Untitled, 723
\nc. 1960's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
134<\/td><\/td>Untitled, 979
\nc. 1970's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
133<\/td><\/td>Untitled, 1222
\nc. 1960's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
132<\/td><\/td>Untitled, 1235
\nc. 1960's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
131<\/td><\/td>Untitled, Green
\nc. 1950's
\nInk on Paper
\nPlaced in a Private Collection<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
130<\/td>\n\"target=_blank><\/td>Untitled, 1751
\nc. 1970's
\nInk on Paper<\/td>		Harry Bertoia: 40 years of drawings, Seraphin Gallery, Philadelphia, 2008<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint, graphics, exhibition<\/td>\n<\/tr>\n
129<\/td><\/td>Harry Bertoia Sculpture
\n15 Years at Wright
\nWright has celebrated the artworks of Harry Bertoia...<\/td>		Wright Auctions
\nNew York, Chicago
\nJanuary 22, February 14, 2014<\/td>		EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures<\/td>\n<\/tr>\n
128<\/td><\/td>Harry Bertoia Sculpture
\n15 Years at Wright
\nWright has celebrated the artworks of Harry Bertoia...<\/td>		Wright Auctions
\nNew York, Chicago
\nJanuary 22, February 14, 2014<\/td>		EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures<\/td>\n<\/tr>\n
127<\/td><\/td>Harry Bertoia Sculpture
\n15 Years at Wright
\nWright has celebrated the artworks of Harry Bertoia...<\/td>		Wright Auctions
\nNew York, Chicago
\nJanuary 22, February 14, 2014<\/td>		EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures<\/td>\n<\/tr>\n
126<\/td><\/td>Harry Bertoia Sculpture
\n15 Years at Wright
\nWright has celebrated the artworks of Harry Bertoia...<\/td>		Wright Auctions
\nNew York, Chicago
\nJanuary 22, February 14, 2014<\/td>		EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures<\/td>\n<\/tr>\n
125<\/td><\/td>Harry Bertoia Sculpture
\n15 Years at Wright
\nWright has celebrated the artworks of Harry Bertoia...<\/td>		Wright Auctions
\nNew York, Chicago
\nJanuary 22, February 14, 2014<\/td>		EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures<\/td>\n<\/tr>\n
124<\/td><\/td>Harry Bertoia Sculpture
\n15 Years at Wright
\nWright has celebrated the artworks of Harry Bertoia since our earliest auctions, therefore it is fitting that Wright presents Harry Bertoia Sculpture: 15 Years at Wright in our New York gallery. This notable exhibition will showcase select works from our history of selling Bertoia at auction alongside works never before offered on the market. From Bush Forms, Welded Forms and Sonambients to experimental works, this comprehensive exhibition will highlight exceptional works from Bertoia\u2019s extensive oeuvre. <\/td>		Wright Auctions
\nNew York, Chicago
\nJanuary 22, February 14, 2014<\/td>		EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures<\/td>\n<\/tr>\n
123<\/td> <\/td>Actor Laurence Fishbourne relaxes in William Paley Park in Midtown Manhattan <\/td>Ozier Muhammed
\nThe New York Times<\/td>		EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>chair, knoll<\/td>\n<\/tr>\n
122<\/td> <\/td>A model relaxes in a living room of the future that displays steel plastics by the American sculptor Harry Bertoia in Frankfurt<\/td>Kurt Strumpf
\nApril 26, 1963<\/td>		EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>chair, sculptures, knoll<\/td>\n<\/tr>\n
121<\/td>\"\"<\/a><\/td>Harry with his collaborators: Klaus Ihlenfeld and Jim Flanagan<\/td>1961 ca.<\/td>EXT. LINK<\/td>JPG<\/td>PORTRAITS<\/td>private<\/td>\n<\/tr>\n
120<\/td>\"\"<\/a><\/td>Maquette for \"The Comet\" sculpture designed for W. Hawkins Ferry
\nbrass coated metal wire and bronze
\n
\n<\/td>		1964<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>ceiling, sculpture<\/td>\n<\/tr>\n
119<\/td>\"\"<\/a><\/td>Untitled melt-coated brass over steel
\nExecuted circa 1955.<\/td>		1955 ca.<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>panel, sculpture<\/td>\n<\/tr>\n
118<\/td>\"\"<\/a><\/td>Untitled\u00a0(Gong)
\nsilicon bronze with applied patina<\/td>		1970<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>gong<\/td>\n<\/tr>\n
117<\/td>\"\"<\/a><\/td>Framed gong for the U.S. Department of State. Harry Bertoia: Sculptor, Nelson, fig. 79
\n<\/td>		1956<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>gong<\/td>\n<\/tr>\n
116<\/td> <\/td>Bertoia Stahr collection, Wright Auctions
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures, sound<\/td>\n<\/tr>\n
115<\/td><\/td>Melt pressed bronze figures in The world of Harry Bertoia pages 138-139
\n<\/td>		Mid 1970<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>melt pressed, sculptures<\/td>\n<\/tr>\n
114<\/td>\"\"<\/a><\/td>Untitled\u00a0(Dandelion)
\nstainless steel, brass<\/td>		c. 1965<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>dandelion<\/td>\n<\/tr>\n
113<\/td><\/td>Graphic presentation of Harry Bertoia bronzes at Jonathan Boos Collector
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures<\/td>\n<\/tr>\n
112<\/td><\/td>Bertoia Group Armory, Park Avenue, New York
\n<\/td>		2011<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculptures, monoprints<\/td>\n<\/tr>\n
111<\/td><\/td>This copper, bronze and nickel screen was commissioned for this site in 1953, and contains more than 800 separate forms placed in five different vertical planes. It is 16 feet high, 70 feet wide and 2 feet deep and weighs more than 5 tons.
\n<\/td>		1954, 2012<\/td>EXT. LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel, sculpture, manufacturers, hanover, trust, new york, restoration, joe fresh<\/td>\n<\/tr>\n
110<\/td>\"\"<\/a><\/td>Untitled
\nbrass-coated copper and slate
\n<\/td>		1958 ca.<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>panel, sculpture<\/td>\n<\/tr>\n
109<\/td>\"\"<\/a><\/td>\"Peacock\", 1961 Bronze with gold patina
\nThe Annenberg Retreat at Sunnylands.
\nLocated in Rancho Mirage, California, the property was owned by Walter and Leonore Annenberg until 2009 and had been used as a winter retreat by the couple. The property is \"rich with historical significance,\" according to the city of Rancho Mirage, which declared Sunnylands an historic site in 1990.
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculpture<\/td>\n<\/tr>\n
108<\/td>\"\"<\/a><\/td>Harry Bertoia with his father in law W. Valentiner; Smithsonian Archives<\/td>1950's<\/td>JPG<\/td>JPG<\/td>SCULPTURES<\/td>panel, sculpture<\/td>\n<\/tr>\n
107<\/td><\/td>Wall sculpture, 1958
\nPatinated and gilt Bronze
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>wall, sculpture<\/td>\n<\/tr>\n
106<\/td><\/td>Cage plays Bertoia sonambient sculptures
\n<\/td>		October 2012<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sound sculpture, music<\/td>\n<\/tr>\n
105<\/td><\/td>Untitled (Sonambient)
\nberyllium copper and brass. Twenty-six rods with slender tops in a single row.
\n<\/td>		1970 ca.<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sound sculpture<\/td>\n<\/tr>\n
104<\/td><\/td>Standard Oil commission
\n<\/td>		1974<\/td>EXT. LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>1974, sound sculptures<\/td>\n<\/tr>\n
103<\/td><\/td>Asymmetric Chair
\nThe chair was never before produced beyond the prototypical form. This version was produced from 2006<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>asymmetric<\/td>\n<\/tr>\n
102<\/td>\"\"<\/a><\/td>Bird chair
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>bird<\/td>\n<\/tr>\n
101<\/td>\"\"<\/a><\/td>Bench
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>bench<\/td>\n<\/tr>\n
100<\/td>\"\"<\/a><\/td>Diamond Chair<\/td><\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>diamond<\/td>\n<\/tr>\n
099<\/td><\/td>Side chair
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>side<\/td>\n<\/tr>\n
098<\/td><\/td>Bertoia Group by Knoll
\n<\/td>		<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>knoll<\/td>\n<\/tr>\n
097<\/td>\"\"<\/td>Sterling Brooch
\n
\n<\/td>		1943 ca.<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
096<\/td>\"\"<\/a><\/td>Sterling silver
\n
\n<\/td>		1942 ca.<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
095<\/td>\"\"<\/td>Silver fish bone pendant Cranbrook years; silver and Ivory '1940<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
094<\/td>\"\"<\/td>Silver and ebony pendant 1940's<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
093<\/td>\"\"<\/a><\/td>Brooch steriling silver
\nAcquired directly from the artist by Ralph Rapson
\n<\/td>		1940 ca.<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
092<\/td>\"\"<\/a><\/td>Silver Brooch
\nProvenance, Mrs. John W. Olsen, Long Beach
\n <\/td>		1940 ca.<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
091<\/td>\"\"<\/a><\/td>Silver pins
\nexhibited in Walker Art Center, Minneapolis: Modern Jewelry under fifty dollars
\n<\/td>		1948<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
090<\/td>\"\"<\/a><\/td>Brooch,
\nsilver<\/td>		1943 ca.<\/td>EXT. LINK<\/td>JPG<\/td>JEWELRY<\/td>jewelry<\/td>\n<\/tr>\n
089<\/td>\"\"<\/td>Ink on rice paper.Executed between the early 's 1950 and 1970's. <\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
088<\/td>\"\"<\/a><\/td>ink on rice paper, 1960s
\nPrivate Collection <\/td>		n.a.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
087<\/td>\"\"<\/a><\/td>Untitled
\nSolomon Guggenheim Museum, New York<\/td>		1943 ca.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
086<\/td>\"\"<\/a><\/td>Untitled
\nSolomon Guggenheim Museum, New York <\/td>		1943 ca.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
085<\/td>\"\"<\/a><\/td>Untitled
\nSolomon Guggenheim Museum, New York<\/td>		1942 ca.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
084<\/td>\"\"<\/a><\/td>Ink on rice paper. The image presented here is likely a study for Syracuse University\u2019s massive \u201cNova\u201d by Bertoia from\u00a01961.<\/td>ca. 1961<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
083<\/td>\"\"<\/td>Executed between the early 1950's and 1970's.
\nInk on rice paper.<\/td>		n.a.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
082<\/td>\"\"<\/td>Executed between the early 1950's and 1970's.
\nInk on rice paper.<\/td>		n.a.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
081<\/td>\"\"<\/td>Ink on rice paper<\/td>1960's<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
080<\/td>\"\"<\/td>Harry Bertoia Fifty Drawings
\n50 plates
\n#7
\nLimited edition book published privately by A. Colish, Inc., designed by Quentin Fiore, limited edition (500) of reproduced monographics by Harry Bertoia Estate, 1980.<\/td>		n.a.<\/td>EXT.LINK
\nPrivate collection
\nOriginal item available at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
079<\/td>\"\"<\/td>Harry Bertoia Fifty Drawings
\n50 plates
\n#718
\nLimited edition book published privately by A. Colish, Inc., designed by Quentin Fiore, limited edition (500) of reproduced monographics by Harry Bertoia Estate, 1980.<\/td>		n.a.<\/td>EXT.LINK
\nPrivate collection
\nOriginal item available at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
078<\/td>\"\"<\/td>Philip Johnson outside his Glass House with Bertoia chairs and Schultz table<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>DESIGN<\/td>chairs<\/td>\n<\/tr>\n
077<\/td>\"\"<\/a><\/td>Rural houses, ca. 1939, signed in pencil. <\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
076<\/td>\"\"<\/td>Harvesting of Grapes,
\nwood engraving
\n
\n
\n<\/td>		1941<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
075<\/td>\"\"<\/td>Harvesting of Corn, wood engraving
\n<\/td>		1941<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>woodcut<\/td>\n<\/tr>\n
074<\/td>\"\"<\/a><\/td>Untitled
\nRice Paper<\/td>		ca. 1975<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>woodcut<\/td>\n<\/tr>\n
073<\/td>\"\"<\/a><\/td>Untitled, ink on paper, Collection of Celia Bertoia<\/td>ca. 1950's<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
072<\/td>\"\"<\/a><\/td>Untitled, pencil numbered #382
\nPrivate collection<\/td>		n.a.<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
071<\/td>\"\"<\/td>Untitled, ink on rice paper<\/td>1965 ca<\/td>EXT. LINK<\/td>JPG<\/td>MONOPRINTS<\/td>monoprint<\/td>\n<\/tr>\n
070<\/td>\"\"<\/td>Cranbrook Academy, 1940<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>cranbrook<\/td>\n<\/tr>\n
069<\/td>\"\"<\/td>Harry Bertoia's work in Milwaukee Art Museum, overlooking Lake Michigan<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>EXHIBITIONS<\/td>sculpture, willow<\/td>\n<\/tr>\n
068<\/td>\"\"<\/a><\/td>The barn (sound sculpture permanent installation) <\/td>photo by Lucio Bertoia<\/td>EXT. LINK<\/td>JPG<\/td>SOUNDS<\/td>sculpture<\/td>\n<\/tr>\n
067<\/td>\"\"<\/td>Sounding Sculpture at Huntington Library <\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sound, sculpture<\/td>\n<\/tr>\n
066<\/td>\"\"<\/td>The barn (interior) first floor<\/td>Leslie Williamson<\/td>EXT. LINK<\/td>JPG<\/td>SOUNDS<\/td>sculpture, chair<\/td>\n<\/tr>\n
065<\/td>\"\"<\/td>The barn (interior)<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>SOUNDS<\/td>design, studio<\/td>\n<\/tr>\n
064<\/td>\"\"<\/a><\/td>A massive double gong<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>SCULPTURES<\/td>sculpture, gong<\/td>\n<\/tr>\n
063<\/td>\"\"<\/a><\/td>Commissioned by Florence Knoll for First National Bank in Miami, Florida, in the 1950s.<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>sculpture, panel<\/td>\n<\/tr>\n
062<\/td>\"\"<\/td>Harry, Brigitta, Lesta and Val outside the barn<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>PORTRAITS<\/td>sculpture<\/td>\n<\/tr>\n
061<\/td>\"\"<\/td>Paley Park, New York<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>chair<\/td>\n<\/tr>\n
060<\/td>\"\"<\/a><\/td>Knoll factory producing diamond chair<\/td>n.a.<\/td>EXT. LINK<\/td>JPG<\/td>CHAIRS<\/td>chair<\/td>\n<\/tr>\n
059<\/td>\"\"<\/td>Playboy Magazine, photo featuring left to right \u2013 George Nelson, Edward Wormley, Eero Saarinen, Harry Bertoia, Charles Eames and Jens Risom. Relax version<\/td>M. Koner and D. Rubin, 1961<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>chair, design<\/td>\n<\/tr>\n
058<\/td>\"\"<\/td>Bertoia in his studio<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>bench, sculpture<\/td>\n<\/tr>\n
057<\/td>\"\"<\/a><\/td>Side chair production<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>CHAIRS<\/td>chair<\/td>\n<\/tr>\n
056<\/td>\"\"<\/a><\/td>Bertoia collection in Knoll advertise<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>ADS & BROCHURES<\/td>chair<\/td>\n<\/tr>\n
055<\/td>\"\"<\/a><\/td>Exhibition: \"Harry Bertoia: Musikk A Sepa\", Grieg Music Festival, Bergen<\/td>Vintage photos are by Bertoia's friend and collaborator, filmmaker Clifford West, taken during the installation of the Grieg Hall exhibition and its opening, 1976<\/td>EXT.LINK<\/td>JPG<\/td>EXHIBITIONS<\/td>sculptures<\/td>\n<\/tr>\n
054<\/td>\"\"<\/a><\/td>Exhibition: \"Harry Bertoia: Musikk A Sepa\", Grieg Music Festival, Bergen<\/td>Vintage photos are by Bertoia's friend and collaborator, filmmaker Clifford West, taken during the installation of the Grieg Hall exhibition and its opening, 1976<\/td>EXT.LINK<\/td>JPG<\/td>EXHIBITIONS<\/td>sculptures<\/td>\n<\/tr>\n
053<\/td>\"\"<\/a><\/td>Exhibition: \"Harry Bertoia: Musikk A Sepa\", Grieg Music Festival, Bergen<\/td>Vintage photos are by Bertoia's friend and collaborator, filmmaker Clifford West, taken during the installation of the Grieg Hall exhibition and its opening, 1976<\/td>EXT.LINK<\/td>JPG<\/td>EXHIBITIONS<\/td>sculptures<\/td>\n<\/tr>\n
052<\/td>\"\"<\/a><\/td>Exhibition: \"Harry Bertoia: Musikk A Sepa\", Grieg Music Festival, Bergen<\/td>Vintage photos are by Bertoia's friend and collaborator, filmmaker Clifford West, taken during the installation of the Grieg Hall exhibition and its opening, 1976<\/td>EXT.LINK<\/td>JPG<\/td>EXHIBITIONS<\/td>sculptures<\/td>\n<\/tr>\n
051<\/td>\"\"<\/a><\/td>Exhibition: \"Harry Bertoia: Musikk A Sepa\", Grieg Music Festival, Bergen<\/td>Vintage photos are by Bertoia's friend and collaborator, filmmaker Clifford West, taken during the installation of the Grieg Hall exhibition and its opening, 1976<\/td>EXT.LINK<\/td>JPG<\/td>EXHIBITIONS<\/td>sculptures<\/td>\n<\/tr>\n
050<\/td>\"\"<\/a><\/td>Federal Reserve Bank, Richmond Virginia
\n<\/td>		1978<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>sound sculpture<\/td>\n<\/tr>\n
049<\/td>\"\"<\/a><\/td>Standard Oil Plaza, Chicago, Illinois Arch.
\nE. Durrell Stone<\/td>		1974<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>sound sculptures<\/td>\n<\/tr>\n
048<\/td>\"\"<\/a><\/td>Marshall University, Huntington, West
\nVirginia <\/td>		1971<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>fountain, memorial<\/td>\n<\/tr>\n
047<\/td>\"\"<\/a><\/td>Rochester Institute of Technology, Rochester, New York Arch. Roche &
\nDinkeloo<\/td>		1968<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>poured bronze cubes<\/td>\n<\/tr>\n
046<\/td>\"\"<\/a><\/td>M&T Plaza
\nArchitect: Minoru Yamasaki
\nBuffalo, New York<\/td>		1968<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>fountain<\/td>\n<\/tr>\n
045<\/td>\"\"<\/a><\/td>Whiting Auditorium, Flint, Michigan
\n
\n<\/td>		1967<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>dandelion<\/td>\n<\/tr>\n
044<\/td>\"\"<\/a><\/td>Philadelphia Civic Center Arch. E. D.
\nStone, Davis, Pool & Sloan Ass.<\/td>		1967<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>fountain<\/td>\n<\/tr>\n
043<\/td>\"\"<\/a><\/td>Northwestern National Life Insurance
\nCo., Minneapolis Arch. M.
\nYamasaki<\/td>		1964<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>sculpture, sunlit straw<\/td>\n<\/tr>\n
042<\/td>\"\"<\/a><\/td>Caracas, U.S. Embassy
\n<\/td>		1963<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel, color<\/td>\n<\/tr>\n
041<\/td>\"\"<\/a><\/td>Dandelion from Denver Hilton Hotel, Colorado
\nArch. I.M. Pei<\/td>		1961<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>sun burst<\/td>\n<\/tr>\n
040<\/td>\"\"<\/a><\/td>Zenith Radio Corp., Chicago
\nnow Smithsonian Museum, Washington DC<\/td>		1959<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>wall hung
\nsculpture<\/td>\n<\/tr>\n
039<\/td>\"\"<\/a><\/td>Yale University, New Haven, Connecticut<\/td>1958<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel<\/td>\n<\/tr>\n
038<\/td>\"\"<\/a><\/td>Dallas Public Library, Dallas Texas, Arch.
\nG.L. Dahl<\/td>		1955<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel<\/td>\n<\/tr>\n
037<\/td>\"\"<\/a><\/td>Lambert Airport, St. Louis Missouri,
\nArch. Minoru Yamasaki <\/td>		1955<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel, color<\/td>\n<\/tr>\n
036<\/td>\"\"<\/a><\/td>Kresge Chapel at Massachussets Institute of Technology, Cambridge MA
\nArch. Eero Saarinen<\/td>		1954<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>hanging sculpture<\/td>\n<\/tr>\n
035<\/td>\n\"target=_blank>\"\"<\/a><\/td>Manufacturers Trust Co., New York
\nArch. G. Bunshaft e R. Allen Studio
\nSkidmore, Owings & Merrill <\/td>		1954<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel<\/td>\n<\/tr>\n
034<\/td>\"\"<\/a><\/td>Cincinnati Public Library, Ohio, Arch. Garber & Ass.<\/td>1954<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel<\/td>\n<\/tr>\n
033<\/td>\"\"<\/a><\/td>General Motors Technical Center, Warren Michigan, Arch. Eero Saarinen<\/td>1953<\/td>EXT.LINK<\/td>JPG<\/td>PUBLIC COMMISSIONS<\/td>panel<\/td>\n<\/tr>\n
032<\/td>\"\"<\/a><\/td>Eames Office staff with plywood glider nose section. Left to right: Charles Eames, Marion Overby, Gregory Ain, Harry Bertoia, Ray Eames, William Francis and Norman Bruns.<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>eames, office, california<\/td>\n<\/tr>\n
031<\/td>\"\"<\/a><\/td>Harry Bertoia at Cranbrook<\/td>n.a.
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student<\/td>\n<\/tr>\n
030<\/td>\"\"<\/a><\/td>Harry Bertoia with Brigitta Valentiner
\nMarch 1942
\n<\/td>		n.a.
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student, private<\/td>\n<\/tr>\n
029<\/td>\"\"<\/a><\/td>View of man in costume serving food to Harry Bertoia
\nDecember 1940
\n<\/td>		n.a.
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student<\/td>\n<\/tr>\n
028<\/td>\"\"<\/a><\/td>Harry and Brigitta(Valentiner) Bertoia at a Saarinen Tea.
\n1944
\n<\/td>		n.a.
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student, private<\/td>\n<\/tr>\n
027<\/td>\"\"<\/a><\/td>Brigitta (Valentiner) and Harry Bertoia
\nSeptember 1939
\n
\n
\n<\/td>		Richard P. Raseman
\n
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student, private<\/td>\n<\/tr>\n
026<\/td>\"\"<\/a><\/td>Cabinet display of Harry Bertoia's metalwork
\nMay 1942
\n<\/td>		n.a.
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student, metalwork<\/td>\n<\/tr>\n
025<\/td>\"\"<\/a><\/td>Harry Bertoia as instructor of the Academy of Art Metals Department
\nMarch 1939
\n
\n<\/td>		Richard Askew
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student<\/td>\n<\/tr>\n
024<\/td>\"\"<\/a><\/td>Bertoia with student in the Academy of Art Metals Studio, 1939
\n
\n
\n<\/td>		Richard Askew
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student<\/td>\n<\/tr>\n
023<\/td>\"\"<\/a><\/td>From left to right: Brigitta (Valentiner) Bertoia, Harry Bertoia, Maija Grotell and Jill Mitchell
\nSeptember 1939
\n
\n<\/td>		Richard P. Raseman
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student<\/td>\n<\/tr>\n
022<\/td>\"\"<\/a><\/td>View of Harry Bertoia
\nBloomfield Hills, MI, July 1942<\/td>		Richard Askew
\n<\/td>		EXT.LINK
\nCranbrook Archives<\/td>		JPG<\/td>PORTRAITS<\/td>cranbrook, student<\/td>\n<\/tr>\n
021<\/td>\"\"<\/a><\/td>Bertoia portrait by his friend<\/td>Clifford B. West, 1970<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>sculpture, studio<\/td>\n<\/tr>\n
020<\/td>\"\"<\/a><\/td>Playboy Magazine, photo featuring left to right \u2013 George Nelson, Edward Wormley, Eero Saarinen, Harry Bertoia, Charles Eames and Jens Risom. Formal version<\/td>M. Koner and D. Rubin, 1961<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>chair, design<\/td>\n<\/tr>\n
019<\/td>\"\"<\/a><\/td>Harry Bertoia at the Knoll offices in New York; with Florence and Hans Knoll (seated) and Herbert Matter<\/td>n.a.
\n1952<\/td>		EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>knoll, hans, florence, matter<\/td>\n<\/tr>\n
018<\/td>\"\"<\/a><\/td>Harry Bertoia, '70<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>sculpture, studio<\/td>\n<\/tr>\n
017<\/td>\"\"<\/a><\/td>Harry Bertoia in the courtyard in Barto, shortly after the release of the Knoll collection. <\/td>Knoll Archive<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>chair, knoll, private<\/td>\n<\/tr>\n
016<\/td>\"\"<\/a><\/td>Harry Bertoia in the courtyard in Barto, shortly after the release of the Knoll collection. <\/td>Knoll Archive<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>chair, knoll, private<\/td>\n<\/tr>\n
015<\/td>\"\"<\/a><\/td>Harry Bertoia in the courtyard in Barto, shortly after the release of the Knoll collection.
\n<\/td>		n.a.<\/td>EXT.LINK
\nPrivate collection
\nOriginal item available at HB's Birthplace Archive <\/b>
\n<\/td>		JPG<\/td>PORTRAITS<\/td>chair, knoll, private<\/td>\n<\/tr>\n
014<\/td>\"\"<\/a><\/td>With ceiling sculpture front cover in J. Kompass Nelson monograph \"Harry Bertoia Sculptor\"<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>sculpture<\/td>\n<\/tr>\n
013<\/td>\"\"<\/a><\/td>Bertoia portrait<\/td>n.a.
\n<\/td>		EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>fairweather, hardin, sculpture<\/td>\n<\/tr>\n
012<\/td>\"\"<\/a><\/td>Harry with sculptures photo by H. Matter<\/td>Knoll Archive<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>sculpture, knoll<\/td>\n<\/tr>\n
011<\/td>\"\"<\/a><\/td>Portrait for LIFE magazine<\/td>Andreas Feininger<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>sculpture<\/td>\n<\/tr>\n
010<\/td>\"\"<\/a><\/td>Harry in his studio.
\n<\/td>		Knoll Archive<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS, SCULPTURES<\/td>studio<\/td>\n<\/tr>\n
009<\/td>\"\"<\/a><\/td>This photo captures Harry Bertoia (far right) and Brigitta Valentiner (middle) with an unidentified student (left, and conveniently marked by a Joker card costume).<\/td>n.a.
\nMarch, 1942<\/td>		EXT.LINK<\/td>JPG<\/td>PORTRAITS, FAMILY HISTORY<\/td>private, brigitta, cranbrook<\/td>\n<\/tr>\n
008<\/td>\"\"<\/a><\/td>Harry and Celia
\n<\/td>		Knoll Archive<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS, FAMILY HISTORY<\/td>private, celia<\/td>\n<\/tr>\n
007<\/td>\"\"<\/a><\/td>Cranbrook Academy of Art - Harry Bertoia, Charles Eames, Ben Baldwin and unknown woman. From the Ben Baldwin Papers.<\/td>n.a.
\n1939 ca.<\/td>		EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>cranbrook, eames, baldwin<\/td>\n<\/tr>\n
006<\/td>\"\"<\/a><\/td>The Art Institute of Chicago and the Fairweather Hardin Gallery hosted exhibitions dedicated to the work of Harry Bertoia that ran concurrently with the unveiling of the Standard Oil commission.<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>EXHIBITIONS<\/td>chicago<\/td>\n<\/tr>\n
005<\/td>\"\"<\/a><\/td>The studio (early 70s), in the foreground a Sound Sculpture, left behind a Dandelion, to the right a Welded Plant.<\/td>n.a.<\/td>EXT.LINK
\nPrivate collection
\nOriginal item
\navailable at HB's Birthplace Archive <\/b><\/td>		JPG<\/td>SCULPTURES<\/td>studio<\/td>\n<\/tr>\n
004<\/td>\"\"<\/a><\/td>Brooch, 1940 c.
\nsterling silver
\nAcquired directly from the artist by Ralph Rapson <\/td>		n.a.<\/td>EXT.LINK<\/td>JPG<\/td>JEWELRY<\/td>brooch<\/td>\n<\/tr>\n
003<\/td>\"\"<\/a><\/td>Maria Mussio Bertoia with her children, c 1923. From left: Arieto (8 years), Maria (32 years old), Oreste (15 years) and Ave (3 years)<\/td>n.a.<\/td>EXT.LINK
\nN. N. Schiffer, V. O. Bertoia; The world of Harry Bertoia, 2003; p. 14.<\/td>		JPG<\/td>FAMILY HISTORY<\/td>harry, ave, oreste, maria<\/td>\n<\/tr>\n
002<\/td><\/a><\/td>Bertoia portrait in year book Hight school<\/td>n.a.<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>private<\/td>\n<\/tr>\n
001<\/td><\/td>Harry and Brigitta Bertoia, wedding day
\nMay 10, 1943<\/td>		n.a.<\/td>EXT.LINK<\/td>JPG<\/td>PORTRAITS<\/td>private<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n","protected":false},"excerpt":{"rendered":"

Image Archive This archive contains photographic documents of Harry Bertoia \u25fe for consultation enter the search key (tag, date, name, year, …) in the “Search: …………….” \u25fe all columns can be sorted alphanumerically by clicking on the arrows in the column headers \u25fe the last entries have the highest sequential number (first column)<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=\/wp\/v2\/pages\/1979"}],"collection":[{"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1979"}],"version-history":[{"count":23,"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=\/wp\/v2\/pages\/1979\/revisions"}],"predecessor-version":[{"id":4267,"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=\/wp\/v2\/pages\/1979\/revisions\/4267"}],"wp:attachment":[{"href":"https:\/\/www.arietobertoia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1979"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}