Harry Bertoia

Private Collection, Philadelphia
Freeman's Philadelphia, June 27, 2004, lot 151

June Kompass Nelson, Harry Bertoia:  Sculptor, Detroit, 1970, cat. no. 60 (for related sound sculptures at the Staempfi Gallery exhibition, 1968)
Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, PA, 2003, p. 208 (for a related sound sculpture)
Gilbert Ganzer, ed., Harry Bertoia:  Desci che Una Sedia non Poteva Bastare, exh. cat., Museo Civico d'Arte, Milan, p. 185 (for a related sound sculpture)

Overall in very good original condition. This large-scaled sound sculpture displays a richly colored patina throughout. The chimes with a subtle bend along one axis, which is not uncommon for a sound sculpture of this height with the heavier chimes at the top. The slightly irregular height of the chimes is inherent in the production of the work, and not an issue of the condition. The surfaces of the copper present with light oxidation that is consistent with the natural aging process of the metal. The brass base with a few isolated areas of discoloration and surface dirt in the recessed portions of the base in between the chimes, consistent with age. This large-scaled presents quite elegantly in person with impressive scale and proportion and when played emits a rich melodic tone.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

IN CONTEXT:
Harry Bertoia was a dynamic inventor and experimenter.  By the late 1960s, Harry discovered motion could also create metallic sounds.  He was fascinated to find that more senses are included in the appreciation of metals.

In the 1970s I was working with Harry, and we were concentrating on making hundreds of sounding sculptures.  We were making the works and boxing them up for shipment.  We made about two or three a week.

Sonambients are friendly aliens.  Harry made them in the human range of comfort through the movements, sounds, visuals and textures he used.  All of this lent itself to human interaction. Harry used beryllium copper rod, which was used primarily for military purposes, for a peaceful, friendly purpose—the movement and sound are so healing and soothing.

Making sound-sculpture became almost an obsession for Harry to find the perfect balance.  We might ask what makes Harry's metal work so valuable.  The answer is clear.  He brought metals into a cosmic connection for all of humanity to enjoy. 

— Val Bertoia