119
119

PROPERTY FROM THE KAARE BERNSTEN COLLECTION

Harry Bertoia
UNTITLED (MONUMENTAL SONAMBIENT)
JUMP TO LOT
119

PROPERTY FROM THE KAARE BERNSTEN COLLECTION

Harry Bertoia
UNTITLED (MONUMENTAL SONAMBIENT)
JUMP TO LOT

Details & Cataloguing

Important Design

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New York

Harry Bertoia
UNTITLED (MONUMENTAL SONAMBIENT)
one row of 2 rods with cylinder tops
beryllium copper, brass
201 1/2  x 30 x 30 in. (511.8 x 76.2 x 76.2 cm)
circa 1975
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Provenance

Acquired directly from the artist by Kaare Berntsen, Norway, 1976
Thence by descent to the present owner

Exhibited

KB Gallery, Oslo, Norway, 1976

Literature

Nancy S. Schiffer and Val O. Bertoia, The World of Bertoia, Atglen, PA, 2003, p. 11 (for a related model installed on Harry Bertoia's estate)
Harry Bertoia: Decisi Che Una Sedia Non Poteva Bastare
, exh. cat., Museo Civico d'Arte, Prodenone, 2009, pp. 220, 220 (for drawings of related models)
Celia Bertoia, The World of Harry Bertoia, Atglen, PA, 2015, p. 225 (for a related model installed on Harry Bertoia's estate)

Catalogue Note


This lot is offered together with a certificate of authenticity from the Harry Bertoia Foundation, Bozeman, Montana.




The origin of the sonambient scultpures dates back to sometime between 1959 and 1960, when Harry Bertoia was working with a wire he accidently struck, producing a sudden sound. This simple moment turned into a life-long examination of sound and motion undertaken by the artist, which marked an important moment in his sculptural career and generated critical acclaim. The word “Sonambient” relates to the ambience of surrounding space and the sculptures themselves. They invite a spiritual experience through their ethereal tones, which create a harmonious aura between the organic and man-made environments when combined with natural forces of movement.

The present sonambient was acquired directly from the artist by Kaare Berntsen, an Oslo-based gallerist and close personal friend of Bertoia. Is monumental in size and configured with two rods bearing cylinder tops (referred to colloquially as “kissing bars”). It abstractly imitates tree forms and, when played, kaleidoscopic array of varied tonal expressions.

Important Design

|
New York