HARRY BERTOIA | Untitled (Monumental Sonambient)

one row of 2 rods with cylinder tops

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

KB Gallery, Oslo, Norway, 1976

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)

Overall in very good condition. When viewed firsthand, the simple elegance of this monumental work has striking visual presence. The sculpture had previously been installed outdoors in Norway for many years, and as a result the surfaces previously showed wear, discoloration and oxidation consistent with prolonged outdoor exposure, notably to the base plate. The surfaces have recently been sensitively cleaned and maintained by a professional metal conservator with extensive experience with the work of Bertoia. The rods and the cattail tops present with light wear, surface scratches, abrasions, and traces of oxidation consistent with age and outdoor exposure. The base plate has been sensitively repatinated to reflect the original patina. The rods are very straight overall and the cattail tops make contact at the top, which is in keeping with this particular Sonambient configuration often referred to as the “Kissing Bars.” This sculpture is suitable for display indoors or outdoors and, when played, produces a deep, serene metallic tone. Please note, this sculpture measures approximately sixteen feet high. An outstanding example of Bertoia’s celebrated Sonambient series with superb family provenance.
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.

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.