Wire forms have a great range of expressions. Their construction pertains to space rather than ground, and their configuration can be light, airy, almost floating.
Harry Bertoia
The roots of the collection began in 1979, when Montreal philanthropists and collectors Liliane and David Macdonald Stewart founded the Montreal Museum of Decorative Arts and the Stewart Collection. Liliane Stewart, the primary force behind the effort, initially concentrated on mid-century design—a focus unique among North American museums at the time. Over the years, the collecting focus grew to include designs from 1900 to the present. Liliane Stewart’s philosophy was to seek out work by acclaimed international designers while remaining open to work by lesser-known practitioners. Early on, she recognized the importance of relationships with designers, dealers, curators and collectors as sources of information, expertise, and new work. Through her collecting, Liliane Stewart often discovered young designers whose names have since become household words.
Following David Stewart’s death in 1984, Liliane Stewart continued to collect, amassing a sizeable trove of the world’s finest examples of design, from mass produced, industrial products to unique crafted objects, limited editions and prototypes. Over the years, she developed a collaborative relationship with the Montreal Museum of Fine Arts and in 1991 commissioned Frank Gehry to create dedicated exhibition galleries for the Stewart Collection in the MMFA. In 2000—by which time the Collection numbered more than five thousand objects—she donated it to the MMFA, which termed it “one of the most valuable gifts ever received by a Canadian museum.”
Liliane Stewart continued to collect after donating her original collection to the MMFA. She founded the Stewart Program for Modern Design, which has acquired more than 600 objects since 2000. Although Liliane Stewart died in 2014, the Stewart Program for Modern Design continues to carry out her mission of using the collection—through exhibitions, publications, and films—to educate the public about design and its role in contemporary society.
As the Stewart Program collection grew and the collection was refined, it became evident that deaccessioning would be necessary. The process of refining the collection to plan for future projects has led to the present sale at Rago/Wright, which offers important designs from the Stewart Program collection. Included are duplicates of designs in the collection along with sets from which only a single example was retained. Also included in the sale are pieces of modern furniture that were acquired in the 1980s and 90s for use in the original offices of the Montreal Museum of Decorative Arts.
Watch an excerpt from the 2012 documentary film The Art of Giving/L’art de donner surrounding Lilane Stewart's extraordinary life as a collector and donor of the arts.
Harry Bertoia 1915–1978
Harry Bertoia was a true Renaissance man well-versed in the language of art and design. Born in San Lorenzo, Italy in 1915, Bertoia relocated to the United States at the age of fifteen and enrolled at Cass Technical High School in Detroit to study hand-made jewelry. In 1937, Bertoia was awarded a scholarship to attend the Cranbrook Academy of Art in Bloomfield Hills, Michigan where he was drawn to the mostly empty metal shop and, after two years in the program, was invited to head the department.
At Cranbrook, Bertoia was introduced to a number of designers whose names would become synonymous with mid-century modern design. Here he met Eero Saarinen, with whom he would collaborate on numerous architectural projects, and Charles and Ray Eames with whom, for a short period during the war, he would work for at the Molded Plywood Division of Evans Products in California. In 1950, Bertoia moved east to Pennsylvania to open his own studio and to work with Florence Knoll designing chairs. Bertoia designed five chairs out of wire that would become icons of the period, all of them popular and all still in production today.
The success of his chair designs for Knoll afforded Bertoia the means to pursue his artistic career and by the mid-1950s he was dedicated exclusively to his art. Using traditional materials in non-traditional ways, Bertoia created organic sculptural works uniting sound, form and motion. From sculptures sold to private buyers to large-scale installations in the public realm, Bertoia developed an artistic language that is at once recognizable but also uniquely his own.
Today Bertoia’s works can be found in various private and numerous public collections, including: The Art Institute of Chicago, Denver Art Museum, Milwaukee Art Museum, Smithsonian Institution, Washington D.C., Museum of Modern Art, New York, Musée des Arts Décoratifs, Paris, Museum of Fine Arts, Houston and the Whitney Museum of American Art, New York.
Auction Results Harry Bertoia
