Wright Auction

Working with the greatest architects of the 20th century, such as Eero Saarinen, Gordon Bunshaft, I.M. Pei, Minoru Yamasaki and Edward Durell Stone, Harry Bertoia created more than fifty large-scale sculptures in prominent public spaces located in cities throughout the United States and around the world (Norway, Venezuela). Like his private works, Bertoia’s commissioned sculptures are aesthetic objects that explore natural phenomena such as light, motion and sound. Much larger in scale, these works function within the broader constraints of architecture, transforming and interacting within the spaces in which they reside.

Much larger in scale, these works function within the broader constraints of architecture, transforming and interacting within the spaces in which they reside.

Bertoia’s first large-scale commission was completed in 1953 for the General Motors Technical Center in Warren, Michigan designed by Eero Saarinen, a colleague and friend from his days at the Cranbook Academy of Art. For this project, Bertoia created a Multi-Plane screen to separate the restaurant from the entryway of the interior. The welded screen, of brass melt-coated panels connected by rods, features alternating patterns of solids and voids that create a constantly shifting and beautiful play of lights and shadows while providing privacy for those behind it. The following year Bertoia was commissioned by Gordon Bunshaft of Skidmore, Owings & Merrill for the Manufacturers Hanover Trust Company in New York to create a screen dividing the public and private sides of the bank’s main floor. This seminal Multi-Plane screen, nearly twice the size of the work he created for General Motors, located on 5th Avenue in New York, is widely admired and critically acclaimed; it has become the most recognizable work by Harry Bertoia. Also in 1954, Bertoia was invited to design a sculpture for the Chapel at the Massachusetts Institute of Technology in Cambridge, Massachusetts designed by Eero Saarinen. For the simple brick curved apse with a shell-dome ceiling, Bertoia suspended brass-melt coated panels and cut out shapes from twenty threads behind the altar. The individual elements, increasing in density as they near the floor, capture and reflect the light from the domed roof creating an ethereal experience.

These early masterpieces opened the door to many significant sculptural commissions, both from friends and colleagues as well as other noteworthy architects, and to invitations to participate in internationally acclaimed exhibitions such as the World Fairs of 1957 in Brussels and 1964 in New York. While many of Bertoia’s early large-scale forms were Multi-Plane screens, by the 1960s he was exploring other ideas for public sculpture which paralleled the techniques of his smaller scaled works. Significant projects such as his Dandelion fountain for the Joslyn Art Museum in Omaha, Nebraska (Stone 1963), a molten bronze mural for the Dulles International Airport in Chantilly, Virginia (Saarinen 1963) and a Welded Form fountain for the Civic Center in Philadelphia, Pennsylvania (Stone 1967) illustrate the depth and variety of Bertoia’s unique artistic vision.

Bertoia repeatedly rose to the challenge of creating works that aligned with the architectural vision for a given space by creating works to highlight and complement the unique characteristics of their environments. Over the course of his career, he created more than 50 large scale public commissions across the globe.

Harry Bertoia is one of the greatest artist-collaborators in the history of modern architecture. His investigations into light, space and proportion led to his intimate understanding of architecture and allowed him to fully draw on and accentuate a space adding elements of sensuality, luminosity, and tactility to their environments. The present screen was one in an installation of ten made for the First National Bank of Miami and is among his earliest large scale architectural commissions.

Jim Elkind, founder Lost City Arts—of one of the most influential design galleries in New York City—has design in his DNA. Elkind grew up in a modernist house full of mid-century modern furniture and spent many weekends traveling into New York with his mother, visiting museums and exploring the city. He fondly recalls her pointing up at the skyscrapers and their architectural details, encouraging and instilling in him a curiosity about his surroundings and an attention to detail that would go on to shape his future career.

The idea to open a gallery originally came to Elkind during a visit to the annual juried art show at University of Wisconsin, Madison, where he attended college. The vetted show featured several hundred artists, many of whom, he realized, were extremely talented but would never make it into the mainstream art world. Taking a page from his entrepreneur father’s book, Elkind imagined opening a gallery in New York called the Gallery of the Unknown Artist where he would feature work by up-and-coming artists from universities around the country.