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拍品专文
"I like to think of my work in this way: There are several kinds, and I like to think that each kind occupies a certain region in the cosmos, maybe the cosmos of my mind, but each work finds its proper environment in a region. And if you go far enough you could expand this region, cultivate it and it would become fruitful and do more I regard nature as being the strongest influence."
- Harry Bertoia
The Heinemans' painting collection is aptly punctuated by an impressive range of sculptures by 20th century master designer and sculptor, Harry Bertoia. The couple's familiarity with sculpture clearly allowed them to thoughtfully interweave interior space with art: Bertoia's large standing screen acted as the centerpiece to the Chicago interior. Though he worked predominantly in steel and brass, Bertoia's works are imbued with a deep interest in the potency of negative space, motion, ambient sounds and surface. Bertoia began his career studying jewelry and furniture design, well-known for his invention of the Diamond chair and even designing wedding rings for Ray and Charles Eames. Indeed, the glistening surface and textural detail of the large-scale screen exemplifies the artist's early training and fascinations, as well as the great success he had with his experimental treatments of metal alloys.
As one of the most innovative sculptors of his time, Bertoia was continuously inspired by nature and his materials. The melt-coated brass sculptures recall beads of dew on branches or bales of sundrenched straw. Bertoia capitalized on the infinite forms of the golden section of nature-or Fibonacci numbers--where numbers follow sequential patterns that govern the wondrous symmetry and balance found in plants, flowers and trees. Made of hundreds of delicate strands of brass melt-coated wires, Untitled is one of the largest-scale examples of Bertoia's straw inspired sculptures to become available at auction at over 7 feet wide. The sculpture at first glance seems haphazard in its composition, but in reality, the carefully assembled, interwoven and welded pieces create an impressive labyrinthine nest at the center which resolves itself in neatly ordered vertical strands at the exterior. The open spaces are enhanced by the glimmering yet organic surface of the treated metal, culminating in an endlessly fascinating and dynamic sculpture.
The following lot, Untitled (sonambient) (LOT 302), is also an exceptional example from the artist's oeuvre, and perhaps one from the best known series and most-beloved of Bertoia's diverse body of work. Beginning with the earliest tonals in 1960, Bertoia continued reinventing the series through his death in 1978. The six foot tall example from the Heineman collection succinctly embodies this important series in one elegant row of carefully positioned rods which produce a clear and harmonious sound when activated. Formulated by bronze rods attached to plates that rest on the floor, Bertoia referred to the Sonambients as "metallic harps."
- Harry Bertoia
The Heinemans' painting collection is aptly punctuated by an impressive range of sculptures by 20th century master designer and sculptor, Harry Bertoia. The couple's familiarity with sculpture clearly allowed them to thoughtfully interweave interior space with art: Bertoia's large standing screen acted as the centerpiece to the Chicago interior. Though he worked predominantly in steel and brass, Bertoia's works are imbued with a deep interest in the potency of negative space, motion, ambient sounds and surface. Bertoia began his career studying jewelry and furniture design, well-known for his invention of the Diamond chair and even designing wedding rings for Ray and Charles Eames. Indeed, the glistening surface and textural detail of the large-scale screen exemplifies the artist's early training and fascinations, as well as the great success he had with his experimental treatments of metal alloys.
As one of the most innovative sculptors of his time, Bertoia was continuously inspired by nature and his materials. The melt-coated brass sculptures recall beads of dew on branches or bales of sundrenched straw. Bertoia capitalized on the infinite forms of the golden section of nature-or Fibonacci numbers--where numbers follow sequential patterns that govern the wondrous symmetry and balance found in plants, flowers and trees. Made of hundreds of delicate strands of brass melt-coated wires, Untitled is one of the largest-scale examples of Bertoia's straw inspired sculptures to become available at auction at over 7 feet wide. The sculpture at first glance seems haphazard in its composition, but in reality, the carefully assembled, interwoven and welded pieces create an impressive labyrinthine nest at the center which resolves itself in neatly ordered vertical strands at the exterior. The open spaces are enhanced by the glimmering yet organic surface of the treated metal, culminating in an endlessly fascinating and dynamic sculpture.
The following lot, Untitled (sonambient) (LOT 302), is also an exceptional example from the artist's oeuvre, and perhaps one from the best known series and most-beloved of Bertoia's diverse body of work. Beginning with the earliest tonals in 1960, Bertoia continued reinventing the series through his death in 1978. The six foot tall example from the Heineman collection succinctly embodies this important series in one elegant row of carefully positioned rods which produce a clear and harmonious sound when activated. Formulated by bronze rods attached to plates that rest on the floor, Bertoia referred to the Sonambients as "metallic harps."