Set of dining chairs with cushions (2) | Harry Bertoia
for Knoll Int.
€ 1,250 (set of 2)
Afmetingen: Breedte 54cm | Hoogte 73cm | Diepte 58cm
Zithoogte 46cm | Zitdiepte 42cm
Ontwerper: Harry Bertoia
Fabrikant: Knoll Int.
Ontwerpjaar: 1952
Productie: ±1960
Documenten: Onderhoudsdocumenten en
'Approved by Storry's' certificaat
Materialen:
Het frame is een gechromeerd metalen, gelast wireframe. Door de leeftijd zijn er enkele krasjes in het chroom (vooraan aan de zitting). Het frame werd gereinigd en er geen oxidatie aanwezig.
De bekleding van de zitkussens is vinyl (by knoll) deze kussens werden outdoor gebruikt, maar niet weggenomen in de winter waardoor de drukknoppen wel geoxideerd zijn. Echter blijven deze wel op hun plaats, al zijn ze niet gesloten. Het vinyl is bestand tegen vlekken en vocht. Op de achterkant is het authentieke logo van knoll te zien.
De voering bestaat uit een vormvast schuim en zorgt voor een aangenaam comfort.
These classics add something different to every interior, but quickly take center stage, directed by Harry Bertoia.
Chrome is experiencing a resurgence in the world of interior design and adds a refined, contemporary dimension to any space. The gleaming surfaces of chrome and steel accents in furniture create a sleek look that contrasts beautifully with deep colors, rich woods, and luxurious leather. In modern, natural interiors, chrome acts as an elegant counterpoint, striking a subtle balance between modern sharpness and warm coziness. The reflective nature of chrome diffuses light and creates a sense of space, while also offering an exciting contrast to organic materials such as wood and stone, contributing to a harmonious yet bold atmosphere. Even in light interiors with earthy and natural tones, chrome forms a complementary contrast, creating a refined balance and a sophisticated aesthetic.
This twin has been passed down from father to daughter and bore the marks of time: weathered and battered, but still as sturdy as when they were made two generations ago. Fortunately, Storry's was able to breathe new life into them. Now, waiting to shine in a new setting, they stand ready to begin a new story.
Stor y
Harry Bertoia was a complete artist. Knoll historian Brian Lutz once said: "Bertoia's paintings were better than his sculptures. And his sculptures were better than his furniture. And his furniture was absolutely brilliant."
Bertoia began his career as a painting student but was soon asked to reopen the metal workshop in 1939. He taught jewelry design and metalworking, but when the war made metal scarce and expensive, he shifted his focus to making jewelry. He even designed wedding rings for Ray Eames and Ruth Bacon, the wife of Edmund Bacon. When the war consumed all the metal, he switched to teaching graphic design. During his time in Cranbrook, he also found personal happiness: he married Brigitta Valentiner in 1943 and subsequently left for California to work for Charles and Ray Eames at the Molded Plywood Division of the Evans Product Company. In Santa Monica, he learned welding techniques and began experimenting with sound sculptures.
After his time in California, where he remained until 1946 and sold his jewelry and monotypes, he worked at the Electronics Naval Lab in La Jolla. In 1950, a new opportunity arose: he was invited to Pennsylvania to work with Hans and Florence Knoll. There, in collaboration with Florence, whom he knew from his Cranbrook days, he designed five wire chairs that would conquer the world as the Bertoia collection for Knoll. One of the most famous pieces from this collection was the Diamond Chair, an elegant, sculptural form of welded steel mesh.
Bertoia himself said of his chairs: "When you look at these chairs, you see that they consist mainly of air, just like sculptures. The space runs right through them."
The chairs were initially made by hand because no suitable mass-production process existed. The original design of the chair rim used two thin wires welded to both sides of the mesh seat. However, this turned out to infringe on an Eames patent for the wire chair produced by Herman Miller. After a legal battle, Bertoia had to modify the design: the rim was redesigned with a single, thicker wire, and the sharp edges were smoothed – exactly as the chairs are still made today. Despite this setback, the success of the Diamond Chair was immediate. The chair became an iconic piece of design, and it was not until 2005 that Bertoia's asymmetrical chaise longue was launched at the Milan Furniture Fair – and sold out immediately.
With every project, Bertoia proved once again that he was not just a designer, but a master who pushed boundaries and gave us a new way to see the space around us.
About Harry Bertoia
