Sonambient LP ART COVER signed by HARRY BERTOIA, AVANT 100% ORIGINAL !ART COVER PHOTO GUY TOMME/Jandek minimal Start Price USD 4,995.00 Current Price USD 4,995.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Thursday, July 03, 2008 End Time Sunday, July 13, 2008 Location Werther See more about 'Sonambient LP ART COVER signed by HARRY BERTOIA, AVANT' Description rare ART and Design that speaks for itself!ART / DESIGN / AVANTGARDEHARRY BERTOIA signed REAR COVER ART PHOTO by GUY TOMMEpictured Bertoia`s FANTASIC SOUND SCULPTURES "SONAMBIENT" ORIGINAL first Pressing USA PRIVATE RELEASE LPS 10570, heavy cardboard jacket, FRAME COVER, deep grooved vinyl! 100% original first pressing here, see pictures for MATRIX and names and numbers in run out space near the labelLP comes from a collector and signiture was given to him in late 60s, in the USA, so he told me! a HARRY BERTOIA signiture is hard to find! Side One: you will hear BELLISIMA, BELLISIMA, BELLISIMA /// Side Two: you will hear NOVA, both tracks recorded Harry Bertoia`s SOUND SCULPUTRES- SONAMBIENT! VINYL CONDITION:NEAR MINT (-) / COVER CONDITION:EX+,bis NEAR MINT-,, no splittings no writtings, clear labels, signiture on labels are printedalso the BIG - BERTOIA on the rear cover is printed"HARRY BERTOIA" SIGNITURE, done by the artist HIMSELF, ORIGINAL AUTOGRAPH with black ink, you can see on the picture No. 1!Collectors item!payment via pay-pal, europe: via iban and bic code bank swift / inside of germany per überweisungthis is a private auction, sold as it is, and pictured here!Privatauktion, keine Gewährleistung, keine Rücknahme!from Wikipedia: Sonambient is the name of a series of vinyl LP albums recorded, designed, produced and released by mid-century modern sculptor Harry Bertoia himself. Known for his architectural design as well as his sculputral-style art work. In the later period of his career, he began to focus on sculpture that interacted with viewers and/or the elements, like the wind and weather, and as he built smaller pieces in his studio, he began to explore the ways in which the metal and other materials could be manipulated by hand to produce sound. By stretching, bending, striking, and in other ways moving the materials, he made them respond to wind and/or to touch to create different sounds or tones, which he then taught himself to "play", and recorded a series of pieces which he later released as this series of LPs. He also performed with the pieces in a number of concerts.[citation needed] The LPs are very minimalist in design and very similar to (and perhaps even an influence on) the album design work of famous obscurantist musician Jandek. Each had a B&W cover of a photograph of one or more pieces of Bertoia's sculpture, often the one(s) used in the recording itself, or in one or two cases that of Bertoia "playing" one of the sculptures. The backside of each LP was very simple and all followed the exact same design, obviously influenced by mid-century modernism: a circle, positioned near the bottom left side, similar in style to a vinyl LP itself, including the spindle hole in the middle, with "SONAM" on the left and "BIENT" on the right (hence "SONAMBIENT") in a black background band, and "Side 1" above with the title of that side below, and "Side 2" below with the title of that side. In the right-hand bottom was found a copy of Bertoia's signature , and lower near the corner the catalog number of each release, in the format "F/W 10xx" where xx started at 24 (F/W 1024) and ending the series at 34 (F/W 1034), for a total of 11 LPs issued. Harry Bertoia developed his monotype technique while teaching at the Cranbook Academy of Art in Michigan. Eager to have his work evaluated by a qualified, disinterested obsever, he sent about 100 of these pieces to the Guggenheim Museum in New York; to his astonishment the director of the musuem purchased all of them, some for the museum and some for herself. Nineteen of the works were displayed in a show there in 1943, alongside works by Moholy-Nagy, Werner Drewes, Charles Smith and others. He continued producing the monotypes while living in La Jolla and Topanga Canyon. Bertoia's 1940s monotypes were the source for virtually all of his later work and are enormously important to the history of experimental printmaking. The artist himself became increasingly reluctant to part with them later in life, as he considered them 'irreplaceable'. It was his custom not to sign his works because he believed that the piece itself was a signature, that what he created belonged to the universe, and that a signature called attention to the artist rather than the work of art. "Bertoia's monographics are the result of a combination of drawing methods hand-printed, either from repeated woodblocks or through the use of a glass plate, a brayer, and hand pressure. Like many other artists who have taken up the medium, he was never taught any montype processes. Consequently his tools and procedures were innovative. It is often extremely difficult to determine exactly how a particular effect was achieved. Their complexity is what intrigues but it often takes these prints out of the category of 'pure montype'. Considered as monographics, however, they rival the best in modern experimental printmaking." -Nelson, June Kompass, Harry Bertoia, Printmaker ABOUT BERTOIA: Harry Bertoia was born in Udine, Italy, in 1915. At the age of fifteen, he was taken by his family to Canada and then to Michigan. In 1932 Harry Bertoia was awarded a scholarship to Cass Technical High School in Detroit, where he studied painting and sculpture until 1936. Then he spent a year at the art school maintained by the Detroit Society of Arts and Crafts. In 1939 he was the recipient of another scholarship, this time for the Cranbrook Academy of Art in Bloomfield Hills, Michigan, which was founded by Eliel Saarinen in 1932. Harry Bertoia began to teach there in 1939, establishing a metalworking workshop. Materials shortages during the second world war forced the Cranbrook Academy to close its doors in 1943. At Cranbrook, Harry Bertoia met Charles Eames. In 1943 Harry Bertoia went to California, where he worked briefly with Charles and Ray Eames for the Evans Product Company, designing furniture made of bent laminated wood. In 1943 Harry Bertoia also showed jewelry of his own design in New York. In 1946 Harry Bertoia became an American citizen. In the 1940s Harry Bertoia concentrated entirely on furniture-making; in 1950 he founded a business of his own in Bally, Pennsylvania. That same year, 1950, saw the beginning of Harry Bertoia's collaboration with Florence and Hans Knoll, whom he had also met at Cranbrook Academy. Harry Bertoia's first chair design for Knoll, the "Model 420 Diamond" (1950-1952), featuring moulded mesh of chromium-plated steel wire, was an immediate hit. Harry Bertoia earned so much in royalties from it that he was able to devote himself almost exclusively to sculpture from then on. Harry Bertoia made free-standing metal objects and metal sound sculptures. The original "Diamond" chair of moulded and welded steel wire is still being manufactured and marketed by Knoll. Nowadays slightly modified variants are also sold, such as the "Model 421" with a seat cushion but otherwise the model is unchanged. + + + you want MORE? + + + MY OTHER AUCTIONS + + + please click here + + + MY OTHER AUCTIONS + + + see what is listed + + +MY OTHER AUCTIONS + + + have fun! + + + thank you for looking + + + good luck to your biddings + + + All items are located in Germany, Informations about SHIPPING COSTS and GRADINGSYSTEM and answers of usual questions please click here or see ME before emailing your questions, thank you. Place a Bid!