Today we’d like to introduce you to Celia Bertoia.
Hi Celia, we’d love for you to start by introducing yourself.
Having a famous artist father and a significant art historian / museum director as a grandfather paved the way for me to be surrounded by art from the beginning. Unfortunately, I took it all for granted and did not involve myself in the art world until an epiphany in my 50’s. Upon selling a small business that had occupied my husband and me for a decade, a myriad of choices presented themselves for the next phase of my life. Contemplating what would be the most important work I could do brought me to the realization that I was in the best position to further the legacy of my father, Harry Bertoia. Bertoia was a midcentury modern furniture designer, a jewelry maker, and a modern abstract metal sculptor of some renown. While I had no clue what that new role would entail, I appealed to higher entities to steer me in the right direction. The Universe provided. An old ski buddy who I hadn’t seen for decades invited me to speak with the “Daughters of Design” including Susan Saarinen (daughter of famed architect Eero Saarinen) and Carla Hartman (granddaughter of design master Charles Eames). Never having spoken publicly did not deter me, and I gave a rousing talk on my father in Boulder, Colorado, in 2010 with payment of a bottle of wine. Next, a psychic intuitive told me that I would be spreading the word about some paper with interesting designs, and that I would write a book with lots of pictures (I was thinking, huh???). She was describing the Bertoia monotypes, and the biographical book that I would write eight years later about my father, The Life and Work of Harry Bertoia. Finally, an elderly woman phoned me in my hometown (at that time) of Bozeman, Montana, and said she had a Harry Bertoia silver ring that she wanted to return to the family. She had taken a jewelry class from him at Cranbrook Academy of Art in 1938 where he gave her the sample ring. She wore it for ages, but then in her 80s, wanted to return the favor. When I placed the lovely ring on my hand, it fit perfectly and has remained there ever since. Signs come in threes, and I considered those three to be enough to confirm that I had made the correct choice in my future. I looked above, whispering, “thanks, Daddy.”
Then came the hard real work of starting a non-profit, garnering enthusiastic board members, figuring out funding, and jumping into my new role of spokesperson for Harry Bertoia. Because the IRS was busy declining tea party non-profit applications that year, the papers for the Bertoia Foundation were not approved for almost two years. In 2013, we officially became the Harry Bertoia Foundation. As a novice in the art world and art business, I didn’t think it would be difficult to get big museums to do Bertoia exhibitions. After attempting to reach Directors of MoMA, LACMA, the Whitney and various other established museums, I soon saw the folly of my thoughts. Who was Celia, this inexperienced, unqualified nincompoop of an artist’s daughter, to presume any museum of merit would agree to a Bertoia exhibit? My next indicated step would be to acquire experience, credentials, and respect in the art world. Starting at ground zero as a mere family member, this was a steep learning curve, but it seemed essential.
In 2014, I took intensive classes to become a fine art appraiser. It took me three growthful years to become an accredited appraiser with the American Society of Appraisers, doing assessments for friends, and finally put out a shingle as an appraiser. In the meantime, I asked most of my art contacts, or at least the ones who seemed friendly and helpful, how to accomplish what I was intending: to spread the word about Harry Bertoia. One of the most helpful Directors of a small museum became my first “real” board member, and proved his worth many times over. I created an official website for the Harry Bertoia Foundation with a beginning web designer, and this created the illusion that we knew what we were doing. Soon, I was getting calls for advice about Bertoia artwork, and requests for Certificates of Authenticity. In the meantime, my brother (who was involved with the Bertoia art world) was not very helpful and, in fact, created even more challenges for me that I won’t get into.
Luckily, I had acquired the archival files from my brother before he went dark, which helped me validate sculptures as true Bertoia creations. A dear friend and another valuable Board member introduced me to the auction houses who always needed authentications. Dealing with the top tier auction houses was an incredible and wonderful education, plus gave me some of the connections needed for other areas such as the art market and Bertoia values. I actually began bringing in some income, both from authentications and appraisals, for the first time in the short history of the foundation. Nevertheless, funds were always an issue and I used up a lot of my own. Despite the financial shortages, if someone needed Bertoia help, I always gave it, whether they could pay or not. This paid off in the long run, and later I was able to call in some favors, which is how life works, isn’t it? Because Bertoia was a well-known name and because I had, perhaps, proven myself, museum directors started approaching me about possible exhibitions. Wow, what a turnaround!
Having sold a long-time residence for a good price, I was able to purchase a modest new home as well as a commercial gallery space in my new residence of St George, Utah. I opened the Harry Bertoia Foundation gallery where I could show off the samples of Bertoia work which had been part of the estate. Here, too, I helped anyone who needed it, charging when possible, and becoming a part of the Utah art scene. By this time, we were able to afford offering local art scholarships, loaning a Bertoia gong to the local Desert Garden, and teaching art classes at both local and online outlets. I joined all the appropriate national professional affiliations – appraisal groups, catalogue raisonné association, non-profit directors’ societies, art alliances – which enabled more networking and general knowledge.
In the meantime, through another Board member – a genius in business and marketing – we offered limited edition Bertoia replica sculptures which garnered some healthy income. We sold a few of our original sculpture holdings to create an endowment fund, which then brought in interest income. Finances, although always a consideration, were not the glaring issue that they once had been. I acquired art friends all over the country who I could visit whenever out for a lecture or opening. I was, in many measurable ways, a capable, qualified art expert, at least in the oeuvre of Harry Bertoia and some other areas as well. I had grown from a mere artist’s daughter to a respected Foundation Director in the span of 12 years, plus made wonderful connections and met incredible people all along the way. It’s one of those things that, had I known the struggles and hardships I was to face, I may not have elected to move forward. Fortunately, my innocence and enthusiasm allowed me to press onward and gain so much fulfillment and pleasure from my chosen career that it made every minute worthwhile.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
There were many challenges: a family lawsuit (that we eventually settled but that ruined family relations for a decade), not being accepted in the art world (rightfully so, and ultimately taking the right steps to become respected and educated), making costly mistakes about what to spend our coveted dollars on ($10,000 on some fancy Bertoia greeting cards that we are still trying to get rid of). Oh, so many struggles, but also many gifts of the right people showing up at the right time, our big Bertoia auction sale hitting new record highs, and an attorney art collector willing to trade legal services for sculptures. So it’s been a real mix of highs and lows! Just like life.
As you know, we’re big fans of Well, there’s the Harry Bertoia Foundation and then her sister company of Bertoia Art & Appraisal, LLC. For our readers who might not be as familiar what can you tell them about the brand?
The Harry Bertoia Foundation is the source of all things Bertoia. Celia can attend your museum opening and give a presentation, give a lecture to your modern art university class, help students research their paper on Bertoia, teach an adult education class on MidCentury Modern Design, appraise your Bertoia sculpture, or review it for submission into the Bertoia Catalogue Raisonne’. I can tell you about the human side of Harry Bertoia. There are books and articles about the artist and his work, but only Celia can describe his daily habits or his family generosity or his occasional bouts of anger. Bertoia Art & Appraisal, LLC, our sister company, can appraise your Picasso or your local art fair painting for a fair price. One Picasso owner told me that he chose me because he could see that I was steeped in the art world, between my grandfather who was Director of the Detroit Institute of Arts and my famous father who was an internationally recognized sculptor. We’ve been working together for many years and so far he has not been disappointed. I will also advise you whether or not you really need an appraisal – you might just need an auction estimate, which is free. I’ll help you figure out where to sell your treasures, if that’s what you want to do.
What’s next?
The Harry Bertoia Foundation has a few more projects to complete before I can leave the planet. We need to find a museum home for the Sonambient sounding sculpture collection and are working diligently on that. I want to also find a good accessible home for the Bertoia archives; papers, documents, photographs, and we have a great institution in mind. We’d like to have a few more major Bertoia exhibitions at substantial museums, and that seems to come naturally now. At some point, I will step back and do a bit more traveling or other fun stuff. I will be available for lectures and openings as long as I can walk but eventually I’ll want to slow down a little.
Pricing:
- $500 – administrative fee for Catalogue Raisonne’ submission
- $150 / hr for appraisal work, minimum $1000
- $3500 for limited edition sculptures
- $1000 honorarium for lectures
- $0 to visit gallery in St George
Contact Info:
- Website: https://harrybertoia.org/
- Instagram: https://www.instagram.com/harrybertoia/
- Facebook: https://www.facebook.com/harry.bertoia/
- Linkedin: https://www.linkedin.com/in/celia-bertoia
- Twitter: https://x.com/Harry_Bertoia
- Youtube: https://www.youtube.com/@harrybertoia
- Yelp: https://www.yelp.com/biz/harry-bertoia-foundation-st-george?osq=Art+Galleries
- Other: https://www.spreaker.com/podcast/harry-bertoia
