Item No.
469937
Bertoia Asymmetric Chaise
$11,643.00
Item No.
469937
Bertoia Asymmetric Chaise
$11,643.00
Chrome
White
Knoll Boucle
Crimson
Neutral
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- One of the most iconic contributions to modern furniture design.
- White frame is suitable for outdoor use.
- Chaise made in Italy, seat pad and full cover made in U.S.A.
- 40¼" H 52" W 38¼" D
Shipping Options
- In-Home Delivery
Return Options
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5-year warranty (terms and conditions may vary)
Designed by Harry Bertoia for Knoll®
Manufacturer SKU:
Details
The airy seats of the Bertoia Seating Collection (1952) have a delicate, filigreed construction and a relaxed sit. Decidedly the most sculptural of all pieces in the collection, the Bertoia Asymmetric Chaise remained a prototype for more than 50 years, until 2005, when Knoll put it into production. This is the authentic Bertoia Asymmetric Chaise produced by Knoll. A sign of authenticity, the KnollStudio logo is stamped into its base. Chair made in Italy; seat pad and full cover made in U.S.A.
- One of the most iconic contributions to modern furniture design.
- White frame is suitable for outdoor use. Chrome frame is not.
- Available with optional Seat Pad or Full Cover.
- Optional Seat Pad attaches with metal snaps.
- Optional Full Cover attaches with hidden mono-filament and hooks.
- Brand
- Knoll®
- Collection
- Bertoia Collection
- General Dimensions
-
- 40¼" H 52" W 38¼" D
- Product Weight
- 24 lbs
- Assembly
- Comes fully assembled
- Warranty
- 5-year warranty (terms and conditions may vary)

Bertoia Asymmetric Chaise
- Height (in): 40¼
- Width (in): 52
- Depth (in): 38¼
- Weight (lbs): 24
- Seat Height (in): 15
- Welded steel rods
- Polished chrome or bonded Rilsan® finish
- Foam seat pad with Chain Link (100% solution-dyed olefin) fabric, suitable for outdoor use
- Full cover with Bouclé (Nylon 48%, Wool 52%) fabric, not suitable for outdoor use
- Plastic floor glides
Harry Bertoia
Italian artist and furniture designer Harry Bertoia designed the patented Diamond Chair for Knoll in 1952. It was strong yet delicate in appearance, as well as an immediate commercial success. His career began in the 1930s as a student at the Cranbrook Academy of Art, where he re-established the metalworking studio and, as head of that department, taught from 1939 until 1943.
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