Alexander Calder

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Digitized by the Internet Archive in

Solomon

R.

2011 with funding from

Guggenheim Museum

Library

and Archives

http://www.archive.org/details/alexandercalderrOOsolo

ALEXANDER CALDER A

RETROSPECTIVE EXHIBITION

THE SOLOMON

R.

GUGGENHEIM MUSEUM, NEW YORK

MUSEE NATIONAL DART MODERNE, PARIS

Š 1964, The Solomon R. Guggenheim Foundation, New York

Library oi Congress Card Catalogue

Number

64-66058

Printed

in the

United States oj America

THE SOLOMON

H.

GI'IJKF.NHKIM

FOCNDATION

TRUSTEES

HAKHY

F.

GUGdKNHKIM,

I'HF.SIDKNT

ALHEHT K.THIKLK, VICE PKKSIDBNT H. H.

AKNASON, VICE PRESIDENT, ART ADMINISTRATION

ELEAXOH, COUNTESS CASTLE STEWAHT

DANA DRAPER PETER A.

O.

LAWSON-JOHNSTON

CHAUNCET NEWL1N MRS.

HENRY OBRE

DANIEL CATTON RICH

MICHAEL F.WETTACH

MEDLEY

O. B.

WHELPLEY

CARL ZIOROSSER

ALEXANDER CALDER, est

modern

sculptor.

A

in the

judgment

Solomon R. Guggenheim Museum that has

of

many

critics, is

comprehensive exhibition of his

on manv occasions shown

is.

therefore, an event

America's great-

life

work

we owe

at

The

to a public

eager recognition of qualitv in the experi-

mental and creative departures of our time.

Frank Llovd Wrights museum structure

will

frame for a sculptural form which, through a valid kinship with

Harry

F.

Wright

s

its

undoubtedly provide a

own grasp

fitting

of space establishes

architectural vision.

Guggenheim. President. The Solomon R. Guggenheim Foundation

'"He

is

an American 100%", wrote Leger of Calder. and this

is

was

to

true that part of his taste

young student

in 1926,

it

and allegiance

was

influenced and encouraged him, and that he

embarked upon

his early

Calder maintained his close

it

French.

is

in Paris that

It

was

in Paris,

no

less

equally

artists

who

than in the United States,

of his first success.

with France after settling on his farm in Roxbury,

Connecticut in 1933. In 1953 he bought a farm in Sache, a Loire,

it is

France that he came as a

he formed early friendships with

work and enjoyed much

ties

clearly so. But

and since then the Calders have divided

little

town

their residence

in the valley of the

between France and

America.

In

Roxbury and

and work

in

Sache the Calders

in progress.

live

surrounded by rolling

Studio-workshops on both farms are

hills

filled

and

flowers,

by

art

with a clutter of tools,

metal, painting and sculpture. In both places, the lawns are dotted with stabiles and

mobiles, and each house overflows with Calder's work.

The current the old

Thus,

exhibition, therefore, cannot but reflect the artist's double orientation toward

and the new worlds with it

is

their respective attributes of tradition

meaningful, not merely expedient, that

Solomon R. Guggenheim Museum and

common

the

it

is

Paris and

and innovation.

New

Musee National d'Art Moderne

York,

that have

The

made

cause in presenting this retrospective exhibition.

Jean Cassou, Conservateur en Chef,

Musee National d'Art Moderne, Paris

Thomas M. Messer,

Director,

The Solomon R. Guggenheim Museum, New York

Teodelapio, Spoleto. 1962. Sheet melal, 702"h.

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*

This retrospective exhibition of Alexander Calder's work

based upon

is

loans received from private and public collections throughout the world.

Lenders, whose names are listed in a separate checklist, have sible this full assess/nent of Calder's

and grateful public

me

to visit his

in

and

his wife Louisa's extensive collections.

of early

and

made

pos-

presentation to a large

homes and studios

Roxbury, Connecticut and allowed me

and

works

its

United States and Europe.

in the

Alexander Colder invited

work and

in Sache,

to borroiv at will

Among

many

these ivere

had never been exhibited

of recent origin that

France

from

his

of his

before.

Calder's help, however, extended beyond the act of lending. Although his ivork

is

scattered over two hemispheres

engage

in

guided us

his ever

an often tedious search helped

many

in

New

Calder's

and covers more than four decades

memory and

in time, the artist's precise

generous ivillingness

to locate desired objects

to

and

a choice. In this process Mr. and Mrs. Klaus G. Perlsâ&#x20AC;&#x201D;

York dealersâ&#x20AC;&#x201D; as well as Jane Wade, the Willard and Pierre

Matisse galleries in

New

York and the Galerie Maeght in Paris have con-

tributed their important shares through loans, through the ready availability of their files

and records and through indispensable advice

in the pre-

paratory stages of the exhibition and of this publication.

The complex arrangements assuring the dispatching and the safe of the contingent

Davidson, the importantly

artist's son-in-law,

among lenders

The project was

who

an

ivith his wife

extensive, future

photographic services

Grateful acknowledgement

Musee National Milwaukee Art St.

who,

d' Art

is

also

Moderne

to this catalogue.

due

to

our

in Paris, the

Center, and the

Pedro E. Guerrero

Calder publication contributed

museum

colleagues at the

Des Moines Art Center, the

Washington University Gallery of Art,

Louis in the United States, and The Art Gallery of Toronto in Canada

whose

interest

and

initiative

made showings

of the Calder exhibition pos-

sible in their respective institutions, thus extending the

presentation at The Solomon R.

As

Sandra, also figures

to the exhibition.

also greatly aided by the photographer

in connection with

his exclusive

arrival

from France were made under the supervision of Jean

is

always the case,

hibition tive.

this

range of the original

Guggenheim Museum.

museum's

staff

and publication work relating

has been heavily engaged in ex-

to the

Alexander Calder retrospec-

Carol Fuerstein edited the catalogue and contributed the introductory

passages for the individual chapters.

members

in various ways,

I

was also aided by many other

among whom

staff

Everett Ellin, Orrin Riley and

Louise Averill Svendsen deserve to be specially mentioned.

T.M.M.

11

INTRODUCTION

THOMAS

Alexander Calder

and so he should, for

it

will forever is

man who made

be remembered as the

invention that

is

M.

MESSER

sculpture

move;

the most conspicuous feature in art. In the

Orient decorative, moving and sound-producing objects have existed for centuries, but the deliberate utilization of motion as an element of

form

is

striking, original

an idea large and profound enough to render well deserved the fame that

from itâ&#x20AC;&#x201D; but

it is

not the whole Calder! If

all

appreciate

it

fully. Calder's

motion must be seen

contemplated with the stabile;

reward

in

its

inventor derives

static

the

To

to a chain of original thought.

in relation to his repose; the

emergence from

its

in a dual entity that fuses the static

significant. It is

work are ignored,

other aspects of Calder's

mobile becomes a somewhat curious achievement unrelated

and

concepts and

and the dynamic must be

ultimate integration

its

we may claim our

before

felt

mobile must be

full

understanding and pleasure.

This exhibition, therefore, has been conceived as a comprehensive restrospective. a chronicle, as

it

were, of Calder's

life

as an artist.

A

sequence in Calder's work

may be

lished as one considers the subsequent first appearances of conspicuous technical features.

It

must be remembered, however, that such features, once

and

estab-

stylistic

in evidence, tend never to

disappear so that chronologically earlier characteristics often persist as new ones are added.

grows by accretion rather than through chain-like progression, the conceptual

In an art that

exhibition sequence also followed in this catalogue, therefore, must stand as a grand simplification in which the broad and dramatic outline substitutes

In the beginning

was the

line: a pencilled line

itself

for a

maze

of finer lines.

among

on paper describing,

other themes,

Calder's favorite circus world. Acrobats perform their time-honored tricks; horses and lions get into the act

which Calder

and rope dancers provide a graphic example of that extraordinary balance with

identifies himself vicariously

from the

outset

and which becomes a permanent

attribute of his art.

Then,

all

of a sudden, line will

no longer be confined

driven by an urge toward three-dimensional form,

it

paper surface. As

to the fiat

lifts itself

into space

if

and becomes trans-

Balancing Lady

.

Ink.

lated into wire. Subjects first continue naturally in a vein already familiar to the artist's pencil:

circus folk again with their predilection for acrobatic balance

and for daring, precarious

movement. The vigorous wire

line then seeks additional subjects as if to

viously attained by the pencil.

Wire

likenesses

outdo the range pre-

and wire portrait heads now spring into

ence. Josephine Baker and Helen Wills, Leger, Varese, Calvin Coolidge

exist-

and many others sub-

mit to Calder's space-line to become part of a gallery of fame in our time. In these, Calder acquits himself as an accomplished portraitist, achieving formal able likeness. Allegorical creations, such as the

Romulus and Remus preoccupy the

in the act of

artist at

harmony

besides a recognize-

maiden Spring and mythological themes

nourishing themselves at the breast of the

about the same time. Through

this early

acquired

Roman

skill in

like

she-wolf

the use of the

wire medium. Calder succeeds in elevating illustration to representation, and accomplishes the transition

from draftsmanship

to the

Leger. Wire.

realm of sculpture.

13

Representation, however, does not remain confined to linear circumscription in Calder's

work. His innate curiosity coupled with a need for explicit sculptural volumes lead him

experiment

in

wood, plaster and bronze casting, sheet metal, glass and any number

materials formerly unexplored by him. In wood Calder birds, beasts

combining

and other subjects that are appropriate for

abound during

different materials also

wood

is

established.

of other

fashions corpulent weight

his

this fertile

new

lifters,

Works

sculptural pursuits.

phase of uninhibited experimen-

primacy of metal and the supporting func-

tation in the late 1920's. Gradually however, the tion of

now

to

in their stated relationship continue to typify a

These two materials

phase of Calder's work even after the formula

is

successfully absorbed into a later abstract

vocabulary.

Three

Men

High. Wood.

A its

separate episode, too delightful to be omitted, has to do with jewelry making. Besides

appeal to Calder as terrain inconnue, the intimacy of the jewelry craft must exert a spe-

cial fascination

upon an

artist

who has always shown

and

great responsiveness to the divergencies

and obvious delight

of scale, adapting himself with ease

temporary abandonment

the miniscule. Thus, in a

shapes rings, bracelets, necklaces and pins with

skill

requirements of the monumental

to the

to the exigencies of

an intimate

No shape is ever

and loving care.

art.

he

repeated,

nor does Calder permit commercial exploitation through duplication and mass production. Instead, a few exquisite pieces

\

adorn those who either bought them as unique works of art or

merely stood in the path of the

responding to ornamental

artist's generosity. In his jewelry,

requirements. Calder abandons representation for abstract decoration.

Pin. Silver.

The most conspicuous dividing the artist himself

is

line in Calder's

work occurs

shortly after 1930

wheeling talent consolidates imaginative experiment into an original and unified

idiom based on an abstract wire construction carries within

Masked behind

a childlike delight in shapes, colors

grander meanings. Universe, completed It is

a sphere described

other.

when

in his early thirties. At this time an already prodigious but playfully free-

in 1931. is

itself

The new

a latent potential of motion.

and textures

one of the

style.

first

is

a poetic awareness of

among such

constructions.

by the intersection of two wire circumferences perpendicular

The global image provides

each

to

the stage for a single emphatic wire line that crosses

and

transcends the spheric limits. Attached from the circle's zenith and reaching upward are two

quivering wire rods, sustaining at their ends two wooden globesâ&#x20AC;&#x201D; one black, the other white.

Universe

is.

of course,

what

its title

implies. Yet Calder. ever fearful of solemnity relies

an old antidote, that of irony, to preserve an emotional propriety. Universe, therefore, a fun toy that children

might enjoy, and the very

Mechanically, the construction

But Calder now wishes

is still static

to

but

go further and

title

thus

may have

we respond

make

is

also

a touch of self-mockery.

easily to its

the decisive step

upon

dynamic stimulants.

from implied movement

Universe. Wire, wood.

(an old concept of the visual arts) to actual motion (in this sense unexplored before except for the restricted contributions of the Russian Constructivists). 1 In the early 1930's the artist

works obsessively toward

1

1

this end.

'James Johnson Sweeney. Alexander Calder,

New

York,

Museum

of

Modern

Art, 1951, p. 30.

â&#x20AC;&#x201D;a

)

The

"swim"

flexibility

and

bowl

in a wire

medium

resilience of the wire

A

and wiggle but do not swing.

that shake

lends

the insertion of parts

itself to

crank, on the other hand,

may make

that itself remains rigid. This motion, while real

enough

a wire fish

is,

however,

achieved by transforming an object of contemplation into a hand-operated gadget. Motors then are added to restore the self-sufficiency of the object in motion. In W'hite Frame, for

example, mechanization aids the pendulum's swing.

pendulum and an assortment

a

The

springs.

of shapes

and

colors.

motion but rather found a place for

Not

all

rigid structure holds within strict limits

and globes fastened

of diversely fashioned discs

resulting controlled motion

harmony

existing

A

I

Calder,

of Calder's motorized objects

and

must always be remembered, did not invent

it

in the expressive

it

to wire

and complements an already

visually appealing

is

vocabulary of

White Frame.

Wood, wire, cord, metal, motor.

art.

meet such esthetic requirements. The bulky me-

chanical apparatus cannot always be integrated without loss of formal purity. Also, motors

can only generate motion that repeats

which the

the spontaneous quality

upon

solely

the structure's balance

breeze would give

it.

Only

itself

and the kinetic

A

artist seeks.

result, therefore, will fall short of

motion needs

to

be developed that depends

and such impetus as a stroke of the hand or a breath

of

in an abstract construction, suspended and balanced within itself

only in this elegant form, in partially controlled, but non-repetitive and spontaneous move-

ment, has the mobile reached

In

its

potential.

its full

purest form the mobile hangs, supported by a string or wire, balancing abstract

shapes of varying complexity, which according to chance impetus of wind or breeze engage in parallel or opposite

(from a few inches

movements

uneven

of

and

to vast spans)

in

velocity. Mobiles, of course, differ: in over-all size

measurements of each individual element; through

variations of the mobile structure and that of the shapes, colors and materials of

members: and, through is

the direction

its

composite

and speed of the chance motion. The mobile vocabulary

further broadened by various hybrid combinations of supporting and performing

For not

bers.

all

mobiles hang from the ceiling: they

may hang from

ports resting on the floor, on the ground, or on tables. However, in a mechanical that is the

and visual balance

mark

which

come

mem-

static sup-

V"

successful examples,

reached through multiplicity within an overruling unity

is

then. Calder's

within the progression of

sense of

all

from

Mobile. Wood, metal, cord.

of true art.

The mobile,

line

walls or

later

its

most conspicuous contribution, does not stand isolated

inventor's art.

has

It

its

latent origins in Calder's vivid pencil

A

assumes enhanced materiality by translation into wire.

movement

turns into physical motion with the

increasingly articulated in

merely ideated

a wire rod. to be-

first oscillation of

movements controlled by hand or motor and

rigid frame. Eventually, Calder's colored shapes

swing freely and gracefully

fixed within a

in the breeze as

the mobile matures to fulfillment.

The mobile was

well defined

by Patrick Heron as "an abstract configuration

culated parts in which each part, or segment, is

is

free to describe a

a motion, conditioned by. yet distinct from, the

ments of which the the mobile

moves

total

construction

in a contrapuntal

is

made

motion as

gratification with a controlled

'Patrick Heron.

"Idem.

movement

of

its

own: but

it

of all the other articulated seg-

up". 1 Heron adds in a subsequent passage that

rhythm "in an exact musical, not metaphorical sense" 2 â&#x20AC;&#x201D;

realization entirely basic to an understanding of

yond mere

movements

of arti-

its

true meaning. For once

animated gadgetry. we need

to

we have

risen be-

grasp the significance of Calder's

clement of form that enriches the visual vocabulary of shapes, colors.

The Changing Forms

oj Art,

London, Routledge & Regan Paul. 1955,

p.

222.

15

textures,

masses and voids. The space reference conventionally applied to sculpture

is

tran-

scended by the dimension of time. The mobile thus does become a kind of visual music in

which forms rather than sounds accommodate themselves

in time

and space

to

be conveyed to

the viewer rather than the listener through the eye rather than through the ear.

The musical analogy which with must be limited,

only because music

if

the mobile reaches

is

exists only in material form. It also should not lead to the

mobile are equal to those of music, for while the the entile audial range, the mobile's tially

subject to control.

motion

The mobile thus

is

assumption that the means of the

and

latter is free

fully controllable within

confined within a limited space and only par-

serves also as a measure of the capacities and limita-

motion within the material forms

tions that apply to

utmost validity nevertheless

its

not only abstract but immaterial, while the mobile

of the visual artsâ&#x20AC;&#x201D; and Calder's coura-

geous invasion of these neighboring territories furnishes for such theories the needed example.

If in

the 19,30's Calder was preoccupied with motion and

of form, the succeeding decades of restfulness

and

seem

its

harnessing as an element

to lead his attention to a rediscovery of the

to the establishment of a calculated relationship

between movement and

pose. Calder approaches such a task with characteristic lightheartedness and

would concede much

Among

less

method or intention than

this

meaning re-

abandon and

account might suggest.

the structures Calder created during this phase are the constellations, with

spidery wire lines leading from one

wooden shape

to another.

The number

of carved

wood

forms, their diversity in scale and color, and their attachment to wire rods of varying length

movement

continue, despite their immobility, to evoke a sense of stellations

appear to be mobiles frozen

originally attained with such difficulty a reverse action of

The

comparable

stabiles proper,

in

so strongly that these con-

motionâ&#x20AC;&#x201D; mobiles immobilized.

It

may be

that motion

had gained a momentum that could be retarded only by

force.

on the other hand, are in

full

repose as wire frame and wooden

shape give way to sculptural mass. They share with the earliest abstract constructions their immobility. However, the two, separated by several years, are different in kind: for the constructions

power

bend toward motion while the

of rest. Calder's late stabiles are the

The often

stabiles,

stabiles of the last three decades are

composed

having experienced motion, reassert the

most sculptural of his works.

made

of metal sheets or steel plates

of separate parts that are riveted, bolted or

and are

welded together. Due to the

in-

creased technical complexity of the process of fabrication, they are hand-made only in model

form. The small original maquette, cut and constructed by Calder. goes to the iron works with Snow Plow. Sheet

metal.

exact specifications to be translated, under the artist's close supervision, into large or

monu-

mental scale. Although, from a technical standpoint, these enlargements could be multiplied at will, all

works

The

to date are

unique by wish and

command

stabiles are abstract although their often

of the artist.

whimsical shapes

so forcefully as to suggest to the uninitiated viewer the very

Their basic color

is

names

black, relieved occasionally by areas of white

and

recall objective

images

the artist gives them. red. Their planes

and

masses are, in accordance with modern extensions of the sculptural definition, often perforated

and always open so

that the voids

and the enclosed spaces may become negative mass, and

as such, part of the sculptural concept.

16

Mobile and

were brought into being through Calder's

stabile

and inventive

restless

imagination. Neither did in any sense "happen" nor was either of them "there

':

both had to be

shaped by a forceful creativeness. They represent extreme positions on a scale predicated by motion

one end. and by

at

came about

opposites

rest at the other. Contacts

form of a combination

in the

separate components were

As

developing.

still

breed between the two progenitors. They occur assertiveness of the paternal or maternal

and accommodations between these

type, the stabile-mobile, while each of the

a result, in

we now have every

varying ratios depending on the relative

member. The stabile-mobile combination

Calder to indulge his already mentioned delight in games of scale. There the tower

mobile

I

I

possible cross-

is,

also allows

for example,

what the constellation

a wire construction that is to the stabile-mobile

is

to the

from whose projecting crowns dangle tiny mobiles. Then again, elaborately unduupon

lating mobile structures rest overbearingly

delicate supports. In all these, the size

may Five Rudders. Sheet metal, metal rods

vary from a few inches to

fifty feet.

The hybrid combination, ensemble of interpenetrated

static

that brings into play a balanced

from a fusion

then, results

and kinetic components. In Calder's great stabile-mobile

compositions the fruit of former labors has been gathered. The early strive toward motion

and the subsequent reassertion

of repose are finally resolved in

complete mechanical and visual

harmony.

Alexander Calder

is

assumes a central position

the sense that sculptureâ&#x20AC;&#x201D; at rest or in

a sculptor in

in his

work.

From

it

he strays at

will,

motion-

only to return with newly

gathered strength which he applies to his principal task. Thus, not only his drawings and his gouaches, but also his paintings, prints and book illustrations, his jewelry, tapestry and various functional whatnots should be seen as part of a total production. Calder's minor arts are part and parcel of the related

and contributory

media can be

to the

main

of sparkling quality

Prints, graphic

first,

when

that has created the mobile. Often

line of his sculptural thought, the objects created in other

and

work and book

irresistible

charm.

illustration are, of course, old interests of Calder.

returns to these on occasion. Painting intrigued

still

the

same compulsive experimentation

him

at

his absorbing interest in the circus called for pictorial expression

famous visit to Mondrian's studio in 1930,

master. In recent years, a

much more

when he

felt

He

various times during his career:

and again

after

impelled to imitate the neo-plastic

original idiom, linking his oils with his giant stabiles

has yielded works of interest.

It is

the gouache, however, and the watercolor which have consistently fascinated Calder

and through which he has achieved mastery

in a

two dimensional

positions of the early mobile phase that are close to

art.

some sculptures

There are sinuous com-

of the

same period. Then

again, a later gouache style seems to relate to the tapestry craft which has interested Calder since the 1950's. His most recent output of gouaches tained. It flows freely

and vigorously when Calder the sculptor

calculation to allow a spontaneous delight

and that of

and watercolors

hand

to

is

entirely self-con-

rests his strenuous habit of

conjure up images and fantasies for his sheer

others. In these Iighthearted

and humorous works on paper, a sturdy brush

inspired by mechanical and organic motifs, fuses abstract construction and figurative expression to

make form

live in

an outburst of pure color.

Untitled.

Gouache

17

H^gH

;

1898

Born

1919

Graduated as mechanical engineer. Stevens

1923â&#x20AC;&#x201D;1926

in Philadelphia.

Worked

others. Free lance

1926

1927

drawing

for

First paintings exhibited in

Began

Institute of Technology.

New York, with

as engineer. Studied at Art Students League,

circus:

first

New York. Wood

animated

New

to

sculpture.

To

Paris.

toys, first wire sculpture.

Toys exhibited. Salon des Humoristes, Returned

Luks. John Sloan and

National Police Gazette.

Paris.

York. Toys manufactured from his models.

man

1928

Met Miro and Pascin

1929

First jewelry, wire goldfish

1930

In Paris again, met Leger and Mondrian.

in Paris. First

one

show.

bowls with moving

Exhibitions, Galerie Billiet. Paris; Galerie

Weyhe

Gallery,

New

York.

fish.

Neumann

Nierendorf. Berlin.

Influenced by Mondrian. experimented briefly with abstract painting, began abstract sculpture.

Participated in

XI e Salon d'Araignee, Salon des Surindependants, Paris; Museum of Modern Art, New York.

group exhibition.

1931

Joined Abstraction-Creation group.

First abstract constructions

1932

1933

shown

First mobiles exhibited at Galerie

at

Galerie Percier. Paris.

Vignon, Paris.

New York.

Showed

also at Julien

Visited

Madrid and Barcelona, where he showed

Returned

to

Levy Gallery,

1934

Association with Pierre Matisse Gallery.

1935

Settings for

1936

circus, objects, drawings.

United States and purchased his farm, Roxbury. Connecticut.

New York

;

first

of regular exhibitions there.

Martha Graham's Panorama, Bennington. Vermont.

Settings for Satie's Socrate, "Plastic Interludes" for

Wadsworth Atheneum, Hartford. Connecticut

Martha Graham's Four Movements,

New York.

1937

Mercury Fountain

1938

Retrospective. George Walter Smith Art Gallery, Springfield.

1939

First prize. Plexiglass Sculpture Competition,

1940

First jewelry exhibition.

Exhibition.

Mayor

for

Spanish Pavilion. Paris Exposition.

Gallery. London.

Museum

New

Willard Gallery.

of

Modern

Art.

New York.

York.

1941

Mobile

1943

Constellations.

1944

Modeled sculpture, plaster and bronze. Exhibition

1946

Exhibition at Galerie Louis Carre. Paris.

for ballroom. Hotel Avila, Caracas, Venezuela.

Major

retrospective.

Museum

Modern

of

at

Art.

New York.

Buchholz Gallery.

New York.

Mobile for Terrace Plaza Hotel, Cincinnati.

1947

Exhibition with Leger, Stedelijk

1948

Work begun on

film with

Museum. Amsterdam.

Herbert Matter.

Visited Brazil exhibitions in Rio de Janeiro. Ministry of Education and Sao Paulo. Museude Arte. :

1950

Association with Galerie Maeght. Paris;

Trips to caves of Lascaux.

to Brittany.

first of

regular exhibitions there.

Finland. Sweden.

Exhibition. Massachusetts Institute of Technology.

1952

Acoustic Ceiling for Aula Magna, University City. Caracas.

First prize, Venice Biennale.

1953

Acquired house

1954

Water Ballet for General Motors Technological Center. Detroit.

1955

Visited India,

1956

Association with Perls Galleries and

at

Sache, France.

where he made several mobiles

1957

Mobile for Idlewild Airport,

1958

Mobile

for

first

for

Sarabhai Ahmedabad.

of recurring exhibitions there.

New York.

United States Pavilion, Brussels World's Fair

:

mobile

for

UNESCO.

Paris.

First prize, Carnegie International, Pittsburgh.

Museu de Arte Moderno. Rio de

1959

Exhibition,

1960

Gold Medal of Architectural League of

1961

American

Institute of Architects

New

Janeiro.

York.

Medal.

Film of circus with Vilardebo.

Exhibitions in Amsterdam. Stockholm. Copenhagen.

1962

Creative Arts

Award

for Sculpture. Brandeis University.

Wallham. Massachusetts.

Retrospective organized by Arts Council of Great Britain, held

1963

Exhibition of large stabiles, Galerie Maeght, Paris.

1964

Five stabiles at

Documenta

III.

Kassel. Germany.

at

Tate Gallery, London.

19

\^>

'

£' <s

F

ft^It Ifflff PPt '1 •. ill *S

k^B

1

r

^t^

preceding pages 20 and 21

22

:

Calder in his studio in Roxbury, Connecticut

above and below: Calder's studio in Sache. France

.

~-

.

.

-

:

_.

:

above: The Calders outside their house in Sache

below: The Calders and one of their grandchildren in Roxbury

23

4^

24

Living room. Sache

Kitchen, Roxbury

above: Utensils by Calder

below: Louisa

(

!a

bin V nun lis by ("abler

Calder's desk, Roxbury

25

Âťrvwi\<;s.

4.icaiÂťiii<

:s,

iixustration

Calder began his career as a draftsman. In 1922. after

lie

had worked for

a few years as an engineer, he began to draw in a public night school in

New York. He took a job as an illustrator for the National Police

in 1924.

When

Gazette

Calder was asked to cover the circus for the Gazette, he

returned to draw

it

indeed, inspired

much

again and again, for

published in 1926 in a

it

of his early w-ork. little

book

called

captured his imagination, and

Many

of these sketches

were

Animal Sketching.

Calder has continued to draw throughout his career, illustrating books

and magazine covers and executing posters, etchings and lithographs.

In later years, after he had renounced representation for abstraction in sculpture,

drawing remained the

illustrated

books include: Fables of Aesop. 1931

outlet for his naturalistic style. Calder s :

Threeloung

Rats, 1944;

The Rime of the Ancient Mariner. 1946 and Selected Fables of La Fontaine, 1948. In 1950.

The Neiv \ork Times named him one

illustrators of children's

books of the

Calder's drawing carried over into

of the ten best

last fifty years.

much

of his early

work

in other

media.

His calligraphic style reappears in his toys and circus, his wire sculpture

and earlv mobiles and

stabiles.

Calder and one of his grandchildren

•

:

&1L

\

/

V Ab

kx

T

1

/ ;

The Animal

Trainer. 1932. Ink.

22%

x

30%".

--

Courtesy Perls Galleries.

.,:,%\

New

York.

A\

Balancing Lady. 1931. Ink,

ft

$

22%

x

30%". Courtesy Perls

Galleries,

New

York.

ih

T\-

.Wan o« 5/acA: IF;re. 1932. Ink. 22 x 30". Collection the

28

artist.

Dancer with

Flutist. 1931. Ink,

22%

x 30%". Courtesy Perls Galleriess,

New \or

w s ?s^

"y

-'*_•*" ,

V

A&-

->,»-•>

•J

=*»

&

^ fe' V "XI

Tumblers. No.

II.

1931. Ink.

22%

x 307s".Courtesy Perl? Galleries,

Universe. 1932. Ink, 22 x 30". Collection the

artist.

New

York.

Ben Hut.

1931. Ink,

22%

x 30%". Courtesy Perk Galleries,

Untitled. 1932. Ink. gouache, 22 3 4 x 30

V.

New

York.

Collection the artist.

29

toys,

rim

is. wiiti:

sn

li'ti hk. .iiovki.iiy

Calder went to Paris in 1926 and there he began his miniature circus.

First he fashioned tiny,

movable toys from

materials and wire. Gradually these

little

and scraps of random

bits

animal and human figures de-

veloped into a circus replete with horses, dogs, tigers, ducks and acrobats.

He gave performances circus were

famous

In 1926 Calder

of the troupe for friends,

made

the first of his wire sculptures. Josephine Baker.

portrait heads,

sculptures,

his

in the Parisian art world.

Intrigued by the possibilities of this figures,

and soon Calder and

new medium, he made more

figure compositions

foreshadowed

in the circus

and

single

and animals. These wire toys,

grew out of Calder's

drawing. They seem to be wire drawings in space, rather than pencil sketches on paper and go far beyond the toys and drawings in their three

dimensionality and scale. They range from a few inches— the delightful Spectacles with their dangling eyes and

nose— to

as

much

as eight feet—

Romulus and Remus and Spring. This unique genre was shown first

one-man exhibition

at the

Weyhe

Calder's fascination with wire led in

1929 he made his

first

necklace.

Gallery in

him The

of twisted or coiled wire. Later Calder

cut

and bent

in a variety of

wavs.

to

to

New \ork

in Calder's

in 1928.

experiment with jewelry and

early jewelry

began

was almost

entirely

to use pieces of flat metal,

which he occasionally added other

materials, such as glass or stone.

Spring. 1929. Wire, wood, 94 1/2"h. Collection the

artist.

above: Pull Toy. Wire.

:>,2

c.

tin. c.

1960.

10"h.

enter: Toy

Horse and Rider. 1927.

Wood,

cork, wire, cloth,

c.

12"h.

bottom: Fish Pull Toy.

Wood,

wire.

c.

c.

1960.

10"b.

opposite: Objects from Circus. 1926-1932

Toys and Circus Collection the

artis

34

The Only Only Bird. 1952. Tin,

wire. 15"h. Collection the artist.

opposite: Wire Sculpture Sign. 1928. Wire.

46%"h. Collection

the artist.

above: Romulus and Remus. 1928. Wire, wood, 31 x 112". Collection the

:!(.

artist.

below: Horse,

c.

1927. Wire,

27%"h. Courtesy Perls

Galleries,

New Yoik.

Leger. 1930. Wire. 16"h. Collection

Mme. Nadia

Leger, Biot, France.

37

/

*~\

/ ahove: Pin. Silver,

5%

Collection Mrs.

:.;:

x 3V4".

James Schramm. Burlington, Iowa.

center: Daisy Pin.

c.

1929. Brass,5 7/s"d.

Collection Miss

Agnes Mongan. Cambridge, Massachusetts.

apposite boll

:

Pin. Silver,

3%

x

4%". Culled ion Mrs.

Talcoll Clapp,

Woodbury, Conn

Jewelry. Collection Louisa Calder, Roxbury, Conn.

39

WOOIÂť AMI

ItltON/l

SI

I'll in:

I

I

Cakler had experimented with wooden sculpture even before leaving

He

for Paris and starting his circus and wire sculpture.

carving again when he returned to

New York

in 1928.

took up

The

first

wood

wooden

sculptures were executed in fairly low relief but Calder soon developed their robust three dimensionality.

There were totem poles, human

and the ever present Calder zooâ&#x20AC;&#x201D; cats, dogs, horses, birds and in a variety of

figures,

fish,

carved

in the twenties.

Calder

woods.

Although he created most of his wooden sculpture

has occasionally returned to the use of wood, in the abstract constellations of the 1940's for example.

more and more on

Calder's interest, however, centered

his experiments with wire

and metal. His oeuvre de-

veloped out of the wire and metal sculpture, and despite his feeling for

wood. Calder became primarily a sculptor

numerous metal sculptures are com-

Calder's most characteristic and

posed of

flat

elements. His talent for creating sturdy modeled forms did,

however, find further expression,

human

figures

and

later in

more

Only height measurements are given width of a moving sculpture 40

of metal.

extension of the mobile.

is

first in

humorous bronze animal and

abstract bronzes

for

most sculpture.

indicated,

it

and

When

a

plasters.

measurement

for the

describes the greatest possible horizontal

above: Cow. 1928.

Wood, 12%"h. Collection Mr. and Mrs. George D.

Pratt, Jr., Bridgewater,

Conn,

below: Cow. 1930. Bronze, 5%"h. Courtesy Galerie Maeght, Paris.

\

V

above: Shark and Whale,

c.

1933.

Wood. 34"h. Collection the

artist.

opposite: Apple Monster. 1938. Apple branch, wire, 67"h. Collection the artist.

below: Lentil. 1944. Bronze, 20"h.

Collection .Mr. and Mrs.

Andrew Gagarin,

Litchfield, Connecticut.

43

Alts I

Upon artists

to

It

ACT CONSTRUCTIONS

1928 and again

his return to Paris in

who encouraged him and

Mondrian's studio

and for

all

in

in 1930,

Calder met

many

affected his development. Calder's visit

1030 influenced him significantly. Calder once

renounced representational sculpture for abstraction. He

as-

sociated himself with a circle of abstract artists and joined the group AI>straction-Creation. His

new metal and wood sculpture was composed

entirely of geometric forms.

They are simple arrangements

of elements

within a frame or open wire forms standing on bases. Further influenced

by Mondrian. Calder began

to paint his sculpture in

primary colors.

These geometric works, named "stabiles" by Jean Arp. were shown for the first time at the Galerie Percier in Paris in 1931.

n

Universe. 1931. Wire, wood, 36"h. Collection the

artist.

Gibraltar. 1936.

Wood,

wire. 52"li. Collection

tile arli-t.

45

I

above: Constellation,

c.

1943.

Collection the artist.

46

Wood, metal

rods.

31%

x 36 'is".

below: Constellation with Quadrilateral. 1943. Wood, metal rods, Collection Henri Seyrig, Beirut.

12%

x 18"

Constellation. 1943.

Wood, metal

rods, 22 x 44Vz". Collection

The Solomon

R.

(

luggenheim Museum, New York.

17

TIIAXSITIO* TO JIOTIOX

The germ toys

of the idea of

motion appeared early

and circus figures and some

work. The

in Calder's

of the wire sculptures

move

in a

humor-

ous naturalistic manner. The acrobats tumble, the horses gallop and Josephine Baker undulates ever so slightly in her provocative dance.

In 1929, intrigued by an exhibition of antique mechanical birds he seen, Calder

water are

When

made

a series of wire goldfish bowls. In these, the fish and

moved by

a

crank.

little

he saw Mondrian's studio. Calder said that he wished everything

there were in motion. This

was surely a portent of the

Calder renounced representation, he began his

new

to

two or more elements move

The

at

future.

moving objects

more complex arrangements

first

Vignon

wit of the figurative sculpture

in

in his

which

is

retained in these mechanized

hand cranks.

public showing took place in February J'KVI. at the Galerie

in Paris.

Marcel Duchamp, when asked

christened them "mobiles".

48

after

varying rates of speed in opposing direc-

abstractions. All are driven by simple motors or operated by

Their

Soon

incorporate motion into

abstract style. First he included single

constructions and then he developed

tions.

had

to

name

the

new works.

Fishbowl

ivith

Crank. 1929. Wire, 15 7/s"h. Collection the

artist.

Black Spot on Gimbals. 1942. Wire, wood, 16"h. Collection the

artist.

50

Tlie

Orange Panel. 1943. Wood, sheet metal,

wire, motor. 36 x 48". Collection Mrs. H. Cates Lloyd. Haverford, Pennsylvania.

x above: Dancing Torpedo Shape. 1932. Wood, wire, metal, motor, 24 /2"h.

Collection

The Berkshire Museum.

Pittsfield.

Massachusetts.

below: Quatro Pendulati. 1943.

Collection the artist.

Sheet metal, metal rods, wood, motor,

36%

x

25%"

51

tlOltll

The idea

I>

of spontaneous

and random motion appealed most strongly

Calder. though his mechanized mobiles dictable patterns.

It

moved

if

his mobiles

currents rather than motors, and in 1932 he

movement

the

the

forms became

and

pre-

occurred to him that movement would be free and

capable of almost infinite variation

As

in controlled

to

of the

made

were propelled by

the

first

air

"wind mobile."

mobile became more spontaneous and natural,

freer. Fanciful,

organic shapes replaced the geometric

elements of the earlier sculpture.

Although Calder never abandoned mechanized sculpture, he came centrate his attention on the of its form.

to con-

wind mobile, and developed many variations

There are hanging mobiles, wall mobiles, standing mobiles

and table mobiles, mobiles with gongs and mobiles

in the

form

of towers,

mobiles for indoors and outdoors and mobiles ranging in size from small

and

webs

fragile

Calder has

to

enormous constructions designed

made mobiles

for such diverse

for vast balls.

and imaginative uses as stage

decor for Martha Graham, the ingenious Mercury Fountain for the

Spanish Pavilion for the 1937 Paris Exposition, and even a sort of water mobile,

first

designed for the New York World's Fair in 1939 and ultimately

executed in 1954 as a Water Ballet for the General Motors Technological Center in Detroit. His architectural commissions include monumental

mobiles lor Idlewild Airport and the 1958 Brussels Worlds Fair.

ample

of a recent motorized

mobile of grandiose scale

is

An

the 30 foot

ex-

Four

Elements, executed in Stockholm in 1962.

52

Mobile. 1936? Wood, metal, cord, 39 x 36". Collection The Solomon R. Guggenheim

Museum, New York:

Collection

Mary Reynolds;

Gift of her brother.

• (j

above: Snake and the Cross,

c.

1940.

below: Mobile. 1934? Metal, cord. 9 x 16".

opposite:

Red

Sheet metal, cord. 40VS x 30".

Collection

The Solomon R. Guggenheim Museum. New York.

Collection the artist.

Collection

Mary Reynolds:

Courtesy Perls Galleries,

Gift of her brother.

Il

54

Lily Pads. 1956.

Sheet metal, metal rods, wire, 42 x 201"

i

lll l

U

'

New York.

HP

:

y

f

s

69% x 69" New \ork.

Pomegranate. 1949. Sheet metal, metal rods, wire, 56

Collection

Whitney Museum

of

American Art,

above: Fishy. 1962. Sheet metal, metal rods, wire, 61 M> x

Courtesy Perls Galleries,

New

York.

35%".

following pages 58: 125. John F.

Kennedy International Airport. New York.

1957.

c.

504"1.

59: Black Mobile With Hole. 1954. Sheet metal, metal rods, wire, 88 x 102".

Collection Mr. and Mrs. Jean Davidson.

Sarin''.

France.

57

â&#x20AC;˘

i.

\\

below: Roxbury Red. 1963.

above: Sumac. 1961.

Sheet metal, metal rods, wire,

Courtesy Perls Galleries,

49%

x 94"

New \ork.

opposite:

Sheet metal, metal rods. wire. 62 x 104"

Courtesy Perls Galleries,

New

"iork.

Model

for Ghost. 1964.

37% x 65" New York.

Sheet metal, metal rods, wire,

Courtesy Perls Galleries,

STAICII

^

hile

I

S

Calder was intensely involved with the development of the mobile,

the stabile too evolved in scale

and

style.

The

early, small geometric

constructions were in general replaced by larger stabiles composed of flat

of a

sheets of metal, usually painted black, sometimes with the addition

primary color and occasionally polychromed.

During the

when metal was

forties,

scarce. Calder developed the con-

stellation, a special variety of stabile.

of pieces of painted or unpainted

stands or

constellation

is

it

These

later stabiles are as varied in

form and

scale as the mobiles.

are slender or massive, fanciful and sometimes ominous. stabiles are spectacularly large.

Among

huge pieces are the enormous Teodelapio a street in Spoleto

constructed

thin metal rods. Intimate in

attached to a wall, like a crawling, spindly creature.

scale,

is

The

wood and

and

is

large

Some

Thev recent

the most impressive of these I

which stands

in the

enough for buses and trucks

middle of

to pass

under

I

and the Guillotine for Eight.

In

November 1964 an

held at the Galerie

62

exhibition devoted exclusively to giant stabiles was

Maeght

in Paris.

Slender Ribs. 1963. Sheet metal,

c.

145"h. Collection Louisiana

Museum. Humlebaek, Denmark.

above: Morning Cobweb. 1945.

Sheet metal, 35%"h.

64

below: Gothic Construction From Scraps. 1939.

opposite: Portrait of a Young

Man.

c.

1945.

Collection the artist.

Sheet metal, Sl^s"!!.

Sheet metal. 35y4"h.

above: Bucephalus. 1963. Sheet metal, 118"h.

Courtesy Galerie Maeght. Paris.

66

below:

Snow Plow.

1963. Sheet metal, 84y4"h.

Courtesy Perls Galleries.

New

York.

opposite:

Knobs and

Curlicues. 1963. Sheet metal, ;4%"h.

Courtesy Perls Galleries,

New

York.

leif.Funghi

A" en.

1960. Sheet metal, lll"h.

Courtesy Perls Galleries.

New

York.

right

:

Discontinuous. 1962. Sheet metal

Courtesy Perls Galleries.

a.

New York.

114"h.

b.

76"h.

opposite: Guillotine for Eight. 1963. Sheet metal, 263"]

Courtesy Perls Galleries.

New York.

MOKI

I

I

-VI AISI

B.i:S

Calder has effected a marriage of his two most characteristic sculptural

forms in the mobile-stabile. This hybrid construction, composed of a firm stabile base which supports a

and strength

of the stabile with the

The mobile-stabiles range

in size

tions designed for out-of-doors. of this

form are the

moving element, combines mobiles ever-changing

from several

Among

the

feet

to

the

mass

profile.

huge construc-

most monumental examples

UNESCO sculpture executed in

1958 and the Southern

Cross of 1963.

/*

zy

70

Beggar's Penny. 1962. Slieel metal, metal rods, wire. 50%"h.

Courtesy Perls Galleries,

New

York.

Red Curlicue

with Six Davits. 1959. .Sheet metal, metal rods, wire, 49 1/s"h.

Courtesy Perls Galleries,

New

York.

mmmmmmmm

Four Elements, Stockholm. 1962. Sheet metal, motor, 360"h.

Mmlerna Museet, Stockholm.

Collection

71

7

above: Yellow Disc. 1953. Courtesy Perls Galleries.

below -.Spider. 1939. Collection the

72

artist.

New

York.

opposite: The Spiral.

UNESCO

Headquarters, Paris. 1958.

Sheet metal, metal rods.

c.

360"h.

8

Jt

•'"•

>

".»*jS& -'flHEs

-

*

--

iiH

"•.pi r

"' .

—

T

LZ_

sJ-

f

Âť

above: Southern Cross. 1963. Sheet metal, metal rods, Collection the artist.

c.

210 (to horizontal cross bar) x 288"

opposite: Fire Rudders. 1964. .Sheet metal, metal rods, 154 x 130} Collection Washington University, St. Louis.

IMIXTIX4JK AXII TAPESTRIES

Calcler is of course best

and the

stabile.

circus date

known

His painting

is

as the sculptor

known only

who

originated the mobile

to a few. Yet

canvases of the

from the beginning of his career. Later, influenced by Mon-

drian. he experimented with abstract, geometric painting.

In

more recent

years, Calder has

watercolors and drawings are

and

figurative.

He

become

filled

a prolific painter. His gouaches,

with fantastic images both abstract

paints animals and reptiles, heads and geometric or

organic shapes in vibrant color or in delicate, spontaneous washes. His sense of decoration

is

revealed in elegant tapestry designs.

Âťâ&#x20AC;˘

Caduceus. 1962. Tapestry.

28%

x

41%". Collection

the artist.

77

78

Black-

Head. 1962. Tapestry, 41 xh x

29Vfe".

Collection the artist.

Red Drip.

1964. Oil on canvas, 51 x 3SV*". Courtesy Perls Galleries,

IN

.

V.

Spinnaker. 1964. Oil on canvas, 45 Vi x 35". Courtesy Perls Galleries, N.

V.

79

80

Herringbone. 1964. Oil on canvas. 35 x 51 Vs". Courtesy Perls

C7alleries.

New

York.

.

A

~

V

6?/e/a>i*above: Untitled. 1964. Gouache, 29V2 xteVi"

Courtesy Perls Galleries,

New

York.

below

:

Untitled. 1964. Gouache,

Courtesy Perls Galleries,

n

29% New

x 42 Vz" York.

8L>

/

'ntitled.

196

1.

Gouache,

43%

x

29%". Courtesy

Perls Galleries.

New

York.

84

Acoustic Ceiling, Aula Magna, University City, Caracas. 1952.

SELECTIVE A

IMIIMIMiltll'lh

comprehensive Calder bibliography, compiled by Ber-

nard Karpel, was published in James Johnson Sweeney's

New

Alexander Calder,

Museum

York,

of

1951 (revised edition of 1943 monograph).

Modern

None

Art,

of the

entries in that bibliography are repeated here. Articles

and reviews

listed in

Art Index have also been omitted,

unless they are of outstanding importance.

In short,

I

he present listing brings Mr. Karpel's bibli-

ography up

II.M

to date.

STBATKB BY

Wilbur, richard, ed.

Alexander Calder

s

in

I

New

Bestiary,

Circus,

STATKJIKXT BY

[Statement]

A

lALIIEII

New

\l III

York, Pantheon, 1955. Illustrated by Alexander Calder.

York, Art in America, 1964. Facsimile lithographed portfolio.

II

alvard, julien and cindertael,

r. v.,

eds.

Temoignages pour

I'art abstrait

1952, Paris, Editions

"Art d'aujourd'hui." 1952, pp. 43-44.

HOOKS

WO

IM.tllMII.KTS

loeb, PIERRE. Voyages a travers la peinture, Bordas. 1945. Lettre a Calder.

heron, Patrick. The Changing Forms oj Art, London. Routledge and Kegan Paul, 1955, pp. 221-225. ragon, Michel. L'aventure de

gomez

sicre, jose.

Four

I'art abstrait, Paris, Laffont, 1956, pp.

Artists oj the Americas, Washington, D.

rodman, selden. Conversations with

Artists,

seuphor, michel. La sculpture de ce

siecle,

New

220-223.

C, Pan American Union,

1957, pp. 23-40.

York. Devin-Adair. 1957. pp. 136-142.

Neuchatel, Editions du Griffon, 1959, pp. 85-91, 124, 189, 191, 204, 217,

223, 246.

ciedion-welcker, carola. Contemporary Sculpture,

kuh, Katharine. The

Artist's Voice: Talks with

New

York, Wittenborn, 1960. pp. 92. 204-209. 212. 326, 327.

Seventeen Artists,

New

York, Harper and Row. 1962, pp. 39-51.

Metro International Dictionary oj Contemporary Art, Milan, Editoriale Metro, 1963, Calder,

New

son,

York, Abrams, to be published

James Jones, Leger, Pascin.

c.

pp. 66-67.

Spring 1965. Preface by James Johnson Sweeney. Texts by Jean

Sartre, Sweeney. Photographs by

l>a\ id-

Ugo Mulas.

85

>IAÂŤ.

A/IMS AMI XKWSIMI'KRS

"Stabiles and Mobiles," Time,

New

York.

March

1,

1937. pp. 4647.

C0AN, ellen stone. "The Mobiles of Alexander Calder," Vassar Journal of Undergraduate Studies, Poughkeepsie,

New

York. vol. 15,

May

1942. pp. 1-19.

SWEENEY. JAMES Johnson. "El humor de Alexander Calder. Le Imprime Gracia y Fantasia a su Arte," Norte,

vol. 4,

January 1944.

no. 3,

"Alexander Calder." Current Biography, schneider-lencyel,

i.

New

York,

vol, 7. no. 4,

April 1946, pp.

7-9.

"Alexander Calder, der Ingenieur-Bildhauer," Prisma, Munich,

vol. 1, no. 6,

April 1947, pp.

14-15.

sartre, jean paul. "Calder," Art Present, Paris, no.

3,

1947, p. 45.

Sylvester. David. "Mobiles and Stabiles by Alexander Calder." Art ary 27, 1951.

News and Review, London,

vol. 2, no. 26.

d[ec.and], l[eon]. "A. Calder," Art d'aujourd'hui. Boulogne-sur-Seine,

December

vol. 3, no. 1.

1951, p. 5.

Schiller, ronald. "Calder," Portfolio, the Annua! of the Graphic Arts, Cincinnati, The Zebra Press, Duel!, Sloane

et

Hans Fischer: homines d'un langage nouveau." Arts

nevvton, eric. "Critic wiretaps Alexander Calder," Neiv York Times Magazine,

newton,

Plastiqu.es, Brussels,

New York.

August

eric. "Critico Analiza a

New

York,

vol. 33,

Alexander Calder." Noticas de Arte, Havana,

vol. 1. no. 10,

August-September

3. 11.

Schmidt, georc. "Alexander Calder's 'Mobiles'," Du, Zurich,

joppolo. benjamino. "Deux Sculpteurs," le

10, 1952, pp. 16-18.

25, 1952, pp. 83-88. 90.

1953, pp.

Derriere

York,

June 1952, pp. 427-434.

seirerling, Dorothy. "Calder, his gyrating mobile art wins international fame and prizes." Life,

August

New

and Pearce, 1951.

mellquist, Jerome. "Alexander Calder vol. 5, no. 6.

Janu-

p. 4.

XXe

vol. 13.

Siecle, Paris, no. 4.

December

1953, pp. 60-61.

January 1954, pp. 68-70.

Miroir, Paris, nos. 69-70, October-November 1954. Issue devoted to Calder. Contains Henri Pichette.

"Poeme

offert a

Alexander Calder

et a

Louisa": Frank Elgar. "Calder"; checklist of exhibition. Galerie

Maeght, Paris, October-November 1954.

H.

B.

R. k. ""II

bruguiere,

Labirinto dei Ragazzi." Casabella. Milan, no. 203. November-December 1954, pp. 50-54.

P. c.

"L'objet-mobile de Calder." Cahiers

banham, rayner. "Eppur

si

alloway, Lawrence. "Amos

muove," Art, London, 'N'

d' Art, Paris, vol. 29. no. 2, 1954, pp. 221-228.

vol. 1. no. 7,

February

Remus," Art News and Review, London,

17, 1955, p. 4. vol. 7, no. 2.

February

19, 1955, p. 5.

schlosser, Manfred. "Fernand Leger und Alexander Calder Austellung in der Easier Kunsthalle," Raukunst and

Werkjorm, Niirnberg.

vol. 10. no. 9.

1957. pp. 549-551.

Derriere le Miroir, Paris, no. 113. 1959. Issue devoted to Calder. Contains Jean Davidson, "Le luron aux prolege-

genoux"; Georges Salles. "Stabiles"; checklist of exhibition, Galerie Maeght. Paris, March 6-Apri] casser, helmi. "Alexander Calder," Werk, Zurich, vol. 46. no. 12,

restany, Pierre. "L'Autre Calder," Art International, Zurich,

December

13. 1959.

1959, pp. 444-450.

vol. 3. nos. 5-6. 1959. pp. 46-47.

staempfli, george w. "Interview with Alexander Calder." Quadrum, Brussels, no.

6, 1959, pp. 9-11.

Extract pub-

lished in Les Arts plastiques au nouveau siege de TUnesco. 1959.

canadav, JOHN. "Mobile Visit with Alexander Calder," The

New

York Times Magazine,

New

York.

March

25. 1962.

pp. 32, 33, 125.

gosling, nigel. "Flirting with the Fourth Dimension," The Observer Weekend Review, London, Sunday. July

lucie-smith, edward.

"Many Dimensions," The

Rickey, georce. "Calder in London," Arts.

New

Listener. London. July 19. 1962,

86

1962.

York, vol. 36, no. 10, September 1962, pp. 22-27.

sweeney, james JOHNSON. "Alexander Calder: Work and Play," Art in America, 1963, pp. 93-99.

8.

p. 106.

New

York, vol. 51. no.

4,

August

Derriere le Miroir, Paris, no. 141, l'avenir"; Michel

November

1963. Issue devoted to Calder. Contains

James Jones, "L'ombre de

Ragon, "Qu'est-ce qu'un Calder?"; color lithographs by Calder.

New

York, vol. 124, no.

vol. 83. no. 9,

February 28, 1964,

du plessix CRAY, francine. "At the Calders'," House and Garden,

December

4.

1963, pp.

155-159.

"Connecticut Colossi

in

Gargantualand," Time,

jones, james. "Letter Home," Esquire,

New

New

York,

York, vol. 61, no.

3,

March

1964, pp. 28. 30, 34.

p. 72.

On

a visit to Calder at

Sache.

"Le case

Calder: come vive un artista in America e

di

in

Europa," Panorama. Milan,

vol. 2. no. 21,

June 1964,

pp.

88-101.

GRAY, cleve. "Calder"s Circus", Art in America.

New

York,

vol. 52, no. 5,

October 1964. pp. 23-48. Photographs by

Herbert Matter and Rufus Stillman, drawings by Calder.

SELECTED

i:\IIIIII

CATALOGUES

IO>

1

the Cincinnati MODERN art society,

Cincinnati, April

7-May

3,

1942, Paintings by Paul Klee

and Mobiles and

Stabiles by Alexander Calder.

kunsthalle, Bern. May 4-May

26. 1947, Calder. Leger.

Bodmer. Leuppi. Introduction by Arnold Riidlinger.

stedelijk museum. Amsterdam. July-August 1947. Alexander Calder, Fernand Leger. calerie blanche, Stockholm, December 1950, Alexander Calder; Mobiles in

et Stabiles.

Foreword by Eric Grate,

text

Swedish.

YALE university art gallery'.

New

New

CURT Valentin GALLERY,

Museum

Haven, Conn., 1950. Collection oj Societe Anonyme,

1920, pp. 51-52. Contains statement by

oj

Modern

Art,

Marcel Duchamp, biography, bibliography.

York, January 15-February 10, 1952, Alexander Calder: Gongs and Towers. Contains

James Johnson Sweeney. "Alexander Calder's Mobiles": Fernand Leger. "Calder". xxvi biennale di venezia, Venice, 1952, pp. 371-378. Contains introduction by James Johnson Sweeney.

iiannover gesellschaft, Hannover. March 18-May

2,

1954. Alexander Calder: Stabiles, Mobiles, Gouachen.

galerie RUDOLF Hoffman. Hamburg. 1954. Calder. Introduction by C. A. Isenneyer.

kunsthalle. Basel, 1957. Calder. Introduction by Arnold Riidlinger. stedelijk museum, Amsterdam, 1959, Alexander Calder. Contains Georges Salles, "Stabiles": W. Sandberg. "Calder

und

die mobiles." Catalogue of exhibition circulated 1959-1960 to Kunsthalle.

Lange. Krefeld:

Kunsthalle.

Hamburg: Museum Hans

Mannheim; Haus der Jugend. Wupperlal-Barmen: Kunstgewerbemuseum.

Ziirich.

Palais des beaux-arts, Brussels, April 3-May

KUNSTGEWERBEMUSEUM,

Ziirich.

May-June

lelzlen Jahren. Introduction by

1,

1960, Calder. Text by Georges Salles.

1960. Kinetisehe Kunst. Alexander Calder. Mobiles

Hans

Fischli

und

Stabiles aus den

and Willi Rotzler.

THE arts council of creat Britain, London, July 4-August

12, 1962.

Alexander Calder. Introduction by James

Johnson Sweeney. calerie d'art MODERNE, Basel, 1962, 31 Gestalter einer totalen visuelen Synthese. Introduction by C. Belloli.

galleria del NAViCLio, Milan,

documenta

hi,

May

25-June

Kassel, June 27-October

5.

1964. Alexander Calder:

5, 1964, vol. 1,

Gouaches 1963-64. Note by Fernand Leger.

Ma/erei und Skulplur, pp. 214-215.

87

THE SOLOMON

R.

GUGGENHEIM MUSEUM

STAFF

Thomas M- Messer

Director

Curator

Lawrence Allowas

Associate Curator

Louise Averill Svendsen

Assistant Curator

Daniel Robbins

Research Fellows

Carol Fuer stein and Rose Carol Wash.'on

Librarian

Mary Joan Hall

Public Affairs

Everett Ellin

Membership

Carol Tormey

Registrar

Kathleen W. Thompson

Conservation

Orrin Riley and Saul Fuerstein

Photography

Robert E. Mates

Custodian

Jean Xceron

Business Administrator

Administrative Assistant Office

Manager

Glenn H. Easton,

I

iola H.

Jr.

Gleason

Agnes R. Connolly

Purchasing Agent

Elizabeth

Sales Supervisor

Christine E. Black

Building Superintendent

Peter G. hoggin

Head Guard

George

J.

M. Funghini

Sauve

PHOTOGRAPHIC CREDITS

All photograph- but the following were

Robert E. Mates:

p. 1-1 top,

15 top

Courtesy Galerie Maeght, Paris: Courtesy

INESCO

made By Pedro

p.

41 below

Headquarters. Paris:

Courtesy University City. Caracas:

p.

84

p.

73

E.

Guerrero

November

Exhibition 64/1

1064- January 1965

2,000 copies of this catalogue,

designed by Herbert Matter hare been reprinted by Ster/ip Press, Inc. in tor the Trustees of

February 1965

The Solomon R. Guggenheim Foundation

on the occasion of the exhibition

"Alexander

('.alder

A

Retrospective Exhibition"

ALEXANDER

A

CALDER

RETROSPECTIVE EXHIBITION

LEPERS

TO THE EXHIBITION

The Abrams Family

Mrs. Harry Hood Bassett.

I.

New

Collection,

New

Mrs. James Schramm. Burlington, Iowa

York

Taft Schreiber, Beverly Hills. California

York

Mrs. David Scully.

B. Bellew, Rochecorbon, France

Robert

Bollt.

New

New York

Mrs. Jose Luis Sert. Cambridge. Massachusetts

York

Louisa Cakler. Roxbury, Connecticut

Henri Seyrig. Beirut

Mrs. Talcott Clapp. Woodbury. Connecticut

Dr. and Mrs. Joseph Singer.

Mr. and Mrs. Jean Davidson. Sache, France

Mrs. Otto Spaeth.

Mr. and Mrs. Sampson R. Field.

Mr. and Mrs. Aaron Furman.

New York

New

Mr. and Mrs. Andrew Gagarin,

Litchfield, Connecticut

New

Illinois

York

Mr. and Mrs. David Bell Kreeger. Washington. D. C.

Madame Nadia

New York

James Johnson Sweeney, New York

York

Collection,

New York

Mrs. William Dixon Stevens.

Mr. and Mrs. Gerald Gidwitz. Highland Park.

The Joseph H. Hirshhorn

New York

Dr. and Mrs. James de Tomasi. Cold Spring Harbor,

Carlos Raul Villanueva. Caracas

Mr. and Mrs. Paul Lester Wiener.

New York

Carl Zigrosser, Philadelphia

Leger, Biot. France

Nora and Leo Lionni, Genoa

Arizona State University, Tempe. Arizona

Jean and Howard Lipman. Cannondale. Connecticut

The Art Gallery

of Toronto

Mrs. H. Gates Lloyd. Haverford. Pennsylvania

The Solomon

Guggenheim Museum. New York

Mrs. Jane

Wade Lombard. New York

R.

The Berkshire Museum.

Pittsfield,

Massachusetts

Robert B. Mayer. Chicago

Contemporary Arts Association, Houston

Mrs. Ida Meyer-Chagall. Basel

Moderna Museet. Stockholm

New York

Miss Agnes Mongan. Cambridge, Massachusetts

The Museum

Paul Nelson, Paris

Vassar College Art Gallery. Poughkeepsie.

Mr. and Mrs. Roy Neuberger, H.iM-

Neumann.

Long Island

<

!ai

New

York

of

Modern

Mr. and Mrs. Robert C. Osborn. Salisbury. Connecticut Mr. and Mrs. Klaus G. Perls,

New York

Wadsworth Atheneum. Hartford Washington University.

acas

Art.

Whitney Museum

of

St.

Louis

American Art,

New York

Mr. and Mrs. George D.

Pratt. Jr.. Bridgewater. Connecticut

Galerie Maeght. Paris

Mrs. Alan H. Rosenthal,

New York

Perls Galleries,

New York

New York

WORKS

THE EXHIBITION

IN

15.

16.

Lent by Perls

30% x 22%".

Galleries, New York.

UNTITLED.

1931. Ink,

UNTITLED.

1931. Ink,

Lent by Perls Galleries,

17.

THE ANIMAL TRAINER. Lent by Perls Galleries.

18.

22% x 30%".

New York.

New

WATEIUOLOKS.

l\«.«».

II

I

IHM.lt

New

COWBOY AND REARING HORSE. New

Lent by Perls Galleries,

STUDY FOR PORTRAIT OF CARL ZIGROSSER. c.

Pencil, 7 1/2xll 1/2".

AFRICAN FAMILY.

20.

1931. Ink.

30%

New

Collection Mr. and Mrs. Klaus G. Perls,

3.

BALANCING LADY.

4.

BATHERS.

1931. Ink, 22 7/s x

Lent by Perls Galleries,

5.

BEN HUR.

22% New York.

1931. Ink,

Lent by Perls Galleries,

1931. Ink,

21.

x 30%".

22.

23.

COUPLE IN EGYPT.

1931. Ink,

24.

Lent by Perls Galleries,

7.

8.

9.

10.

LION'S LEAP.

11.

12.

13.

14.

1931. Ink,

1931. Ink, crayon,

New

THE TUMBLERS, NO.

II.

1931. Ink,

New

27.

x 25%".

28.

22%

x

30%".

29.

1931. Ink,

York.

UNTITLED.

19%

x

25V2 ".

Lent by Perls Galleries,

New York.

UNTITLED.

1931. Ink.

19%

x

Lent by Perls Galleries,

New

York.

UNTITLED.

30% x 32%".

New York.

25%".

x 30%".

30.

31.

32.

33.

1932. Ink, gouache,

22%

x 30%".

artist.

1932. Ink, gouache, 23 x

30%".

artist.

1932? Ink, watercolor, crayon, 20M> x 26%''

artist.

1939. Ink,

22%

x 31".

1939. Ink,

30%

x 22 %".

artist.

artist.

UNTITLED,

c.

1940. Ink,

22%

x 31".

artist.

WHEEL AND POINTS, Lent by the

x 31".

1932. Ink, 22 x 30".

STRANGE WORLD.

Lent by the

22%

artist.

STRANGE WORLD.

Lent by the

1935. Ink,

1932. Ink, 22 x 30".

CONSTRUCTION.

Lent by the

22%

22% x 30%".

Galleries, New York.

artist.

UNTITLED.

Lent by the

York.

New

1931. Ink.

x 30%".

Lent by the

19%

Lent by Perls Galleries,

Lent by Perls Galleries,

22%

1932. Ink, 14 x 19".

artist.

UNTITLED. Lent by the

York.

TUMBLERS WITH ZEBRA.

1931. Ink,

26.

New York.

Lent by Perls Galleries,

Lent by Perls Galleries,

22% x 30%".

York.

THE RING.

artist.

UNIVERSE. Lent by the

1931. Ink,

New

FAMILY WITH HORSE. Lent by Perls Galleries,

25.

New York.

DANCER WITH FLUTIST. Lent by Perls Galleries,

30%".

x

IN

New York.

1932. Ink,

COMPOSITION. Lent by the

22%

x 19".

York.

CIRCUS WITH CONSTRUCTION. Lent by the

York.

22% x 30%".

New York.

14%

MAN ON SLACK WIRE. 1932. Ink, 22 x 30".

Lent by the

Lent by Perls Galleries,

6.

UNTITLED. Lent by Perls

York.

30%".

New

HORSE AND TRAINER Lent by Perls Galleries,

x 22%".

1932. Ink,

1928.

Collection Carl Zigrosser, Philadelphia.

2.

1932. Ink, 22 x 30".

York.

YI'll 19.

1.

York.

TWO BAREBACK RIDERS. Lent by Perls Galleries,

EARLY mt A«

1932. Ink, 22 x 30".

c.

1940. Ink,

22%

x 15%".

artist.

COMPOSITION

III.

Lithograph,

Lent by Perls Galleries,

New

19%

York.

x

15%".

EARLY OILS

53.

MODEL FOR DISPLAY OF FABRICS, c.

Lent by the

34.

CIRCUS.

1929. Oil on canvas.

23%

x 32".

Lent by the artist.

54.

MODEL FOR DISPLAY OF FABRICS, c.

Lent by the

35.

COMPOSITION. Lent by the

1930. Oil on canvas, 21

%

x 32".

artist.

UNTITLED. Lent by the

55.

1930. Oil on canvas.

MODEL FOR DISPLAY OF FABRICS, c.

Lent by the

56.

1930. Oil on canvas. I6V4 x

UNTITLED. Lent by the

1930. Oil on canvas, 13 x

MANNEQUIN,

16%".

c.

1928. Wire.

10%"

h.

artist.

1930.

SHOTPUT.

c.

1928. Wire. 19" h.

artist.

artist.

UNTITLED. Lent by the

FLOWER,

Lent by the

Oil on canvas, 28% x 36%".

59.

42.

1928. Wire, 17" h.

artist.

UNTITLED. Lent by the

c.

artist.

Lent by the

58.

41.

h.

10%".

artist.

57.

40.

14%"

x 23%".

23%

artist.

UNTITLED.

1928. Wire.

artist.

Lent by the 39.

1928. Wire. 16V4" h.

artist.

Lent by the 37.

1928. Wire. 19" h.

artist.

MODEL FOR DISPLAY MANNEQUIN, c.

Wood, metal, 19"

1930. Oil on canvas, 18Vs x 13".

Lent by the

artist.

60.

Only height measurements are given

measurement

for the

for

When

a

indicated,

it

most sculpture.

width of a moving sculpture

is

62.

1928.

wire, string, metal, 20" h.

Lent by the

61.

artist.

MODEL FOR DISPLAY MANNEQUIN, c.

Wood,

TOYS. CIRC1JS, ÂŤIIIK SCULPTURE

1928.

li.

artist.

TOY VELOCIPEDE, Lent by the

artist.

HORSE,

1928. Wire,

c.

1928. Wire, leather,

c.

20V2 "

4%"

h.

h.

describes the greatest possible horizontal extension of the mobile.

Lent by the h.

stands for high,

diameter.

d. for

63.

44.

CIRCUS.

ELEPHANT,

c.

1928. Wire. 9Vt" h.

1926-32.

Lent by the Lent by the

45.

artist.

artist.

artist.

JOSEPHINE BAKER

1.

1926. Wire, 40" h.

64.

JIMMY DURANTE, c.

Collection Jean and

Lent by the

46.

Collection Dr.

II.

1926. Wire. 25 <A" h.

65.

and Mrs. James de Tomasi, Cold Spring Harbor,

Island.

HORSE,

c.

1927. Wire.

27%"

BIRD.

1928. Wire,

Lent by the

49.

50.

51.

52.

46%"

68.

h.

1928. Wire,

12%"

h.

69.

1928. Wire,

20%"

15%"

h.

h.

70.

artist.

71.

1929. Wire,

h.

64%"

h.

1929. Wire. 48" h.

artist.

KIKI. 1929. Wire, 12%"

h.

artist.

LITTLE GIRL. Lent by the

13%"

artist.

HERCULES AND LION.

Lent by the

1928. Wire, wood. 31 x 112".

1929. Wire,

artist.

THE BRASS FAMILY.

Lent by the

artist.

artist.

ARCHING MAN.

Lent by the

ROMULUS AND REMUS. Lent by the

67.

h.

1928. Wire,

Z. c. 1928. Wire.

Collection Carl Zigrosser. Philadelphia.

artist.

HELEN WILLS. Lent by the

h.

artist.

CALVIN COOLIDGE. Lent by the

Connecticut.

PORTRAIT OF LAURA CANADE ZIGROSSER. c.

Lent by the

ACROBAT SIGN. Lent by the

11%"

PORTRAIT OF C.

Wire. 17" h.

New York.

Lent by Perls Galleries,

48.

h.

Collection Carl Zigrosser, Philadelphia.

66.

47.

11%"

artist.

JOSEPHINE BAKER Long

1928. Wire.

Howard Lipman, Cannondale.

1929. Wire,

artist.

26%"

h.

1928.

72.

NEGRESS.

1929. Wire.

17%"

85.

h.

73.

Lent by the

74.

Lent by the

75.

1929. Wire. 11" h.

88.

1929. Wire,

33%"

89.

h.

PIN.

c.

RING. PIN.

Collection Contemporary Arts Association. Houston.

1950. Silver,

c.

c.

MARIAN GREENWOOD. Lent by the

1930. Wire.

12%"

h.

LEGER.

1930. Wire, 16" h.

Collection

LOUISA.

Madame Nadia

VARESE.

1932. Wire. 4V4" h.

Collection Mr. and Mrs.

81.

James de Tomasi, Cold Spring Harbor,

Island.

THE ONLY ONLY BIRD. Lent by the

BIRD.

1952. Tin, wire, 15" h.

artist.

1962. Tin, wire. lOVa" h.

Lent bv the

2%"

PIN.

3%"

c.

1950. Brass,

h.

Wade Lombard. New

PIN.

c.

1960. Brass, silver, stone, 4" h.

Howard Lipman. Cannondale.

PIN.

James Schramm, Burlington. Iowa.

EARRINGS. Brass, gilt, IVz" h.

EARRINGS. Silver, 1% x 2%".

NAIL PROTECTOR. Silver, Vk" h.

NECKLACE. Brass, gilt, cord, 1% x PIN. Brass,

gilt,

PIN "MS".

Silver.

3%"

PIN "MS".

Silver,

4"

(Butterfly)

.

h.

h.

Silver,

ZVz"

BRACELET.

Silver,

5%"

DAISY PIN.

c.

Collection Miss

PIN.

1929. Brass.

5%"

New

BRACELET.

c.

1939. Brass,

5%"

WOOD 95.

h.

3%"

PIN. 1940-41. Brass.

W

Collection Jean and

Howard Lipman, Cannondale, Connecticut.

BROOCH,

c.

1940-41. Brass,

Silver,

96.

h.

BRACELET, c. 1946. Gold, 1%" h.

BUCKLE, c. 1946. Brass, 4 x 7".

NECKLACE, c. 1946. Silver, cord, 2 Hood

ACROBATS.

COW.

1928.

New York.

1928.

sÂŤ

Wood, 27%"

I

I'll hi:

h.

artist.

Wood, 12%"

h.

98.

Bassett,

New

Jr..

Bridgewater, Connecticut.

York.

HIGH HELLO. Lent by the

99.

NYMPH.

1928.

Wood, 33%"

h.

artist.

1928.

Lent by the

Wood. 35"

h.

artist.

x 12".

New

York.

100.

THREE MEN HIGH. Lent by the

JEWELRY.

d.

Collection Mr. and Mrs. George D. Pratt,

1944. Brass. 6" h.

Collection Mrs. Harry

86.

4"

AXIt IIRO\ZE

Lent by the

h.

Collection Mrs. William Dixon Stevens,

94.

BUCKLE.

York.

d.

Agnes Mongan, Cambridge, Massachusetts.

Collection Mrs. Robert C. Osborn, Salisbury, Connecticut.

93.

h.

h.

Collection Mrs. David Scully,

JEWELRY

84.

15".

6Y4"h.

artist.

312.

ELODIE

Connecticut.

SVa-h.

Silver,

Collection Mrs. Otto Spaeth,

92.

York.

Collection Mrs. Jose Luis Sert, Cambridge. Massachusetts.

311.

83.

h.

Howard Lipman, Cannondale. Connecticut.

PIN 82.

1950. Silver,

c.

artist.

SPECTACLES. Long

x 4V2".

Collection Jean and

Collection Mrs.

323.

80.

1940-50.

artist.

1931. Wire. 14" b.

Lent by the

c.

1950. Silver, 1" h.

Collection Jean and

91.

79.

Silver, gold,

Leger. Biot. France.

1931. Wire. 11 Vi" h.

Lent by the

3%

Collection Mrs. Jane

90.

78.

New York.

artist.

310.

77.

x 7%".

1950. Silver. 7" h.

BRACELET, 76.

6%

Collection Mrs. Talcott Clapp. Woodbury. Connecticut.

artist.

ACROBATS.

1948. Silver, glass,

Collection Louisa Calder, Roxbury, Connecticut.

artist.

UNKNOWN.

c.

BRACELET, NECKLACES, RING.

87.

1929. Wire, wood. 94 Vz" h.

SPRING.

PIN.

Collection Mr. and Mrs. Paul Lester Wiener,

Lent by the artist.

1928.

Wood. 65%"

h.

artist.

Before 1942.

Brass, gold, silver, pottery, semi-precious stones.

Collection Louisa Calder, Roxbury. Connecticut.

101.

UNCOMFORTABLE FACE. 1928. Wood. 21" h.

Lent by the

artist.

102.

DOUBLE CAT. Lent by the

1929.

ABSTRACT CONSTRUCTIONS

Wood, 6 J/8 x 51".

artist.

120.

103. LION. 1929. Wood. 16"

Lent by the

Lent by the

h.

Wood. 28"

PELICAN.

1929.

Lent by the

artist.

SHARK SUCKER. Lent by the

106.

1930.

8%"

1930. Bronze,

125.

h.

1930. Bronze,

8%"

1932.

rod. wire.

61%"

h.

artist.

CAGE WITHIN A CAGE.

1939.

Wire, metal rod. wood, cord, 37 hi "

Lent by the

COW.

artist.

TWO SPHERES AND CIRCLE. Lent by the

Lent by Galerie Maeght. Paris.

107.

1931. Wire, wood, 31" h.

1931. Wire. wood. 36" h.

Wood, sheet metal, metal

11 Vt x 30".

Wood,

artist.

ACROBATS.

UNIVERSE. Lent by the

h.

122.

105.

SPHERE.

artist.

artist.

121.

104.

TWO SPHERES WITHIN A

h.

artist.

h.

Lent by Galerie Maeght, Paris.

108.

DANCER.

1930. Bronze.

23%"

h.

Lent by Galerie Maeght, Paris.

109.

FEET

IN

THE

TIIAXSITIOX TO MOTION

AIR. 1930. Bronze.

5%"

h.

126.

FISH

BOWL WITH CRANK.

1929. Wire.

15%"

h.

Lent by Galerie Maeght, Paris.

Lent by the 110.

HEAD ON THE GROUND.

1930. Bronze,

5%"

h.

127.

Lent by Galerie Maeght, Paris.

MOTORIZED MOBILE. Wood,

111.

HORSE

I.

1930. Bronze,

4V2 "

128.

STARFISH.

1930. Bronze, 40" h.

113.

WEIGHT LIFTER.

8%"

129.

h.

York.

1932.

The Berkshire Museum.

SEMI-CIRCLE. Wood, metal

Lent by Galerie Maeght. Paris.

New

wire, sheet metal, motor, 29" h.

Collection

1930. Bronze,

Collection.

DANCING TORPEDO SHAPE. Wood,

Lent by Galerie Maeght, Paris.

1929.

wire, sheet metal, motor. 23 Vi" h.

The Joseph H. Hirshhorn

h.

Lent by Galerie Maeght, Paris.

112.

artist.

Pittsfield.

Massachusetts.

QUADRANT AND SPHERE.

1932.

rods, sheet metal, motor. 56 V2" h.

Collection Paul Nelson. Paris.

114.

WOMAN LEANING ON HER HANDS.

1930. Bronze,

4V

4 " h.

130.

Lent by Galerie Maeght. Paris.

THE ARC AND THE QUADRUM. Wood, metal

123.

SHARK AND WHALE, Lent by the

c.

Collection

1933. Wood, 34" h.

GIBRALTAR. Lent by the

115.

1936. Wire, wood, 52"

The Berkshire Museum.

A UNIVERSE. Collection

h.

Gift of

artist.

APPLE MONSTER. Lent by the

1938.

Apple branch, wire. 67"

h.

132.

Abby Aldrich

LENTIL.

Art,

40%"

h.

New York.

1934.

artist.

133.

artist.

PANTOGRAPH,

c.

1934.

Wood,

wire, sheet metal, motor. 45 3/4" h.

Moderna Museet. Stockholm.

1944. Bronze, 20" h.

Andrew Gagarin,

Litchfield, Connecticut.

134.

LITTLE BLUE PANEL. Wood, metal

SNAKE ON THE ARCH. Collection Mr. and Mrs.

1944.

Bronze, 34%"

Collection

h.

1935.

rods, wire, motor,

19%"

h.

Wadsworth Atheneum. Hartford.

Roy Neuberger, New York.

135

119.

Modern

1944. Bronze. 33" h.

Collection Mr. and Mrs.

118.

of

wire, cord, sheet metal, motor, 90 x 108".

Collection 117.

Massachusetts.

Rockefeller.

THE WHITE FRAME. Wood,

artist.

DOUBLE HELIX. Lent by the

Pittsfield.

1934. Iron pipe, wire, wood, cord, motor,

The Museum

Lent by the 116.

1932.

artist.

131.

124.

c.

rods, motor, 3OV4" h.

PIERCED STONE, c. 1944. Bronze. 36%" Private Collection. New Yirk.

h.

DANCERS AND SPHERE. Wood, sheet metal, Lent by the

artist.

1936.

wire, cord, motor, I8V2" h.

:

136.

LITTLE BLUE PANEL. Wood, sheet metal, Lent by the

1938.

149.

wire, motor,

13%"

MODEL FOR WORLD'S FAIR '39.

Wood, sheet metal, Lent by the

wire, cord,

14%"

1938.

EUCALYPTUS.

New

151.

PANEL WITH MOVING ELEMENTS. Collection

1941.

wire, piano strings, 22

The Solomon

R.

THE GONG.

1940.

%

Lent by the

Guggenheim Museum. New York.

BLACK SPOT ON GIMBALS. Lent by the

152.

artist.

VERTICAL MOBILE WITH SONOROUS WEIGHT.

1942. Wire, wood. 16" h.

Lent by the

THE ORANGE PANEL. Wood, sheet metal,

1943.

QUATRO PENDULATE Wood, sheet metal, metal

artist.

c.

154.

CONSTELLATION WITH MOBILE, c.

1943.

1946.

Collection Nora and Leo Lionni. Genoa.

rods, motor, 36 7/a x 25 %".

155.

artist.

156.

MOBILES

FLOATING WOOD OBJECTS AND WIRE SPINES.

PLAQUES SUR Lent by the

Hanging MobilfN

157.

GLASS AND TWO SPOONS.

144.

145.

158.

artist.

c.

1948. Sheet metal, metal rods, wire,

The Solomon

R.

BLERIOT.

1949. Sheet metal, metal rods, wire,

Sheet metal, metal rods, cord. 9 xl6".

THREE GONGS AND RED.

c.

The Solomon R. Guggenheim Museum. New York;

Sheet metal, metal rods, wire.

28%

Collection

Mary Reynolds:

Lent by Perls Galleries,

Gift of her brother.

Glass, metal, wood, pottery, cord, 25 x 23".

Collection

The Solomon

Collection

Mary Reynolds;

R.

THE BLACK CLOUDS.

177.

43%

159.

160.

62%

x 84".

MOBILE. 1936? Wood,

sheet metal, cord, 67 x 65".

The Solomon

Mary Reynolds:

R.

BLACK MOBILE WITH HOLE.

1954.

Collection Mr. and Mrs. Jean Davidson, Sache. France.

New York.

Collection

x 66%".

York.

Gift of her brother.

1936.

Collection

New

1953.

Sheet metal, metal rods, wire. 88 x 102".

Collection Robert Bollt,

RED LILY PADS.

1956. Sheet metal, metal rods, wire. 42 x 201".

Lent by Perls Galleries,

FOUR DIRECTIONS. Lent by Perls Galleries.

New

York.

1956. Sheet metal, wire.

New

37%

Guggenheim Museum, New York; Gift of her brother.

162.

FLYING FISH.

1957. Sheet metal, metal rods. wire. 24 x 88".

1936?

Sheet metal, metal rods, glass, pottery, wood, cord. 49 x 50".

148.

SIXTEEN BLACK LEAVES CHARIOT (

Sheet metal, metal rods, wire, 37 x 100".

Gift of her brother.

Lent by Galerie Maeght, Paris.

The Solomon

Collection

Mary Reynolds;

MOBILE.

1936? Wood, metal rods, cord, 39 x 36".

Collection

The Solomon

Collection

Mary Reynolds:

R.

163.

Guggenheim Museum, New York;

Collection

R.

x 84%".

York.

Lent by Galerie Maeght. Paris.

MOBILE.

x 47%".

Guggenheim Museum. New York;

161.

147.

47% x 56"

Guggenheim Museum, New York.

Collection Mrs. Ida Meyer-Chagall, Basel.

Sheet metal, metal rods, wire, wood,

146.

York.

FILS. 1948. Sheet metal, wire. cord. 39 x 45"

Collection

MOBILE. 1935?

New

1934.

Wire, cord, glass, metal, pottery, 37 x 38%".

MOBILE. 1934?

1947.

rods, wire. 44 x 54".

artist.

FIVE RED ARCS. Collection

143.

x 30"

wire, cord, 40 x 40".

Collection Mr. and Mrs. Paul Lester Wiener,

Lent by the

40%

1940. Sheet metal, cord,

artist.

Wood, sheet metal, metal

142.

1940.

63%".

wire, motor, 36 x 48".

Wood,

Lent by the

x

SNAKE AND THE CROSS, Lent by the

Collection Mrs. H. Gates Lloyd, Haverford. Pennsylvania.

141.

110%

artist.

153.

140.

71%".

wire, canvas, 7514 x

x 28".

Sheet metal, wire.

139.

x 61".

York.

h.

artist.

Wood, sheet metal,

%

1940. Sheet metal, wire, 95

Private Collection,

Wood, sheet metal, cord, 138.

40%".

1938. Sheet metal, wire, cord, 26 x

artist.

artist.

150.

137.

THREE ANTENNAE. Lent by the

h.

164.

THIRD BLERIOT.

)

1958.

Guggenheim Museum. New York

Sheet metal, metal rods. wire.

Gift of her brother.

Lent by Perls Galleries.

New

73% Y>rk.

x

58%".

.

1957.

165. 39

= 50.

1959. Sheet metal, metal rods. wire. 47 x

Collection

I.

Ceiling Mobiles

105V.

Rochecorbon. France.

B. Bellew.

178.

166.

BLACK CRESCENT.

Gift of

The Art Gallery

328.

Mr. and Mrs. H. R. Jackman. 1962.

NUMBERED 8-11. 1960. Sheet metal, wire.

Lent by Perls Galleries.

New York.

of Toronto.

POLYCHROME

1-8.

1962. Sheet metal, metal rods, 43 x 162"

Lent bv Perls Galleries.

327.

1950.

Collection Mr. and Mrs. Klaus G. Perls.

Sheet metal, metal rods. wire. 39 x 42%".

Collection

BLACK. WHITE AND TEN RED.

Sheet metal, metal rods, wire. 38 1 s x 126 "4".

1960.

New

York.

62 x 87%".

New Yirk.

Stsmding Mobiles

167.

SUMAC.

1961. Sheet metal, metal rods. wire. 49 3 4 x 94".

Collection Mr. and Mrs. David Bell Kreeger. \^ ashington. D. C.

179.

THE CIRCLE.

1935.

36%

Metal rod, wire, sheet metal, wood, pottery.

329.

RED PADDLES.

1962. Sheet metal, wire. 43 x 56".

Lent by Perls Galleries.

New

V>rk.

Gift of

176.

BLUE AMONG YELLOW AND RED.

1963.

180.

Sheet metal, metal rods. wire.

Lent by Perls Galleries,

39%

x 65".

New

1963. Sheet metal, wire.

60%

x 59".

HORIZON WEEDS.

1939. Sheet metal, metal rods, wire. 78 3 4 x 76".

SPIDER.

artist.

LITTLE LEAVES.

1941. Sheet metal, metal rods. wire. 43 x

Collection Mr. and Mrs. Aaron Furman.

46%".

New \ork.

Yirk.

182.

330.

Claflin.

New York.

THE EYE IN THE BLACK. Lent by Perls Galleries.

Agnes Rindge

Lent by the

181.

168.

x 31%".

Collection \ assar College Art Gallery. Poughkeepsie. New" \ork.

WOODEN BOTTLE WITH HAIRS.

1943.

Wood.

wire. 22" h.

1963.

Collection Henri Seyrig. Beirut.

Sheet metal, metal rods, wire. 36 % x 61%".

Lent by Perls Galleries.

New York.

183.

LILY OF FORCE. Lent by the

169.

HORIZONTAL MOBILE.

1944. Sheet metal, metal rods, wire. 87%

1963.

Sheet metal, metal rods, wire. 36 x 160".

184.

Lent by Galerie Maeght. Paris.

WOOD OBJECTS ON WOOD POST. 1947. \^ood, metal rods, wire,

23%

x 23".

Collection Mr. and Mrs. Paul Lester 170.

LARGE RED.

185.

BLACK MOBILE, c.

1948.

Sheet metal, metal rods. wire.

LARGE WHITE.

1963.

Collection

Sheet metal, metal rods, wire.

66%

ROXBURY

RED.

The Solomon R. Guggenheim Museum. New York.

186.

POMEGRANATE.

1949. Sheet metal, metal rods. wire. 69 5 s x 69".

Collection

Museum

X^

New York.

187.

SHIELDS. Lent by the

YELLOWS UP. REDS DOWN. Lent by Perls Galleries.

New

MODEL FOR "GHOST."

188.

York.

Lent by Perls Galleries.

GHOST.

1964.

189.

American

Art.

New Yirk.

New

New

York.

Lent by Perls Galleries.

New

86%

x 115".

artist.

1964. Sheet metal, wire. 21

York.

MOTHS.

1950. Sheet metal, metal rods, wire. 35 x 49".

RED

DISC.

New \ork.

SNOWFLAKES IN THREE DIRECTIONS.

Lent by Perls Galleries.

190.

York.

THE YELLOW PLATFORM.

1949. Sheet metal, metal rods. wire.

1951.

Sheet metal, metal rod. wire. 58 x 54 %".

1964. Sheet metal, metal rods. 288 x 414".

Lent by Perls Galleries.

331.

of

Collection Mr. and Mrs. Paul Lester Wiener,

Sheet metal, metal rods. wire. 37 3 4 x 65".

175.

hitney

1963.

Sheet metal, metal rods, wire. 47 3 4 x 68%".

174.

x 29%".

1963. Sheet metal, metal rods, wire. 62 x 104".

Lent by Perls Galleries,

173.

36%

x 178 3 4".

Lent by Galerie Maeght. Paris.

172.

Wener. New \ork.

1963. Sheet metal, metal rods, wire. 75 x 132".

Lent by Galerie Maeght, Paris.

171.

x82%"

artist.

RED PYRAMID.

1951. Sheet metal, metal rods. wire.

Lent by Perls Galleries.

%

x 46".

191.

THE SHOWER.

New Yirk.

51%

x 42".

New York.

1951. Sheet metal, metal rod. wire. 90 x 40".

Lent bv Perls Galleries.

New

York.

313.

1953. Sheet metal, metal rod, wire, 36 x 32"

A SWIRL OF SNOW.

193.

194.

207.

New York.

Lent by Perls Galleries,

CONSTELLATION, Lent by the

RED CURLICUE WITH SIX DAVITS.

209.

1959.

c.

1943.

Wood, metal

CONSTELLATION WITH EBONY HEAD. c.

Wood, metal

Collection Taft Schreiber. Beverly Hills. California.

Collection Carlos Raul Villanueva, Caracas.

208.

1962.

50%

Metal rods, wire, sheet metal.

x 34%".

1943.

rods, 22 'A x 27 7/s".

Metal rods, wire, sheet metal, 49Vs x 41%".

BEGGAR'S PENNY.

x 36 5/s".

31%

rods,

artist.

CONSTELLATION, Collection Jean and

c.

1948.

Wood, metal

rods. 41 x 33".

Howard Lipman, Cannondale, Connecticut.

New York.

Lent by Perls Galleries,

STABILES Wall Mobiles

211.

MORNING STAR. Lent by the

332.

ESCUTCHEON.

1952. Sheet metal, wire, 26 x 21",

New

Collection Robert Bollt,

York.

212.

MORNING COBWEB. Lent by the

196.

ESCUTCHEON Collection

1943. Sheet metal, metal rods, wood. 80" h.

artist.

ESCUTCHEON.

New Vork.

213.

PORTRAIT OF A YOUNG MAN. c.

316.

BLACK SPONGE.

1958. Sheet metal, metal rods, wire, 37" h.

Collection Mrs. Alan H. Rosenthal.

EYES AND FEATHER.

New York.

MONOCLE.

1948. Sheet metal, 35" h.

Howard Lipman, Cannondale.

Connecticut.

h.

215.

RED CRESCENT, Lent by the

27%"

1958. Sheet metal, metal rods, wire,

Collection Mr.

1946.

h.

Collection Jean and

New York.

Lent by Perls Galleries,

7%"

Lent by Perls Galleries.

1958.

Sheet metal, metal rods, wire, 43V4"

RED HEAD.

c.

1953. Sheet metal, metal rods, wood, 65

202.

and Mrs. Gerald Gidwitz. Highland Park.

Illinois.

YELLOW WHALE.

1958. Sheet metal, metal rods, wire. 26" h.

Collection Jean and

Howard Lipman. Cannondale, Connecticut.

FISHY.

1962. Sheet metal, metal rods, wire, 61

Collection Mr. and Mrs.

Sampson R.

Field.

%"

216.

217.

artist.

MODEL FOR "BUCEPHALUS".

1962. Sheet metal, 15 7/s" h.

MODEL FOR "GUILLOTINE FOR EIGHT". 1962.

Sheet metal, 22 y4"h.

h.

Lent by Perls Galleries,

New York.

New York.

218.

KNOBS AND CURLICUES. Lent by Perls Galleries,

1963. Sheet metal,

74%"

h.

New York.

CONSTELLATIONS 219.

203.

CONSTELLATION.

1943.

Wood, metal

44%".

rods, 22 x

PIERCED AND SERRATED. 1963.

New York.

Sheet metal,

69%"

h.

Lent by Perls Galleries.

Collection

The Solomon R. Guggenheim Museum. New York;

Collection

Mary Reynolds;

Gift of her brother.

220.

BUCEPHALUS.

1963. Sheet metal,

110%"

h.

Lent by Galerie Maeght. Paris.

204.

CONSTELLATION WITH QUADRILATERAL. Wood, metal

rods,

12%

1943.

x 18".

221.

Collection Henri Seyrig, Beirut.

205.

EBONY CONSTELLATION. Lent by the

206.

Wood, metal

rods,

22%

x 38"

222.

artist.

SMALL CONSTELLATION. Lent by the

1943.

artist.

GUILLOTINE FOR EIGHT. 1963.

Lent by Perls Galleries. New York.

MODEL FOR "SNOW PLOW".

Lent by Perls Galleries.

1943.

Wood, metal

%" h.

h.

Lent by Galerie Maeght. Paris.

201.

h.

New York.

214.

200.

35%"

1945. Sheet metal,

Howard Lipman. Cannondale, Connecticut.

MUSHROOM, TRIANGLE. INVERTED COMMA. Sheet metal,

199.

h.

1954. Sheet metal, metal rods, wire, 42" h.

Collection Henri Seyrig. Beirut.

198.

35%"

1953. Sheet metal, wire, 36 x 35".

II.

James Johnson Sweeney,

Collection Jean and 197.

1945. Sheet metal,

artist.

rods, 14 x

48%"

223.

Sheet metal. 263"

1963. Sheet metal.

New York.

SNOW PLOW. 1963. Sheet metal. 84V h.

Lent by Perls Galleries.

New

York.

h.

14%"

h.

TOWKIIS

STABILE-MOBILES 226.

THE RED PENDULUM.

1950.

241.

Sheet metal, wire, cord,

12% x 15%".

Lent by Perls Galleries,

New York.

MANY PIERCED DISCS.

1950?

50%

Sheet metal, metal rods, wire.

1951. Sheet metal, metal rods, wood, wire, 52 x 35".

Lent by Perls Galleries,

242.

227.

TOWER.

TOWER.

York.

1951. Metal rods, wire, sheet metal, cord, wood, 36 x

New

Lent by Perls Galleries, x

New

28%"

York.

68%".

243.

Collection Arizona State University, Tempe, Arizona.

TOWER.

1951.

Metal rods, wire, sheet metal, cord, wood, 55 % x 60V4".

228.

BLUE FEATHER.

Lent by Perls Galleries,

1951.

Sheet metal, metal rods, wire, 45

Lent by the

230.

MOItl

metal, metal rods. 109 x 112".

artist.

317.

231.

FLAMAND.

1954. Sheet metal, metal rods, 110 x 162".

319.

BLACK PYRAMID AND SEVEN. Sheet metal, metal rods, wire, 51

%

1956.

x 68%".

247.

1963. Sheet metal, wire.

13%

x 20".

249.

234.

236.

CRINKLY.

1964. Sheet metal, metal rods, wire,

Lent by the

artist.

CRINKLY.

1964. Sheet metal, metal rods, wire,

New

237.

27%

37%

MKMAI. SCULPTURE metal, wire,

11%"

h.

New York.

New

1962. Sheet metal, 23 7/s x 18".

York.

MODEL FOR MOBILE AT CONNECTICUT BANK AND TRUST HARTFORD.

1962. Sheet metal, wire, 14 Yi x

New

MODEL FOR "SOUTHERN CROSS".

45%".

York.

1963.

Sheet metal, metal rods, wire, 32 x 42".

x 25V4".

artist.

x 31V4".

MISCELLANY

\ork.

CRINKLY WITH FIVE RUDDERS. Sheet metal, metal rods, wire,

MOM

MODEL FOR "TEODELAPIO".

Lent by the

Lent by Perls Galleries,

Oil

Collection Dr. and Mrs. Joseph Singer,

New York.

Lent by Perls Galleries,

I

MODEL FOR "THE CITY." 1959. Sheet

CO.,

WHITE SIEVE.

>

Lent by Perls Galleries,

Collection Robert B. Mayer. Chicago.

333.

I

Lent by Perls Galleries,

Collection Mr. and Mrs. Jean Davidson. Sache. France.

232.

New York.

x 44%".

artist.

YELLOW DISC. 1953. Sheet Lent by the

%

1964.

250.

x 15 %".

20%

FISH. 1948-50. Metal Lent by the

rods, wire, glass,

9%

x 60".

artist.

Collection Louisa Calder, Roxbury, Connecticut.

251.

324.

MODEL FOR "FIVE RUDDERS".

Sheet metal, wire,

19%

1964.

SUN AND MOON. Lent by the

1950. Sheet metal, cord,

New York.

252.

THE CURT VALENTIN Metal rods, wire, cord,

FIVE RUDDERS.

36" h

;

b.

32%" h.

x 20".

Lent by Perls Galleries,

238.

a.

artist.

1964. Sheet metal, metal rods. 154 x

130%".

Collection Jean and

FISH.

glass,

c.

13%"

1950. h.

Howard Lipman. Cannondale,

Connecticut.

Collection Washington University, St. Louis.

256.

303.

SANDY'S BUTTERFLY. 1964. Sheet Lent by Perls Galleries, New York.

325.

SIX

metal, metal rods, 166 x 112".

Sheet metal, wire,

12%

1952. Sheet metal, wire,

Lent by the

253.

WHITE DOTS, YELLOW ON BLACK AND RED.

RAT.

1964.

LITTLE BLACK DOG. Collection

h.

1958. Sheet metal,

12%"

h.

Hans Neumann, Caracas.

x 16".

Lent by Perls Galleries,

New York.

254.

THE RED FOX.

1958. Sheet metal. 12" h.

Collection Jean and 239.

10%"

artist.

SMALL STABILE-MOBILES AND STABILES. Sheet metal, wire.

Lent by Perls Galleries,

255.

New York.

Howard Lipman, Cannondale.

Connecticut.

1964.

RUG. Executed Lent by the

by Louisa Calder. 1963. Wool, 41 x 38".

artist.

V

I.ATK I.OI

\<

UATKII4 OM»KS. OILS. TAPEKTKIES

Ills AXI»

Oils

273.

RED SPIRAL. Lent by the

Uonat'hps. waterrolors 257.

UNTITLED.

1961. Gouache,

The Abrams Family 258.

UNTITLED.

UNTITLED.

UNTITLED.

UNTITLED.

UNTITLED.

29% x 42%".

New York.

277.

x

28%".

AND MOON.

1956. Oil on canvas.

23%

x

28%'

GREEN MOON.

1964. Oil on canvas,

HERRINGBONE.

1964. Oil on canvas, 35 x

Lent by Perls Galleries,

New \ork.

RED

51% New York.

DRIP.

45% x28%".

New York.

1964. Oil on canvas.

Lent by Perls Galleries,

51%".

x 38%".

1964. Gouache,

278.

SPINNAKER.

1964. Oil on canvas,

Lent by Perls Galleries,

29% x 42%".

New York.

1964. Gouache,

Lent by Perls Galleries.

262.

29% x 42%".

New York.

276.

23%

artist.

Lent by Perls Galleries,

Collection,

Lent by Perls Galleries,

261.

275.

39%".

Howard Lipman. Cannondale. Connecticut.

1964. Gouache,

The Abrams Family 260.

29% x 41%".

New York.

SPIRAL. STAR Lent by the

Collection,

1962. Watercolor, 26 7/s x

Collection Jean and

259.

274.

1956. Oil on canvas.

artist.

1964. Gouache.

Lent by Perls Galleries,

42%

45%

x 35".

New \ork.

Tapestrips

x 29%".

New York.

All tapestries were executed in the workshops oi Aubusson,

263.

UNTITLED.

1964. Gouache,

Lent by Perls Galleries,

264.

UNTITLED.

265.

UNTITLED.

266.

UNTITLED.

267.

UNTITLED.

268.

UNTITLED.

269.

UNTITLED.

UNTITLED.

UNTITLED.

42%".

279.

29%

x 42%".

280.

x 43%".

281.

x 29%".

282.

York.

42%

x 29%".

283.

York.

x

42%".

284.

29%

43%".

285.

New York.

1964. Gouache,

29%

x

42%".

286.

Collection Mr. and Mrs. Robert C. Osborn. Salisbury, Connecticut.

334.

UNTITLED. 1964. Gouache, 43% x Lent by Perls Galleries. New York.

29%"

287.

MOUTH.

41%

x 29

1962. Tapestry. 78 x

1962. Tapestry,

15%

1962. Tapestry,

28%

x

41%".

1962. Tapestry,

29%

x

41%".

artist.

1962. Tapestry.

29%

x 41%".

artist.

RED SUN.

1962. Tapestry. 117 x 76".

Lent by the

artist.

1962. Tapestry,

Lent by the

58%".

x 23".

Lent by the

SIGNS.

8 ".

artist.

MOSQUITO. Lent by the

x

1962. Tapestry.

artist.

CADUCEUS. Lent by the

x 30%".

artist.

BLUE BALLS. Lent by the

20%

artist.

BLACK STARS. Lent by the

42%

1962. Tapestry,

artist.

BLACK HEAD. Lent by the

29%

29%

ALPHABET. Lent by the

New York.

1964. Gouache.

Lent by Perls Galleries,

271.

New

1964. Gouache,

Lent by Perls Galleries,

270.

New

1964. Gouache.

Lent by Perls Galleries,

x

New York.

1964. Gouache,

Lent by Perls Galleries.

29%

New York.

1964. Gouache.

Lent by Perls Galleries,

by Calder.

New York.

1964. Gouache,

Lent by Perls Galleries,

under the direction of Pierre Baudouin after original drawings

x 43%".

New York.

1964. Gouache,

Lent by Perls Galleries,

29%

artist.

15%

x

21%".

THK SOLOMON

NOVEMBER

R.

GUGGENHEIM MUSEUM, NEW YORK

DECEMBER

JANUARY

THE SOLOMON

R.

GUGGENHEIM MUSEUM, NEW YORK

THE ART GALLERY OF TORONTO DES MOINES ART CENTER

MILWAUKEE ART CENTER, MILWAUKEE WASHINGTON UNIVERSITY GALLERY OF ART,

ST.

LOUIS

MUSEE NATIONAL DART MODERNE, PARIS