Alexander Calder, ‘Curly Brass, Black and White Dots on Red’, Christie's

Alexander Calder (1898-1976)

Curly Brass, Black and White Dots on Red

signed with the artist's monogram 'AC' (on the base)

standing mobile—painted sheet metal, brass and wire

3 x 5 1/2 x 2 1/2 in. (7.6 x 13.9 x 6.3 cm.)

Executed in 1964.

Signature: signed with the artist's monogram 'AC' (on the base)

Donjon de Vez, Calder au Donjon de Vez, May-September 1996, p. 20, no. 9 (illustrated in color and exhibited with the top element of Red and Yellow Antlers).

Paris, Hotel Dassault, Calder ou L’equilbré poétique June-September 2005, p. 7, no. 17 (illustrated in color and exhibited with the top element of Red and Yellow Antlers).

Perls Galleries, New York

Anon. sale; Christie’s New York, 8 May 1990, lot 377

Private collection, Japan

Mark Blondeau, Paris

Acquired from the above by the present owner, 1991

About Alexander Calder

American artist Alexander Calder changed the course of modern art by developing an innovative method of sculpting, bending, and twisting wire to create three-dimensional “drawings in space.” Resonating with the Futurists and Constructivists, as well as the language of early nonobjective painting, Calder’s mobiles (a term coined by Marcel Duchamp in 1931 to describe his work) consist of abstract shapes made of industrial materials––often poetic and gracefully formed and at times boldly colored––that hang in an uncanny, perfect balance. His complex assemblage Cirque Calder (1926–31), which allowed for the artist’s manipulation of its various characters presented before an audience, predated Performance Art by some 40 years. Later in his career, Calder devoted himself to making outdoor monumental sculptures in bolted sheet steel that continue to grace public plazas in cities throughout the world.

American, 1898-1976, Lawnton, Pennsylvania