Alexander Calder

Perls Galleries, New York
Makler Gallery, Philadelphia
Pace Gallery, New York
J.L. Hudson Gallery, Detroit
David Tunkl Gallery, Los Angeles (acquired in 1979)
Private Collection, Los Angeles
By descent to the present owner from the above in October 1983

This work is in very good condition overall. All of the suspended elements move smoothly and freely. There is light wear with associated minor pigment loss, particularly in the painted wires. There are some unobtrusive, fine scattered surface abrasions and some faint scattered accretions. There is light discoloration to the exposed metal.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Calder’s genius lies in the creation of mechanically and physically complex works that appear entirely organic, as if the seamless choreography of their individual elements are inherent, even inevitable.  As the artist himself explained, “The basis of everything for me is the Universe.  From the beginnings of my abstract work…I felt there was no better model for me to choose than the Universe…. Spheres of different sizes, densities, colors and volumes, floating in space… of the greatest variety and disparity.” (Jean Lipman, Calder’s Universe, London, 1976, p. 18).  The Yellow Dot is simultaneously deeply scientific and utterly mystical in its form, echoing the awesome mystery of Calder’s self-proclaimed inspiration: the cosmos. 

While living in Paris in the 1930s, Calder came into contact with the leading artists of the day, including Piet Mondrian, Jean Arp, Fernand Léger, and Joan Miró, among others. Calder particularly admired the work of the artist Joan Miró. From their first meeting in 1928 until Calder’s death in 1976, the two artists were drawn to one another’s work and encouraged each other’s creative endeavors.  Their mutual passion for poetic expression and desire to explore new realms of the unseen imagination strengthened the bonds of their friendship as well as the expressive quality of their respective oeuvres. At a show of Calder’s new work in 1936 at the Pierre Matisse Gallery, the headline of the review in the New York World Telegram declared emphatically: “Calder’s Mobiles are Like Living Miró Abstractions.”

Moving to a natural, spontaneous rhythm, the inherent elegance of The Yellow Dot comprises a red stabile-like base upon which a rotating mobile is delicately balanced. Originating from a single, delicate wire, the elements cascade outward like constellations; a constellation of white elements sprays out to the left, and to the right balances a black, feather-like form with a protruding yellow orb. As if they are celestial bodies in a three-dimensional map of the universe, the impossibly delicate discs of the present work orbit around and amongst one another in marvelous harmony. With a gentle touch or gust of air, the carefully placed forms are set into motion, introducing the elements of chance and motion that make Calder's sculptures so intriguing.