亞歷山大·考爾德

Buchholz Gallery, New York
Nelson A. Rockefeller, New York (acquired in 1949)
Perls Galleries, New York (acquired in 1970)
Acquired from the above by the late owner in 1977

New York, Buchholz Gallery, Calder, 1949
New York, The Museum of Modern Art, Twentieth-Century Art from the Nelson Aldrich Rockefeller Collection, 1969

Colour: the colours in the catalogue illustration are fairly accurate. Condition: This work is in very good original condition. There are a couple of tiny paint losses visible upon very close inspection, notably to the centre of the wire arm, to the yellow disc and to the edges of the black rocker. There are two tiny scratches to the black base. There is no evidence of any retouching when examined under ultraviolet light.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Created during a period of renewed artistic liberation and discovery following the end of the Second World War, Black Rocker, Yellow Moon exemplifies the humour and charm of Alexander Calder’s ‘stabiles’ from this period. Jean Arp had suggested the term ‘stabile’ in 1932 to accurately describe the ground based counterparts of Calder’s seemingly airborne ‘mobiles,’ conveying a sense of solidity and permanence through their earthly anchorage. Whilst the elegantly arced body of Black Rocker, Yellow Moon does indeed rest on the ground, Calder introduces a crucial element of dynamism to this work by balancing it upon its curved underside which is held in stasis through the presence of the small ‘yellow moon’ that quivers delicately at the tip of an elongated section of wire. Suggestive of a full moon at its zenith, the tiny yellow disk invites associations with other forms of celestial phenomena, seeming to bear particular connections to the path of a shooting star or meteor. With reference to the works of the late 1940s, Barbara Rose argues that: 'In their intricate understanding of aerodynamics and their organic metaphors, these works reconcile physics and nature' (Barbara Rose, ‘After the War: Transatlantic Calder’, in Calder After the War (exhibition catalogue), Pace Gallery, London, 2013, p. 23). This statement appears particularly apposite with regards to Black Rocker, Yellow Moon, in which the curved shape of the black metal body seems to recall the contours of a leaf or petal, brilliantly combined with the soaring grace of the ‘yellow moon’ of the title. The rocking base also points to Charles and Ray Eames’ iconic ‘RAR’ rocking chair of 1949, which shared a parallel interest in lightness and sculptural form.

Prior to its acquisition by Dr Branco Weiss in 1977, Black Rocker, Yellow Moon resided for a time in the collection of Nelson A. Rockefeller, Vice President of the United States between 1974 and 1977 as well as one of the foremost art patrons and collectors of the Twentieth Century. The work was featured in the major exhibition of pieces from Rockefeller’s collection which took place at MoMA in New York in 1969, and gained a mention in a review of the exhibition which revealed Rockefeller’s particular interest in the work: '[Rockefeller] paused suddenly at a small Calder, Black Rocker, Yellow Moon, turned to a museum official and said… "Listen, that Calder is on its side. It should be standing up, with the moon facing up. It’s perfectly balanced that way." With this almost casual remark, Nelson A. Rockefeller made quite apparent the personal stamp of his collection of 20^th century art…' (Leroy  F. Aarons, ‘Rockefeller Collection Reflects the Collector,’ in St Petersburg Times, 28th May 1969, p. 47). In its elegantly simple yet instinctively graceful composition, Black Rocker, Yellow Moon magnificently exemplifies the ground-breaking developments that occurred within Calder’s work post-1945.