ALEXANDER CALDER | Untitled

Perls Galleries, New York (acquired in 1986)
Private Collection, North Carolina
Jan Krugier Gallery, New York (acquired in 1989)
Maurice Keitelmann Gallery, Brussels (acquired in 1989)
Private Collection, Brussels (acquired from the above in 1989)
Christie's, New York, 5 May 1993, Lot 252
Private Collection, Chicago (acquired from the above sale)
Ketterer Kunst, Munich, 6 June 2014, Lot 219
Simon Capstick-Dale Fine Arts, New York (acquired from the above sale)
Acquired from the above by the present owner in January 2015

This work is in very good and sound condition overall. The elements move freely and smoothly. The colors are bright and fresh. There is light evidence of wear and handling visible, including minor and unobtrusive paint losses along the edges of base at the feet, at the intersection of the legs with body, and along the top edge where the mobile element sits.
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 solved the central problem of sculpture as modern art—namely how to eliminate the traditional base or pedestal that separated the spectator from the work. Once sculptors wished to produce artworks that were not public commissions but private expressions, they had to dispense with the pedestal to provide the sense of intimacy modernism demanded. In his inventive and unprecedented mobiles and stabiles, Calder was able to overcome the dilemma by hanging his works in space from the ceiling or setting them firmly on the ground in stable tripod structures that would remain upright and not tip over. This was no mean feat, and he was capable of achieving it because of his unique background."
Barbara Rose, "After the War: Transatlantic Calder" in Exh. Cat., London, The Pace Gallery, Calder: After the War, 2013, p. 10

This work is registered in the archives of the Calder Foundation, New York, under application number A05718.