Details
ALEXANDER CALDER (1898-1976)
Uprooted Whip
incised with the artist’s monogram ‘CA’ (on the black painted passage)
stabile—sheet metal and paint
73 x 39 x 32 in. (185.4 x 99.1 x 81.3 cm.)
Executed in 1940.
Provenance
The artist
Perls Galleries, New York
Acquired from the above by the present owner, 1970
Literature
VVV, no. 1, New York, June 1942, p. 9 (installation view illustrated).
A. Pierre, “Mouvement et Réalité dans L’oeuvre de Calder: Des Années de Formation à la Maturité,” PhD diss., Université de Paris-Sorbonne, Paris, 1995, fig. 507 (illustrated).
Alexander Calder: The Collection of Mr. and Mrs. Klaus Perls, exh. cat., Washington D.C., National Gallery of Art, 1997, p. 6 (installation view illustrated).
Alexander Calder: 1898-1976, exh. cat., Washington D.C., National Gallery of Art, 1998, p. 134, no. 27 (studio view illustrated).
Calder: Poetry in Motion, exh. cat., Seoul, Kukje Gallery, 2003, p. 12 (studio view illustrated).
Calder: The Forties, exh. cat., London, Thomas Dane, 2005, p. 3 (studio view illustrated).
The Surreal Calder, exh. cat., Houston, The Menil Collection, 2005, p. 106 (studio view illustrated).
Alexander Calder: The Modernist, exh. cat., Zürich, Galerie Gmurzynska, 2005, p. 78 (studio view illustrated).
K. P. B. Vail, ed., The Museum of Non-Objective Painting: Hilla Rebay and the Origins of the Solomon R. Guggenheim Museum, 2009, p. 265 (illustrated as a drawing by Calder included in a letter).
Calder’s Portraits: A New Language, exh. cat., Washington D.C., National Portrait Gallery, Smithsonian Institution, 2011, p. 25, no. 19 (studio view illustrated).
Calder 1941, exh. cat., New York, Pace Gallery, 2011, pp. 10 and 43 (studio view illustrated).
Calder Gallery, exh. cat., Riehen, Fondation Beyeler, 2012, p. 10 (studio view illustrated).
A. S. C. Rower, Calder by Matter, Paris, 2013, pp. 106 and 108-109 (studio view illustrated).
Calder and Abstraction: From Avant-Garde to Iconic, exh. cat., Los Angeles County Museum of Art, 2013, p. 30 (studio view illustrated).
Alexander Calder: Retrospective, exh. cat., Moscow, Pushkin Museum, 2015, p. 141 (studio view illustrated).
J. Perl, Calder: The Conquest of Time: The Early Years: 1898–1940, New York, 2017, p. 561 (studio view illustrated).
Calder: Constellations, exh. cat., New York, Pace Gallery, 2017, p. 28, fig. 4 (studio view illustrated).
Alexander Calder: Teatro de Encuentros, exh. cat., Buenos Aires, Fundación Proa, 2018, pp. 152 and 190 (studio view illustrated).
The Life of Forms: An Exploration of Modern Sculpture, exh. cat., New York, Di Donna, 2018, p. 55 (studio view illustrated).
Exhibited
New York, Solomon R. Guggenheim Foundation Museum of Non-Objective Painting, Fifth Anniversary Exhibition, June-October 1942.
New York, Perls Galleries, Alexander Calder Recent Gouaches – Early Mobiles, October-November 1970, p. 6, no. 6 (illustrated).
Special Notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie's has provided a Minimum Price Guarantee it is at risk of making a loss, which can be significant, if the lot fails to sell. Christie's therefore sometimes chooses to share that risk with a third party. In such cases the third party agrees prior to the auction to place an irrevocable written bid on the lot. The third party is therefore committed to bidding on the lot and, even if there are no other bids, buying the lot at the level of the written bid unless there are any higher bids. In doing so, the third party takes on all or part of the risk of the lot not being sold. If the lot is not sold, the third party may incur a loss. The third party will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot above the written bid.
Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot.
Post Lot Text
This work is registered in the archives of the Calder Foundation, New York, under application number A02611.
Details
ALEXANDER CALDER (1898-1976)
Uprooted Whip
incised with the artist’s monogram ‘CA’ (on the black painted passage)
stabile—sheet metal and paint
73 x 39 x 32 in. (185.4 x 99.1 x 81.3 cm.)
Executed in 1940.
Provenance
The artist
Perls Galleries, New York
Acquired from the above by the present owner, 1970
Literature
VVV, no. 1, New York, June 1942, p. 9 (installation view illustrated).
A. Pierre, “Mouvement et Réalité dans L’oeuvre de Calder: Des Années de Formation à la Maturité,” PhD diss., Université de Paris-Sorbonne, Paris, 1995, fig. 507 (illustrated).
Alexander Calder: The Collection of Mr. and Mrs. Klaus Perls, exh. cat., Washington D.C., National Gallery of Art, 1997, p. 6 (installation view illustrated).
Alexander Calder: 1898-1976, exh. cat., Washington D.C., National Gallery of Art, 1998, p. 134, no. 27 (studio view illustrated).
Calder: Poetry in Motion, exh. cat., Seoul, Kukje Gallery, 2003, p. 12 (studio view illustrated).
Calder: The Forties, exh. cat., London, Thomas Dane, 2005, p. 3 (studio view illustrated).
The Surreal Calder, exh. cat., Houston, The Menil Collection, 2005, p. 106 (studio view illustrated).
Alexander Calder: The Modernist, exh. cat., Zürich, Galerie Gmurzynska, 2005, p. 78 (studio view illustrated).
K. P. B. Vail, ed., The Museum of Non-Objective Painting: Hilla Rebay and the Origins of the Solomon R. Guggenheim Museum, 2009, p. 265 (illustrated as a drawing by Calder included in a letter).
Calder’s Portraits: A New Language, exh. cat., Washington D.C., National Portrait Gallery, Smithsonian Institution, 2011, p. 25, no. 19 (studio view illustrated).
Calder 1941, exh. cat., New York, Pace Gallery, 2011, pp. 10 and 43 (studio view illustrated).
Calder Gallery, exh. cat., Riehen, Fondation Beyeler, 2012, p. 10 (studio view illustrated).
A. S. C. Rower, Calder by Matter, Paris, 2013, pp. 106 and 108-109 (studio view illustrated).
Calder and Abstraction: From Avant-Garde to Iconic, exh. cat., Los Angeles County Museum of Art, 2013, p. 30 (studio view illustrated).
Alexander Calder: Retrospective, exh. cat., Moscow, Pushkin Museum, 2015, p. 141 (studio view illustrated).
J. Perl, Calder: The Conquest of Time: The Early Years: 1898–1940, New York, 2017, p. 561 (studio view illustrated).
Calder: Constellations, exh. cat., New York, Pace Gallery, 2017, p. 28, fig. 4 (studio view illustrated).
Alexander Calder: Teatro de Encuentros, exh. cat., Buenos Aires, Fundación Proa, 2018, pp. 152 and 190 (studio view illustrated).
The Life of Forms: An Exploration of Modern Sculpture, exh. cat., New York, Di Donna, 2018, p. 55 (studio view illustrated).
Exhibited
New York, Solomon R. Guggenheim Foundation Museum of Non-Objective Painting, Fifth Anniversary Exhibition, June-October 1942.
New York, Perls Galleries, Alexander Calder Recent Gouaches – Early Mobiles, October-November 1970, p. 6, no. 6 (illustrated).
Special Notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie's has provided a Minimum Price Guarantee it is at risk of making a loss, which can be significant, if the lot fails to sell. Christie's therefore sometimes chooses to share that risk with a third party. In such cases the third party agrees prior to the auction to place an irrevocable written bid on the lot. The third party is therefore committed to bidding on the lot and, even if there are no other bids, buying the lot at the level of the written bid unless there are any higher bids. In doing so, the third party takes on all or part of the risk of the lot not being sold. If the lot is not sold, the third party may incur a loss. The third party will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot above the written bid.
Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot.
Post Lot Text
This work is registered in the archives of the Calder Foundation, New York, under application number A02611.
Try LotSearch and its premium features for 7 days - without any costs!
Be notified automatically about new items in upcoming auctions.
Create an alert