Alexander Calder

Estate of the artist
The Pace Gallery, New York 
Private Collection, New York (acquired from the above in 1985)
Christie's, New York, 2 May 1991, Lot 153
Private Collection, Switzerland (acquired from the above sale by the present owner)

Paris, Galerie Maeght, Calder: Mobiles and Stabiles, December 1976 - January 1977, cat, no. 7
Barcelona, Galerie Maeght, Calder: Exposicio Antologica, 1932-1976, April - May 1977
New York, The Pace Gallery, Calder's Calders, May - June 1985, p. 50, illustrated 
Madrid, Galería Elvira González, Alexander Calder - Yves Tanguy, January - February 1999, p. 21, illustrated in color

This work is in good and sound condition overall. There are scattered dark accretions, abrasions and pinpoint areas of loss to the paint throughout. There are scattered scratches and white accretions most notably vertical and horizontal white accretions and associated scratches on the black element. The unpainted verso of the red element also exhibits loss and scratches. There are scattered red accretions on the white element and scattered yellow accretions on the yellow element and losses to the painted wire.
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.

"In the event that the work did not attempt to transform the whole of its ambient space into a theatrical or dramatic context, it would often internalize a sense of theatricality—by projecting, as its raison d'etre, a sense of itself as an actor, as an agent of movement. In this sense, the entire range of Kinetic sculpture can be seen as tied to the concept of theatricality."

Rosalind E. Krauss, Passages in Modern Sculpture, New York 1977, p. 204