- 129
Alexander Calder
Estimate
700,000 - 1,000,000 USD
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Description
- Alexander Calder
- Poisson avec Tête Humaine
- incised with the artist's monogram and date 76 on the white element
- painted metal and wire
- 52 by 28 1/2 by 28 in. 132.1 by 72.4 by 71.1 cm.
Provenance
Estate of the artist
The Pace Gallery, New York
Private Collection, Los Angeles (acquired from the above in 1985)
Sotheby's, New York, 18 November 1992, Lot 113
Acquired from the above sale by the present owner
The Pace Gallery, New York
Private Collection, Los Angeles (acquired from the above in 1985)
Sotheby's, New York, 18 November 1992, Lot 113
Acquired from the above sale by the present owner
Exhibited
Barcelona, Galerie Maeght, Calder: Exposición Antologica (1932-1976), April - May 1977, p. 27, illustrated
New York, The Pace Gallery, Calder's Calders, May - June 1985, p. 47, illustrated in color
Hong Kong, Ben Brown Fine Arts, Alexander Calder: Sculpture, Works on Paper and Jewellery, February - April 2013
Hong Kong, Sotheby's S|2, Calder: Imagining the Universe, September 2015, cat. no. 18, p. 53, illustrated in color
New York, The Pace Gallery, Calder's Calders, May - June 1985, p. 47, illustrated in color
Hong Kong, Ben Brown Fine Arts, Alexander Calder: Sculpture, Works on Paper and Jewellery, February - April 2013
Hong Kong, Sotheby's S|2, Calder: Imagining the Universe, September 2015, cat. no. 18, p. 53, illustrated in color
Literature
Jacob Baal-Teshuva, Alexander Calder, Cologne 1998, p. 53, illustrated in color
Mildred Glimcher, Adventures in Art: 40 Years at Pace, Milan 2001, pp. 292-293, illustrated in color
Exh. Cat., New York, The Pace Gallery, 50 Years at Pace: Art in the Twenty-First Century, 2010, p. 118, illustrated in color
Mildred Glimcher, Adventures in Art: 40 Years at Pace, Milan 2001, pp. 292-293, illustrated in color
Exh. Cat., New York, The Pace Gallery, 50 Years at Pace: Art in the Twenty-First Century, 2010, p. 118, illustrated in color
Condition
This work is in very good and sound good condition overall. Under close inspection, scattered light surface abrasions and a few scatted pinpoint losses primarily along the edges and wire are visible and there are a few red media accretions visible to the white element.
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 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.
Catalogue Note
"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