拍品 10
  • 10


300,000 - 400,000 GBP
578,500 GBP


  • 亞歷山大·考爾德
  • 《黑石,黃月》
  • 款識:藝術家簽姓名縮寫於較大黑色組件
  • 著色金屬、鐵絲


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


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 20th 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.