Beschreibung:

Alexander Calder Model for Rosenhof 1952 painted steel sheet, wire, rod, bolts, and aluminum sheets, with nine suspended elements overall: 67 x 35 x 24 1/2 in. (170 x 91 x 63 cm) This work is registered in the archives of the Calder Foundation, New York, under application number A-00800
Provenance Galerie Maeght, Paris Studio Marconi, Milan Private Collection Christie's New York, Contemporary Art, May 04, 1993 Lot 44 Pace Wildenstein, New York Private Collection, New York Private Collection, London Exhibited Hamburg, Galerie Rudolf Hoffman, Calder, June 12 – June 30, 1954, no. 19 Berlin, Akademie der Künst, Alexander Calder May 21 – July 16, 1967 Bourges, Maison de la Culture, Calder: Mobiles, stabiles, sculptures, gouaches, March 9- May 13, 1968 St. Paul de Vence, Fondation Maeght, Alexander Calder Retrospective, April 2 - May 31, 1969; Humlebaek, Denmark, Louisiana Museum of Modern Art, June 29- September 7, 1969 Amsterdam, Stedelijk Museum, Calder, October 4 – November 16, 1969 Nièvre, Château de Ratilly, Calder/Bazaine, June 19 – September 10, 1970 Milan, Studio Marconi, Calder, April-May 1971, no. 8 New York, The Pace Gallery, Sculptor’s Maquettes, January 12 – February 14, 1994 California, Beverly Hills, Pace Wildenstein, Alexander Calder - The 50’s, November 9 - December 29, 1995; New York, Pace Wildenstein, January 19 – February 17, 1996 Madrid, Galeria Elvira Gonzalez, Alexander Calder Mobiles, Standing Mobiles, Stabiles and Gouaches, December 22, 2010 – January 29, 2011 New York, Acquavella Galleries, Masterworks From Degas to Rosenquist, February 6- April 6, 2012 Literature Akademie der Künst, Alexander Calder Berlin, 1968, cat. no 51 (illustrated) Fondation Maeght, Alexander Calder Retrospective, St. Paul de Vence, 1969, cat. no. 115, p. 161 (illustrated) Louisiana Museum of Modern Art, Alexander Calder Retrospective, Humlebaek, Denmark, 1969, cat. no. 100, p. 23 (illustrated) Stedelijk Museum, Calder, Amsterdam, 1969, cat. no. 76 Château de Ratilly, Calder/Bazaine, Nièvre, 1970, pl.7 (illustrated) Pace Wildenstein, Alexander Calder - The 50’s, Beverly Hills, 1995, p. 3 3 (illustrated) Pace Wildenstein, Adventures in Art: 40 Years at Pace, Milan, Leonardo International, 2001, p. 519 (illustrated) Catalogue Essay The idea of floating bodies in the space, of different sizes and densities, and different colours and temperatures…it looks to me the ideal source of the shapes. ALEXANDER CALDER (Alexander Calder in Museo Nacional Reina So.a. Calder. La Gravedad y laGgracia, Madrid, 2003, pp. 57-58). In the canon of contemporary and modern art, there is perhaps no artist more beloved than Alexander Calder His universal appeal extends to the very old and the very young; he conveys a sense of boundless youth and wonderful naiveté in his floating sculptures, as they whisk the viewer back to a time of childhood whimsy, when dreams were made of suspended and moving shapes above. Yet the grace, balance, and poise of work touches inspires an equal amount of intellectual and mathematical admiration—his work is for every art lover. As he reached his peak of sculptural maturity, and as he was commissioned for myriad works throughout America and Europe, his sculptures adopted a stature to fit their environment. In the present lot, Model for Rosenhof, 1953, Calder brings us into an intimate study for a statue of grandeur. Yet, here, we have rare private access to Calder’s work. In the small scale of the work, it houses a universe of its own. As an artist, Calder’s pedigree proved him to be destined to change the face of contemporary sculpture. His grandfather, Alexander Milne Calder a sculptor himself, crafted the statue of William Penn that now rests atop the City Hall of Philadelphia. In addition, his father made his living as a sculptor as well, working mostly in the vicinity of Eastern Pennsylvania and Philadelphia. Yet, both his father and grandfather’s sculptural styles tended toward the conventional, as they mostly took public commissions for their work. Calder, on the other hand, was obsessed with the concept of movement, and he developed an early interest in the circus—that bastion of flying shapes and blazing colors. For his academic studies, he chose mechanical engineering, once again showcasing his