Calder Foundation

Archive

Life period
1946–1952

Type
All

See highlights from 1946–1952 on the timeline International Distinction


Works
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Exhibitions 82

Historical Photos 118
Portrait of Calder (1946)
Portrait of Calder, 11 December 1946Photograph by Irving Penn © The Irving Penn Foundation
Portrait of Calder, 11 December 1946
Photograph by Irving Penn
Roxbury studio (1947)
Standing mobile with tools, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Standing mobile with tools, Roxbury studio, 1947
Photograph by Herbert Matter
The Calder Family (1947)
The Calder Family, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
The Calder Family, Roxbury, 1947
Photograph by Herbert Matter
Small standing mobiles, Roxbury studio (1947)
Small standing mobiles, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Small standing mobiles, Roxbury studio, 1947
Photograph by Herbert Matter
Louisa Calder with daughter Sandra and Mercedes and Alexander Matter (1947)
Louisa Calder with daughter Sandra and Mercedes and Alexander Matter, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Louisa Calder with daughter Sandra and Mercedes and Alexander Matter, Roxbury, 1947
Photograph by Herbert Matter
Mary Calder (1947)
Mary Calder, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Mary Calder, Roxbury, 1947
Photograph by Herbert Matter
Sandra Calder (1947)
Sandra Calder, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Sandra Calder, Roxbury, 1947
Photograph by Herbert Matter
Roxbury studio (1947)
Untitled, Giraffe, and Untitled, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Untitled, Giraffe, and Untitled, Roxbury studio, 1947
Photograph by Herbert Matter
Black Tulip (1947)
Black Tulip (c. 1942), Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Black Tulip (c. 1942), Roxbury studio, 1947
Photograph by Herbert Matter
Little Parasite (1947)
Little Parasite, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Little Parasite, Roxbury studio, 1947
Photograph by Herbert Matter
Calder with Myrtle Burl (1947)
Calder with Myrtle Burl (1941), Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Calder with Myrtle Burl (1941), Roxbury studio, 1947
Photograph by Herbert Matter
Mobile Q (1947)
Mobile Q, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Mobile Q, Roxbury studio, 1947
Photograph by Herbert Matter
Calder with Armada (1947)
Calder with Armada (1946), Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Calder with Armada (1946), Roxbury studio, 1947
Photograph by Herbert Matter
Elements (1947)
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947
Photograph by Herbert Matter
Elements, wires, lines for elevating mobiles (1947)
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947
Photograph by Herbert Matter
Elements, wires, lines for elevating mobiles (1947)
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947
Photograph by Herbert Matter
Elements, wires, lines for elevating mobiles (1947)
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Elements, wires, lines for elevating mobiles, Roxbury studio, 1947
Photograph by Herbert Matter
Moths I (1947)
Moths I, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Moths I, Roxbury studio, 1947
Photograph by Herbert Matter
Red Lily (1947)
Red Lily, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Red Lily, Roxbury studio, 1947
Photograph by Herbert Matter
Blizzard (1947)
Blizzard (1946), Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Blizzard (1946), Roxbury studio, 1947
Photograph by Herbert Matter
Bougainvillier (1947)
Bougainvillier, Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Bougainvillier, Roxbury studio, 1947
Photograph by Herbert Matter
Blizzard (1947)
Blizzard (1946), Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Blizzard (1946), Roxbury studio, 1947
Photograph by Herbert Matter
Bougainvillier (1947)
Bougainvillier, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Bougainvillier, Roxbury, 1947
Photograph by Herbert Matter
Bougainvillier (1947)
Bougainvillier, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Bougainvillier, Roxbury, 1947
Photograph by Herbert Matter
Root (1947)
Root, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Root, Roxbury, 1947
Photograph by Herbert Matter
Root (1947)
Root, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Root, Roxbury, 1947
Photograph by Herbert Matter
Laocoön (1947)
Laocoön, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Laocoön, Roxbury, 1947
Photograph by Herbert Matter
Laocoön (1947)
Laocoön, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Laocoön, Roxbury, 1947
Photograph by Herbert Matter
Monocle (1947)
Monocle, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Monocle, Roxbury, 1947
Photograph by Herbert Matter
Monocle (1947)
Monocle, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Monocle, Roxbury, 1947
Photograph by Herbert Matter
Morning Star (1947)
Morning Star (1943), Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Morning Star (1943), Roxbury, 1947
Photograph by Herbert Matter
Tentacles (1947)
Tentacles, Roxbury, 1947Photograph by Herbert Matter © Calder Foundation, New York
Tentacles, Roxbury, 1947
Photograph by Herbert Matter
Petit Mobile (1947)
Petit Mobile (1940), Roxbury studio, 1947Photograph by Herbert Matter © Calder Foundation, New York
Petit Mobile (1940), Roxbury studio, 1947
Photograph by Herbert Matter
Exposition de peintures et sculptures contemporaines (1947)
Installation photograph, Exposition de peintures et sculptures contemporaines, Palais des Papes à Avignon, France, 1947Photograph by Joaquin Gomis © Bibliothèque Kandinsky, Centre Georges Pompidou, Fonds Cahiers d'art
Installation photograph, Exposition de peintures et sculptures contemporaines, Palais des Papes à Avignon, France, 1947
Photograph by Joaquin Gomis
Calder with The General Sherman (1947)
Calder with The General Sherman (1945), 1947Photograph by Carl Van Vechten © Carl Van Vechten
Calder with The General Sherman (1945), 1947
Photograph by Carl Van Vechten
Installation photograph, Alexander Calder, Buchholz Gallery/Curt Valentin, New York, 1947
Photograph by Adolph Studly
Calder with Jackson Pollock (c. 1948)
Calder with Jackson Pollock, East Hampton, c. 1948Photograph by Herbert Matter © Calder Foundation, New York
Calder with Jackson Pollock, East Hampton, c. 1948
Photograph by Herbert Matter
Calder installing International Mobile, Third International Exhibition of Sculpture, Philadelphia Museum of Art, 1949
Photograph by Herbert Gehr
Calder, Roxbury studio (1950)
Calder, Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Calder, Roxbury studio, 1950
Photograph by Herbert Matter
Toaster (c. 1942), Roxbury studio (1950)
Toaster (c. 1942), Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Toaster (c. 1942), Roxbury studio, 1950
Photograph by Herbert Matter
Sun and moon from Happy as Larry (1949) in Calder’s Roxbury studio (1950)
Sun and moon from Happy as Larry (1949), Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Sun and moon from Happy as Larry (1949), Roxbury studio, 1950
Photograph by Herbert Matter
Calder wearing Mask (1950)
Calder wearing Mask (c. 1945), Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Calder wearing Mask (c. 1945), Roxbury studio, 1950
Photograph by Herbert Matter
Untitled (Campigli, 1930), Roxbury studio (1950)
Untitled (Campigli, 1930), Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Untitled (Campigli, 1930), Roxbury studio, 1950
Photograph by Herbert Matter
Calder’s storage shelves with necklace in his Roxbury studio (1950)
Calder's storage shelves with necklace, Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Calder’s storage shelves with necklace, Roxbury studio, 1950
Photograph by Herbert Matter
Calder’s desk in his Roxbury studio (1950)
Calder's desk, Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Calder’s desk, Roxbury studio, 1950
Photograph by Herbert Matter
Calder’s desk in his Roxbury studio (1950)
Calder's desk, Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Calder’s desk, Roxbury studio, 1950
Photograph by Herbert Matter
Triple Gong (c. 1948) and Alexander Stirling Calder’s bust of Louisa Calder, Roxbury house “big room,” 1950
Photograph by Herbert Matter
Rat (1950)
Rat (1948), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Rat (1948), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Chinese tea cups converted by Calder to espresso cups with brass wire zarfs and ebony spoons (c. 1935–40), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Dinner bell (1950)
Dinner bell (c. 1942), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Dinner bell (c. 1942), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Recycled tin can ashtrays and a fish ashtray (c. 1935–50), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Ferns in the Roxbury house “big room (1950)
Ferns in the Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Ferns in the Roxbury house “big room,” 1950
Photograph by Herbert Matter
Untitled (c. 1947), Roxbury house “big room” (1950)
Untitled (c. 1947), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Untitled (c. 1947), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Grills (1950)
Grills (c. 1935–40), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Grills (c. 1935–40), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Hand of Fatima (1950)
Hand of Fatima (c. 1948) and Bird ornament (c. 1945), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Hand of Fatima (c. 1948) and Bird ornament (c. 1945), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Door latch (c. 1948), Roxbury house “big room (1950)
Door latch (c. 1948), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Door latch (c. 1948), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Bird ornament (c. 1945), Roxbury house “big room (1950)
Bird ornament (c. 1945), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Bird ornament (c. 1945), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Grill (c. 1935), Roxbury house “big room (1950)
Grill (c. 1935), Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Grill (c. 1935), Roxbury house “big room,” 1950
Photograph by Herbert Matter
Plants in the Roxbury house “big room (1950)
Plants in the Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Plants in the Roxbury house “big room,” 1950
Photograph by Herbert Matter
Lamp (c. 1934) and Alexander Stirling Calder’s bronze sculpture, Roxbury house “front room,” 1950
Photograph by Herbert Matter
Black Spot on Gimbals (1950)
Black Spot on Gimbals (1942), Roxbury house "front room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Black Spot on Gimbals (1942), Roxbury house “front room,” 1950
Photograph by Herbert Matter
Chairs (c. 1935) and Untitled (c. 1945), Roxbury house “front room” (1950)
Chairs (c. 1935) and Untitled (c. 1945), Roxbury house "front room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Chairs (c. 1935) and Untitled (c. 1945), Roxbury house “front room,” 1950
Photograph by Herbert Matter
Roxbury house “front room (1950)
Roxbury house "front room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Roxbury house “front room,” 1950
Photograph by Herbert Matter
Light fixture (c. 1935), Roxbury house “front room (1950)
Light fixture (c. 1935), Roxbury house "front room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Light fixture (c. 1935), Roxbury house “front room,” 1950
Photograph by Herbert Matter
Untitled (c. 1945) and a standing mobile (c. 1940) in the Roxbury house “front room (1950)
Untitled (c. 1945) and a standing mobile (c. 1940), Roxbury house "front room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Untitled (c. 1945) and a standing mobile (c. 1940), Roxbury house “front room,” 1950
Photograph by Herbert Matter
Roxbury Fish (1950)
Roxbury Fish (c. 1948), Roxbury house kitchen, 1950Photograph by Herbert Matter © Calder Foundation, New York
Roxbury Fish (c. 1948), Roxbury house kitchen, 1950
Photograph by Herbert Matter
Forks, spoons, baby food pusher, milk skimmer, roasting pan and lid, and colander (c. 1935–48), Roxbury house kitchen, 1950
Photograph by Herbert Matter
Rack with grills and utensils (1950)
Rack with grills and utensils (c. 1935–45), Roxbury house kitchen, 1950Photograph by Herbert Matter © Calder Foundation, New York
Rack with grills and utensils (c. 1935–45), Roxbury house kitchen, 1950
Photograph by Herbert Matter
Storage closet latch (c. 1944), Roxbury house downstairs bathroom (1950)
Storage closet latch (c. 1944), Roxbury house downstairs bathroom, 1950Photograph by Herbert Matter © Calder Foundation, New York
Storage closet latch (c. 1944), Roxbury house downstairs bathroom, 1950
Photograph by Herbert Matter
Toilet paper holder (c. 1935) in the Roxbury house upstairs bathroom (1950)
Toilet paper holder (c. 1935), Roxbury house upstairs bathroom, 1950Photograph by Herbert Matter © Calder Foundation, New York
Toilet paper holder (c. 1935), Roxbury house upstairs bathroom, 1950
Photograph by Herbert Matter
Light fixture (c. 1945) in the Roxbury house upstairs hallway (1950)
Light fixture (c. 1945), Roxbury house upstairs hallway, 1950Photograph by Herbert Matter © Calder Foundation, New York
Light fixture (c. 1945), Roxbury house upstairs hallway, 1950
Photograph by Herbert Matter
Light fixture (c. 1945), Roxbury house upstairs hallway (1950)
Light fixture (c. 1945), Roxbury house upstairs hallway, 1950Photograph by Herbert Matter © Calder Foundation, New York
Light fixture (c. 1945), Roxbury house upstairs hallway, 1950
Photograph by Herbert Matter
Fish light fixture (c. 1950) in the Roxbury house woodshed (1950)
Fish light fixture (c. 1950), Roxbury house woodshed, 1950Photograph by Herbert Matter © Calder Foundation, New York
Fish light fixture (c. 1950), Roxbury house woodshed, 1950
Photograph by Herbert Matter
Birds (1950)
Birds (c. 1950), Roxbury, 1950Photograph by Herbert Matter © Calder Foundation, New York
Birds (c. 1950), Roxbury, 1950
Photograph by Herbert Matter
Sign (1950)
Sign (c. 1944), Roxbury, 1950Photograph by Herbert Matter © Calder Foundation, New York
Sign (c. 1944), Roxbury, 1950
Photograph by Herbert Matter
Calder wearing his handmade hat and cape (c. 1946) (1950)
Calder wearing his handmade hat and cape (c. 1946), Roxbury, 1950Photograph by Herbert Matter © Calder Foundation, New York
Calder wearing his handmade hat and cape (c. 1946), Roxbury, 1950
Photograph by Herbert Matter
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Chronology 110
1946

When Sartre visits Calder again at his studio in New York, the artist gives him Peacock, a mobile whose elements are cut from flattened 1940 Connecticut license plates.

Calder 1966, 188–89
1946

Thomas Emery’s Sons, Inc., commissions Calder to create a mobile, Twenty Leaves and an Apple, for the Terrace Plaza Hotel, Cincinnati, designed by Gordon Bunshaft of Skidmore, Owings & Merrill.

CF, project file
1946

The Rime of the Ancient Mariner by Samuel Taylor Coleridge, with twenty-nine illustrations by Calder and an essay by Robert Penn Warren, is published in New York by Reynal and Hitchcock.

CF, project file
22 January–3 March 1946

“Origins of Modern Sculpture” is presented at the Detroit Institute of the Arts and travels to the City Art Museum of St. Louis.

CF, exhibition file
25 January–7 February 1946

The Calders take a road trip to Fort Lauderdale, Florida, and visit Edna and Keith Warner.

CF, Warner correspondence
15 April 1946

The Clay Club Gallery, New York, presents “Benefit: Exhibition of Sale of Sculpture to Help Raise Funds for the Sculpture Center” and includes a standing mobile by Calder.

CF, exhibition file
12 May 1946

Calder inquires with Willard whether she would be interested in having him make jewelry in gold, a material with which he is interested in working: I’d like to make some stuff in gold—but it makes a larger investment—shall we get into that racket?

CF, Calder to Willard, 12 May
5–6 June 1946

Calder takes his first transatlantic flight from New York to Paris to prepare for the exhibition at Galerie Louis Carré, Paris.

CF, passport
Calder in Paris (1946)
Calder in Paris, 1946
Calder in Paris, 1946
23 July 1946

The exhibition at Galerie Louis Carré is delayed and Calder returns to New York.

Calder 1966, 189; MoMA, Calder to Valentin, 6 August
12 August 1946

Calder and Louisa attend the premiere of Pádraic Colum’s play Balloon with mobile sets by Calder, performed at the Ogunquit Playhouse, Maine.

CF, Calder to Warner, July
30 August 1946

In a series of letters, Calder and Keith Warner begin discussing the terms of Calder creating gold jewelry for Warner’s wife: Would it be a fair proposition if I asked, as recompense, that you buy me an equal amount of gold? I have been wanting to make some more things of gold for Louisa and for

the kids (as “heirlooms”) but never seem to be able to afford the gold.

CF, Calder to Warner, 30 August
7 September 1946

Calder holds a performance of Cirque Calder in the family’s Roxbury studio for his daughters. I have to show the children how to run it so that they can carry on.

CF, Calder to Warner, 30 August
18 September–17 November 1946

Calder’s jewelry is included in the large group exhibition “Modern Jewelry Design” at the Museum of Modern Art, New York. Over the next two years, the show travels to museums in fifteen different cities throughout the United States.

CF, exhibition file
23 September 1946

Calder returns to Paris.

CF, passport
October–November 1946

Calder stays at Hôtel de Versailles, Paris.

CF, object file
1 October–15 November 1946

“4 Modern Sculptors: Brancusi, Calder, Lipchitz, Moore” is presented at the Cincinnati Modern Art Society.

CF, exhibition file
4 Modern Sculptors: Brancusi, Calder, Lipchitz, Moore (1946)
Installation photograph, 4 Modern Sculptors: Brancusi, Calder, Lipchitz, Moore, Cincinnati Modern Art Society, Ohio, 1946
Installation photograph, 4 Modern Sculptors: Brancusi, Calder, Lipchitz, Moore, Cincinnati Modern Art Society, Ohio, 1946
25 October–16 November 1946

Alexander Calder: Mobiles, Stabiles, Constellations” is on view at Galerie Louis Carré, Paris. Henri Matisse attends the exhibition. Along with photographs by Matter, the catalogue includes two essays—Sartre’s “Les Mobiles de Calder” and Sweeney’s “Alexander

Calder.”

CF, exhibition file
Alexander Calder: Mobiles, Stabiles, Constellations (1946)
Installation photograph, Alexander Calder: Mobiles, Stabiles, Constellations, Galerie Louis Carré, Paris, 1946
Installation photograph, Alexander Calder: Mobiles, Stabiles, Constellations, Galerie Louis Carré, Paris, 1946
Fall 1946

Jean Painlevé films Calder’s works in Paris. It is his second motion picture footage of mobiles in motion.

CF, project file
19–30 November 1946

Calder sails from Le Havre to New York on the John Ericsson.

Calder 1966, 194; CF, passport
11 December 1946

Irving Penn photographs Calder in Roxbury.

CF, photography file
Portrait of Calder (1946)
Portrait of Calder, 11 December 1946Photograph by Irving Penn © The Irving Penn Foundation
Portrait of Calder, 11 December 1946Photograph by Irving Penn

1947

7–29 January 1947

Calder’s work is on view at the Portland Art Museum, Oregon.

CF, exhibition file
12 February 1947

The Mirós and their daughter, Dolores, arrive in the United States. So I drove the LaSalle (open, top down) straight to La Guardia, and got there just in time. So we installed them in a little apt. on 1st Ave. (very nice), and then had a bite at Matisse’s.

CF, Calder to Warner, 15 February
17 February–16 March 1947

The San Francisco Museum of Art exhibits Calder’s work.

CF, exhibition file
Before 7 March 1947

The Mirós arrive at the Calders’ home in Roxbury for a visit.

SM, Miró to Sandberg, 7 March
Before 7 March 1947

Calder performs Cirque Calder at his home in Roxbury for the Mirós; Henri Seyrig (Director of the Institut Français d’Archéologie); and Henrique and Helena Mindlin.

SM, Miró to Sandberg, 7 March; CF, Calder 1955–56, 155
10–28 March 1947

Mattatuck Historical Society, Connecticut, presents “Alexander Calder.”

CF, exhibition file
20 April 1947

Miró celebrates his and Sandra’s birthday with the Calders at their apartment on East Seventy-second Street, New York. He gives Sandra a drawing and she gives the Mirós an ink and collage butterfly. Calder presents Miró with a mobile personage made of animal bones.

ASCR conversation with Mary Calder Rower, 16 November 1997
Personnage pour Joan Miró (1969)
Joan Miró with Personnage pour Joan Miró (1947) in his Palma de Mallorca studio, 1969Photograph by Francesc Català-Roca © Photographic Archive F. Català-Roca - Arxiu Fotogràfic del Collegi d'Arquitectes de Catalunya
Joan Miró with Personnage pour Joan Miró (1947) in his Palma de Mallorca studio, 1969Photograph by Francesc Català-Roca
4–26 May 1947

Kunsthalle Bern, Switzerland, presents “Calder, Léger, Bodmer, Leuppi.”

CF, exhibition file
Calder, Léger, Bodmer, Leuppi (1947)
Installation photograph, Calder, Léger, Bodmer, Leuppi, Kunsthalle Bern, Switzerland, 1947
Installation photograph, Calder, Léger, Bodmer, Leuppi, Kunsthalle Bern, Switzerland, 1947
After 5 May 1947

Calder trades the mobile Polygones noirs for Miró’s Femmes et oiseaux dans la nuit, a painting related to Miró’s mural for the Terrace Plaza Hotel.

CF, object file
26 May 1947

The Stable, New Haven, Connecticut, exhibits “Alexander Calder.”

CF, exhibition file
27 June–30 September 1947

Calder exhibits Explosive Object in the “Exposition de peintures et sculptures contemporaines,” Palais des Papes, Avignon.

CF, exhibition file
Exposition de peintures et sculptures contemporaines (1947)
Installation photograph, Exposition de peintures et sculptures contemporaines, Palais des Papes à Avignon, France, 1947Photograph by Joaquin Gomis © Bibliothèque Kandinsky, Centre Georges Pompidou, Fonds Cahiers d'art
Installation photograph, Exposition de peintures et sculptures contemporaines, Palais des Papes à Avignon, France, 1947Photograph by Joaquin Gomis
7 July–30 September 1947

“Exposition Internationale du Surréalisme” is organized by Breton and Duchamp for Galerie Maeght, Paris. Calder contributes a mobile and produces a lithograph for the catalogue, Le Surréalisme en 1947.

CF, exhibition file
8–15 July 1947

The Calders visit Long Island.

CF, Calder to Warner, 2 July; CF, Calder to Valentin, 15 July
10 July 1947

Carl Van Vechten photographs Calder.

CF, object file
Calder with The General Sherman (1947)
Calder with The General Sherman (1945), 1947Photograph by Carl Van Vechten © Carl Van Vechten
Calder with The General Sherman (1945), 1947Photograph by Carl Van Vechten
19 July–24 August 1947

“Alexander Calder / Fernand Léger” is presented at the Stedelijk Museum, Amsterdam.

CF, exhibition file
September 1947

Hans Richter’s film, Dreams That Money Can Buy, is finally released after being in production since 1945. Two sequences are made with Calder’s collaboration: “Ballet,” the fifth dream, and “Circus,” the sixth dream. The film wins the International Award for Best Original Contribution to the

Progress of Cinematography at the Venice Film Festival.

CF, project file
December 1947

Calder rebuilds the “Big Room” in his Roxbury house. We are rebuilding the room which burned four years ago (where we sat last time you were here). Over the next year, Calder raises the roof about five feet and installs steel sash windows in the southeast wall.

CF, Calder to Warner, 13 December
Ferns in the Roxbury house “big room (1950)
Ferns in the Roxbury house "big room," 1950Photograph by Herbert Matter © Calder Foundation, New York
Ferns in the Roxbury house "big room," 1950Photograph by Herbert Matter
9–27 December 1947

Alexander Calder” is on view at Buchholz Gallery/Curt Valentin, New York.

CF, exhibition file
Calder at Buchholz Gallery/Curt Valentin (1947)
Calder with Gamma and Sword Plant, Alexander Calder, Buchholz Gallery/Curt Valentin, New York, 1947
Calder with Gamma and Sword Plant, Alexander Calder, Buchholz Gallery/Curt Valentin, New York, 1947
25 December 1947

Calder’s daughter Mary has a painful molar extracted on Christmas Day. Calder takes the tooth and memorializes it in a silver wire, caged pendant, which he gives to her for Christmas.

ASCR conversation with Mary Calder Rower, 8 August 2007

1948

1948

Quadrangle Press publishes Selected Fables with etchings by Calder. Jean de La Fontaine is editor.

CF, object file
1948

Calder exhibits his work at the Institute of Contemporary Arts, Washington, D.C.

Lipman 1976, 334
Spring 1948

Calder meets Burgess Meredith, who later visits the Calders in Roxbury to discuss making a film about Calder and his mobiles. Calder suggests Matter as the cinematographer.

Calder 1966, 197
Spring 1948

Calder accepts Mindlin’s invitation to visit Brazil.

Calder 1966, 199
6 June–30 September 1948

For the XXIV Biennale di Venezia—the first Biennale of the postwar period—Calder’s Arc of Petals is included in a presentation of Peggy Guggenheim’s collection curated by art historian Giulio Carlo Argan.

CF, exhibition file
Summer 1948

The Calders drive to the Grand Canyon, Death Valley, Reno, and Lake Tahoe, where they spend two weeks with Kenneth and Peggy Hayes. After driving to Berkeley, they leave Sandra and Mary with the Hayes family, and fly to Los Angeles.

Calder 1966, 198–99; ASCR conversation with Mary Calder Rower, 23 October 1997
28 August 1948

Louisa’s mother, Louisa Cushing James, dies.

Calder 1966, 255
7 September 1948

Calder and Louisa arrive in Mexico City, where they stay at the Hotel Prince. They visit with Fernando Gamboa, director of the Museo de Bellas Artes, and with filmmaker Luis Buñuel and his family.

Calder 1966, 198–99
8 September 1948

Calder and Louisa arrive in Panama. I insisted on taking Louisa in a taxi to Panama City, to see the crazy traffic and open buildings I had seen sixteen years before, when a fireman on the S.S. Alexander.

Calder 1966, 198–99
9 September 1948

Calder and Louisa arrive in Trinidad.

Calder 1966, 198–99; CF, passport
10 September 1948

From Trinidad, the Calders fly to Belém, Brazil. On the plane they meet writer John Dos Passos.

CF, passport; Calder 1966, 199
11 September 1948

Calder and Louisa arrive in Rio de Janeiro.

CF, passport
September 1948

The Ministerio da Educaçao e Saude presents “Alexander Calder.” The catalogue includes “Les Mobiles de Calder” by Sartre, “Alexander Calder” by Mindlin, and statements by Breton, Nancy Cunard, and Sweeney.

CF, exhibition file
Ministério da Educação e Saúde (1948)
Installation photograph, Alexander Calder, Ministério da Educação e Saúde, Rio de Janeiro, 1948
Installation photograph, Alexander Calder, Ministério da Educação e Saúde, Rio de Janeiro, 1948
October–November 1948

Museu de Arte, São Paulo, Brazil, presents “Alexander Calder.”

CF, exhibition file
23 October 1948

The Calders throw a farewell party before departing Rio de Janeiro. Calder improvises decorations and hangs them on the wall. Heitor Dos Praceres (Hector of the Pleasures), a Negro painter and friend of ours, had an excellent samba band, so we decided that they should come sixteen strong …The party took place

in the little house where I worked. Two days before, Lota wrote to Eugenio [Lage] in New York, saying that if he did not see any objection we would have a party there.

CF, object file; Calder 1966, 203
29 October 1948

The Calders embark from Rio de Janeiro for the United States.

CF, passport
November 1948

In Berkeley, Calder and Louisa are reunited with their children. The family spends a week with the Hayes family before driving back across country with side trips to Sante Fe, New Mexico, and Texas.

Calder 1966, 204; CF, passport; ASCR conversation with Mary Calder Rower, 23 October 1997
11 December 1948–3 January 1949

Buchholz Gallery/Curt Valentin, New York, presents “Alexander Calder Recent Mobiles, 1948.”

CF, exhibition file
20 December 1948

Calder exhibits a work on paper in “A Comparison of Primitive and Modern: 40,000 Years of Modern Art” at the Institute of Contemporary Arts, London.

CF, exhibition file

1949

1949

Calder creates mobiles for Symphonic Variations, choreographed by Tatiana Leskova with music by César Franck. The dance is performed in Rio de Janeiro.

CF, object file
8–31 March 1949

Museu de Arte Moderna, São Paulo, presents “Do Figurativismo ao Abstracionismo” and includes five works by Calder.

CF, exhibition file
Before 2 May 1949

Upon returning home from Brazil, Calder crafts a large brooch for Henrique Mindlin’s wife, Helena. The brooch is in the form of a figa—a hand with the thumb curled under the forefinger—a symbol of luck in Brazil. Thank you, thank you, thank you ever so much for the most beautiful figa I have ever

seen. You managed to make many females terribly envious of me, and this makes me oh! so happy! Calder eventually makes at least twenty pieces of jewelry in the figa motif, nearly all as gifts for family and friends.

CF, Mindlin to Calder
After 6 May 1949

Calder’s mother, Nanette, goes to live full time with the Calders in Roxbury.

CF, Nanette to Calder, 6 May
15 May–11 September 1949

Calder constructs his most ambitious mobile to date, International Mobile, for the Third International Exhibition of Sculpture, Philadelphia Museum of Art in collaboration with the Fairmount Park Art Association.

CF, exhibition file
Calder installing International Mobile (1949)
Calder installing International Mobile, Third International Exhibition of Sculpture, Philadelphia Museum of Art, 1949Photograph by Herbert Gehr © Life Magazine
Calder installing International Mobile, Third International Exhibition of Sculpture, Philadelphia Museum of Art, 1949Photograph by Herbert Gehr
Summer 1949

Calder builds a house for his mother on the Roxbury property.

CF, Nanette to Calder, 6 May
Calder with daughters Sandra and Mary, Grandma’s house (1949)
Calder with daughters Sandra and Mary, Grandma's house, Roxbury, 1949
Calder with daughters Sandra and Mary, Grandma's house, Roxbury, 1949
25 October–12 November 1949

“Calder” is presented at the Margaret Brown Gallery, Boston.

CF, exhibition file
Calder (1949)
Installation photograph, Calder, Margaret Brown Gallery, Boston, 1949Photograph by George M. Cushing Jr.
Installation photograph, Calder, Margaret Brown Gallery, Boston, 1949Photograph by George M. Cushing Jr.
28 October–11 December 1949

The Virginia Museum of Fine Arts, Richmond, presents “Calder & Sculpture Today,” with works by Jean Arp, Alexander Archipenko, Constantin Brancusi, Calder, and Alberto Giacometti, among others.

CF, exhibition file
30 November–17 December 1949

Buchholz Gallery/Curt Valentin, New York, exhibits “Calder.” The catalogue includes “The Studio of Alexander Calder” by Masson and illustrations by Calder of the objects exhibited.

CF, exhibition file

1950

6 January 1950

Happy As Larry, a play written by Donagh MacDonagh and directed by Burgess Meredith with sets by Calder, opens in New York at the Coronet Theatre.

CF, project file
4–10 May 1950

The Calder family sails from New York on the Ile de France and arrives in Le Havre.

CF, passport
Ile de France (1950)
Calder and Louisa Calder dancing on the ship Ile de France, 1950Photograph by Louis Hamon
Calder and Louisa Calder dancing on the ship Ile de France, 1950Photograph by Louis Hamon
Mid-May 1950

In Paris, the Calders rent an apartment for four months on rue Penthièvre from their friend, Médé Valentine.

CF, passport; Calder 1966, 204; CF, Calder to Warner, 5 February
30 June–27 July 1950

Galerie Maeght, Paris, exhibits “Calder: Mobiles & Stabiles.” Calder, encouraged by Christian Zervos (publisher of Cahiers d’Art) to exhibit at Galerie Maeght, also illustrates the catalogue and the exhibition poster. The Nationalmuseum, Stockholm, purchases a mobile

and the Musée National d’Art Moderne, Paris, purchases Le 31 Janvier.

CF, exhibition file; Lipman 1976, 334
July 1950

The Calders travel around France visiting the caves of Lascaux, and Ritou Nitzschke and André Bac in La Roche Jaune, Brittany.

Calder 1966, 206; Lipman 1976, 334
2–8 August 1950

The Calders leave Paris and take a train to Antwerp. From there, the family takes a Finnish ship Arcturus to Helsinki.

CF, passport
9–13 August 1950

The Calders visit Maire Gullichsen, who takes them to her villa, Mairea, in Norrmark for a week.

Calder 1966, 206
14 August 1950

The Calders leave from Turku, Finland, and take a boat to Stockholm, arriving the next day. They stay in the Grand Hotel and visit Eric Grate, a Swedish sculptor.

CF, passport; Calder 1966, 208
26–27 August 1950

Departing Malmö, Sweden, the Calders take a train through Denmark and Germany, and arrive in Paris.

CF, passport; Calder 1966, 208
31 August–11 September 1950

The Calders depart Paris for Antwerp, set sail the next day on the Europa, and arrive in New York.

CF, passport; Calder 1966, 208
October 1950

Matter photographs Calder’s Roxbury studio and home.

CF, photography file
Calder, Roxbury studio (1950)
Calder, Roxbury studio, 1950Photograph by Herbert Matter © Calder Foundation, New York
Calder, Roxbury studio, 1950Photograph by Herbert Matter
12 November 1950

Calder is selected by the New York Times Book Review as one of the ten best children’s book illustrators of the last fifty years.

New York Times, 12 November
5 December 1950–14 January 1951

Massachusetts Institute of Technology, Cambridge, exhibits “Calder,” a retrospective. Sweeney installs the exhibition while Calder recovers from an automobile accident.

CF, exhibition file; Calder 1966, 209
Calder at MIT(1950)
Installation photograph, Calder, New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, 1950Photograph by Ezra Stoller © Esto
Installation photograph, Calder, New Gallery, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, 1950Photograph by Ezra Stoller

1951

24 January 1951

After two years of production, Works of Calder previews at the Museum of Modern Art. The film was directed by Matter and produced and narrated by Burgess Meredith, with music by John Cage.

CF, project file
5 February 1951

Calder participates in a symposium, “What Abstract Art Means to Me,” at the Museum of Modern Art in conjunction with their exhibition “Abstract Painting and Sculpture in America.” The idea of detached bodies floating in space, of different sizes and densities, perhaps of different

colors and temperatures, and surrounded and interlarded with wisps of gaseous condition, and some at rest, while others move in peculiar manners, seems to me the ideal source of form.

Calder 1951
After March 1951

Calder performs Cirque Calder at the Sert’s home in Lattingtown, New York.

MS, photography collection; CF, correspondence file
17 April–2 June 1951

Institute of Contemporary Arts, Washington, D.C., exhibits “Sculptures by Alexander Calder.”

CF, exhibition file
April 1951

In Washington, D.C., Calder sees Jean Davidson, a friend he had first met in 1944, and invites him to visit Roxbury.

Calder 1966, 212
15 August 1951

Eero Saarinen writes to Calder proposing a commission for a sculpture and fountain at the General Motors Technical Center, Warren, Michigan. Calder suggests a fountain without any sculpture.

CF, Saarinen to Calder, 15 August; CF, Saarinen to Tykle, 28 September
Water Ballet (1956)
Water Ballet, General Motors Complex, Michigan, 1956
Water Ballet, General Motors Complex, Michigan, 1956
September 1951

Cage’s score for Works of Calder wins first prize at the Art Film Festival in Woodstock.

CF, project file
14 October–4 November 1951

Contemporary Arts Museum, Houston, presents “Calder–Miró.”

CF, exhibition file

1952

15 January–10 February 1952

Curt Valentin Gallery, New York, exhibits “Alexander Calder: Gongs and Towers.” The catalogue texts are “Alexander Calder’s Mobiles” by Sweeney and “Calder” by Léger, with drawings by Calder of the objects exhibited.

CF, exhibition file
Alexander Calder: Gongs and Towers (1952)
Installation photograph, Alexander Calder: Gongs and Towers, Curt Valentin Gallery, New York, 1952Photograph by Adolph Studly © Adolph Studly
Installation photograph, Alexander Calder: Gongs and Towers, Curt Valentin Gallery, New York, 1952Photograph by Adolph Studly
19 March 1952

Calder arrives in Paris and stays with Paul Nelson.

CF, passport; CF, Calder and Nelson to Louisa, 19 March
After 19 March 1952

I must have met Henri Pichette at lunch with Giacometti in Paris. Now he wanted me to decorate his new play: Nucléa

Calder 1966, 209–210
April 1952

Calder designs the sets and costumes for Nucléa, written by Henri Pichette. The costumes include two large silver necklaces and a silver bracelet.

CF, project file; Calder 1966, 209–10
Set for Nucléa (1952)
Set for Nucléa, 1952Photograph by Agnès Varda © Agnès Varda
Set for Nucléa, 1952Photograph by Agnès Varda
3 May 1952

Calder and Louisa attend the opening of Nucléa at the Théâtre du Palais de Chaillot, Paris. Directed by Jean Vilar with music by Maurice Jarre, the play is performed by Théâtre National Populaire.

CF, project file; Calder 1966, 210
6–10 May 1952

Galerie Maeght, Paris, exhibits “Alexander Calder: Mobiles.”

CF, exhibition file
Mid-May 1952

The Calders visit Masson and his family in Aix-en-Provence. They ask Masson to find them a house to rent for the following year. From Aix-en-Provence they travel to Varengeville.

Calder 1966, 210–11; Lipman 1976, 334
Calder with the Masson family (1952)
Calder with the Masson family, Aix-en-Provence, 1952
Calder with the Masson family, Aix-en-Provence, 1952
29–30 May 1952

Louisa flies from Paris to New York. Calder leaves Paris on 30 May and arrives in Italy to prepare his works for the XXVI Biennale di Venezia.

CF, passport
3 June 1952

Calder returns to Paris.

CF, passport
6–7 June 1952

Calder flies from Paris and arrives in New York.

CF, passport
14–19 June 1952

Calder represents the United States in the XXVI Biennale di Venezia. Sweeney installs the exhibition and writes a short text for the exhibition catalogue. Calder wins the Grand Prize for sculpture.

CF, exhibition file
Venice Biennale (1952)
The Big Ear (1943) outside the American Pavilion at the Twenty-sixth Venice Biennale, 1952
The Big Ear (1943) outside the American Pavilion at the Twenty-sixth Venice Biennale, 1952
28 June 1952

Calder accepts the commission from Carlos Raúl Villanueva, whom he met through Sert in 1951, to design an acoustic ceiling for Aula Magna, the auditorium of the Universidad Central de Venezuela. He collaborates with the engineering firm Bolt, Beranek, and Newman,

Cambridge, Massachusetts.

Calder 1966, 240; CF, Calder to Villanueva, 28 June
Acoustic Ceiling (1954)
Acoustic Ceiling, Aula Magna, Universidad Central de Venezuela, Caracas, 1954Photograph by Paolo Gasparini
Acoustic Ceiling, Aula Magna, Universidad Central de Venezuela, Caracas, 1954Photograph by Paolo Gasparini
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Bibliography 190

1946

“Alexander Calder.” Arts & Architecture, vol. 63, no. 1 (January 1946).

Magazine

Coleridge, Samuel Taylor. The Rime of the Ancient Mariner. New York: Reynal and Hitchcock, 1946.

Illustrated Book

Bouxin, Andre. “Forme et Architecture.” Techniques et Architecture, nos. 9–10 (1946).

Magazine

Detroit Institute of Arts, Michigan. Origins of Modern Sculpture. Exhibition catalogue. 1946.

Group Exhibition Catalogue

City Art Museum of St. Louis, Missouri. Origins of Modern Sculpture. Exhibition catalogue. 1946.

Group Exhibition Catalogue

“Alexander Calder.” Current Biography, vol. 7, no. 4 (April 1946).

Magazine

Warren, Robert Penn. “A Poem of Pure Imagination: Reconsiderations VI.” The Kenyon Review, vol. VIII (Summer 1946).

Magazine

“Drawings in Black and White.” Partisan Review (Summer 1946).

Magazine

Art Institute of Chicago. 57th Annual American Exhibition, Water Colors and Drawings. Exhibition catalogue. 1946.

Group Exhibition Catalogue

Richter, Hans. “Le Cinéma Américain d’Avant-garde.” Style en France, no. 4 (July–September 1946).

Magazine

“Paris Still Art World Center, Says Calder.” Waterbury Republican, 11 August 1946.

Newspaper

Cincinnati Modern Art Society, Ohio. 4 Modern Sculptors: Brancusi, Calder, Lipchitz, Moore. Exhibition catalogue. 1946.

Group Exhibition Catalogue

Sartre, Jean-Paul. “Mobiles.” Berkeley, no. 2, Fall/Winter 1946.

Newspaper

Galerie Louis Carré, Paris. Alexander Calder: Mobiles, Stabiles, Constellations. Exhibition catalogue. 1946.

Jean-Paul Sartre, Les Mobiles de Calder

Solo Exhibition Catalogue

Chevalier, Denys. (Publication unknown), 1 November 1946.

Newspaper

Duche, Jean. “Jean-Paul Sartre: Patron des ‘Mobiles’ d’Alexandre Calder.” Cavalcade (c. November 1946).

Magazine

Estienne, Charles. “Un fabricant d’espace: Alexandre Calder.” (Publication unknown), c. November 1946.

Newspaper

Guichard, Jean. “La sculpture remue.” Temps Présent, no. 114, 1 November 1946.

Newspaper

Limbour, Georges. “Les Mobiles d’Alexandre Calder.” (Publication unknown), c. November 1946.

Newspaper

McCausland, Elizabeth. “American Painting and Sculpture in the Metropolitan and Whitney Collections.” Magazine of Art (November 1946).

Magazine

Diehl, Gaston. “Les plaisirs de la matière.” Libératon-Soir, 8 November 1946.

Newspaper

Barotte, René. “Les sculptures de l’apprenti-sorcier Calder palpitent au souffle d’un wentilateur: ce sont des ‘mobiles’ explique Jean-Paul Sartre.” Quatre et Trois, 14 November 1946.

Newspaper

Einstein, William. “Art News in Paris.” New York Herald Tribune, 18 November 1946.

Newspaper

“Modern Handmade Jewelry, from an exhibition at the Museum of Modern Art.” Arts & Architecture, vol. 63, no. 11 (December 1946).

Magazine

1947

“The Bellman’s Song.” Child Life, vol. 26, no. 1 (January 1947).

Magazine

“Exposition d’Art Moderne au Palais des Papes à Avignon.” Cahiers d’Art (1947).

Magazine

Payne, Elizabeth H. “A Space Modulator by Moholy-Nagy and Mobile by Calder.” Bulletin of the Detroit Institute of Arts, vol. 26, no. 1 (1947).

Magazine

Six Artists (1947). Footage compiled by Hans Richter. Black-and-white, silent; 0:48 min. This segment shows Calder performing Cirque Calder.

Film

Breit, Harvey. “Coleridge’s Strange Hierarchy of the Damned.” New York Times, 5 January 1947.

Newspaper

Mattatuck Historical Society, Waterbury, Connecticut. Alexander Calder. Exhibition catalogue. 1947.

Solo Exhibition Catalogue

Hill, Lyall H. “Calder Show Fresh and Exciting.” Waterbury Republican, 16 March 1947.

Newspaper

Cunard, Nancy. “Arts Parallel: A Note on Calder, Léger and Vilato.” Jazz Forum, no. 4 (April 1947).

Magazine

Schneider-Lengyel, I. “Alexander Calder, der Ingenieur-Bildhauer.” Prisma (Munich), vol. 1, no. 6 (14–15 April 1947).

Magazine

Bouxin, A. “Portraits.” Style en France, vol. 2, no. 5 (15 April 1947).

Magazine

Giedion, Siegfried. “The Hammock and Alexander Calder.” Interiors, vol. 106, no. 10 (May 1947).

Magazine

Kunsthalle Bern, Switzerland. Calder, Léger, Bodmer, Leuppi. Exhibition catalogue. 1947.

Group Exhibition Catalogue

“Modern Art for Cincinnati.” Art Digest (5 May 1947).

Magazine

Palais des Papes, Avignon. Exposition de peintures et sculptures contemporaines. Exhibition catalogue. 1947. Texts by Fernand Léger and Christian Zervos.

Group Exhibition Catalogue

Stedelijk Museum, Amsterdam. Alexander Calder / Fernand Léger. Exhibition catalogue. 1947.

Group Exhibition Catalogue

Galerie Maeght, Paris. Le Surréalisme en 1947. Exhibition catalogue. 1947. Edited by André Breton and Marcel Duchamp.

Group Exhibition Catalogue

“Enriching U. S. Museums.” Art News, vol. 46, no. 6 (August 1947).

Magazine

“Make it from a Pattern–and Make it in Suede.” Harper’s Bazaar (August 1947).

Magazine

Payne, Elizabeth H. “Mobile by Calder.” Detroit Institute Bulletin, vol. 26 (September 1947).

Magazine

M. L. S., “Squares.” The Ambassador, no. 9 (September 1947).

Magazine

New Yorker (6 September 1947).

Magazine

“Calder.” Arts & Architecture, vol. 64, no. 10 (October 1947).

Magazine

Veronesi, Giulia. “Braque, Picasso, Calder.” Emporium, vol. 106, nos. 635–636 (November–December 1947).

Magazine

Sartre, Jean-Paul. “Existentialist on Mobilist.” Art News (December 1947).

Magazine

Buchholz Gallery/Curt Valentin, New York. Alexander Calder. Exhibition catalogue. 1947. Text by Jean-Paul Sartre.

Solo Exhibition Catalogue

New York Sun, 12 December 1947.

Newspaper

Devree, Howard. “Calder and Two ‘Firsts.’” New York Times, 14 December 1947.

Newspaper

Gibbs, Jo. “It May Not Be Sculpture, But It’s Vital.” Art Digest, vol. 22, no. 6 (15 December 1947).

Magazine

Dreams That Money Can Buy (1947). Sponsored by Peggy Guggenheim’s Art of This Century, New York. Films International of America, New York. 16mm, color, sound (English); 85 min. Produced and directed by Hans Richter, assisted by Miriam Reaburn; cinematography by Arnold Eagle; music by Louis Applebaum.

Film

1948

La Fontaine, Jean de. Selected Fables. Translated by Eunice Clark. New York: Quadrangle Press, 1948.

Illustrated Book

Wadsworth Atheneum, Hartford. Painting Toward Architecture. Exhibition catalogue. 1948.

Group Exhibition Catalogue

Janis, Harriet. “Mobiles.” Arts & Architecture, vol. 65, no. 2 (February 1948).

Magazine

“Balance the Silhouette.” Harper’s Bazaar (March 1948).

Magazine

“Barroom Art in the Modern Manner.” Architectural Forum, vol. 88 (April 1948).

Magazine

Todd, Ruthven. “An Illuminated Poem: Alexander Calder.” Here and Now (Toronto), vol. 1, no. 2 (May 1948).

Magazine

XXIV Biennale di Venezia. Exhibition catalogue. 1948.

Group Exhibition Catalogue

Calder, Alexander. “The Ides of Art: 14 Sculptors Write.” The Tiger’s Eye, vol. 1, no. 4 (15 June 1948).

Magazine

Museu de Arte Moderna do Rio de Janeiro, Ministerio da Educaçao e Saude. Alexander Calder. Exhibition catalogue. 1948. Texts by Henrique E. Mindlin, André Breton, and Nancy Cunard; reprinted texts by Jean-Paul Sartre and James Johnson Sweeney.

Solo Exhibition Catalogue

Da Silveiro, Paulo. “Ao correr da pena: a musica oscilatoria das imagens.” (Publication unknown), c. September 1948.

Newspaper

“Calder Apresenta-se ao Público do Brasil.” O Globo, c. September 1948.

Newspaper

Pedrosa, Mario. “A maquina, Calder, Léger e outros.” Politica e Letras, 16 September 1948.

Newspaper

Lessa, Elsie. “Calder, o artista criancão.” O Globo, 20 September 1948.

Newspaper

Bardi, P. M. “Calder e os ‘mobiles’ em proxima exposicao.” Diário de São Paulo, 26 September 1948.

Newspaper

“Arrival in Cincinnati.” Fortune (October 1948).

Magazine

Pedrosa, Mario. “Introdução a Alexander Calder.” Diário de São Paulo, 31 October 1948.

Newspaper

“Alexander Calder’s New Illustrations for La Fontaine’s The Hare and the Ban on Horns, translated by Eunice Clark.” Art News (September 1948).

Magazine

The Institute of Contemporary Arts, London. A Comparison of Primitive and Modern: 40,000 Years of Modern Art. Exhibition catalogue. 1948. Preface by Herbert Read; texts by W.G. Acher and Robert Melville.

Group Exhibition Catalogue

1949

Masson, André. “L’atelier de Calder.” Cahiers d’Art, vol. 24, no. 2 (1949).

Magazine

Soby, James Thrall. Calder, Matisse, Matta, Miró: Mural Scrolls. New York: Katzenbach and Warren, 1949.

Portfolio

“Spectacular ‘Steel Fish’ Now at Home at Virginia Museum.” (Publication unknown), c. 1949.

Newspaper

“Reviews and Previews.” Art News (January 1949).

Magazine

“The Artistic Scene.” Harper’s Bazaar (February 1949).

Magazine

Soby, James Thrall. “The Younger American Artists.” Harper’s Bazaar (February 1949).

Magazine

Palazzo Strozzi, Florence. La Collezione Guggenheim. Exhibition catalogue. 1949.

Group Exhibition Catalogue

Pringle, Ann. “Artists Murals For Your Walls.” New York Herald Tribune, 22 February 1949.

Newspaper

Rich, Daniel Catton. Magazine of Art (March 1949).

Magazine

Museu de Arte Moderna, São Paulo, Brazil. Do Figurativismo ao Abstracionismo. Exhibition catalogue. 1949. Introduction by Sergio Milliet; text by Léon Dégand.

Group Exhibition Catalogue

Soby, James Thrall. “Calder, Matisse, Miró, Matta.” Arts & Architecture, vol. 66, no. 4 (April 1949).

Magazine

Lynes, Richard. “Everyday Tastes from High-Brow to Low-Brow are Classified on Chart.” Life Magazine, vol. 26 (4 April 1949).

Magazine

“70 Sculptors 70: The World’s Biggest Sculpture Show Assembles Them and Their Statues in an Art Museum in Philadelphia.” Life Magazine, vol. 26 (20 June 1949).

Magazine

“Stabiles.” Architectural Review (London), vol. 106, no. 632 (August 1949).

Magazine

Pilotis, no. 3 (September 1949).

Magazine

Giardino del Palazzo Venier dei Leoni, Venice, Italy. Mostra di Scultura Contemporanea: Presentata da Peggy Guggenheim. Exhibition catalogue. 1949.

Group Exhibition Catalogue

“The Steel Fish Swims South.” The Virginia Museum of Fine Arts Members’ Bulletin, vol. 10, no. 2 (October 1949).

Magazine

The Museum of Modern Art, New York. Modern Art in Your Life. Exhibition catalogue. 1949.

Group Exhibition Catalogue

Hess, Thomas B. “Of arts and the man.” Art News, vol. 48 (6 October 1949).

Magazine

Driscoll, Edgar J., Jr. “Exhibition of ‘Mobiles’ Mystifies or Fascinates.” Boston Sunday Globe, 30 October 1949.

Newspaper

Adlow, Dorothy. “Alexander Calder’s Sculpture.” Christian Science Monitor, 31 October 1949.

Newspaper

“Calders Carry on in Philadelphia.” Architectural Forum, vol. 91, no. 5 (November 1949).

Magazine

“Calder Mobile Reels in Virginia.” Art News (November 1949).

Magazine

Buchholz Gallery/Curt Valentin, New York. Calder. Exhibition catalogue. 1949. Text by André Masson.

Solo Exhibition Catalogue

“Alexander Calder.” Art News, vol. 48, no. 8 (December 1949).

Magazine

Drexler, Arthur. “Calder.” Interiors, vol. 109, no. 5 (December 1949).

Magazine

Preston, Stuart. “New West, Old East.” New York Times, 4 December 1949.

Newspaper

Chanin, A. L. “Calder Creates a Gala Wonderland of Movement.” The Sunday Compass (4 December 1949).

Magazine

Krasne, Belle. “Caldermobiles, 1950.” Art Digest, vol. 24, no. 6 (15 December 1949).

Magazine
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Films 1