Calder Foundation

Archive

Life period
1963–1976

Type
All

See highlights from 1963–1976 on the timeline Monumental Works


Works
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Exhibitions 242

Historical Photos 132
Calder painting Untitled with Les Triangles in the foreground, Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Bucéphale and Tamanoir, Saché (1963)
Bucéphale and Tamanoir, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Bucéphale and Tamanoir, Saché, 1963
Photograph by Ugo Mulas
Haikaller (1957), Blue Feather (c. 1948), Red, White and Blue, on Black (1948), Red Lily Pads (1956), Snow Flurry (1948), Sword Plant (1947) and Dancer (1944), Saché, 1963
Photograph by Ugo Mulas
Calder’s desk, Roxbury studio (1963)
Calder's desk, Roxbury studio, 1963Photograph by Pedro Guerrero © Pedro Guerrero
Calder’s desk, Roxbury studio, 1963
Photograph by Pedro Guerrero
Haikaller, Saché (1963)
Haikaller (1957), Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Haikaller (1957), Saché, 1963
Photograph by Ugo Mulas
Dancer, Saché (c. 1963)
Dancer (1944), Saché, c. 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Dancer (1944), Saché, c. 1963
Photograph by Ugo Mulas
Calder, François Premier, Saché (1963)
Calder, François Premier, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder, François Premier, Saché, 1963
Photograph by Ugo Mulas
Downstairs bathroom, Roxbury (1963)
Downstairs bathroom, Roxbury, 1963Photograph by Pedro Guerrero © Pedro Guerrero
Downstairs bathroom, Roxbury, 1963
Photograph by Pedro Guerrero
Calder’s hand holding Haut pointé, bas bouclé (maquette), Saché, 1963
Photograph by Ugo Mulas
Calder and Arthur Miller, Roxbury house “big room” (1963)
Calder and Arthur Miller, Roxbury house "big room," 1963Photograph by Inge Morath © The Inge Morath Foundation / Magnum Photo
Calder and Arthur Miller, Roxbury house “big room,” 1963
Photograph by Inge Morath
Calder at his desk, Roxbury studio (1963)
Calder at his desk, Roxbury studio, 1963Photograph by Inge Morath © The Inge Morath Foundation / Magnum Photo
Calder at his desk, Roxbury studio, 1963
Photograph by Inge Morath
Roxbury house (1963)
Roxbury house, 1963Photograph by Pedro Guerrero © Pedro Guerrero
Roxbury house, 1963
Photograph by Pedro Guerrero
Calder and Louisa Calder with grandson Holton Rower, Roxbury, 1963. Southern Cross is visible in the background.
Photograph by Pedro Guerrero
Calder painting Untitled with Les Triangles and Le Cèpe in the foreground, Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Les Triangles Le Carroi Studio Saché (1963)
Les Triangles, Le Carroi studio, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Les Triangles, Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Calder François Premier studio Saché (1963)
Calder, François Premier studio, Saché, c. 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder, François Premier studio, Saché, c. 1963
Photograph by Ugo Mulas
Nervures Minces Le Carroi studio Saché (1963)
Nervures Minces, Le Carroi studio, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Nervures Minces, Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Calder Le Carroi studio (1963)
Calder, Le Carroi studio, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder, Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Black Mobile with Hole (1963)
Black Mobile with Hole (1954), Moulin Vert, Saché, c. 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Black Mobile with Hole (1954), Moulin Vert, Saché, c. 1963
Photograph by Ugo Mulas
Tamanoir (1963)
Tamanoir, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Tamanoir, Saché, 1963
Photograph by Ugo Mulas
Roxbury house kitchen (1963)
Roxbury house kitchen, 1963Photograph by Pedro Guerrero © Pedro Guerrero
Roxbury house kitchen, 1963
Photograph by Pedro Guerrero
Southern Cross (1963)
Calder with Southern Cross (1963) and Back from Rio (1959), Roxbury, c. 1963Photograph by Herb Weitman © Herb Weitman, St. Louis
Calder with Southern Cross (1963) and Back from Rio (1959), Roxbury, c. 1963
Photograph by Herb Weitman
Snow Flurry (1963)
Calder with Snow Flurry (1948), Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder with Snow Flurry (1948), Saché, 1963
Photograph by Ugo Mulas
Calder, Roxbury studio (1963)
Calder, Roxbury studio, 1963Photograph by Pedro Guerrero © Pedro Guerrero
Calder, Roxbury studio, 1963
Photograph by Pedro Guerrero
Roxbury house kitchen (1963)
Roxbury house kitchen, 1963Photograph by Pedro Guerrero © Pedro Guerrero
Roxbury house kitchen, 1963
Photograph by Pedro Guerrero
Calder, Roxbury house “big room” (1963)
Calder, Roxbury house "big room," 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder, Roxbury house “big room,” 1963
Photograph by Ugo Mulas
Le Guichet (1963)
Le Guichet (maquette, 1962), Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Le Guichet (maquette, 1962), Saché, 1963
Photograph by Ugo Mulas
Calder, Le Carroi studio, Saché (1963)
Calder, Le Carroi studio, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder, Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Le Carroi studio Saché (1963)
Le Carroi studio, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Les Triangles and Les Triangles (maquette, 1962), Le Carroi studio, Saché, 1963
Photograph by Ugo Mulas
Calder and granddaughter Andréa Davidson, François Premier, Saché, c. 1963
Photograph by Pedro Guerrero
François Premier (1963)
François Premier, Saché, c. 1963Photograph by Pedro Guerrero © Pedro Guerrero
François Premier, Saché, c. 1963
Photograph by Pedro Guerrero
Calder at the opening reception for Alexander Calder: Stabiles, Galerie Maeght, Paris, 1963. La Lune and Tamanoir are visible in the background.
Photograph by Ugo Mulas
Sandra Calder Davidson wearing a Calder brooch (c. 1940) at the opening reception for Alexander Calder: Stabiles, Galerie Maeght, Paris, 1963. Le Cèpe is visible in the background.
Photograph by Ugo Mulas
Calder playing billiards, Moulin Vert, Saché (1964)
Calder playing billiards, Moulin Vert, Saché, 1964Photograph by Hans Namuth © Hans Namuth
Calder playing billiards, Moulin Vert, Saché, 1964
Photograph by Hans Namuth
Giovanni Carandente with Long Curly Tail, François Premier studio, Saché, 1964
Photograph by Alberto Zanmatti
Black Widow (1959), The Museum of Modern Art sculpture garden, New York, c. 1964
Photograph by Ugo Mulas
Calder at his desk in his Roxbury studio (1964)
Calder at his desk, Roxbury studio, 1964Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder at his desk, Roxbury studio, 1964
Photograph by Ugo Mulas
Calder unfurling Romulus and Remus (1964)
Calder unfurling Romulus and Remus (1928), Saché, 1964Photograph by Pedro Guerrero © Pedro Guerrero
Calder unfurling Romulus and Remus (1928), Saché, 1964
Photograph by Pedro Guerrero
Three Quintains (maquette) (1964)
Three Quintains (maquette), 1964Photograph by Inge Morath © The Inge Morath Foundation / Magnum Photo
Three Quintains (maquette), 1964
Photograph by Inge Morath
Calder after assembling Three Quintains, Waterbury Iron Works, Connecticut, 1964
Photograph by Ugo Mulas
Octopus and Prickly Pear, Roxbury (1964)
Octopus and Prickly Pear, Roxbury, 1964Photograph by Pedro Guerrero © Pedro Guerrero
Octopus and Prickly Pear, Roxbury, 1964
Photograph by Pedro Guerrero
Calder’s desk, Roxbury studio (1964)
Calder's desk, Roxbury studio, 1964Photograph by Herb Weitman © Herb Weitman, St. Louis
Calder’s desk, Roxbury studio, 1964
Photograph by Herb Weitman
Calder, Roxbury studio (1964)
Calder, Roxbury studio, 1964Photograph by Herb Weitman © Herb Weitman, St. Louis
Calder, Roxbury studio, 1964
Photograph by Herb Weitman
Calder inspecting The Onion (1965, before completion) at Segré’s Iron Works, Waterbury, Connecticut, 1964
Photograph by Inge Morath
The Calder family, Roxbury house “big room,” Christmas 1964. From left to right: Howard Rower, Alexander S. C. Rower, Calder, Louisa Calder, Holton Rower, Mary Calder Rower, Andréa Davidson, Sandra Calder Davidson, Jean Davidson, and Shawn Davidson.
Photograph by Pedro Guerrero
Calder and Louisa Calder at the MacDougal Street home of daughter Mary Calder Rower and grandsons Alexander and Holton before the opening preview of Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 5 November 1964
Photograph by Ugo Mulas
Calder at the opening preview for Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964
Photograph by Ugo Mulas
Installation photograph, Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964
Photograph by Robert Mates
Installation photograph, Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964
Photograph by Robert Mates
Installation photograph, Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964
Photograph by Robert Mates
François Premier (1965)
François Premier, Saché, c. 1965Photograph by Ugo Mulas © Ugo Mulas Heirs
François Premier, Saché, c. 1965
Photograph by Ugo Mulas
Calder at the installation of Le Guichet (1963), Lincoln Center, New York, 1965
Photograph by Ugo Mulas
Louisa Calder hooking Calder rugs (1965)
Louisa Calder hooking Calder rugs, François Premier, Saché, 1967Photograph by Tony Vaccaro / Tony Vaccaro Archives
Louisa Calder hooking Calder rugs, François Premier, Saché, 1967
Photograph by Tony Vaccaro
Calder standing between Prickly Pear (1964) and Southern Cross (1963), Roxbury, c. 1965
Photograph by Ugo Mulas
Sabot (maquette, 1962), Sabot (1963), Dent de sagesse (maquette, 1963), and Dent de sagesse (1964), Saché, 1965
Photograph by Ugo Mulas
Trois disques II, Montreal (1967)
Trois disques II, Montreal, 1967Photograph by Ugo Mulas © Ugo Mulas Heirs
Trois disques II, Montreal, 1967
Photograph by Ugo Mulas
The Spiral (No! to Frank Lloyd Wright, 1966) at the opening for Guggenheim International Exhibition: Sculpture from Twenty Nations, Solomon R. Guggenheim Museum, New York, 1967
Photograph by Ugo Mulas
Calder with Quatre lances (1964) at Etablissements Biémont, Tours, France, 1967
Photograph by Tony Vaccaro
Little Fountain and Triangle with Ears (both 1966), Harlem, New York, 1967
Photograph by Ugo Mulas
Interior of François Premier (1967)
Calder, François Premier, Saché, 1967Photograph by Tony Vaccaro / Tony Vaccaro Archives
Calder, François Premier, Saché, 1967
Photograph by Tony Vaccaro
Monsieur Loyal (1:5 intermediate maquette), Etablissements Biémont, Tours, France, 1967
Photograph by Ugo Mulas
Trois disques II, Montreal (1967)
Trois disques II, Montreal, 1967Photograph by Ugo Mulas © Ugo Mulas Heirs
Trois disques II, Montreal, 1967
Photograph by Ugo Mulas
Calder with Les Granettes, Saché (1967)
Calder with Les Granettes (1953), François Premier, Saché, 1967Photograph by Tony Vaccaro / Tony Vaccaro Archives
Calder with Les Granettes (1953), François Premier, Saché, 1967
Photograph by Tony Vaccaro
Trois disques II (1967)
Trois disques II, Montreal, 1967Photograph by Ugo Mulas © Ugo Mulas Heirs
Trois disques II, Montreal, 1967
Photograph by Ugo Mulas
El Sol Rojo (1968)
El Sol Rojo, Mexico City, 1968Photograph by Robert Emmett Smallman
El Sol Rojo, Mexico City, 1968Photograph by Robert Emmett Smallman
Le Faucon (1968)
Le Faucon (1963) and Cactus provisoire (1967), Saché, 1968Photograph by Clovis Prevost © Clovis Prevost
Le Faucon (1963) and Cactus provisoire (1967), Saché, 1968
Photograph by Clovis Prevost
Rehearsal for Work in Progress (1968)
Rehearsal for Work in Progress, Teatro dell'Opera, Rome, 1968Photograph by Ugo Mulas © Ugo Mulas Heirs
Rehearsal for Work in Progress, Teatro dell’Opera, Rome, 1968
Photograph by Ugo Mulas
Work in Progress (1968)
Work in Progress, Teatro dell'Opera, Rome, 1968Photograph by Ugo Mulas © Ugo Mulas Heirs
Work in Progress, Teatro dell’Opera, Rome, 1968
Photograph by Ugo Mulas
Work in Progress (1968)
Work in Progress, Teatro dell'Opera, Rome, 1968Photograph by Ugo Mulas © Ugo Mulas Heirs
Work in Progress, Teatro dell’Opera, Rome, 1968
Photograph by Ugo Mulas
Work in Progress (1968)
Calder during rehearsals for Work in Progress, Teatro dell'Opera, Rome, 1968Photograph by John G. Ross © Estate of John G. Ross
Calder during rehearsals for Work in Progress, Teatro dell’Opera, Rome, 1968
Photograph by John G. Ross
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, 1969
Photograph by Francesc Català-Roca
Calder François Premier studio (c. 1969)
Calder, François Premier studio, c. 1969Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder, François Premier studio, c. 1969
Photograph by Ugo Mulas
Calder, François Premier studio, Saché (1969)
Calder, François Premier studio, Saché, c. 1969Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder, François Premier studio, Saché, c. 1969
Photograph by Ugo Mulas
Calder and Joan Miró at the opening of Calder, Fondation Maeght, Saint-Paul-de-Vence, France, 1969
Photograph by Ugo Mulas
Morning Cobweb, Fondation Maeght, Saint-Paul-de-Vence, France, 1969
Photograph by Ugo Mulas
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Chronology 150
1963

Hans Richter directs and films Alexander Calder: From the Circus to the Moon.

CF, project file
1963

Diego Masson commissions Earle Brown to compose a piece of music for the Percussion Quartet of Paris. The two men travel to Saché to meet with Calder, and Brown begins to work on the score, which he titles Calder Piece.

CF, project file
Mid-January 1963

Calder leaves Roxbury and flies to France to oversee work on six large stabiles at Etablissements Biémont.

Calder 1966, 265
15 February 1963

Calder returns to the United States.

CF, passport
13 March–12 April 1963

Frank Perls Gallery, Beverly Hills, exhibits “Calder: Mobiles, Stabiles and Gouaches.”

CF, exhibition file
19 March–27 April 1963

Perls Galleries, New York, exhibits “Alexander Calder: 1963.”

CF, exhibition file
2 May 1963

The Calders’ grandson, Alexander S. C. Rower, is born in New York to Mary and Howard Rower.

CF, birth certificate
16 June 1963

The Calders return to France.

CF, passport
Fall 1963

After eighteen months, the new studio at Saché is completed.

Calder 1966, 264
Le Carroi studio Saché (1963)
Le Carroi studio, Saché, 1963Photograph by Ugo Mulas © Ugo Mulas Heirs
Le Carroi studio, Saché, 1963Photograph by Ugo Mulas
22 November 1963

Galerie Maeght, Paris, exhibits “Alexander Calder: Stabiles.” Catalogue essays include “L’ombre de l’avenir” by James Jones and “Qu’est-ce qu’un Calder?” by Michel Ragon, with cover and illustrations by Calder.

CF, exhibition file
24 December 1963

La Comédie de Bourges performs La Provocation, with sets and costumes designed by Calder and choreography by Pierre Halet. The play opens in Bourges and is performed the following year in Tours (10 May 1964) and Paris (4 November 1964).

CF, project file

1964

1964

Art in America and Perls Galleries publishes Calder’s Circus, a portfolio of sixteen unbound lithographs with a text by Cleve Gray and a reproduction of a letter from Miró describing Calder’s 1932 performance of Cirque in Montroig.

CF, object file
January 1964

The Calders spend two weeks in Morocco; they visit Marrakech, Fès, Ouarzazate, and Casablanca.

AAA, Calder to Gray, 2 February
22 May 1964

The Calders sail on the SS France for New York, departing from Le Havre.

CF, passport; AAA, Calder to Gray, 5 May
27 May 1964

The Calders arrive in New York and return to Roxbury.

CF, passport
13 October–14 November 1964

Perls Galleries, New York, exhibits “Calder: Circus Ink Drawings 1931–1932.”

CF, exhibition file
28 October–20 November 1964

Grosvenor Gallery, London, presents “Miró: Graphics, Calder: Mobiles, Ch’i Pai-shih: Paintings.”

CF, exhibition file
5 November 1964

Calder attends the opening preview of “Alexander Calder: A Retrospective Exhibition” at the Solomon. R. Guggenheim Museum, New York.

CF, photography file; CF, exhibition file
Alexander Calder: A Retrospective Exhibition (1964)
Calder at the opening preview for Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder at the opening preview for Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964Photograph by Ugo Mulas
6 November 1964–31 January 1965

Solomon R. Guggenheim Museum, New York, exhibits “Alexander Calder: A Retrospective Exhibition.” Thomas M. Messer curates the exhibition, which travels to St. Louis, Toronto, Milwaukee, and Des Moines.

CF, exhibition file
Alexander Calder: A Retrospective Exhibition (1964)
Installation photograph, Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964Photograph by Robert Mates © The Solomon R. Guggenheim Foundation
Installation photograph, Alexander Calder: A Retrospective Exhibition, Solomon R. Guggenheim Museum, New York, 1964Photograph by Robert Mates
24 November–13 December 1964

The Museum of Fine Arts, Houston, exhibits “Alexander Calder: Circus Drawings, Wire Sculpture and Toys.” Sweeney curates this exhibition.

CF, exhibition file

1965

January 1965

Before leaving for France, Calder meets with I. M. Pei to discuss a large stabile for the Massachusetts Institute of Technology.

Calder 1966, 273
5–11 January 1965

The Calders sail on the SS France, arriving at Le Havre.

Calder 1966, 270; CF, passport
19 May 1965

The American Academy of Arts and Letters, New York, formally inducts Calder as a member.

Lipman 1976, 336
8 July–15 October 1965

Musée National d’Art Moderne, Paris, exhibits “Calder,” a retrospective. Jean Cassou writes the catalogue preface.

CF, exhibition file
Musée National d’Art Moderne (1965)
Numbered 8 to 11 (1956), Dent de sagesse (1964), Spinnaker (1964), Calder, Musée National d'Art Moderne, Paris, 1965
Numbered 8 to 11 (1956), Dent de sagesse (1964), Spinnaker (1964), Calder, Musée National d'Art Moderne, Paris, 1965
23 July 1965

Calder arrives in Brussels.

CF, passport
27 July 1965

Calder departs from Belgium.

CF, passport
1965

Calder designs sets for Eppur Si Muove, a ballet choreographed by Joseph Lazzini and performed at the Marseilles Opera.

CF, project file
15 October 1965

The Calders return from Europe, arriving in New York.

CF, passport
23 October 1965

Miró flies to New York from Paris. He visits Calder in Roxbury.

CF, photography file
November 1965

Architect Harry Seidler and wife Penelope visit the Calders in Roxbury. Two years later, Calder completes the commission of Crossed Blades for the Australia Square Tower.

CF, project file
Crossed Blades (1979)
Crossed Blades (1967) in Australia Square, Sydney, c. 1979Photograph by Max Dupain © Polly Seidler
Crossed Blades (1967) in Australia Square, Sydney, c. 1979Photograph by Max Dupain
15 November 1965

Calder dedicates Le Guichet, a monumental stabile installed in Lincoln Center Plaza, New York.

CF, Calder to Lipman, 24 November; CF, object file
Le Guichet (1965)
Calder at the installation of Le Guichet (1963), Lincoln Center, New York, 1965Photograph by Ugo Mulas © Ugo Mulas Heirs
Calder at the installation of Le Guichet (1963), Lincoln Center, New York, 1965Photograph by Ugo Mulas
27 November 1965

Calder, a member of Artists for SANE (Committee for a Sane Nuclear Policy), participates in a march to protest against the Vietnam War in Washington, D.C.

Lipman 1976, 337

1966

1966

Carlos Vilardebó films Mobiles, narrated by Calder and produced by Pathé Cinema, Paris.

CF, project file
1966

Calder completes the monumental standing mobile Chef d’orchestre for Earle Brown’s Calder Piece. The mobile functions as both a “conductor,” determining the sequence and speed of the music, and as one of the instruments whereupon the elements are struck or “played.”

CF, project file
2 January 1966

On behalf of SANE, the Calders take out a full-page ad in the New York Times: A New Year, New World. Hope for: An end to hypocrisy, self-righteousness, self interest, expediency, distortion and fear, wherever they exist. With great respect for those who rightly question brutality, and

speak out strongly for a more civilized world. Our only hope is in thoughtful Men—Reason is not treason.

New York Times, 2 January
New York Times: A New Year, New World (1966)
The Calders' full-page ad in the New York Times: A New Year, New World, 1966
The Calders' full-page ad in the New York Times: A New Year, New World, 1966
10 January 1966

The Calders set sail on the United States and return to Saché.

CF, passport; Calder 1966, 276
February 1966

In a hopeful gesture, Calder donates Object in Five Planes, a monumental stabile, to the United States Mission at the United Nations, New York, and dubs it Peace. The dedication ceremony takes place in May, when Calder returns from Europe.

New York Times, 8 February; CF, project file
12 February–12 March 1966

Perls Galleries, New York, exhibits works by Calder.

CF, exhibition file
18 February 1966

Galerie Maeght, Paris, exhibits “Calder: Gouaches et Totems.” The catalogue includes “Oiseleur du fer,” a poem by Jacques Prévert; “Alexander Calder” by Meyer Schapiro; “Les Gouaches de Calder” by Nicholas Guppy; and “De l’Art Students League aux Totems,” excerpted from

Calder’s autobiography, to be published in May of 1966. Cover and illustrations are by Calder.

CF, exhibition file
7 March 1966

The Calders return to New York.

CF, passport
16 March 1966

The Calders return to France.

CF, passport
Spring 1966

Pantheon Books publishes Calder: An Autobiography with Pictures. Calder had been dictating the text to his son-in-law, Jean Davidson, over the previous year and a half.

CF, publication file
5 May 1966

The Calders return to the United States.

CF, passport
7 May 1966

Calder attends the dedication of the monumental stabile La Grande voile in McDermott Court at the Massachusetts Institute of Technology.

CF, project file
La Grande voile (1966)
Calder and La Grande voile (1965) from above, Massachusetts Institute of Technology, 1966
Calder and La Grande voile (1965) from above, Massachusetts Institute of Technology, 1966
16 June 1966

Calder is awarded an honorary Doctor of Arts degree from Harvard University.

CF, diploma
22 June 1966

The Calders return to France.

CF, passport
10 October 1966

The Calders return to the United States.

CF, passport
15 November–17 December 1966

Perls Galleries, New York, exhibits “Calder: Jewelry.”

CF, exhibition file
19 November 1966

The Calders return to France.

CF, passport
26–27 December 1966

Calder and Louisa fly from Paris to Monaco to see his monumental standing mobile Quatre lances, which has recently been installed. They attend the dedication the following morning with Princess Grace and Prince Rainier, returning to Paris that afternoon.

CF, Calder to Shahn, 9 January 1967
Quatre lances (1967)
Calder with Quatre lances (1964) at Etablissements Biémont, Tours, France, 1967Photograph by Tony Vaccaro / Tony Vaccaro Archives
Calder with Quatre lances (1964) at Etablissements Biémont, Tours, France, 1967Photograph by Tony Vaccaro

1967

1967

Calder makes a gift of the large standing mobile Frisco to the Museo de la Habana, Cuba. The Cuban Government issues a postage stamp of it.

CF, exhibition file
Frisco (1966)
Stamp of Frisco (1966), 1967
Stamp of Frisco (1966), 1967
1 February–5 April 1967

The Museum of Modern Art, New York, exhibits “Calder: 19 Gifts from the Artist.”

CF, exhibition file
27 February 1967

Calder Piece, written by Earle Brown and featuring Calder’s Chef d’orchestre, is performed by Diego Masson and the Percussion Quartet of Paris at the Théâtre de l’Atelier. After the premiere, Calder remarks, I thought you were going to hit it harder.

CF, project file
March–April 1967

Mathias Goeritz, an architect, writes to Calder in Saché, inviting him to create a stabile for the 1968 summer Olympic Games in Mexico City; Calder agrees.

CF, Calder to Goeritz, 29 April
14 March 1967

The Calders return to the United States.

CF, passport
12 April 1967

The Calders return to France.

CF, passport
May 1967

Calder’s monumental stabile in unpainted stainless steel, commissioned by the International Nickel Company, is presented at the 1967 International and Universal Exposition (Expo ’67) in Canada, where the theme is “Man and His World.” I called it Three Discs, but

when I got over to Canada, they wanted to call it Man.

Arnason and Mulas 1971, 205; CF, project file
Trois disques II (1967)
Trois disques II, Montreal, 1967Photograph by Ugo Mulas © Ugo Mulas Heirs
Trois disques II, Montreal, 1967Photograph by Ugo Mulas
Before 14 May 1967

Calder and Louisa travel to Italy, visiting Rome, Spoleto, Florence, Puglia, and Naples.

CF, Calder to Rower, 8 and 10 May
6 May 1967

While in Florence, Calder creates a lithograph, Firenze, to commemorate the 1966 flood.

CF, object file
15–24 May 1967

The Calders travel to Berlin.

CF, passport; CF, Louisa to Mary, 14 May
Fall 1967

The Calders travel to Italy. At the suggestion of Carandente, Massimo Bogianckino, artistic director of the Teatro dell’Opera, Rome, commissions Calder to develop a work for the stage. Calder begins Work in Progress in December 1967.

Carandente 1983, 231
October 1967

New York City holds an outdoor group exhibition, “Sculpture in Environment.” Given the choice of any site in the city, Calder places two stabiles, Little Fountain and Triangle with Ears, in Harlem.

New York Times, 2 September
Little Fountain (1967)
Little Fountain and Triangle with Ears (both 1966), Harlem, New York, 1967Photograph by Ugo Mulas © Ugo Mulas Heirs
Little Fountain and Triangle with Ears (both 1966), Harlem, New York, 1967Photograph by Ugo Mulas
8 November 1967

Calder sends final instructions from Saché for El Sol Rojo, the stabile he created for the 1968 summer Olympic Games in Mexico City.

CF, Calder to Goeritz, 8 November
14 November–23 December 1967

Perls Galleries, New York, exhibits “Calder: Early Work–Rediscovered.”

CF, exhibition file
14 December 1967

The Calders return to the United States.

CF, passport
31 December 1967

After spending Christmas in the United States, the Calders arrive in Mexico City, where Calder oversees work on the intermediate maquette for El Sol Rojo.

CF, Calder to Goeritz, 8 November

1968

11 January 1968

Calder and Louisa journey to the Yucatán.

CF, travel file
1–23 February 1968

The Calders stop off in New York for a few weeks before returning to France.

CF, passport
9 March–13 May 1968

Maison de la Culture in Bourges, France, exhibits “Calder: Mobiles, Stabiles, Sculptures, Gouaches.” The exhibition later travels to Musée des Augustins, Toulouse.

CF, exhibition file
Around 9 March 1968

Calder is awarded the Officer of the Légion d’Honneur of France, possibly on the opening date of the exhibition. The presentation is made by M. Hoppenot, former ambassador to Washington.

CF, exhibition file; CF, awards file
11 March 1968

Calder’s Work in Progress is performed by the Teatro dell’Opera, Rome. For thirty years I have been thinking about a production that would be entirely mine, form and music working together. I long ago discussed this with Massine, but he insisted on having dancers. I later made

stage sets, but this is not exactly what I wanted to do … for Satie’s Socrate, Pichette’s Nucléa, John Butler’s The Glory Folk in Spoleto, for Joe Lazzini in Marseille. The idea of a production that was totally mine had already come to me in spirit in 1926 when I finished the Cirque, and when I tried to frame it in a stage opening, amusing myself by thinking it an actual theatre.

CF, project file; Carandente 1983
Work in Progress (1968)
Calder during rehearsals for Work in Progress, Teatro dell'Opera, Rome, 1968Photograph by John G. Ross © Estate of John G. Ross
Calder during rehearsals for Work in Progress, Teatro dell'Opera, Rome, 1968Photograph by John G. Ross
21 July 1968

To celebrate Calder’s seventieth birthday, Klaus Perls gives an intimate party at the Colombe d’Or in Saint-Paul-de-Vence. Miró attends.

New York Times, 28 July
October–November 1968

Galerie Maeght, Paris, exhibits “Flèches.” The catalogue text includes “Un géant enfant” byCarandente and “Note sur les flèches” by Jacques Dupin, with cover and illustrations by Calder.

CF, exhibition file
12 October 1968

The Calders return to the United States.

CF, passport
15 October–9 November 1968

Perls Galleries, New York, exhibits “Calder / Space: Drawings 1930–1932; Gouaches 1967–1968.”

CF, exhibition file
11 December 1968

The Calders return to Mexico City, where they view El Sol Rojo in place at Aztec Stadium.

CF, Calder to Goeritz, 2 December
El Sol Rojo (1968)
El Sol Rojo, Mexico City, 1968Photograph by Robert Emmett Smallman
El Sol Rojo, Mexico City, 1968Photograph by Robert Emmett Smallman
22 December 1968

The Calders return to France.

CF, passport

1969

1969

Calder builds a new house, Le Carroi, adjacent to the hilltop studio in Saché.

Lipman 1976, 338
Postcard showing aerial view of Le Carroi Saché (1976)
Postcard showing aerial view of Le Carroi, Saché, c. 1976
Postcard showing aerial view of Le Carroi, Saché, c. 1976
1969

Calder designs sets and costumes for Métaboles, choreographed by Joseph Lazzini, scored by Henri Dutilleux, and produced by Théâtre Français de la Danse.

CF, project file
Spring 1969

Janey Waney, commissioned by the N.K. Winston Corporation, is installed at the Smith Haven Mall in the Long Island village of Lake Grove. The force behind the site-specific project is the developer’s wife, Jane Holzer—or “Baby Jane,” a star of Andy Warhol’s films––for whom the sculpture was named.

CF, project file
Janey Waney (1969)
Janey Waney (1969), Smith Haven Mall, Lake Grove, New York, 1969
Janey Waney (1969), Smith Haven Mall, Lake Grove, New York, 1969
2 April–31 May 1969

Fondation Maeght, Saint-Paul-de-Vence, France, exhibits “Calder,” a retrospective. Calder installs Morning Cobweb, a monumental walk-through stabile, as the entrance to the exhibition.

CF, exhibition file
Morning Cobweb (1969)
Morning Cobweb, Fondation Maeght, Saint-Paul-de-Vence, France, 1969Photograph by Ugo Mulas © Ugo Mulas Heirs
Morning Cobweb, Fondation Maeght, Saint-Paul-de-Vence, France, 1969Photograph by Ugo Mulas
21 May 1969

The Calders return to the United States.

CF, passport
3 June 1969

Calder attends the dedication ceremony for his commissioned monumental stabile Gwenfritz, which is installed outside the Museum of History and Technology, Smithsonian Institution, Washington, D.C.

CF, project file
Gwenfritz (1969)
Gwenfritz (1968), Smithsonian American Art Museum, Washington, D.C., c. 1969
Gwenfritz (1968), Smithsonian American Art Museum, Washington, D.C., c. 1969
7 June 1969

Stevens awards Calder the degree of Doctor of Engineering, Honoris Causa, on the fiftieth anniversary of his graduation.

CF, awards file
14 June 1969

Calder attends the dedication ceremony for La Grande vitesse, a monumental stabile commissioned by the city of Grand Rapids, Michigan, in August 1967. This is the first sculpture to be funded by the public art program of the National Endowment for the Arts (NEA).

CF, project file
Dedication of La Grande vitesse (1969)
Dedication of La Grande vitesse, Grand Rapids, Michigan, 1969
Dedication of La Grande vitesse, Grand Rapids, Michigan, 1969
7 October–8 November 1969

Perls Galleries, New York, exhibits “Alexander Calder: Bronze Sculptures of 1944.”

CF, exhibition file
Before 15 November 1969

Calder designs a button for the mass protest against the Vietnam War in Washington, D.C., sponsored by the New Mobilization Committee to End the War in Vietnam.

CF, object file

1970

1970

The Calders move into the new house at Saché.

Lipman 1976, 338
Louisa Calder in the new Saché house (1976)

Louisa Calder, Le Carroi house, Saché, 1976

Photograph by Pedro Guerrero © Pedro Guerrero

Louisa Calder, Le Carroi house, Saché, 1976

Photograph by Pedro Guerrero
1970

In France, Calder makes The Stevens Mobile to commemorate Stevens’ one-hundredth anniversary.

CF, project file
12 January 1970

The Calders return to the United States.

CF, passport
April 1970

Calder is commissioned by Klaus Perls, Robert Graham, and Morton Rosenfeld to design a sidewalk strip on Madison Avenue between Seventy-eighth and Seventy-ninth Streets.

CF, project file
18 September 1970

Calder installs his black-and-white Sidewalk.

CF, project file
15 October 1970

The Calders return to the United States.

CF, passport
20 October–28 November 1970

Perls Galleries, New York, exhibits “Alexander Calder: Recent Gouaches–Early Mobiles.”

CF, exhibition file

1971

1971

Calder designs sets and costumes for the ballet Amériques, choreographed by Norbert Schmuki, scored by Edgard Varèse, and performed by the Ballet-Théâtre Contemporain in Amiens, France.

CF, object file
12 February 1971

Galerie Maeght, Paris, exhibits “Calder: Stabiles and Animobiles.” The catalogue text includes “Calder la liberté” by Carlos Franqui, with cover and illustrations by Calder.

CF, exhibition file
26 May 1971

The American Academy of Arts and Letters and the National Institute of Arts and Letters awards Calder the Gold Medal for Sculpture. Calder’s work is shown in the Academy’s group exhibition from 27 May–20 June.

Lipman 1976, 338; CF, awards file
1 June 1971

The Calders return to the United States.

CF, passport
30 September 1971

The Calders return to the United States.

CF, passport
5 October–6 November 1971

Perls Galleries, New York, exhibits “Calder: Animobiles–Recent Gouaches.” Klaus Perls writes the catalogue text.

CF, exhibition file
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Bibliography 632

1963

Alexander Calder: From the Circus to the Moon (1963). 16mm, color, sound (English); 12 min. Produced and directed by Hans Richter; cinematography by Arnold Eagle.

Film

Alexander Calder: Engineer in Space (1963). Part of the series “Art and Man,” program no. 7. Radiodiffusion Télévision Française-National Éducational Télévision, Paris. XXmm, color, sound, (English); 60 min. Produced, directed and written by Jean-Marie Drot; narrated by Jean-Marie Drot and Ed Wegman (NET).

Film

Mosby, Aline. “Calder’s Sculpture Returns to Earth.” (Publication unknown), 1963.

Newspaper

“Photoquiz.” (Publication unknown), c. 1963.

Magazine

Swarzenski, Hans. “Recent Acquisitions of Contemporary Sculpture.” Boston Museum of Fine Arts Bulletin (1963).

Magazine

Calder, Alexander, Charles Liedl, and Diana Thorne. Drawing Animals. New York: Sterling Publishing, 1963.

Illustrated Book

Brown, Earle. Calder Piece (1963–1966): For four percussionists and mobile (expressly made for the work) by Alexander Calder. Braunschweig: Henry Litolff’s Verlag, 2007.

Musical Score, Other Artist

Art Institute of Chicago. 66th American Exhibition: Directions in Contemporary Painting and Sculpture. Exhibition catalogue. 1963.

Group Exhibition Catalogue

Prévost, Alain. “American Mobile Designer Creates 3-Ton Steel Stabiles.” New York Herald Tribune (Paris edition), 16 February 1963.

Newspaper

Chabrun, Jean-François. “En pleine Touraine Calder bâtit son musée de titan.” Paris Match, no. 725 (2 March 1963).

Magazine

DeCaro, John. “Art Gallery Review.” New York Visitor’s Reporter (15–21 March 1963).

Magazine

Seldis, Henry J. “Alexander Calder’s Art Makes a Top Exhibition.” Los Angeles Times, 18 March 1963.

Newspaper

Perls Galleries, New York. Alexander Calder: 1963. Exhibition catalogue. 1963.

Solo Exhibition Catalogue

Preston, Stuart. “Themes and Variations in Contemporary Sculpture.” New York Times, April 1963.

Newspaper

“Lithographs by Six American Artists.” Art in America, vol. 51, no. 2 (April 1963).

Magazine

“Drawings for Art in America by Whitney Darrow, Jr.” Art in America, vol. 51, no. 2 (April 1963).

Magazine

Sandler, Irving. “In the Art Galleries.” New York Post, 7 April 1963.

Newspaper

Roberts, Colette. “Calder chez Perls.” France Amérique, 21 April 1963.

Newspaper

Galerie Alex Vömel, Düsseldorf. Gouachen von Calder. Exhibition catalogue. 1963. Introduction by Alfred Hentzen.

Solo Exhibition Catalogue

“Un Calder nella corte.” Domus (May 1963).

Magazine

Judd, Donald. “In the Galleries.” Arts Magazine (May–June 1963).

Magazine

Adlow, Dorothy. Christian Science Monitor, 4 May 1963.

Newspaper

Brües, Otto. “Heiterkeit aus ernsten Spielen.” Der Mittag, 8 May 1963.

Newspaper

G., A. M. “Unerschöpfliche Phantasie.” Landeshauptstadt Düsseldorf, 10 May 1963.

Newspaper

Galerie d’Art Moderne, Basel. Arp / Calder / Marini. Exhibition catalogue. 1963.

Group Exhibition Catalogue

Davidson, Jean. “Calder Invented New Art Form – ‘Mobiles.’” Daytona Beach Morning Journal and Evening News, 29 June 1963.

Newspaper

Wadsworth Atheneum, Hartford. 11 New England Sculptors. Exhibition catalogue. 1963.

Group Exhibition Catalogue

Berkman, Florence. “Graceful Art Moves in Breeze.” Hartford Times, 31 August 1963.

Newspaper

Jensen, Knud W. “Rapport om en Femarig.” Louisiana Revy, no. 1 (September 1963).

Magazine

American Sculptor ‘calder’ On Show (1963). Produced by British Pathé. Black-and-white, silent; 1:59 min.

Film

“Philadelphia Collectors Have Their Day at Museum of Art.” Sunday Bulletin, 29 September 1963.

Newspaper

Marlborough-Gerson Gallery, New York. Artists and Maecenas: A Tribute to Curt Valentin. Exhibition catalogue. 1963.

Group Exhibition Catalogue

Galerie Maeght, Paris. Alexander Calder: Stabiles. Exhibition catalogue. 1963. Derrière le Miroir, no. 141 (November 1963). Texts by James Jones and Michel Ragon.

Magazine, Solo Exhibition Catalogue

Ashbery, John. “Calder Depicts ‘Poetry of Flight’ in Paris Show of Stabiles.” New York Herald Tribune (Paris edition), 27 November 1963.

Newspaper

Courthion, Pierre. “Des Mobiles aux Stabiles Calder Est Passé du Ciel à la Terre.” Arts (27 November–3 December 1963).

Magazine

Joffroy, Pierre. “Ses stabiles attaquent Paris.” Paris Match, no. 764 (30 November 1963).

Magazine

Gray, Francine du Plessix. “At the Calders’.” House and Garden, vol. 124, no. 6 (December 1963).

Magazine

“Pour Calder, la vérité sans fard.” La Maison Française (Winter 1963–64).

Magazine

Calder: The Sculptor at Home (1963). Produced by British Pathé. Black-and-white, silent; 0:46 min. Alexander Calder in Saché, at work in his studio.

Film

“Fine Art Becomes an Integral Part of the Business and Financial World.” New York Times (Western edition), 31 December 1963.

Newspaper

1964

Calder’s Circus. Text by Cleve Gray with letter from Joan Miró. Unbound portfolio of 16 offset lithographs by Calder. New York: Art in America and Perls Galleries, 1964.

Portfolio

Billeter, Erika. “The Development of Stage Design Since 1950.” Graphis, vol. 20, no. 114 (1964).

Magazine

“Calder: Master Sculptor.” Junior Scholastic (14 January 1964).

Magazine

“Kunst-noter.” Aktuelt, 20 February 1964.

Newspaper

“Arbejde af Alexander Calder købt af Ny Carlsbergfondet.” Berlingske Tidende, 20 February 1964.

Newspaper

“Connecticut Colossi in Gargantualand.” Time, vol. 83, no. 9 (28 February 1964).

Magazine

Jones, James. “Letter Home.” Esquire, vol. 61, no. 3 (March 1964).

Magazine

Brown, Richard L. “The Region Is Enriched by a Firm’s Art Policy.” Kansas City Star, 1 March 1964.

Newspaper

Washington Gallery of Modern Art, Washington, D.C. Treasures of 20th Century Art from The Maremont Collection. Exhibition catalogue. 1964.

Group Exhibition Catalogue

Balasses, George. “A New Bent For Sculpture.” Steelways (May 1964).

Magazine

Monet, Jack. “France Pumps Culture Into Provinces.” New York Herald Tribune, 20 May 1964.

Newspaper

“Le case di Calder: come vive un artista in America e in Europa.” Panorama (Milan), vol. 2, no. 21 (June 1964).

Magazine

Alte Galerie, Museum Fridericianum, and Orangerie, Kassel, Germany. Documenta III: Malerei und Skulptur. Exhibition catalogue. 1964.

Group Exhibition Catalogue

“Meet Alexander Calder.” The Illustrated Weekly of India (28 June 1964).

Magazine

Gray, Cleve. “Calder’s Circus.” Art in America, vol. 52, no. 5 (October 1964).

Magazine

“Art Market.” Promenade (October 1964).

Magazine

Grosvenor Gallery, London. Miró: Graphics, Calder: Mobiles, Ch’i Pai-shih: Paintings. Exhibition catalogue. 1964.

Group Exhibition Catalogue

Glueck, Grace. “Museum Prepares Swinging Display.” New York Times, 31 October 1964.

Newspaper

Jones, James. “Loom of the Future.” Paris Gazette, 31 October–7 November 1964.

Newspaper

Canaday, John. “The Man Who Made Sculpture Move.” New York Times Magazine (1 November 1964).

Magazine

Mukherjee, Sushil. “Calder at the Guggenheim.” Hartford Times, c. November 1964.

Newspaper

Saint-Evremond. “Alexandre Calder.” France Amérique, November 1964.

Newspaper

Kay, Jane H. “Magic of Calder’s Mobiles.” Christian Science Monitor, c. November 1964.

Newspaper

Berkman, Florence. “Wire and Metal Magic in Calder Exhibition.” Hartford Times, c. November 1964.

Newspaper

“Not to be Missed.” Harper’s Bazaar (November 1964).

Magazine

Art Students League News (November 1964).

Magazine

“Reviews and Previews.” (Publication unknown), c. November 1964.

Magazine

Solomon R. Guggenheim Museum, New York. Alexander Calder: A Retrospective Exhibition. Exhibition catalogue. 1964. Text by Thomas M. Messer.

Solo Exhibition Catalogue

Canaday, John. “Art: A Blissful Marriage.” New York Times, 6 November 1964.

Newspaper

Genauer, Emily. “Calder Show Opens At the Guggenheim.” New York Herald Tribune, 6 November 1964.

Newspaper

Genauer, Emily. “Tribute to Calder: A Time for ‘Toys.’” New York Herald Tribune Magazine (8 November 1964).

Magazine

Canaday, John. “The Alexander Calder Problem.” New York Times, 8 November 1964.

Newspaper

“Deux Oeuvres du Grand Sculpteur Calder Exposées à Noisy-le-Sec.” La Voix de l’Est, 12 November 1964.

Newspaper

“The Mobile Eye.” Newsweek (16 November 1964).

Magazine

“Toys for All Ages.” Time, vol. 84, no. 21 (20 November 1964).

Magazine

Coates, Robert M. “Alexander Calder.” New Yorker (21 November 1964).

Magazine

“Calder At Play.” Houston Post, 22 November 1964.

Newspaper

“Master of the Mobile.” Sunday Telegraph, 22 November 1964.

Newspaper

The Museum of Fine Arts, Houston. Alexander Calder: Circus Drawings, Wire Sculptures and Toys. Exhibition catalogue. 1964. Introduction by James Johnson Sweeney (excerpt from MoMA 1943).

Solo Exhibition Catalogue

D., C. “A Circus to Contemplate.” New York Herald Tribune, 25 November 1964.

Newspaper

New Yorker (28 November 1964).

Magazine

Holmes, Anne. “Museum’s Calder Circus Charts Steps in Career.” Houston Chronicle, 29 November 1964.

Newspaper

Geeslin, Campbell. “In the Kingdom of the Deaf.” Houston Post, 29 November 1964.

Newspaper

“Roxbury Pioneer.” Sunday Republican, 29 November 1964.

Newspaper

Guppy, Nicholas. “Alexander Calder.” Atlantic Monthly, vol. 214, no. 6 (December 1964).

Magazine

Ragon, Michel. “Mobiles et stabiles de Calder.” Jardin des Arts, no. 121 (December 1964).

Magazine

Gray, Francine du Plessix. “Alexander Calder.” House & Garden, vol. 19, no. 12 (December 1964).

Magazine

“Pictures on Exhibit: Calder versus Wright.” (Publication unknown), December 1964.

Magazine

“Fountains.” Art in America, no. 6 (December 1964).

Magazine

Friedman, B. H. “Useful Objects by Artists.” Art in America, no. 6 (December 1964).

Magazine

Offin, Charles Z. “Gallery Preview.” Philharmonic Hall (December 1964).

Magazine

Tate Gallery, London. The Peggy Guggenheim Collection. Exhibition catalogue. 1964.

Group Exhibition Catalogue

1965

“Alexander Calder.” Prometheus, no. 11 (January 1965).

Magazine

Lyon, Ninette. “Alexander Calder, A Second Fame: Good Food.” Vogue (January 1965).

Magazine

“Calder Drawings and Paintings.” Prometheus, no. 11 (January 1965).

Magazine

“Alexander Calder: Master of Modern Art.” Literary Cavalcade, vol. 17, no. 4 (January 1965).

Magazine

“Peggy Guggenheim’s Art Adorns the Tate Gallery.” New York Herald Tribune, c. 1965.

Newspaper

Josephs, Devereux C. “A Businessman’s View of the Humanities.” Think (January–February 1965).

Magazine

“Calder’s Fascinating Forms.” America, no. 108 (January 1965).

Magazine

Silk, George. “A House for All Seasons.” Life (c. 1965).

Magazine
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Films 2