Misattributed Works

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

These standing mobiles were conceived of by George Gordon in an edition of 999 examples. They were neither designed by Calder, nor was the project authorized by the Estate of Alexander Calder. The mobile elements were loosely based upon and have been misappropriated from images that Calder made related to his projects for Braniff Airlines. Many come with “certificates of authenticity” by Gordon indicating the approval of the artist’s estate, which was never granted. As works of art, these unfortunate objects are of no interest and have no historical place in Calder’s life and work.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken and altered from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

This is a later reproduction of an early circus drawing by Calder that has been separated from an unbound portfolio. The portfolio, titled Calder’s Circus, was produced by Art in America in 1964. A complete cased limited edition of 100 copies includes small reproductions of sixteen 1930s drawings, a signature page with a text by Cleve Gray, and a reproduction of a letter by Joan Miró. Additionally, unlimited sets of reproductions were published by Art in America. None of these reproductions were individually numbered or signed. They are easily identifiable as not being the original drawings because of their small size.

In the late 1940s, Katzenbach and Warren, Inc., a New York design firm, produced a series of large wall hangings (approximately 6′ x 10′) designed by Calder, Miró, Matta, and Matisse, called “Mural Scrolls,” which were intended to hang in the manner of wall scrolls or be applied directly to a wall as wallpaper. / Katzenbach and Warren produced sample books of “Mural Scrolls” from which designers and customers could place their orders. The sample books contain miniature silk-screened reproductions of each artist’s contribution. The books and reproductions were neither editioned nor numbered and many of the reproductions, such as the one shown here, have been removed from their sample books and are often confused as works of art.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

In 1975, C.A.C. Publications in New York approached Calder about producing a series of reproductions to benefit victims of an earthquake in Central America. Calder was a political activist and humanitarian who was enthusiastic about supporting the cause. He permitted C.A.C Publications to copy certain preexisting designs, which were to be interpreted by weavers in Nicaragua and Guatemala onto woven floor mats and hammocks intended for household use. / Calder was never directly involved in this project, which under the direction of Catalina “Kitty” Meyer lost its philanthropic mission, depriving the earthquake victims of much needed aid. Unfortunately, Meyer falsely marketed the objects as editioned tapestries, though Calder did not intend those products to be works of art nor did he approve for them to be in numbered editions. The Calder Foundation has documented numerous examples of these mats and hammocks bearing false edition numbers, sometimes including multiple examples of the same number.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken and altered from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This image was not created by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.

This unauthorized reproduction was taken and altered from a design by Calder. As such, the edition of this image was not authorized by Calder, the Estate of Alexander Calder, or the Calder Foundation. All examples of this print, which are signed, stone signed, or unsigned, are fake and are violations of the intellectual property of the artist.