Calder Foundation

Misattributed Works

Part of the mission of the Calder Foundation is to protect the Artist’s legacy. There exist works that are often misattributed to Alexander Calder and that violate the Artist’s Intellectual Property Rights. In this section, we hope to clarify works that frequently cause confusion. The Calder Foundation does not provide information other than what is presented here.

Misattributed Work

Birds in Flight Lithograph 26 3/4″ × 36″

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.

Misattributed Work

Butterfly Lithograph 25 1/2″ × 38 1/2″

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.

Misattributed Work

Candy Canes Lithograph 28 1/4″ × 20 3/8″

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.

Misattributed Work

Circles and Pyramids; Also sometimes titled Sunrise, Fireworks, and Sunburst Lithograph / Silkscreen approx. 20″ × 27″

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.

Misattributed Work

Eternity Lithograph Dimensions vary: approx. 22″ × 30″; 20 1/2″ × 14″; 17″ × 13″

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.

Misattributed Work

Homage to the Sun Lithograph Dimensions vary: approx. 25 1/2″ × 38 1/2″; 29″ × 43″

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.

Misattributed Work

L’Éléphant Noir; Also sometimes titled Sun, Moon and Stars; Celestial Elephant; Black Elephant; and Pink Elephant Bronze and paint approx. 13 1/2″ × 21 1/2″

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.

Misattributed Work

Lollipops Lithograph 27″ × 36 1/2″

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.

Misattributed Work

Pyramids Lithograph approx. 22″ × 30″

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.

Misattributed Work

Seahorse Lithograph approx. 30″ × 22″

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.

Misattributed Work

Spheres and Striped Poles Lithograph approx. 30″ × 22″

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.

Misattributed Work

Spiral Silkscreen Dimensions vary: 20 ” × 26″; 11″ × 15 1/4″; 8″ × 12″

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.

Misattributed Work

Sun and Moon Lithograph approx. 22″ × 30″

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.

Misattributed Work

Sun Over Sand Lithograph / Serigraph approx. 22″ × 30″

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.

Misattributed Work

Variations #1 Lithograph approx. 30″ × 22″

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.

Misattributed Work

Variations #2 Lithograph approx. 22″ × 30″

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.

Misattributed Work

Variations #3 Lithograph approx. 22″ × 30″

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.

Misattributed Work

Variations #4 Lithograph approx. 22″ × 30″

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.

Misattributed Work

Variations #5 Lithograph approx. 22″ × 30″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction from Calder’s Circus, 1964 One of 16 offset lithographs 13″ × 17″

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.

Misattributed Work

Reproduction of A Piece of My Workshop from Mural Scrolls: Calder, Matisse, Matta, Miró (New York: Katzenbach and Warren, Inc., 1949) Silkscreen on canvas 10″ × 15″

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Reproductions on Maguey Fiber Mats and Hammocks Dimensions vary

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.

Misattributed Work

Untitled Serigraph Dimensions vary: 23 1/2″ × 17 3/4″; 14″ × 11″; 10 1/2″ × 8 1/2″

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.

Misattributed Work

Untitled Lithograph 22 3/4″ × 17″

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.

Misattributed Work

Untitled Lithograph approx. 23″ × 36″

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.

Misattributed Work

Untitled Lithograph approx. 23″ × 36″

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.

Misattributed Work

Untitled Lithograph Dimensions vary: 23 5/8″ × 31 1/2″; 16″ × 20″

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.

Misattributed Work

Untitled (Dark Pyramids) Lithograph 28″ × 20″

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.

Misattributed Work

Untitled (Sun Blaze) Silkscreen Dimensions vary: 10″ × 13″; 17″ × 23″; 20″ × 26″

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.