Evidence of Change
The change in color seems to be explained by a 2004 paint purchase order in the Stark archives for “Keeler and Long KLP-3-8977 Calder Red.” Keeler and Long paint—a silicone-alkyd paint manufactured primarily for exterior signage—was one of Calder’s later paint systems used in the United States and he liked their color tonalities and distinctive matteness. The typical “Calder Red” was always flat and orange-red in color, similar to vermillion. Based on the product code, the paint should have been appropriate, however, there was a clear lacquer applied on top of the paint when the Getty acquired it, which probably shifted the shade and sheen. Not only did the appearance of the paint look incorrect for a “Calder Red,” but we also noticed that the paint was purchased several months after Stark died.
We took into account that since all other correspondence from Stark’s office regarding loans, appraisals, or possible donations to institutions indicate that the sculpture remained in its black state during Stark’s lifetime, it was of no real significance to restore it with a “Calder Red” at this time.
Picking a Color
The final verdict for this campaign of restoration at the Getty was to repaint Spiny Top in a shade of black. This decision went back to Calder‘s own description of Spiny Top in his autobiography. He wrote about the sculpture as part of a group of works created in 1963, all painted black. This documents his clear intention for their color appearance. Another determining factor for this decision was that Calder never saw Spiny Top painted red. In fact, all evidence points to this change being made after the artist’s death. Although the handwritten approval for Stark to change its color was made during the artist’s lifetime, it was technically only sanctioned indirectly by his dealer, not by the artist himself. We reviewed the evidence and history of Spiny Top with the Calder Foundation, and we all agreed that the original color should be restored.
Repainting the Sculpture
The challenge in restoring Spiny Top to its original black did not stop there. The next brave step was to remove and reapply the coating. We chose to repaint the sculpture ourselves in the Getty Museum’s conservation labs. In 2019, the sculpture took its place on view at the Getty Center, probably as it looked in 1963 at the artist’s Saché studio. We hope the paint will last for years to come and in the meantime, our focus will now shift to The Jousters, whose turn it is for another coating refresher.
