**4. Conclusions**

For MoMA's 2021 exhibition, *Alexander Calder: Modern from the Start*, the possibility arose for reviving *Man-Eater with Pennants*, a forgotten sculpture by the artist. The sculpture had been repainted several times early in its history; however, after its last exhibition in 1969–1970, extensive paint loss and rusting, due to outdoor exposure, were not addressed. As part of planning the restoration treatment for *Man-Eater*, cross sections and samples were taken for further analysis by Raman spectroscopy, SEM-EDS, and XRF to determine the pigments present and aid in the identification of the artist's original color choices. The original paint layers were identified as the ones closest to an aluminum anti-corrosive layer or those penetrated by drastic rusting of the metal. Through these analyses, we can establish an early primary palette for Calder: a darker blue based on Prussian blue, a brown-red based on P.R. 6, and a lemon yellow based on a sulfate-containing chrome yellow. Among the many layers of overpaint, the ones last applied can be dated to no later than the 1970's due to the presence of the Nd3+ rich titanium white, which seems plausible considering that the work has not been exhibited since 1970. Analysis of the associated maquette confirmed the later painting date as described in internal records based on the presence of the Nd3+ rich titanium white as a completely different palette consisting of ultramarine blue, a chrome yellow, and the yellowish-red P.R. 4 in combination with molybdate orange. Considering that the maquette was painted between 1959 and 1969 and does not appear to have been repainted since, the colors do not match those of the original paints in *Man-Eater*. To our knowledge, this is the first analysis of his early primary palette in the literature and presents a unique path forward for other treatments of works of Calder from this period held at other institutions and private collections worldwide.

As part of the treatment undertaken by Monumenta Art Conservation and Finishing LLC, the aged paint layers and surface rust were removed before applying an anti-corrosion primer, followed by epoxy paint base coats. The analysis of *Man-Eater* and the maquette helped determine the tonality of yellow, blue, and red used in the restoration campaign. Additionally, it was important to note the presence of toxic pigments, such as red lead, from a safety perspective. Most significantly, understanding the differences in pigment composition between the maquette and final sculpture prevented the use of inaccurate colors, as was done in other instances in the past [14]. The final color coats were applied by spray and brush. Now, half a century after its last exhibition, *Man-Eater with Pennants* is newly conserved and installed, ready to delight and charm visitors to MoMA's sculpture garden.

**Author Contributions:** A.H. carried out some sampling in addition to Raman Spectroscopy, μ-FTIR, SEM-EDS, microscopy, XRF data interpretation, and drafting this manuscript. M.R. carried out sampling for cross sections in addition to XRF. spectroscopy and digital microscopy. L.Z. carried out art historical research, mined MoMA's internal records, and drafted sections of the manuscript. A.M. carried out XRF interpretation and revisions of the manuscript. All authors have read and agreed to the published version of the manuscript.

**Funding:** This research received no external funding.

**Data Availability Statement:** Data available on request.

**Acknowledgments:** The authors are grateful to our partners in the restoration of *Man-Eater with Pennants*: Cara Manes, Associate Curator in the Department of Painting and Sculpture, The Museum of Modern Art, Abigail Mack and Ellen Rand at Monumenta Art Conservation and Finishing LLC, and Alexander S. C. Rower, President of the Calder Foundation, New York. We are also grateful for instrumental access by the Conservation Center at the Institute of Fine Arts, New York University. Finally, this project was possible with generous support from the Bank of America.

**Conflicts of Interest:** The opinions: findings, and conclusions or recommendations expressed in this publication are those of the authors and do not necessarily reflect those of the Museum of Modern Art. The authors declare no competing financial interest.
