✿
Alberto Giacometti
알베르토 자코메티
(Swissㅣ1901 – 1966ㅣaged 64)
알베르토 자코메티
(Swissㅣ1901 – 1966ㅣaged 64)
Spouse : Annette Arm
Date of casting 1959 [AGD 747]
Technique Bronze patinated
17,48 x 39,76 x 6,29 in.
Edition number 8/8
Foundry Susse Fondeur
Private collection
© Giacometti Estate
<The dog 1951/ Date of casting 1957>
[▷MOMA] 45.7 x 99 x 15.5 cm
Credit :A. Conger Goodyear Fund
17,48 x 39,76 x 6,29 in.
Edition number 8/8
Foundry Susse Fondeur
Private collection
© Giacometti Estate
<The dog 1951/ Date of casting 1957>
[▷MOMA] 45.7 x 99 x 15.5 cm
Credit :A. Conger Goodyear Fund
Pen and black ink on paper
14,40 x 10,11 in. [AGD 541]
Private collection
<Lucas Lichtenhahn 1918>
Pen and ink on paper, 8,34 x 5,23 in.
Private collection [AGD 1779]
< Head 1954 >
Crayon, crayon lithographique, crayons
de couleur et encre on paper, 8,62 x 6,85 in.
Private collection [AGD 1882]
Four views of <L'Homme qui marche I>
depicted on the 1998 version of
the 100 Swiss Franc banknote
● Video
▷ Alberto Giacometti (52:25)
▷Giacometti 1967 (13:38)
▷watch Alberto Giacometti paint! (2:45)
<Annette sewing at Stampa 1951>
Technique Pencil on paper/ 13,70 x 9,92 in.
Private collection [AGD 801]
In Geneva in 1943 Alberto Giacometti
met Annette Arm (1923-1993),
who accompanied him back to Paris
after the war and married him in 1949:)
(she worked at the Red Cross
during the Second World War.)
From that time on, she became one of his
most frequently used models, posing for
countless drawings as well as several paintings
and sculptures. Up until Alberto’s death in 1966,
Annette was his main female model.
In this drawing, Annette, in the sitting room of
the family house in Stampa where the couple
regularly returned is absorbed in her sewing task.
The artist represents her as a bust, her head
bowed over the work, in the sitting room.
It seems this drawing has never been exhibited
or reproduced in the artist`s lifetime.
The couple had no children, so Annette
Giacometti became the sole usufructuary
of her husband’s rights and copyright, and
was entrusted with the task of organizing
management and protection of her
the husband’s work. Annette Giacometti
immediately got down to the job of preparing
a complete database of her husband’s
authentic works. She gathered documentation
and information about how his works
were made, and their location.
Meanwhile, Annette Giacometti embarked on
a fight against the counterfeiting of her
husband’s works. She fought tirelessly to have
the ever-growing number of fakes seized.
When she died in Paris, she had 50 fake works
in her possession. In order to carry on this
twofold mission — documenting and protecting
the work — Annette Giacometti was keen
to create a foundation to accommodate her
archives and collections.From 1966 to 1993,
Annette Giacometti devoted her whole life to
the defense of her husband's œuvre,
never speaking to the media about it.
<Corner of the studio with the Cat 1951>
19,76 x 14,56 in. [AGD 137]
14,40 x 10,11 in. [AGD 541]
Private collection
Pen and ink on paper, 8,34 x 5,23 in.
Private collection [AGD 1779]
Crayon, crayon lithographique, crayons
de couleur et encre on paper, 8,62 x 6,85 in.
Private collection [AGD 1882]
Four views of <L'Homme qui marche I>
depicted on the 1998 version of
the 100 Swiss Franc banknote
● Video
▷ Alberto Giacometti (52:25)
▷Giacometti 1967 (13:38)
▷watch Alberto Giacometti paint! (2:45)
-----
Technique Pencil on paper/ 13,70 x 9,92 in.
Private collection [AGD 801]
In Geneva in 1943 Alberto Giacometti
met Annette Arm (1923-1993),
who accompanied him back to Paris
after the war and married him in 1949:)
(she worked at the Red Cross
during the Second World War.)
From that time on, she became one of his
most frequently used models, posing for
countless drawings as well as several paintings
and sculptures. Up until Alberto’s death in 1966,
Annette was his main female model.
In this drawing, Annette, in the sitting room of
the family house in Stampa where the couple
regularly returned is absorbed in her sewing task.
The artist represents her as a bust, her head
bowed over the work, in the sitting room.
It seems this drawing has never been exhibited
or reproduced in the artist`s lifetime.
Giacometti became the sole usufructuary
of her husband’s rights and copyright, and
was entrusted with the task of organizing
management and protection of her
the husband’s work. Annette Giacometti
immediately got down to the job of preparing
a complete database of her husband’s
authentic works. She gathered documentation
and information about how his works
were made, and their location.
Meanwhile, Annette Giacometti embarked on
a fight against the counterfeiting of her
husband’s works. She fought tirelessly to have
the ever-growing number of fakes seized.
When she died in Paris, she had 50 fake works
in her possession. In order to carry on this
twofold mission — documenting and protecting
the work — Annette Giacometti was keen
to create a foundation to accommodate her
archives and collections.From 1966 to 1993,
Annette Giacometti devoted her whole life to
the defense of her husband's œuvre,
never speaking to the media about it.
19,76 x 14,56 in. [AGD 137]
Heads of Amenhotep IV ,1920>
Pencil on paper, 11,77 x 15,11 in. [AGD 191]
Pen and ink on paper, 13,07 x 9,99 in.
Private collection [AGD 1532]
This work appears in several photographs
of the interior of the studio at the time,
as well as on a few lithographs produced
in 1951 and published in 1954 by Maeght.
The model of this sculpture is Diego,
Alberto`s brother, Giacometti`s main model.
The underlining of the lips and the eyelids is
reminiscent of the effect Giacometti obtained
by applying, with a paintbrush, paint strokes on
an original plaster of the same era (today kept
at the Alberto Giacometti-Stiftung, Zurich)
to reinforce the presence of the work.
Several similar drawings are known,
among them some date from 1952 and others
from 1953 (AGD 15,AGD 608), the dating,
made here with a pencil, probably having been
added, as is often the case in Giacometti`s work,
subsequent to the execution of the drawing.
This drawing, which has not been exhibited
or reproduced in the artist`s lifetime, used
to belong to an artist friend of Giacometti to
whom he had given it, the painter Roger Montandon,
who took several photographs of Alberto painting,
and of this Bust of Diego with turtleneck in 1952,
that perhaps corresponds to the date of
the gift and would explain the date of 1952
added in pencil next to the signature.
Pencil on paper, 15,59 x 10,94 in.
Private collection [AGD 2904]
Lithographic pencil on paper
15,35 x 11,22 in. [AGD 131]
on wove paper,19,68 x 25,94 in.
Edition number H.C. 5 / 6 [AGD 2099]
on wove paper,19,72 x 14,56 in.[AGD 135]
Pencil reworked with eraser on Rives paper
19,88 x 12,91 in. [AGD 589]
Pen and ink on notepaper, 11,73 x 8,26 in.
Private collection [AGD 909]
● Related Auction Results
▷Inside the World's Largest Giacometti Retrospective
<ANNETTE D'APRÈS NATURE (NU DEBOUT)>
Conceived in 1954 and cast in 1962.
Bronze / Height: 20 5/8 in. (52.5 cm)
Inscribed with the signature Alberto
Giacometti, numbered 0/6 and inscribed
with the foundry mark Susse Fondeur Paris
▷ Sotheby`s NewYork 2014
Est. 3,500,000- 4,500,000 USD
Lot Sold. 5,989,000 USD
<Tête de Femme Table Lamp>
conceived circa 1937, later cast
patinated bronze
height 20 1/4in (51.4cm)
▷Bonhams NewYork 2015
Sold for US$ 112,500 inc. premium
Watercolours on paper, 8,58 x 11,10 in.Y
Private collection [AGD 548]
Watercolours and pencil on paper
8,42 x 10,78 in. [AGD 1610]
Private collection
Val Bregaglia 1920>
Watercolours and pencil on paper
8,81 x 11,14 in. [AGD 933]
Private collection
♥
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