Alberto Giacometti (1901-1966)
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Alberto Giacometti (1901-1966)

Femme assise et verre à pied

Details
Alberto Giacometti (1901-1966)
Femme assise et verre à pied
signé, daté et situé 'A la Mediterranée a Paris le 6 avril 1960 Alberto Giacometti' (sic)(en bas à gauche)
stylo à bille sur papier fort
26.7 x 20.8 cm.
Exécuté à Paris le 6 avril 1960

signed, dated and located 'A la Mediterranée a Paris le 6 avril 1960 Alberto Giacometti' (sic)(lower left)
ballpoint pen on sturdy paper
10 ½ x 8 1/8 in.
Executed in Paris on the 6th of April 1960
Provenance
Collection Oliver, Sewickley, Pennsylvanie (acquis auprès de l'artiste).
Collection particulière, Etats-Unis (par succession); vente, Live auctioneers, New York, 19 mars 2011, lot 221.
Vente, Me Aguttes, Paris, 27 juin 2011, lot 51.
Acquis au cours de cette vente par le propriétaire actuel.
Literature
Base de données de la Fondation Alberto et Annette Giacometti, no. AGD 1795.
Special notice

On occasion, Christie's has a direct financial interest in lots consigned for sale which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. This is such a lot. This indicates both in cases where Christie's holds the financial interest on its own, and in cases where Christie's has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful.
Artist's Resale Right ("droit de Suite"). If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Natacha Muller
Natacha Muller

Lot Essay

Giacometti fut l’un des premiers artistes à choisir le styllo-bille comme medium pour ses dessins, appréciant la fuidité et l’instantanéité
de son trait. Ces deux études illustrent sa qualité à "aller droit à la ligne authentique" (Y. Bonnefoy, Giacometti, Paris, 1991, p. 490) ainsi que la corrélation exprimée entre ce que l’artiste voit et dessine. Comme Jacques Dupin l’explique, Giacometti dessinait afn de voir et ne pouvait voir sans dessiner (Giacometti, Paris, 1962, p. 29). Giacometti produisit de nombreuses versions dessinées de ses oeuvres sculptées combinant ainsi l’exercice du dessin à celui de voir d’un autre oeil ses sculptures. Ces deux feuilles présentent entre autre des études pour certaines des sculptures les plus significatives de l’artiste comme La Main (1947, AGD 2955, fg. 1.) et Le Chien (1951, AGD 747).

Giacometti was an early proponent of the ballpoint pen as medium of choice for his drawings, appreciating the fuid freedom and immediacy its ink aforded. These two pages of studies illustrate this quality of his "going straight to the true line" (quoted in Y. Bonnefoy, Giacometti, Paris, 1991, p. 490), as well as the interrelationship the artist experienced between seeing and drawing. As Jacques Dupin identifed, Giacometti drew in order to see and could not see without drawing (Giacometti, Paris, 1962, p. 29). Giacometti produced numerous drawn images of his sculpted works, confating the exercise of drawing and re-seeing his sculptures. The present two pages include drawings for several of the artist’s most signifcant sculptures, including La Main (1947, AGD 2955, fg. 1.) and Le Chien (1951, AGD 747).

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