Alberto Giacometti Stiftung
  • Highlights
  • Foundation
    • Foundation
    • History
    • Documentation
    • Contact
    • Imprint
  • Alberto Giacometti
    • Introduction
    • Creative phases
      • Childhood
      • Training
      • Avant-Garde
      • Surrealism
      • New Way of Seeing
      • Mature Style
      • Late Works
    • Biography
  • Collection
    • All
    • Sculptures
    • Paintings
    • Drawings
    • Prints
    • Sketchbooks
    • Illustrated Books
    • Further
    • GS

      Year fromto

  • d
  •  | 
  • e
  • 1903

    GS 257

    Mother and Child (Annetta and Alberto)

    Oil on canvas

    Giovanni Giacometti (1868–1933)

  • c. 1904

    GS 187

    The Mother

    Oil and tempera on canvas

    Giovanni Giacometti (1868–1933)

  • 1908–1910

    GS 176

    Portrait of the Artist’s Mother

    Chalk on paper

    Giovanni Giacometti (1868–1933)

  • c. 1912

    GS 249

    Alberto

    Pencil on paper

    Giovanni Giacometti (1868–1933)

  • c. 1913/1915

    GS 216

    Sketchbook

    Pencil, additional: red pen: 44; brown pencil: 43, 49: 62 on semi-transparent paper

    Giacometti’s earliest drawings can be found in a large sketchpad that he owned when he was twelve;

  • c. 1914

    GS 239.verso

    Head

    Pencil on transparent paper

    This sheet was inserted into the sketchpad of youthful drawings (GS 216). It too contains overdrawn

  • c. 1914

    GS 239

    Painter Portraits

    Pencil on transparent paper

    This page was slipped inside the sketchpad of youthful drawings (GS 216). It too contains overdrawn

  • c. 1914

    GS 078

    Flowerpots

    Pencil on paper

  • c. 1914

    GS 079

    The Artistʼs Mother Sewing

    Graphite pencil on paper

  • c. 1914

    GS 079.verso

    Graphite pencil on paper

  • c. 1914

    GS 281

    Head of Diego

    Plasticine

    The head was modelled directly in Plasticine. It served as the template for two plaster casts using

  • 1916

    GS 217

    Pencil; pen in blue ink: 2v, 5v–8v, 10v, 15v, 16r, 18v, 19r, 22v; Pen in green ink: 9r, 10r, 11v; pen in ink: 16v.

    This large sketchbook dates from Giacometti’s days at the school in Schiers, which he attended from

  • 1916–1917

    GS 219

    ʻ1916-1917 / Essay Book A1 / Alb. Giacomettiʼ, copybook (44 sheets)

    Black ink, decorative element and correction in red till 31r; Vignettes in coloured in from 3 till 9v, 19; Vignettes in pencil: 19–22, additionaly in blue ink 21v, 22r; from 31v pencilt, writing partly in blue ink.

    The exercise books evidence Giacometti’s rapid progress in learning German. They also contain

  • 1916–1918

    GS 287

    Head of the Artist’s Mother

    Plasticine

    The bust was modelled in Plasticine. The signature ‘Alberto’ is engraved in the Plasticine at the

  • c. 1916

    GS 137

    Sketch for a Stage Set

    Pencil and red watercolour on paper

  • c. 1916

    GS 218.01-05

    Remains of a Sketchbook, around 1916

    Pencil, pen

  • c. 1916

    GS 137.verso

    Stage Set with Caricatures

    Pen and ink

  • 1917

    GS 152

    Boy Drawing with Compasses

    Pen in brown on paper

  • 1917

    GS 223

    Sketchbook

    Ink in black till 20v, 36v–40, in blue 20v–36r, corrections in redt; fol. 31r on pasted paper watercolour on ink.

    These drawings are already noticeably more mature than the sketches in GS 217; the highly pictorial

  • 1917

    GS 222

    Notebook (28 sheets)

    Pencil, blue ink, purple pen; drawings: pencil: 6, 12v, 13r, 14v, 15v, 16v, 20r, 22v, 23r, v; blue ink: 13v, 14r, v, 25v, 26r; ink: 15v, 18v, 21v, 22r

    The book was used to make notes and designs in lessons and for exercises in English, Latin,

  • 1917

    GS 138

    Design for a Card for the Founding Celebration of the ʻAmicitiaʼ Studentsʼ Association

    Pencil on paper

  • 1917

    GS 138.verso

    Design for a Card for the Founding Celebration of the ʻAmicitiaʼ Studentsʼ Association

    Pencil on paper

  • 1917–1918

    GS 220

    ʻAlberto Giacometti / Albertoʼ, Essay Book

    Ink in black till 20v, 36v–40, in blue 20v–36r, corrections in redt; fol. 31r on pasted paper watercolour over ink.

    This notebook contains only final versions of essays, some of biographical interest. The only

  • 1917/18

    GS 177.verso

    Flower Vase and Group of Figures

    Chalk on paper

  • 1917/18

    GS 177

    Portrait of the Artistʼs Mother

    Chalk on paper

  • c. 1917

    GS 143

    Card Player

    Brush and ink on paper

  • c. 1917

    GS 143.verso

    Card Player

    Ink on paper

    First abandoned attempt at the same depiction as on the recto.

  • c. 1917

    GS 286

    Bust of a Laughing Boy

    Plaster

    The bust was cast from the initial clay model using a two-part negative plaster mould (lost mould).

  • c. 1917

    GS 146

    Head of a Young Man

    Pen and ink on paper

  • c. 1917

    GS 285

    Head of a Student from Schiers

    Plaster

    The head is a cast probably dating from 1951. It was executed with the initial Plasticine model from

  • c. 1917

    GS 144

    In the Living Room

    Pen and ink on paper

    Here the Giacometti family – Giovanni, Ottilia, Bruno and Annetta – are shown beneath a lamp in the

  • c. 1917

    GS 283

    Bruno as a Child

    Plaster

    This head, made at the request of Annette Giacometti, was created posthumously and was intended as a

  • c. 1917

    GS 139

    Animals (Studies)

    Pen and blue-purple ink on paper

  • c. 1917

    GS 377

    Bruno as a Child

    Plaster

  • c. 1917

    GS 282

    Bruno as a Child

    Plaster

    The head is a cast probably dating from 1951. It was executed with the initial Plasticine model from

  • c. 1917

    GS 284

    Head of a Student from Schiers

    Plaster

    The head is a cast probably dating from 1951. It was executed with the initial Plasticine model from

  • c. 1917

    GS 139.verso

    Branch with Umbel

    Pen and ink on paper

  • c. 1917

    GS 144.verso

    Drawing in Diegoʼ s Hand

    Pencil

    Fragment of a drawing in Diegoʼ s hand: a cat at its feeding bowl biting a small male.

  • c. 1917/1918

    GS 221

    Purple ink; in black 1, Vignette 2r; aditionally pencil 12v, 14r, 15r, 16v, 1v; ab 30: pencil, additionally ink 26v, blue ink: third cover page

    The school exercise books reveal an attentive and diligent pupil. The zoology book is maintained

  • c. 1917/1918

    GS 149

    Study after Velázquezʼs ʻApollo in the Forge of Vulcanʼ

    Pen in purple ink on paper

  • c. 1917/1918

    GS 149.verso

    Study from ʻChrist on the Crossʼ and ʻVulcanʼ

    Pen in purple ink on paper

    Study from Rubensʼ ʻChrist on the Crossʼ in the Alte Pinakothek, Munich and Vulcan from Velázquezʼs

  • c. 1917/1918

    GS 148

    Rembrandtʼs ʻThe Polish Riderʼ as Monument

    Pen in purple on paper

    Giacometti began drawing interpretative copies of reproductions as a boy, steeping himself in an

  • c. 1917/1918

    GS 145

    Design for a Bookplate for Jakob Gehring

    Pen, Indian ink and purple ink on carbon paper

  • c. 1917/1918

    GS 147

    Study from a Baroque Portrait

    Pen in purple on paper

  • c. 1917/1918

    GS 148.verso

    Scene of ‘Gwashiki’ from Katsushika Hokusai

    Pen in purple ink on paper

    Giacometti copied Hokusai’s woodblock print after figure 35 in Friedrich Perzynski’s ‘Hokusai’

  • 1918

    GS 396

    Invitation Card for the Celebration of the ʻAmicitiaʼ Studentsʼ Association

    Woodcut on ʻBFK-Rivesʼ paper

  • 1918

    GS 393

    Woodcut on ʻBFK-Rivesʼ paper

  • 1918

    GS 157.verso

    Youth Seated front on, Reading

    Pen and ink on paper

  • 1918

    GS 157

    Portrait of the Artistʼs Mother

    Pen in black on paper

    The most intense drawings of Giacometti’s early years are portraits of either his mother or himself.

  • 1918

    GS 128

    Portrait of Lucas Lichtenhan

    Pencil on paper

  • 1918

    GS 394

    Two pupils

    Woodcut on ʻBFK-Rivesʼ paper

  • 1918

    GS 395

    Head of the Artist’s Father

    Woodcut on ʻBFK-Rivesʼ paper

  • 1918–1921

    GS 170

    53 Letters and Postcards to Giacomettiʼs Friend Lucas Lichenhan (‘Lux’)

    Letters and postcards

  • c. 1918

    GS 272

    View of Sils Lake to Capolago with Piz Lizun and Piz Duan

    Pen in brown on folded paper

  • c. 1918

    GS 140

    Compositional Studies for ʻMother and Childʼ

    Pencil and coloured pencil on paper

  • c. 1918

    GS 155

    Meadow with Trees

    Watercolour and pencil on paper

  • c. 1918

    GS 151

    Self-Portrait with Bird

    Pen in black on paper

  • c. 1918

    GS 272.verso

    Inside left: Maenad; right: Iron Founder

    Pen in brown ink on folded paper

  • c. 1918

    GS 140.verso

    Variation of the Laying Child depicted; Circles Drawn with Compass

    Pencil and coloured pencil on paper

  • c. 1918

    GS 156

    Path and Trees in Schiers

    Graphite pencil on paper

  • c. 1918

    GS 153

    Mountain Landscape

    Watercolour over pencil on paper (Ingres)

  • c. 1918

    GS 150

    Tree in Front of a House

    Pencil and watercolour on Ingres paper

  • c. 1918

    GS 156.verso

    Two Studies after Michelangeloʼ s ʻDavidʼ

    Pen and black ink on paper

  • 1919

    GS 418

    Pencil on paper

    Illustrated book with 5 drawings and side notes. – p. 93: good copy of fig. 83: ‘Michelangelo,

  • 1919

    GS 136

    Head of Bruno

    Plaster

  • 1919

    GS 166

    The Artist’s Mother

    Bas-relief in marble

    This singular bas-relief of the artist’s mother appears to be based on the older drawing ‘The

  • 1919/1920

    GS 224

    Sketchbook (Geneva)

    Pencil; pen in ink: 9r

  • 1919/1920

    GS 225

    Sketchbook (Geneva)

    Pencil; water colour: 11v; blue pen: 20r; pen in ink and brush: 23v, 24v, 25v

  • c. 1919

    GS 154

    Florian Tischhauser (III)

    Pencil and oil pastel on grey-blue ʻTizianʼ paper

    GS 141 and GS 142 are preliminary studies for this drawing.

  • c. 1919

    GS 141

    Florian Tischhauser (II)

    Pencil on gray-blue ʻTizianʼ paper

    This drawing is a preliminary study for the oil pastel drawing of the portrait of ʻFlorian

  • c. 1919

    GS 142

    Florian Tischhauser (I)

    Pencil on grey-blue ʻTizianʼ paper

    This drawing is a preliminary study for the oil pastel drawing of the portrait of ʻFlorian

  • c. 1919/1920

    GS 227.01-05

    Remains of a Sketchpad

    Pencil

    In later years, Alberto was given to recounting how in his youth he could draw anything, then

  • c. 1919/1920

    GS 226.01-02

    Remains of a sketchpad

    Pencil

  • 1920

    GS 080

    Pencil on paper

    Renato Stampa (1904–1978), who taught at the school in Chur after studying Romance languages in

  • 1920/1921

    GS 228.01-13

    Sheets from a Sketchbook (Florence, November 1920 – Rome, 1921)

    Chalk

    In May 1920 Giacometti attended the Venice Biennale with his father and discovered the works of

  • c. 1920

    GS 274

    Female Nude with Crossed Arms (Nude study)

    Pencil on ruled paper

    Nude study belonging with two further works from a lined notebook (GS 273 and GS 275). Probably

  • c. 1920

    GS 126

    Tree in Blossom in Stampa

    Watercolour over graphite pencil on paper

  • c. 1920

    GS 273.verso

    Nude in Profile

    Pencil

    Nude study belonging with two further works from a lined notebook (GS 274 and GS 275). Probably

  • c. 1920

    GS 273

    Female Nude from the Front

    Pencil on ruled paper

    Nude study belonging with two further works from a lined notebook (GS 274 and GS 275). Probably

  • c. 1920

    GS 288

    Head of the Artist’s Mother

    Plaster

    The head and base were fashioned separately and then joined together. The head was cast from the

  • c. 1920

    GS 275

    Lying Female Nude (Nude Study)

    Pencil on ruled paper

    Nude study belonging with two further works from a lined notebook (GS 273 and GS 274). Probably

  • c. 1920

    GS 163

    The Artist’s Mother

    Bronze

    The cast was made in 1986 and is based on the plasticine original, the upper part of which

  • 1921

    GS 419

    Two Male Nudes

    Pencil on paper

  • 1921

    GS 062

    Self-Portrait

    Oil on canvas

    This key work of Alberto’s early, highly coloured painting in which he engages with his father’s art

  • c. 1922

    GS 229

    Sketchbook

    Chalk, pencil; occasionally pencil; additionally ochre: 40v; full cloth, natural colours, with red drawn decor (vertical jagged lines on the front, on the back chequered pattern)

    A small sketchbook from the early years in Paris echoes in character the books from Geneva:

  • c. 1922

    GS 127

    Sketches of Alberto

    Silverpoint on primed paper

    Giovanni Giacometti (1868–1933)

  • c. 1922/1923

    GS 083

    Standing Nude from the Rear with Raised Arm

    Pencil on thin paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 085

    Standing Nude from the Front

    Graphite on light brown discolored paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 091

    Standing Woman, Turned to the Left

    Graphite on light brown discolored paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 087.verso

    Perseus Freeing Andromeda

    Pencil on white paper

    The 15 nude drawings of the years 1921–1924 were all executed in the Académie de la Grande Chaumière

  • c. 1922/1923

    GS 087

    Seated Nude from the Rear

    Pencil on white paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 082

    Woman, Seated

    Pencil on thin paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921-24 were all executed in the Académie de la

  • c. 1922/1923

    GS 090

    Crouching Nude

    Graphite on light brown discolored paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 089

    Seated Nude, Back View

    Pencil on white Ingres paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 081

    Seated Woman Resting Her Head on Her Hand

    Pencil on thin paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921-24 were all executed in the Académie de la

  • c. 1922/1923

    GS 084

    Male Nude with Arms Crossed Behind his Head

    Graphite on light brown discolored paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 088

    Standing Nude

    Pencil on thin paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1923

    GS 086

    Woman Seated, Turned to the Right

    Graphite on light brown discolored paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1922/1924

    GS 095

    Three Female Nudes

    Pencil on thin paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • 1923

    GS 063

    Nude

    Oil on canvas

    The nude study emphasizes the tactile volume of the body, which is modelled as a compact, earthy

  • 1923

    GS 161

    The Sculptor (Annetta and Alberto)

    Oil on canvas

    Giovanni Giacometti (1868–1933)

  • 1923/1924

    GS 389

    Dog Skull

    Pen, ink and coloured pen on paper

  • c. 1923

    GS 276

    Sketch of Alberto Giacometti portrait on invitation card

    Pencil

    Arnold Geissbühler (1897–1993)

  • c. 1923/1924

    GS 096

    Self-Portrait

    Graphite pencil on light brown discoloured paper

  • c. 1923/1924

    GS 093

    Self-Portrait

    Pencil on ʻCanson et Montgolfierʼ paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1923/1924

    GS 094

    Lying Nude

    Graphite on light brown discolored paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • c. 1923/1924

    GS 092

    Female Torso

    Graphite on light brown discolored paper

    The 15 nude drawings (GS 081–GS 095) from the years 1921–1924 were all executed in the Académie de

  • 1924–c. 1933

    GS 232

    ʻDawnʼ

    Pen and blue-black ink; black pen: p. 6, 7; blue pen: p. 15

  • 1925

    GS 289

    Head of Diego

    Plaster, red slip

    At first the head was created by making a cast of an initial clay, Plasticine or plaster model.

  • 1925

    GS 180

    Self-Portrait

    Plaster

    Of the sculptures from the period when Giacometti was training under Bourdelle between 1922 and

  • 1925

    GS 376

    Silver Wedding

    Oil on canvas

    Alberto painted this family portrait to mark his parents’ silver wedding anniversary. It shows his

  • 1925–1926

    GS 002

    Bronze

    This work is the outcome of an intensive engagement with the post-Cubist sculptures of Henri Laurens

  • 1925–1927

    GS 290

    The Mother, Seated

    Plaster, pencil

    At first the head was created by making a cast of an initial clay or Plasticine model. Subsequently,

  • 1925/1926

    GS 001

    Plaster

    Shown at the Salon des Tuileries in 1925, ‘Torse’ represented Giacometti’s first public appearance.

  • 1925/1926

    GS 390

    Small Composition

    Plaster, painted

  • c. 1925

    GS 240

    Sketch for a Cubist Sculpture

    Pencil

  • c. 1925

    GS 196

    Illustrated book with 6 drawings. – Studies after Michelangelo: pp. 296, 299, 303 – Study after

  • c. 1925

    GS 292

    Head of a Man

    Granite

    The head was sculpted directly in granite by Giacometti. It never served as a template for a plaster

  • c. 1925/1927

    GS 230

    Sketchbook

    Pencil; Pen in ink: 18–21, 27, 28 (copies); pen in sepia: 35v (Spoon Woman)

  • c. 1925/1927

    GS 231

    Sketchpad

    Pencil; pen in ink: 35, 38v, 44v, 45, and pencil: 40v, 42.

    This sketchpad documents Giacometti’s evolution towards avant-garde art. The drily meticulous

  • 1926

    GS 003

    Small Crouching Man

    Bronze

    If the date later attributed to this work by the artist is correct, this is probably the earliest

  • 1926

    GS 179

    Cubist Composition (Two Heads)

    Bronze

    Probably the first larger-scale sculpture by Giacometti in the Cubist style, the work only became

  • 1926/1927

    GS 004

    Spoon Woman

    Bronze

    This sculpture is a key work of the group from 1925–27 that was inspired by African and other tribal

  • 1926/1927

    GS 006

    Figures

    Bronze

    ‘Personnages’ is a one-off, and one of the few bronzes from the pre-war period. Here Giacometti

  • c. 1926

    GS 295

    Cubist Composition

    Plaster, pencil

    The ʻComposition cubisteʼ was probably created by making a cast of an initial clay model using a

  • 1927

    GS 359

    Composition (Hands)

    Bronze

  • 1927

    GS 164

    Bust of Alberto Giacometti

    Plaster

    Otto Charles Bänninger (1897–1973)

  • 1927

    GS 008

    The Artistʼs Father

    Bronze

  • 1927

    GS 007

    The Artistʼs Mother

    Bronze

    Annetta Giacometti (1871–1964) was extremely important to Alberto Giacometti and he often portrayed

  • 1927

    GS 009

    The Artist's Father (flat and engraved)

    Bronze

  • 1927

    GS 291

    Head of the Artist’s Father

    Plaster, red chalk

    At first the head was created by making a cast of an initial clay or Plasticine model. Subsequently,

  • 1927

    GS 005

    The Couple

    Bronze

    The sculpture testifies to Giacometti’s engagement with African tribal art. The formal syntax –

  • c. 1927/1928

    GS 132

    Head

    Pen in brown on paper

    The drawing is an interesting testimony to Giacometti’s quest for an elemental depiction of the

  • 1928

    GS 011

    Gazing Head

    Bronze

    This bronze after the famous plaster sculpture of 1928 (see the version in the Alberto Giacometti

  • 1928

    GS 012

    Gazing Head

    Marble

    ‘Tête qui regarde’ and the other disc-shaped sculptures are Giacometti’s first entirely independent

  • 1928

    GS 169

    Gazing Head (Study)

    Plaster

    Study for the following ‘Tête qui regarde’ (see GS 010), with positive projecting elements on the

  • 1928

    GS 010

    Gazing Head

    Plaster

    With ‘Tête qui regarde’ and the other disc-shaped sculptures (see GS 011, GS 012 and GS 169),

  • 1928/1929

    GS 159

    Standing Woman

    Bronze

    The strict frontality that distinguishes this disc sculpture from the others and the diaphanous

  • 1928/1929

    GS 013

    Woman

    Marble

  • c. 1928

    GS 374

    Portrait of Alberto Giacometti

    Oil on canvas

    Giovanni Giacometti (1868–1933)

  • 1929

    GS 016

    Reclining Woman

    Bronze

  • 1929

    GS 014

    Woman

    Bronze, patinated in a gold tone

    The various ‘Femmes’ that followed the ‘Tête qui regarde’ differ from it fundamentally in their

  • 1929

    GS 017

    Reclining Woman Who Dreams

    Bronze, painted white

    The sculpture transposes the theme of the Cubist ‘Composition (Couple couché)’ into the formal type

  • 1929

    GS 015

    Reclining Woman

    Plaster

  • 1929

    GS 296

    Woman

    Plaster

    ʻFemmeʼ was created as a cast of a preceding model made using a multi-part negative plaster mould

  • 1929

    GS 018

    Man (Apollo)

    Bronze

    This work was originally executed only in plaster, but Giacometti’s New York gallerist Pierre

  • c. 1929/1930

    GS 258

    The Artist’s Father I

    Plaster

    In 1927 in the Val Bregaglia, Alberto Giacometti created a series of heads based on his father, the

  • 1930

    GS 259

    Head of Bruno

    Plaster

    The subject is Bruno, Giacometti’s youngest brother. Even during his avant-garde phase from 1925 to

  • 1930

    GS 097

    Landscape Near Samedan

    Pen in brown ink on thin paper

    According to Bruno Giacometti, his brother had an operation on his appendix in Samedan Hospital in

  • 1930

    GS 293

    Head of Bruno

    Plaster

    The head was created as a cast of ʻTête de Brunoʼ (see GS 259), the preceding plaster model, using a

  • 1930

    GS 183

    Alberto Giacometti (Study)

    Oil on canvas

    Hans Stocker (1896–1983)

  • 1930

    GS 165

    Tidy

    Plaster

    The concept espoused by the Surrealists, that works of art should depict phenomena from the

  • 1930

    GS 019

    Suspended Ball

    Plaster and metal

    When André Breton and Salvador Dalí discovered the ‘Boule suspendue’ in 1930, they were so

  • 1930/1931

    GS 020

    Project for a Passageway (Maquette)

    Plaster

    ‘Projet pour un passage’ testifies to Giacometti’s engagement with the culture of sub-Saharan

  • 1930/1931

    GS 252

    Element from the ʻProjet pour une placeʼ

    Plaster

  • c. 1930

    GS 277

    Portrait of a Bearded Man

    Pencil on paper

  • c. 1930

    GS 277.verso

    Portrait

    Pencil on paper

  • 1931

    GS 260

    Disagreeable Object, to Be Thrown Away

    Plaster

    The Surrealists sought to close the gap between art and life, allowing imagined objects to invade

  • 1931

    GS 297

    Disagreeable Object

    Plaster

    ʻObjet désagréableʼ was created as a cast of a preceding model made using a multi-part negative

  • 1931

    GS 416

    Disagreeable Object, to Be Thrown Away

    Bronze

  • c. 1931

    GS 131

    Project for a Sculpture

    Pen in brown on paper

    The design belongs with the Surrealist display models and game boards. No finished version is known

  • c. 1931

    GS 167

    Studio with Sculpting Stand

    Graphite pencil on paper

    An unusual and important work that, in many respects, looks ahead to the mature drawings, especially

  • 1932

    GS 022

    Caught Hand

    Wood and metal

  • 1932

    GS 024

    Flower in Danger

    Wood, plaster, wire and string

    Giacometti had his Surrealist plasters executed in wood by the Basque art carpenter Ipústegi. The

  • 1932

    GS 021

    Point to the Eye

    Plaster and metal

    ‘Pointe à lʼoeil’ is arguably the most complex of Giacometti’s ‘display models’ (Reinhold Hohl) of

  • 1932

    GS 023

    Woman with Her Throat Cut

    Bronze, patinated in a gold tone

  • c. 1932

    GS 178

    Sketch for Jean-Michel Frank

    Oil over graphite pencil on paper

    This is a decorative design, possibly for a carpet, that bears the influence of Joan Miró.

  • c. 1932

    GS 125

    Point to the Eye

    Pen in black on paper

    The drawing clearly belongs with the sculpture of the same name (see GS 021), though the precise

  • 1933

    GS 134

    Putting My Foot in It

    Copperplate engraving

    Probably Giacometti’s earliest etching, this work was intended as the frontispiece for René Crevel’s

  • 1933/1934

    GS 025

    Bronze

    Created towards the end of Giacometti’s time as a member of the Surrealist movement, ‘Cube’ is

  • 1933/1934

    GS 298

    Plaster, painted white

    ʻCubeʼ was created as a cast of a preceding model. Subsequently, it was slightly reworked by

  • 1933/1938

    GS 397

    Bookplate Edmond Bomsel II

    Etching

    From 1933 to 1938 Giacometti was an associate of Edmond Bomsel, general manager of the Le Sagittaire

  • 1934

    GS 026

    Head-Skull

    Plaster

  • c. 1934

    GS 299

    Large Head

    Plaster, partially painted

    The head was modelled directly in plaster and the area surrounding the eyes was temporarily painted

  • 1935/1936

    GS 294

    Head of Maria

    Plaster

    At first the head was created by making a cast of an initial clay or Plasticine model. Subsequently,

  • c. 1935

    GS 246.verso

    Portrait of a Young Man

    Graphite pencil on paper

  • c. 1935

    GS 300

    Head of Diego

    Plaster

    The head was created by making a cast of a preceding model using a multi-part negative plaster mould

  • c. 1935

    GS 391

    Lion’s Head

    Serpentine

    Diego Giacometti (1902–1985)

  • c. 1935

    GS 246

    Self-Portrait

    Graphite pencil on paper

    Later labelled ‘1937’, this work is the most impressive of a number of similar portraits created in

  • c. 1935

    GS 248

    Small Figurine

    Wood

    Giacometti carved this small wooden figure while walking in the mountains along with the ‘Figurine’

  • c. 1935

    GS 247

    Figurine

    Wood

    Alberto carved this small wooden figure while walking in the mountains along with the ‘Petite

  • c. 1935/36

    GS 233.01-11

    Spiral Pad

    Pencil

    The drawings in this sketchpad are valuable evidence of Giacometti’s first phase of return to

  • 1936

    GS 173

    Young Woman, Picking Fruit

    Bas-relief in plaster

    One of two decorative reliefs that Giacometti produced for Baron Roland de lʼEspée’s ‘Salle de

  • c. 1936

    GS 301

    Small Head of Rita

    Plaster, coated with sealant

    The head was created by casting the initial clay or Plasticine model using a multi-part negative

  • 1937

    GS 235

    Silvio. « Dessins dʼAlberto / 1937 II »

    Pencil

  • 1937

    GS 241

    Ottilia on Her Deathbed

    Pencil on Ingres-Paper

  • 1937

    GS 242

    Ottilia on Her Deathbed

    Pencil on Ingres-Paper

  • 1937

    GS 236

    Silvio. « Dessins dʼAlberto / 1937 »

    Pencil

  • 1937

    GS 234

    Silvio. « Dessins dʼAlberto / 1937 I »

    Pencil

  • c. 1937

    GS 303

    Head of Diego

    Plaster

    The head was created by casting the initial clay or Plasticine model using a multi-part negative

  • c. 1937

    GS 302

    Plaster, coated with sealant

    The head was created by casting the initial clay or Plasticine model using a multi-part negative

  • c. 1938

    GS 098

    Carafes and Flowers

    Pen and brown ink on thin paper

    Giacometti’s very characteristic, highly graphic-constructive style that emphasizes the unity of

  • c. 1939/1945

    GS 412

    Small Bust on a Double Base

    Plaster

  • c. 1939/1945

    GS 410

    Figurine on a Double Base

    Plaster

  • c. 1939/1945

    GS 411

    Small Figurine on a Base

    Plaster

  • 1940/41

    GS 360

    Small Man on a Base

    Bronze

  • c. 1940/1941

    GS 184

    Small Bust on a Double Base

    Bronze

    Ever since 1938, Alberto had been trying to capture the feeling of sudden awareness of an

  • 1942

    GS 186.verso

    Copy of the right-hand panel of Dürer’s ‘Four Apostles’

    Pencil on paper

  • 1942

    GS 413

    Copy from the Egyptian Fresco ‘The Garden of Ipy’

    Pen and ink on paper

  • 1942

    GS 186

    Copy after Konrad Witz 'Saint Bartholomew'

    Pencil on paper

  • 1943

    GS 304

    Silvio Standing (Hands in Pockets)

    Plaster

    The figure was created by casting the initial clay or Plasticine model using a multi-part negative

  • c. 1943

    GS 305

    Small Bust of Silvio on Plinth

    Plaster

    The figure was created by casting the initial clay or Plasticine model using a multi-part negative

  • 1945/1946

    GS 362

    Small Bust Marie-Laure de Noailles

    Bronze

  • c. 1945

    GS 308

    Small Bust of a Man

    Plaster

    At first the bust was created by making a cast of an initial clay model using a two-part negative

  • c. 1945

    GS 307

    Head of a Man

    Plaster

    The head — perhaps the fragment of a bust — was created by casting the initial clay model using a

  • 1946

    GS 253

    First publication of ‘Le rêve, le sphinx et la mort de T.’

    Magazine

  • 1946

    GS 245

    Manuscript ‘The Dream, the Sphinx and the Death of T.’

    Pencil, pen in brown, black and blue on squared paper

    Giacometti wrote short literary texts for the Surrealist magazines, some with vignettes or as

  • c. 1946

    GS 309

    Head of a Man on a Base

    Plaster

    ʻTête d’homme sur socleʼ was worked directly in plaster. On the left side of the base are the

  • c. 1946

    GS 363

    Head of Marie-Laure de Noailles on a Double Base

    Bronze

  • c. 1946

    GS 361

    Small Bust of Annette

    Bronze

  • c. 1946

    GS 306

    Small Bust of Annette

    Plaster, coated with sealant

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1947

    GS 280

    The Artist’s Mother

    Oil on canvas

    ‘La Mère de lʼartiste’ is one of Giacometti’s first completed works after his return to painting in

  • 1947

    GS 401

    Head of B on a Base

    Etching

    This print is a preparatory work for an etching to accompany Georges Bataille’s ‘Histoire de rats’

  • 1947

    GS 033

    Head on a Rod

    Plaster, painted

    The ‘Tête sur tige’ evokes the wondrous yet terrifying aspects of the new perception, which blends

  • 1947

    GS 399

    B Upright in a Cage

    Etching

    This print is a preparatory work for an etching to accompany Georges Bataille’s ‘Histoire de rats’

  • 1947

    GS 400

    Two Busts of B

    Etching

    This print is a preparatory work for an etching to accompany Georges Bataille’s ‘Histoire de rats’

  • 1947

    GS 029

    The Hand

    Bronze casting, iron, wood

  • 1947

    GS 031

    Tall Figure

    Bronze

  • 1947

    GS 398

    B Upright in a Cage

    Etching

    This print is a preparatory work for an etching to accompany Georges Bataille’s ‘Histoire de rats’

  • 1947

    GS 403

    Bust of B bare-breasted on a pedestal

    Etching

    This print is a preparatory work for an etching to accompany Georges Bataille’s ‘Histoire de rats’

  • 1947

    GS 030

    Walking Man

    Bronze

  • 1947

    GS 028

    The Hand

    Plaster and iron rod, painted

    This work evokes a wartime experience in 1940, when Alberto, Diego and the latter’s companion were

  • 1947

    GS 158

    Standing Young Girl, Nude

    Pencil on paper

    The drawing marks the start of the transition to Giacometti’s mature style.

  • 1947

    GS 402

    Head of B on a Base

    Etching

    This print is a preparatory work for an etching to accompany Georges Bataille’s ‘Histoire de rats’

  • 1947

    GS 032

    The Nose

    Painted plaster, rope, metal, wooden plate

  • 1948

    GS 036

    Standing Woman

    Bronze

  • 1948

    GS 034

    Three Men Walking

    Bronze

  • 1948

    GS 035

    Man Walking in the Rain

    Bronze

    The fragility of the striding man figure stretching upwards in the vertical plane is accentuated by

  • 1948

    GS 037

    Standing Woman

    Bronze

  • 1948

    GS 278

    Head of Pierre de Wissant (After Rodinʼs ʻBurghers of Calaisʼ)

    Pencil on a postcard

  • 1948

    GS 365

    Small Bust on a Base

    Bronze

  • 1948

    GS 348

    Standing Woman

    Plaster, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • c. 1948

    GS 310

    Bust of a Man on a Base

    Plaster, painted

    The bust was modelled directly in plaster on an armature embedded in the base. Subsequently,

  • 1949

    GS 038

    Man Crossing a Square

    Bronze

  • 1949

    GS 064

    Three Plaster Heads

    Oil on canvas

  • c. 1949

    GS 311

    Head with a Long Neck (Bust Hippolyte)

    Plaster, partially painted, coated with sealant

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1950

    GS 366

    Bust of a Man

    Bronze

  • 1950

    GS 243

    Envelope

    Pencil

  • 1950

    GS 041

    The Glade (City Square with 9 Figures)

    Bronze

  • 1950

    GS 243.verso

    Standing Women and Head (Taken from GS 224)

    Pencil

    Reverse of an envelope addressed by Bianca Giacometti to Odette Giacometti and franked in Rome on 21

  • 1950

    GS 040

    Four Figurines on a Stand

    Bronze, patinated in a golden tone, figures painted

    In this work, Giacometti sought to capture in depth the appearance of four female dancers at a great

  • 1950

    GS 042

    The Cage (Woman and Head)

    Bronze, painted

    In ‘La Cage’, Giacometti further developed his exploration of the relationship to reality, by

  • 1950

    GS 044

    The Chariot

    Bronze

  • 1950

    GS 039

    Four Women on a Base

    Bronze, painted

  • 1950

    GS 043

    Composition with Three Figures and a Head

    Bronze, painted

  • 1950

    GS 045

    Figurine in a Box Between Two Boxes That Are Houses

    Bronze, oil paint and glass

  • 1950/1955

    GS 404

    Skulptures

    Etching

  • 1951

    GS 358

    The Dog

    Plaster, coated with sealant and release agent

    Due to technical necessities, some of Giacometti`s larger plasters had to be divided into several

  • 1951

    GS 047

    Dog

    Bronze

    Giacometti often recalled how he had long thought about sculpting a dog. Then, returning home late

  • 1951

    GS 046

    The Cat

    Bronze

  • 1951

    GS 065

    Annette

    Oil on canvas

    Giacometti met Annette Arm (Geneva 1923–Paris 1993) in Geneva during the war in 1943. From 1946

  • c. 1951

    GS 312

    Large Bust of Diego from Life

    Plaster, partially painted

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • c. 1951

    GS 313

    Head of Diego

    Plaster, pencil

    The head was probably created by making a cast of an initial clay model using a two-part negative

  • c. 1952

    GS 339

    Plaster, partially painted

    The figure was created by casting the initial clay or Plasticine model using a two-part negative

  • c. 1952

    GS 340

    Plaster

    The figure was created by casting the initial clay or Plasticine model using a two-part negative

  • 1953

    GS 341

    Small Monster I

    Plaster, coated with sealant

    The figure was created by casting the initial clay or Plasticine model using a two-part negative

  • 1953

    GS 049

    Nude (Figurine on a Cube)

    Bronze, painted

  • 1953

    GS 342

    Small Monster II

    Plaster

    The figure was created by casting the initial clay or Plasticine model using a two-part negative

  • 1953

    GS 048

    Standing Nude III

    Bronze

  • 1953

    GS 054

    Diego in a Sweater

    Bronze

    Giacometti’s production of busts depicting his brother peaks in 1953–54; here the concentration on

  • 1953

    GS 050

    Diego in a Jacket

    Bronze

  • c. 1953

    GS 317

    Bust of a Man

    Plaster, coated with sealant

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • c. 1953

    GS 316

    Head of Diego II (Mask)

    Plaster

    At first ʻTête de Diego IIʼ was created by making a cast of the initial clay or Plasticine model

  • c. 1953

    GS 318

    Bust of Diego

    Plaster, coated with sealant and release agent

    The plaster was created by casting the initial clay model using a two-part negative plaster mould

  • c. 1953/1954

    GS 320

    Fragment of Head

    Plaster, painted

    The head was created by casting the initial clay model using a two-part negative plaster mould (lost

  • c. 1953/1954

    GS 319

    Head of a Man

    Plaster, painted

    The head — perhaps a fragment of a figure — is modelled directly in plaster on an iron armature.

  • 1954

    GS 344

    Standing Woman Without Arms

    Plaster, coated with sealant and release agent

    ʻFemme debout sans brasʼ was created by casting the initial clay model using a two-part negative

  • 1954

    GS 053

    Nude from Life

    Bronze

    In 1953–54 Giacometti created a large number of standing female figures in this format based on

  • 1954

    GS 315

    Bust of Diego

    Plaster, painted, coated with sealant

    At first the bust was created by making a cast of the initial clay model using a two-part negative

  • 1954

    GS 051

    Large Head of Diego

    Bronze

    This unusually large bust of Giacometti’s brother Diego is the most pronounced example of the

  • 1954

    GS 052

    Standing Nude without Arms

    Bronze

  • 1954

    GS 174

    Graphite pencil on paper

    The writer and biographer James Lord came to Europe as a GI and returned after the war to Paris,

  • 1954

    GS 066

    Portrait of Peter Watson

    Oil on canvas

  • c. 1954

    GS 405

    Two Busts and Canvas with Standing Woman

    Etching

  • c. 1954

    GS 314

    Bust of a Man (On a Rod)

    Plaster, partially painted

    The bust was initially created by casting the original clay model using a negative plaster mould

  • c. 1954

    GS 343

    Standing Woman No. 8

    Plaster, coated with sealant

    ʻFemme debout no. 8ʼ was created by casting a preceding model using a gelatine mould. The preceding

  • 1955

    GS 322

    Bust of Diego from Life

    Plaster

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1955

    GS 408

    Homage to Derain (Portrait of Iturrino I)

    Etching

    The etching was made after an illustration from the catalogue of the exhibition ‘Derain’ at the

  • 1955

    GS 414

    The Dresser in Stampa

    Graphite pencil on paper

  • 1955

    GS 055

    Bust of Diego

    Bronze

  • 1955

    GS 407

    Homage to Derain (Portrait of Derain)

    Etching

    The etching was made after an illustration from the catalogue of the exhibition ‘Derain’ at the

  • 1955

    GS 409

    Homage to Derain (Portrait of Iturrino II)

    Etching

    The etching was made after an illustration from the catalogue of the exhibition ‘Derain’ at the

  • 1955

    GS 406

    Flower bouquet and two Portraits III

    Etching

  • c. 1955

    GS 321

    Bust of Diego from Life

    Plaster

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1956

    GS 352

    Woman of Venice III

    Plaster, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • 1956

    GS 375

    Bust of a Man

    Bronze

  • 1956

    GS 350

    Standing Woman No. 11

    Plaster, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • 1956

    GS 353

    Woman of Venice IX

    Plaster, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • 1956

    GS 056

    Woman of Venice VIII

    Bronze

    In around 1953, after the wafer-thin, ‘visionary’ figures of the 1947 to 1950 period, Giacometti

  • 1956–1958

    GS 058

    Head of a Man on a Rod (Diego)

    Bronze

  • 1956/1958

    GS 060

    Head on a Rod (Diego)

    Bronze

  • 1956/1958

    GS 057

    Male Head on a Rod (Diego)

    Plaster

  • c. 1956

    GS 345

    Standing Woman

    Plaster

    ʻFemme deboutʼ was created by casting the initial clay model using a two-part negative plaster mould

  • c. 1956

    GS 351

    Standing Woman

    Plaster, partially painted, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • c. 1956

    GS 349

    Standing Woman Without Arms

    Plaster, partially painted

    ʻFemme debout sans brasʼ was created by casting the initial clay model using a two-part negative

  • 1957

    GS 067

    Portrait of G. David Thompson

    Oil on canvas

    G. David Thompson (1898–1965), a Pittsburgh steel magnate, assembled one of the most important

  • 1957

    GS 324

    Bust with Large Eyes

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1957

    GS 323

    Bust of Diego

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1957

    GS 417

    Maloja (View over the Lake)

    Lithograph

  • 1957

    GS 059

    Male Head on a Rod (Diego)

    Plaster

    Sculpture GS 060 was cast from this plaster.

  • 1957

    GS 068

    Portrait of Isaku Yanaihara

    Oil on canvas

    Isaku Yanaihara (1918–1989) came to Paris from Japan in 1954 to study existentialist philosophy.

  • 1957–1960

    GS 168

    Living Ashes, Unnamed

    50 etchings

    50 etchings created between 1957 and 1960 to accompany Michel Leirisʼs text ‘Vivantes cendres,

  • c. 1957

    GS 160

    The Studio in Stampa

    Oil on canvas

    In the last years of his life, Giacometti worked quite often in the studio he had taken over from

  • 1958

    GS 256

    Portrait of the Artist's Mother

    Oil on canvas

  • 1958

    GS 326

    Bust with Large Nose

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1958

    GS 061

    The Leg

    Bronze

  • 1958–1965

    GS 172

    Paris Without End

    Chalk lithographs on Vélin dʼArch paper

    Album with 150 b/w chalk lithographs, published by Tériade (Edition Verve), Paris 1969, print run:

  • c. 1958

    GS 327

    Bust of a Man

    Plaster, partially painted

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • c. 1958

    GS 237

    Sketchbook (oeuvre catalogue)

    Pencil till fol. 20, partly overdrawn with ballpoint pen: 2r, 3r, 4r, 5r, 8r, 9r, 10r; blue ballpoint from 21 onwards, further: 7r; in black from page 36.

    Only one sketchbook from the post-war period is preserved; in it, in 1958, Giacometti compiles a

  • c. 1958

    GS 325

    Head without Skull

    Plaster, coated with sealant

    The bust was created by casting the initial clay model using a negative plaster mould (lost mould).

  • 1959/1960

    GS 328

    Bust of Diego

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1960

    GS 355

    Tall Woman I

    Plaster, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • 1960

    GS 354

    Walking Man I

    Plaster, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • 1960

    GS 329

    Large Head I

    Plaster, partially painted, coated with sealant and release agent

    The massive head is modelled directly in plaster on an iron armature. From 1960, the plaster served

  • 1960

    GS 357

    Tall Woman IV

    Plaster, partially painted, coated with sealant and release agent

    Due to technical necessities, some of Giacometti's larger plasters had to be divided into several

  • 1960

    GS 356

    Tall Woman III

    Plaster, partially painted, coated with sealant and release agent

    In 1958 Giacometti was invited to create a sculpture for the plaza in front of the Chase Manhattan

  • 1960

    GS 369

    Tall Woman II

    Bronze

  • 1961

    GS 330

    Bust of Diego

    Plaster

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • c. 1961

    GS 346

    Standing Figure with Broken Shoulder (Second Version)

    Plaster, partially painted, coated with sealant and release agent

    The figure was worked directly in plaster on a wire armature, after which some black brush strokes

  • c. 1961/1964

    GS 077

    Small Nude

    Oil on canvas

  • 1962

    GS 332

    Annette VIII

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1962

    GS 331

    Annette VI

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • c. 1962

    GS 129

    Living Room in Stampa

    Pencil on paper

  • c. 1962

    GS 162

    Black and white photograph

    Unbekannte/r Fotograf/in

  • c. 1962

    GS 251

    Portrait Caroline

    Ballpoint on paper

  • 1963

    GS 106

    The Artist’s Mother, Seated II

    Lithographic chalk on BFK-Rives paper

  • 1963

    GS 171

    Head of a Man (Diego)

    Lithographic chalk

  • 1963

    GS 279

    Still-Life (Espresso Cup and Glass)

    Ballpoint on paper

  • 1963

    GS 120

    Head of a Young Man

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 109

    The Artistʼs Mother, Seated I

    Lithographic chalk

  • 1963

    GS 113

    The Artist’s Mother, Reading III

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 110

    The Artistʼs Mother at the Window

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 111

    Living Room in Stampa

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 115

    Face of the Artist’s Mother

    Lithographic chalk

  • 1963

    GS 118

    Bust of a Man

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 114

    Landscape with Trees in Stampa

    Lithographic chalk

  • 1963

    GS 123

    Disturbing Object II

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 130

    Man and Sun

    Blue ballpoint on paper

  • 1963

    GS 108

    The Artist’s Mother, Reading I

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 119

    Self-Portrait

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 112

    The Hanging Lamp in Stampa

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 124

    Standing Man and Sun

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 116

    Head of a Man (Diego)

    Lithographic chalk on Fabriano paper

  • 1963

    GS 107

    The Artist’s Mother, Reading II

    Lithographic chalk

  • 1963

    GS 121

    In the Mirror

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • 1963

    GS 117

    Head of a Man (Diego)

    Lithographic chalk

  • 1963

    GS 122

    Disturbing Object I

    Lithographic chalk on ʻBFK-Rivesʼ paper

  • c. 1963

    GS 101

    Hotel Room I

    Pencil on ʻBFK-Rivesʼ paper

    Drawings GS 101–105 were probably made during preparations for the major exhibition at the Kunsthaus

  • c. 1963

    GS 105

    Hotel Room V

    Pencil on ʻBFK-Rivesʼ paper

    Drawings GS 101–105 were probably made during preparations for the major exhibition at the Kunsthaus

  • c. 1963

    GS 102

    Hotel Room II

    Pencil on ʻBFK-Rivesʼ paper

    Drawings GS 101–105 were probably made during preparations for the major exhibition at the Kunsthaus

  • c. 1963

    GS 104

    Hotel Room IV

    Pencil on ʻBFK-Rivesʼ paper

    Drawings GS 101–105 were probably made during preparations for the major exhibition at the Kunsthaus

  • c. 1963

    GS 103

    Hotel Room III

    Pencil on ʻBFK-Rivesʼ paper

    Drawings GS 101–105 were probably made during preparations for the major exhibition at the Kunsthaus

  • c. 1963

    GS 099

    Self-Portrait

    Pencil on ʻBFK-Rivesʼ paper

  • 1964

    GS 070

    Male Head II (Diego)

    Oil on canvas

  • 1964

    GS 072

    Male Head (III) (Diego)

    Oil on canvas

  • 1964

    GS 335

    Bust of a Man, Chiavenna II

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1964

    GS 075

    Portrait of Nelda

    Oil on canvas

    The portrait shows Nelda Negrini from Stampa, who modelled for three paintings by Giacometti. Her

  • 1964

    GS 334

    Bust of a Man, Chiavenna I

    Plaster, coated with sealant and release agent

    The bust was probably created as a cast from a preceding model using a gelatine mould. The initial

  • 1964

    GS 069

    Head of a Man I (Diego)

    Oil on canvas

    As Giacometti depicts the act of seeing in his work, every viewer re-invokes the enigmatic presence

  • 1964

    GS 076

    Portrait of Annette

    Oil on canvas

  • 1964

    GS 073

    Head of a Man IV (Diego)

    Oil on canvas

  • 1964

    GS 074

    Portrait of Annette with Yellow Blouse

    Oil on canvas

  • 1964

    GS 181

    Portraits René Wehrli (Sketches)

    Ballpoint on envelope

    René Wehrli was the Director of the Kunsthaus Zürich from 1950–1975.

  • 1964

    GS 071

    Portrait of Maurice Lefèbvre-Foinet

    Oil on canvas

    Maurice Lefèbvre-Foinet was a well-known Parisian dealer in artists’ requisites who also supplied

  • 1964

    GS 336

    Bust of Diego

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1964

    GS 333

    Annette IX

    Plaster, coated with sealant and release agent

    The bust was created using the gelatine mould method. The initial model was clay. The surface

  • c. 1964/1965

    GS 337

    Bust of Diego

    Plaster, partially painted

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 4/8/1964

    GS 133

    Letter from Alberto Giacometti to A.H. Meyer, dated Paris 8.4.64

    Ballpoint on paper

  • 1965

    GS 373

    Bronze

    The photographer Eli Lotar was a long-standing acquaintance of Giacometti’s. In his youth he worked

  • 1965

    GS 371

    Diego, Seated

    Bronze

  • 1965

    GS 392

    Alberto Giacometti’s art tools: Caliper, painter’ s palette and pocket

    Oil on panel

  • 1965

    GS 347

    Standing Woman Without Arms

    Plaster

    'Femme debout sans bras' was created by casting the initial clay model using a two-part negative

  • 1965

    GS 415

    Bronze

    The French photographer Eli Lotar (1905−1969) was an old acquaintance of Giacometti’s who in his

  • 1965

    GS 372

    Bust of a Man New York II

    Bronze

  • 1965

    GS 338

    Plaster, coated with sealant and release agent

    The bust was created by casting the initial clay model using a two-part negative plaster mould (lost

  • 1965

    GS 250

    Bronze

    The photographer Eli Lotar was a long-standing acquaintance of Giacometti’s; in his youth he worked

  • 1966

    GS 378

    Pigeon

    Plaster

    Diego Giacometti (1902–1985)

  • 1966

    GS 379

    Pigeon?

    Plaster

    Diego Giacometti (1902–1985)

  • c. 1982/1985

    GS 238

    Sketchbook

    70 sheet; pen in ink: 1–4r, 5r–15; ballpoint: 4v, 5r, 11, 14v, 19v–31; charcoal: 16v, 17v–19r; pencil: 17r; empty from fol. 32

    Diego Giacometti (1902–1985)

  • 1993

    GS 182

    Giacometti’s Studio in Paris

    Colour lithograph

    Andreas His (1928–2011)

  • undated

    GS 385

    Bird With Wings Outstretched

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 261

    Illustrated book

    This book contains no illustrations. The book is held in the library of the Kunsthaus Zürich with

  • undated

    GS 380

    Woman with Bent Left Arm

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 199

    Pencil on paper

    Illustrated book with copies after Conrad Witz and Albrecht Dürer. – Sketch on p. 514: schematic

  • undated

    GS 197

    This book contains no illustrations. The book is held in the library of the Kunsthaus Zürich with

  • undated

    GS 267

    Pencil and ballpoint pen on paper

    Illustrated book with 4 drawings. – On outside front cover: a head front-on, a head in profile,

  • undated

    GS 265

    Ballpoint pen on paper

    Illustrated book with 9 drawings. – p. 9: three heads. – p. 16: small head. – p. 17: marginal

  • undated

    GS 263

    Pencil on paper

    Illustrated book with 19 drawings. – p. 5: two heads (cursory sketches, early). – p. 37: standing

  • undated

    GS 198

    Illustrated book

    This book contains no illustrations. The book is held in the library of the Kunsthaus Zürich with

  • undated

    GS 208

    Pencil on paper

    Illustrated book with 2 drawings. – On the inside front cover: three floating figures in the picture

  • undated

    GS 211

    Pencil and red crayon on paper

    Illustrated book with 3 drawings. – p. 2: trees and fence. – p. 6, bottom: 3 circles with a dot in

  • undated

    GS 212

    Pencil and ink on paper

    Illustrated book with one drawing. – Pencil drawing on the front flyleaf: head. – On the rear

  • undated

    GS 200

    Pencil on paper

    Illustrated book with one drawing. – With margin notes on p. 45. – p. 108: copy after fig. 71 ‘Tumba

  • undated

    GS 268

    Ballpoint pen on paper

    Illustrated bood with 5 drawings. – Inside front cover: ‘Silvio 022/50.14.79’ (apparently his

  • undated

    GS 383

    Small Crouching Man

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 207

    Pencil on paper

    Illustrated bood with 5 drawings. – p. 43: figure (bishop). – p. 49: large copy after fig. on p.

  • undated

    GS 210

    Ballpointpen and ink on paper

    Illustrated book with 2 drawings. – p. 560 (in ballpoint pen): still life with cup. – Drawing on

  • undated

    GS 201

    Pencil on paper

    Illustrated book containing copies of a Madonna from Lower Bavaria and a crucifixion group from the

  • undated

    GS 206

    Pencil and ballpoint pen on paper

    Illustrated book with 3 drawings. – On the rear endpaper (ballpoint pen and pencil), rear flyleaf,

  • undated

    GS 270

    Pencil and ballpoint pen on paper

    Illustrated book with 2 drawings. – On the flyleaf: bottle and glass (beautiful). – pp. 52–53: small

  • undated

    GS 214

    Ballpoint pen and ink on paper

    Illustrated book with 2 drawings on the front and rear flyleaves (blue ballpoint pen, rear also

  • undated

    GS 264

    Pencil on paper

    Illustrated book. – Next to plate 89: copy of a crane from plate 90: Nôami, Japan, 15. Jh., Reiher,

  • undated

    GS 213

    Pencil on paper

    Illustrated book with 6 drawings. – On the rear flyleaf: head. – p. 9: coffee pot. – Margin notes on

  • undated

    GS 262

    Ballpoint pen on paper

    Illustrated book with one drawing on the front flyleaf: still life with bottle, plates and glasses,

  • undated

    GS 420

    Black and white photograph and envelope

    Unbekannte/r Fotograf/in

  • undated

    GS 192

    Pencil on paper

    Illustrated book. – Pencil drawing on plate II: copy ‘Das Talismantor in Baghdâd’. – Pencil sketches

  • undated

    GS 421

    Three Figures Outdoors

    With topcoat coloured black and white photography

    Black and white photograph by Marc Vaux after a 1929 plaster by Giacometti (now lost); coloured

  • undated

    GS 386

    Mouse

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 269

    Ballpoint pen on paper

    Illustrated book with 6 drawings. – p. 1: large head, intensive. – p. 5: large head, intensive. – p.

  • undated

    GS 204

    Pencil and ballpoint pen on paper

    Illustrated book with 14 drawings. – p. 8: copy after plate 2 ‘Bartholomäus Spranger: Venus und

  • undated

    GS 266

    Ballpoint pen on paper

    Illustrated book. – p. 17: Female nude. – p. 21: Heads. – p. 50: Head and notations: «

  • undated

    GS 189

    Pencil on paper

    Illustrated book with 7 drawings. – Drawings on the front and rear flyleaves: cabinet with busts,

  • undated

    GS 195

    Pencil on paper

    Illustrated book with 3 drawings. – Sketches on p. 7: 2 figures. – Sketch on p. 7: Brustbild. – p.

  • undated

    GS 190

    Pencil and ballpoint pen on paper

    Illustrated book. – Drawing on half-title page: two heads (ballpoint pen). – Sketches as marginalia

  • undated

    GS 271

    Blue ballpoint pen on paper

    Illustrated book with 4 drawings. – p. 1: still life on a writing desk (with rear drawers: probably

  • undated

    GS 215

    Study after two Apostles from the George Choir Barrier inside the Bamberg Cathedral

    Pencil on paper

  • undated

    GS 193

    Illustrated book with 27 drawings. The book by Georg Graf Vitzhum and W.F.Volbach (Wildpark-Potsdam

  • undated

    GS 381

    Woman with Bent Right Arm

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 384

    Owl

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 191

    Pencil and ballpoint pen on paper

    Illustrated book with 8 drawings. – Pencil drawing on the reverse of plate XXI. – Drawing on p. 395

  • undated

    GS 382

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 194

    Pencil on paper

    Illustrated book with 4 drawings. – Drawing on half-title page. – Sketch on p. 15: schematic copy of

  • undated

    GS 203

    Pencil on paper

    Illustrated book with 6 drawings. – p. 109: sketch of ‘Homme qui marche sous la pluie’ (from the

  • undated

    GS 387

    Salamander

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 205

    Pencil on paper

    Illustrated book with 3 drawings. – p. 229: sketch of the face after fig. 240 ‘G. L. Bernini:

  • undated

    GS 188

    Pencil on paper

    – p. 51: copy after fig. 56 ‘Negerskulptur’ and sketch of an ornament. – p. 53: copy of the frieze

  • undated

    GS 244

    Sketch for a Hanging Lamp

    Pen on paper

    Diego Giacometti (1902–1985)

  • undated

    GS 202

    Illustrated book

    This book contains no illustrations. The book is held in the library of the Kunsthaus Zürich with

  • undated

    GS 388

    Doorhandle in the Form of a Leg

    Plaster

    Diego Giacometti (1902–1985)

  • undated

    GS 254

    Pencil on paper

    Illustrated book with 39 drawings. – On title page: standing figure on a pedestal and a bust; at the

  • undated

    GS 209

    Pencil and pen on paper

    Illustrated book with 14 drawings. On nine pages: figures in costume, sketches after a violinist