Alberto Giacometti Stiftung: Collection

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

Torso

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

Pocket-Tray

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

Model/Project for a Passageway

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
1945–1947

GS 423

The Oven in the Studio

Graphite pencil on paper
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

Photograph, b/w, 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