-
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
-
1945–1947
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.
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undated
GS 210
Ballpointpen and ink on paper
Illustrated book with 2 drawings. – p. 560 (in ballpoint pen): still life with cup. – Drawing on
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undated
GS 201
Pencil on paper
Illustrated book containing copies of a Madonna from Lower Bavaria and a crucifixion group from the
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undated
GS 206
Pencil and ballpoint pen on paper
Illustrated book with 3 drawings. – On the rear endpaper (ballpoint pen and pencil), rear flyleaf,
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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
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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
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undated
GS 264
Pencil on paper
Illustrated book. – Next to plate 89: copy of a crane from plate 90: Nôami, Japan, 15. Jh., Reiher,
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undated
GS 213
Pencil on paper
Illustrated book with 6 drawings. – On the rear flyleaf: head. – p. 9: coffee pot. – Margin notes on
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undated
GS 262
Ballpoint pen on paper
Illustrated book with one drawing on the front flyleaf: still life with bottle, plates and glasses,
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undated
GS 420
Photograph, b/w, and envelope
Unbekannte/r Fotograf/in
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undated
GS 192
Pencil on paper
Illustrated book. – Pencil drawing on plate II: copy ‘Das Talismantor in Baghdâd’. – Pencil sketches
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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
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undated
GS 386
Mouse Plaster
Diego Giacometti (1902–1985)
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undated
GS 269
Ballpoint pen on paper
Illustrated book with 6 drawings. – p. 1: large head, intensive. – p. 5: large head, intensive. – p.
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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: «
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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.
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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
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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)
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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
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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:
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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
