Diego Giacometti - The Collection of Halsey Minor New York Thursday, May 13, 2010 | Phillips

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  • Provenance

    Acquired directly from the artist; Christie's, Art Impressionniste et Moderne, Paris, May 23, 2007, Lot 128; L'Arc en Seine, Paris

  • Literature

    Michel Butor, Diego Giacometti, Paris, 1985, p. 33 for similar decorative tree motifs; Daniel Marchesseau, Diego Giacometti, Paris, 1986, p. 92

  • Catalogue Essay

    Is that the sun setting below trees or the moon rising through them? Regardless, it’s a crepuscular scene: the transition to dusk. Four cypresses catch the eye, but an owl enlivens at left, subverting their certainty—and ours. Although fixed in bronze, the bronze furniture of Swiss sculptor Diego Giacometti is never fixed; it moves from the memory of his hand, always evident along his trembling silhouettes and in the molded ornaments animating them: birds in flight; mice nibbling cheese; horses stretching necks; budding leaves.
     
    “The mournful cypress rises round / Tapering from the burial-ground,” wrote the Roman poet Lucan two thousand years ago (Frances Osgood ed., The Poetry of Flowers, New York, 1848, p. 161). Around 1978, as he approached his own twilight, Giacometti cast “Hommage à Böcklin” in tribute to Swiss symbolist painter Arnold Böcklin (1827-1901), whose dreamlike landscapes and voluptuous allegories seethe with mystery and dread. In Böcklin’s famous “Island of the Dead (Die Toteninsel),” painted in five versions between 1880 and 1886, a shrouded widow in a boat bears her husband’s coffin across a dark strait; his tomb yawns on a distant outcrop sheltered by cypresses.
     
    As Frances Osgood reminds us, “The cypress is the universal emblem of mourning…” (New York, 1848, p. 161). Cypress and owl herald the night— but it’s not yet dark. The carcass of Giacometti’s table, like an austere rock formation, holds in its precincts irrepressible life: a bower of trees, the heart of the sun, and everywhere the warbling hand of the artist.

  • Artist Biography

    Diego Giacometti

    Swiss • 1902 - 1985

    In 1935 Diego Giacometti took a holiday in Stampa, the Swiss town in which he grew up. The trip marked one of the first periods in which he was separated from his brother Alberto Giacometti, and perhaps in connection with having removed himself from the shadow of his brother's career, he began his first animal sculptures. It was shortly after this trip that the younger Giacometti also started making furniture, after patrons admired the stands he was crafting for his brother's sculptures. Diego modeled his maquettes in plaster (as opposed to clay or wax, which was the more common choice for sculptors) and cast his furniture in bronze, a departure from most metal furniture at the time, which was cast in iron. Illustrious clients included the Maeght and Noailles families as well as the decorator Jean-Michel Frank, who commissioned Alberto (assisted by Diego) to create plaster lighting and fireplace accessories.

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21

“Hommage à Böcklin” console

ca. 1978
Patinated bronze, glass, gilt bronze.
35 1/2 x 47 7/8 x 13 1/4 in. (90.2 x 121.6 x 33.7 cm).

Estimate
$150,000 - 200,000 

Sold for $602,500

The Collection of Halsey Minor

13 May 2010
New York