Galerie Maeght, Paris

Private Colletion, USA (acquired from the above circa 1960)

Sa🌼le: Christie's, New York, November 6, 2007, lot 4

Acquired at the above sale

New York, Gagosian Gallery, Isabel and Oher Intimate Strangers. Portraits by Alberto Giacometti and Francis Bacon, 2008, illustrated in the catalogue

Very good condition. Original canvas. All four corners have been slightly retouched at the extreme edges. There are some very fine lines of retouching in the center of the composition, which correspond to a pattern of stable craquelure and are visible under ultra-violet light.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Giacometti's depictions of his studio capture the frenetic artistry that defined his creative process.  Between 1950 and 1954 he completed several canvases, drawings and lithographs that depicted the jumble of plaster sculptures, empty bottles, armatures, stretcher bars and wooden stools that crowded his workspace.  The ashen and tobacco-stained palette of the artist's paintings of this subject, including the present work, evoke the plaster dust that covered nearly every surface and the cigarette butts that he discarded all over the floor.  Alexander Liberman, who visited Giacometti's studio in the early 1950s, described the scene: "Under a big window is a long table entirely covered with squeezed tubes of paint, palettes, paintbrushes, rags and bottles of turpentine.  Like figures, the bottles stand shrouded in layers of dust chipped away from Giacometti's sculpture.  Here sculpture and painting mix intimately" (A. Liberman, The Artist and His Studio, New York, 1960, pp. 277-78).

Giacometti once quipped that only Francis Bacon had a messier studio than he did, perhaps indicative of a certain pride that he🎃 may have taken in his own permissive disorderliness. Yet, there are obvious elements of staging in these compositions that remind us of the artist's overall control of his environment.  We can see this in the present work, where a few strategically placed apples appear to the right of sculptural head to balance the composition.   The tension between order and disorder is at the heart of these compositions, and Giacometti's painting captures the beauty created by these forces in opposition.