Diego Giacometti

Pierre & São Schlumberger (acquired from the artist in October 1969)
Thence by descent

Michel Butor, Diego Giacometti, Paris, 1985, illustrations of another example pp. 109 & 125
Françoise Francisci, Diego Giacometti, Catalogue de l'oeuvre, vol. I, Paris, 1986, illustration of another example pp. 104-05
Daniel Marchesseau, Diego Giacometti, Paris, 1986, illustrations of another example pp. 84-85
Museum Bellerive, Diego Giacometti, Möbel und Objekte aus Bronze (exhibition catalogue), Zurich, 1987, no. 12, illustration of another example p. 38
Christian Boutonnet & Rafael Ortiz, Diego Giacometti, Paris, 2003, illustration in color of another example p. 71

Blackish brown patina. Some dirt in the deeper crevices and minor patina rubbing around the frogs' eyes. A bit of verdigris where the glass rests on the tops of the legs, otherwise fine. This work is in excellent condition.
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.

Diego Giacometti was not only the most innovative craftsman working in post-war Paris, but also an accomplished sculptor. Discussing Giacometti’s mastery of form and the distinct artistic qualities of his practices, Willy Rotzler writes: “Unlike ordinary furniture, each piece of Diego Giacometti’s work is first moulded in clay or plaster in the same manner as a work of sculpture. The pieces all bear the traces of the hand of the artist and the fingers that pressed and kneaded the soft material into the desired form” (Willy Rotzler, Diego Giacometti (exhibition catalogue), The Greenberg Gallery, St. Louis, 1985, p. 10). This idiosyncratic style of elegant, practical furniture wrought in bronze, often incorporated a magical menagerie of animals such as the frogs and owls found in Table basse trapezoïdale, modèle aux hiboux et aux grenouilles.

Following the death of Alberto in 1966, Diego gained independent notoriety for the first time and produced commissions for esteemed institutions such as The Picasso Museum in Paris, and distinguished private collectors such as his friends Aimé and Marguerite Maeght. These institutions and esteemed patrons were undoubtedly drawn to the fusion of jovial animals and pastoral flora, such as those found in the present lot, into functional household furnishings.