Diego Giacometti

Acquired directly from the artist on September 27, 1970

Françoise Francisci, Diego Giacometti, Catalogue de l'oeuvre, vol. I, Paris, 1986, illustration of another cast bearing a tray p. 19
Daniel Marchesseau, Diego Giacometti, Paris, 1986, illustration of the plaster p. 120
François Baudot, Diego Giacometti, New York, 2001, illustration of another cast bearing a tray p. 79

Work is in excellent condition. Mottled reddish brown patina. Underside is lined with felt. Surface is clean with a few pindot accretions near eyes and base of feet, otherwise fine.
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.

In 1929 Man Ray introduced Alberto Giacometti to the French interior designer Jean-Michel Frank. Frank's interest in Surrealism and in incorporating surrealist elements into interiors led to a number of collaborative commisions with both Alberto and Diego for lamps and numerous other accessories. After Alberto's death in 1966, Diego continued on in developing his own expression of design in a wide variety of furnishings and objects. The success of Diego Giacometti's designs culminated in the extraordinary work he did for the Musée Picasso at L'Hôtel Salé in Paris.

The Following four works, all with provenance back to the artist, exemplify Diego Giacometti's inimitable style and workmanship. Table en forme octagonale a prime example of Diego Giacometti's style as a designer and creator. The present work, in which a whimsical pictorial scene is staged below the glass surface, epitomizes the playfulness of Diego's oeuvre. While the two Guéridon aux bourgeons show his facilitiy of twining branches raised together from their trunk to delicately support the table's surface and Chat, mâitre d'hôtel stands at attention, his arms outstretched. As Robert Wernick writes, “Diego had very clear and simple ideas of what furniture should be like: simple, practical, comfortable, solid. What he built happened to also have a strength and grace, a wiriness and self-assurance that set it apart from any other furniture” (in Françoise Francisci, Diego Giacometti, Catalogue de l'oeuvre, vol. I, Paris, 1986, p. 20).