WITH A SIGNED ETCHING BY GIACOMETTI

L’épervier.

Paris, Guy Lévis Mano, February 1960.

8vo, pp. [4 (blank)], [5]-40, [8 (blank)], with etched frontispiece signed and numbered in pencil by Giacometti; an excellent copy, unopened, in publisher’s printed wrappers, under glassine; sticker numbered ‘772’ to preliminary blank.

£12500

Approximately:
US $16209€13856

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First edition, limited to 530 copies, this being number 60 of 75 copies on vélin d’Arches, the only ones to include a scarce original etching by Alberto Giacometti, numbered and signed in pencil by the artist.

The Swiss sculptor, painter, and printmaker Alberto Giacometti (1901–1966) is undoubtedly one of the greatest artists of the twentieth century. Giacometti inherited his passion for art and printmaking from his father Giovanni, an accomplished Post-Impressionist artist. Although nowadays best known for his sculptures, Giacometti experimented throughout his life with a variety of printing techniques, including etching, engraving, aquatint and lithography. Following the Second World War, Giacometti began to focus on elongated single figures, often walking or standing, in different spatial situations, which Jean-Paul Sartre would celebrate as symbols of Existentialism. The etched frontispiece, depicting a walking woman with a standing man in the background, is a classic example of Giacometti’s favourite and most celebrated subject.

One of the three Ephémère poets close to Giacometti, Jacques Dupin (1927–2012) wrote and published several essays on Giacometti while director of publications for Galerie Maeght and, in 1962, the first monograph on the artist, as well as collecting his works and often visiting his studio. Giacometti had provided an etched frontispiece also for another one of Dupin’s poems, L’art poétique, published in 1956.

Lust 106.