Man Ray

Alberto Giacometti, circa 1932
Silver gelatin print
3 1/4h x 2 1/2w inches

Estimate: €10,000 - 15,000

Madrid, Paris & Berlin, 2007-10, p. 97
Tokyo, 2010, no. 73

Zervos, 1932, p. 339 (variante)
Man Ray Portraits, 1963, n.p. (variante)
Tokyo, 1984, p. 58
Self Portrait, 1988, p. 203 (autre cadrage)
Turin, 1995, p. 138 (variante)
Centre Pompidou, 1996, p. 318 (variante)
Tokyo, 1996-97, p. 84 (variantes)
Milan, 1998, p. 110 (variante)

This print is in very good general condition. With a light mark near the upper right corner at the right edge.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

His deeply marked face with a grayish complexion, like medieval sculpture, was a fine subject for my photographic portraiture.

Man Ray met Giacometti in 1929 or 1930, and recalled that Giacometti “gave one the impression of a tortured soul. Always dissatisfied with his work, feeling he had carried it not far enough, or perhaps too far, he’d abandon it in his heaped-up little studio and start on an entirely new formula. When he turned to painting for a while, his colorless, line-searching figures seemed to express final resignation in a futile search for himself. Whatever direction he took, the work was always a positive expression – a perfect reflection of the man. He could talk with lucid, voluble brilliance – on many subjects. I liked to sit with him in a café and watch as well as listen to him. His deeply marked face with a grayish complexion, like medieval sculpture, was a fine subject for my photographic portraiture.” (Self Portrait, 1988, p. 203)