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22

Augusto Giacometti

Herbst / L'autunno

VAT applies to hammer price and buyer's premium

Estimate:

300,000

to
- 500,000 CHF

Augusto Giacometti

Augusto Giacometti

Herbst / L'autunno

Herbst / L'autunno

Estimate:

300,000

to
- 500,000 CHF

Lot sold:

478,800

CHF

Augusto Giacometti

1877 - 1947

Herbst / L'autunno


Oil on canvas

Signed lower right;

signed and titled on the stretcher

61.5 x 63 cm (unframed); 73.8 x 74.5 cm (framed)

Executed in 1913


This work is registered in the Swiss Institute for Art Research (SIK-ISEA) under no. 181119 0018 and is accompanied by a certificate of authenticity. It will be included in the forthcoming Catalogue Raisonné of the artist currently being prepared.

The painting is in very good condition. The stretching appears to be original and both the stretcher and canvas are in good condition. Both the ground and paint layer appear to be in good condition, stable and well attached. Under ultraviolet light, minor retouching is visible in the brush strokes, mainly in the yellow paint. The white ground has been carefully inpainted throughout. A test revealed that the ground appears to be in good condition. The reason for this intervention might an attempt to brighten up the white ground. The surface appears to have been coated with a thin layer of what appears to be a synthetic varnish.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Antonio and Agata Giacometti (thence by descent)
Karl Henschen-Naef, Basel
Corporate collection, Switzerland
Acquired from the above by the present owner
Augusto Giacometti, Handschriftliches Werkverzeichnis, Manuskript, ca. 1892-1947 (document kept at the Swiss Institute for Art Research, HNA 13.1.3.38)
Erwin Poeschel, Augusto Giacometti, Monographien zur Schweizer Kunst, vol. 3, Zurich, 1928, p. 71
Hans Hartmann, Augusto Giacometti. Pionier der abstrakten Malerei. Ein Leben für die Farbe, Chur, 1981, no. 795

Basel, Kunsthalle, September-Ausstellung 1913, 1913, no. 152 or 157
Possibly Chur, Rätischer Volkshaussaal, Gemälde-Ausstellung Augusto Giacometti, 1913, no. 16
Possibly St. Moritz, Gemälde-Ausstellung einheimischer Künstler in St. Moritz, 1913-1914, no. 11
Zurich, Neue Galerie Neupert, 1913, no. 32

Augusto Giacometti stayed in Florence from 1902 to 1915. During this rich creative period, his styles shifted from large symbolist compositions to abstract landscapes, paintings of flowers and non-figurative scenes.

Between 1910 and 1914 Giacometti painted a series of works that were mainly square in composition, in order to give more balance to his paintings. Herbst / L'Autunno plunges us into a bright garden overgrown with flowers and trees. Although the organization of the composition is figurative, the colour scheme is reminiscent of the artist's abstract works. Simplified shapes highlighting single, bold colours prevail.

During this period Giacometti continued exploring neo-impressionist painting and applied colour like a mosaic of stones, in large, thick and pasted strokes, allowing areas of the light background canvas show through. The brushstroke is divided, and the colour is applied in small round spots, drawing inspiration from the earlier pointillism technique which constitute the essence of the painting.


This work has not been exhibited since the artist’s time and appears for the first time on the public market.