Portrait of the writer and publisher Ilia Zdanevitch 'Iliazd' - Le Célèbre Orbandal no.1 by Alberto Giacometti, 1901-1966

Alberto Giacometti, 1901-1966
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Portrait of the writer and publisher Ilia Zdanevitch 'Iliazd' - Le Célèbre Orbandal no.1

Original etching in black ink. 1962. Signed in pencil. From the total edition of 40 (no 15). Etched in Giacometti's studio and printed at the studio of Georges Visat,Paris from the unfaced plate. Issued by Iliazd in the series: Douze Portraits du Célèbre Orbandale, Paris 1962. Rare.
Ref: Lust - Giacometti Complete Graphics No.162

Excellent impression printed with the background clean-wiped. On pale cream handmade 'chine rustique' - slightly textured china paper, as issued. Excellent condition. Full 1 1/2 to 5 inch margins, as issued. Sheet: 336 x 173mm (13 1/4 x 6 5/8ins.) Plate: 137 x 102mm (5 3/8 x 4ins.)

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In the last period of Giacometti's life portraits became one of his most favoured pictorial themes. These were not so much studies of specific individuals as a universal expression. He spoke often about their purpose: ' I draw what I see and the feelings that are aroused by what I see' and went on to explain how he preferred to draw or paint only the head of the figure as attempting to show the whole person diluted his vision of their inner being. 'All that I could do was to make a part which would stand for the whole'.

In his portrait sculpture the clay was cut and sliced until only the central 'kernel' was left, all the energy and being of the person pulsating in the pared-down form. In the 1960's he turned increasingly to drawn portraits, approaching them in the same manner, so that there is a sense of confrontation when we look at them. It was also at this time that he found in etching, a technique that he had used since the 1930's, a medium in which the linear portrait was even more effective. The etched line was of its nature incisive, and the extreme complication of correcting any etched stroke forced him to add an even greater degree of concentration to every line. The fineness of the line itself also allowed for a greater sense of clarity and miniaturisation.

In 1962 he undertook to use his friend the writer and publisher Iliazd (Ilia Zdanevitch) as the model for a series of twelve portraits in etching. In these portraits the manner in which he used each stroke to cut down the shape of the head, seeming to pare it away almost before our eyes, and his exploitation of the delicacy but visual power of the etched stroke, reached a peak of achievement.

This series of portraits is very rare. It is particularly unusual to see the whole group together.