363
363

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Juan Gris
VERRE ET BOUTEILLE
Estimate
180,000250,000
JUMP TO LOT
363

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Juan Gris
VERRE ET BOUTEILLE
Estimate
180,000250,000
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

|
London

Juan Gris
1887 - 1927
VERRE ET BOUTEILLE
signed Juan Gris. and dated 22 (lower right)
oil on panel
27 by 16.1cm., 10 5/8 by 6 1/4 in.
Painted in 1922.
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Provenance

Galerie Simon, Paris (acquired by 1923)
Gustav Kahnweiler, London
Galería Artur Ramón, Barcelona
Acquired from the above by the present owner in 1995

Exhibited

Paris, Galerie Simon, Juan Gris, 1923, no. 42
Bern, Kunstmuseum, Juan Gris, 1955, no. 97

Literature

Juan Antonio Gaya-Nuño, Juan Gris, Paris, 1974, no. 400, illustrated p. 220
Douglas Cooper, Juan Gris, Catalogue raisonné de l'œuvre peint, Paris, 1977, vol. II, no. 402, illustrated p. 224

Catalogue Note

Painted in 1922, Verre et Bouteille is a bold and harmonious geometrical composition that was painted shortly after the artist’s return to Paris from Céret, where he had been forced to retreat due to his increasingly deteriorating health. It is testament to the artist’s turn in this period to a more poetic style of painting. Gris felt that his earlier works lacked a ‘sensitive and sensuous side’ and sought to create a more harmonious relationship between the forms of his forthcoming works. The present work is amongst his most successful attempts at this approach and illustrates a level of lyricism of forms unprecedented in his work. At the same time, it also reveals the renewed enthusiasm Gris began to feel after he returned to the Parisian artistic milieu that he so deeply missed in the secluded Céret.

This daring and rich depiction of that most iconic of Cubist subjects, a wine bottle and a glass, is particularly innovative in its embrace of pure and austere geometry. Completely abandoning his earlier modulations of shapes, Gris introduces wide, interlocking planes of uniformly saturated colour. While these are linked to the subjects they stand for – red to wine, green to the bottle, toned white to the glass, and brown to the table – they are freely interchanged and experimented with. No longer merely representing the objects they relate to in real life, the forms open a world of ambiguity. The fact that the entire composition is painted on a wooden board, evocative of the surface table depicted in the work, pushes the visual logic of this work to yet another level.  Gris thus transforms a humble everyday encounter into an intriguing riddle.

Impressionist & Modern Art Day Sale

|
London