106
106

PROPERTY FROM THE ESTATE OF JAN KRUGIER

Albert Gleizes
OVERLAND OR STUDY OF NEW YORK
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100,000 — 150,000
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LOT SOLD. 187,500 GBP
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106

PROPERTY FROM THE ESTATE OF JAN KRUGIER

Albert Gleizes
OVERLAND OR STUDY OF NEW YORK
Estimate
Artist's Resale Right
Purchase of lots marked with this symbol will be subject to the payment of the artist's resale right.
Double Dagger
Indicates that the lot is being sold whilst subject to Temporary Importation, and that VAT is due at the reduced rate
100,000 — 150,000
GBP
LOT SOLD. 187,500 GBP
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Details & Cataloguing

Impressionist & Modern Art Day Sale

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Albert Gleizes
1881 - 1953
OVERLAND OR STUDY OF NEW YORK
signed AlbGleizes and dated 16 (lower right)
oil on board laid down on cradled panel
80.1 by 65.8cm., 31 1/2 by 26 1/4 in.
Painted in New York in 1916.
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Provenance

Madame Bourdon, Paris
Sale: Drouot, Paris, 25th March 1990, lot 20
Purchased at the above sale by the late owner

Exhibited

New York, Montross Gallery, J. Crotti, M. Duchamp, A. Gleizes, J. Metzinger, 1916, no. 8 (titled Study of New York)
New York, Solomon R. Guggenheim Museum, Albert Gleizes (1881-1953), A Retrospective Exhibition, 1964, no. 88, illustrated in the catalogue

Literature

Anne Varichon, Albert Gleizes, Catalogue raisonné, Paris, 1998, vol. I, no. 751, illustrated in colour p. 257

Catalogue Note

In 1915, Albert Gleizes moved to New York with his wife, Juliette Roche, after being demobilised from army service. Spectacularly composed of vibrantly coloured and layered geometric forms, Overland is representative of the work the artist created during this period. Wholly captivated by the sounds, forms and colours of the city, the artist sought to capture these sensations within his paintings. As Peter Brooke and Christian Briend write, 'In the animated neighborhood around Broadway, it was the neon illuminated advertisements that caught the attention of Gleizes and inspired him to a very liberal extension of Cubist practice. The transparency effects and dynamic superimposing seem to recall the syncopated jazz rhythms of the music that Gleizes had also discovered upon his arrival in New York' (Peter Brooke & Christian Briend, Albert Gleizes, Le Cubisme en majesté, Musée des Beaux-Arts, Lyon & Musée Picasso, Paris, 2001, p. 82).
Fig. 1

Juliette Roche & Albert Gleizes in New York, 1917 (Fonds Gleizes, documentation du Musée National d’Art Moderne, Paris.)

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