Juan Gris

Galerie Simon, Paris
Jean Aron, Paris
Private Collection, Paris
Galerie Louise Leiris, Paris
Stephen Hahn, New York
Acquired from the above by the present owner in 1986

Paris, Galerie Simon, Juan Gris, 1923, no. 50
Vienna, Künstlerhaus, Französische Kunst der Gegenwart, 1926, no. 19
Paris, Musée du Jeu de Paume, L'Art espagnol contemporain, 1936, no. 104
Venice, XXVIII Biennale Internazionale d'Arte, 1956, no. 21
Mexico, Instituto Nacional de Bellas Artes, Museo Nacional de Arte Moderna, 1957
London, Marlborough Fine Art Ltd., Juan Gris. Retrospective Exhibition, 1958, no. 21, illustrated in the catalogue
Dortmund, Museum am Ostwall & Cologne, Wallraf-Richartz-Museum, Juan Gris, 1965-66, no. 77, illustrated in the catalogue
Milan, Galleria del Milione, Juan Gris, dipinti e disegni, 1968, no. 6, illustrated in the catalogue
Strasbourg, Ancienne Douane, L'Art en Europe autour de 1925, 1970, no. 67, illustrated in the catalogue
Tel Aviv, Tel Aviv Museum, Maîtres français du 20e siècle, 1971, no. 38, illustrated in the catalogue
Paris, Orangerie des Tuileries, Juan Gris, 1974, no. 97, illustrated in the catalogue
Baden-Baden, Staatliche Kunsthalle, Juan Gris, 1974, no. 83, illustrated in the catalogue
Colmar, Musée Unterlinden, Unterlinden I, 1975, no. 40
Madrid, Biblioteca Nacional, Juan Gris, 1985
London, Whitechapel Art Gallery; Stuttgart, Staatsgalerie & Otterlo, Rijksmuseum Kröller-Müller, Juan Gris, 1992-93, no. 106, illustrated in colour in the catalogue

Daniel-Henry Kahnweiler, Juan Gris: sa vie, son oeuvre, ses écrits, Paris, 1946, illustrated pl. XXX
Daniel-Henry Kahnweiler, Juan Gris: His Life and Work, London & New York, 1947, illustrated pl. 78
Douglas Cooper, Letters of Juan Gris, 1913-1927, London, 1956, no. CLXXVI; no. CLXXIX
Daniel-Henry Kahnweiler, Juan Gris: His Life and Work, Paris, Stuttgart, London & New York, 1968, illustrated p. 301
Gaya J. A. Nuño, Juan Gris, Barcelona & Paris, 1974, illustrated pp. 172-173
Douglas Cooper, Juan Gris. Catalogue raisonné de l'oeuvre peint, Paris, 1977, vol. II, no. 412, illustrated p. 239

Discussing Gris' paintings executed in 1923, Christopher Green wrote about the present work: 'The last paintings that Gris finished before his solo exhibition at the Galerie Simon in April 1923 included Seated Harlequin, The Three Masks and Open Window with Hills. All three are compositions which display elaborate rhyming structures […] in The Three Masks the rhymes are not merely elaborate, they are of a new, more all-pervasive kind; one can talk of major structural rhymes and minor shape rhymes, all of which overlap and fuse to set up shifting relationships of the greatest subtlety. Most obviously, the flanking Pierrots are each other in reverse. They are drawn together by a taut network of diagonals across a more surprising central rhyme between the head, hat and shoulders of the central Harlequin and a configuration below it made up of the Harlequin's hand (an echo of his head), and the right forearm of the figure on the left combined with the right hand and glass of the figure on the right (an echo of his shoulders). The minor rhymes bring into play the central glass, the turned chair backs, the folds of sleeves, table-cloth and curtain' (C. Green, in Juan Gris (exhibition catalogue), op. cit., 1992-93, p. 101).