- Juan Gris
- Guitare et compotier
- Signed Juan Gris and dated 11-19 (lower left)
- Oil on canvas
- 24 by 28 3/4 in.
- 60 by 73 cm
Raoul La Roche, Paris
Léonce Rosenberg, Paris
Martin Janis, Buffalo, New York (by 1936)
Sidney Janis Gallery, New York
Acquired from the above in 1953
Buffalo, Albright Art Gallery, 1936, The Art of Today, no. 48
Cincinnati, Cincinnati Art Museum, Juan Gris, 1948, no. 31
San Francisco, San Francisco Museum of Art & Portland Art Museum, Picasso, Gris, Miró: The Spanish Masters of 20th Century Painting, 1948, no. 34, illustrated in the catalogue
L'Esprit Nouveau, Paris, February 1921, no. 5, illustrated p. 544
Cahiers d'Art, Paris, 1933, no. 5-6, illustrated
Christian Zervos, Historie de l'Art Contemporain, Paris, 1938, illustrated p. 294
D'Aci I D'Alla, Barcelona, 1934, illustrated p. 16
Daniel-Henry Kahnweiler, Juan Gris: His Life and Work, Paris, Stuttgart, London & New York, 1968-69, illustrated pl. 56 and p. 288
Juan Gris, (exhibition catalogue), University Art Museum, University of California, Berkeley, New York, 1983
Douglas Cooper, Juan Gris, Catalogue raisonné de l'œuvre peint (second edition), vol. II, Paris, 2014, no. 322, p. 536, illustrated in color
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Over the course of the 1910s, several artists would attempt to adopt the perspectival and compositional devices that the Cubist founders Braque and Picasso had started using at the end of the first decade, but few would be as highly regarded for their talent and vision as Gris. Recalling this period and her association with the Cubists, Gertrude Stein identified Gris as an artist of foremost importance among these cultural figures: "The only real Cubism is that of Picasso and Juan Gris. Picasso created it and Juan Gris permeated it with his clarity and exaltation" (Gertrude Stein, The Autobiography of Alice B. Toklas, New York, 1933, p. 111). Daniel-Henry Kahnweiler, who had been Gris’ dealer until his enforced exile from France at the outset of the war, furthermore provided the following analysis of Gris' particular Cubist style: "... [T]he emblems which Juan Gris invented 'signified' the whole of the object which he meant to represent. All the details are not present. The emblems are not comprehensible without previous visual experiences. . . The picture contains not the forms which have been collected in the visual memory of the painter, but new forms, forms which differ from those of the 'real' objects we meet within the visible world, forms which are truly emblems and which only become objects in the perception of the spectator" (Daniel-Henry Kahnweiler, Juan Gris: His Life and Work, London, 1947, p. 90).