- Juan Gris
- Le Broc
- Signed Juan Gris and dated 9-20 (lower left)
- Oil on canvas
- 18 1/8 by 13 in.
- 46 by 33 cm
Raoul La Roche, Paris
Galerie l'Effort Moderne (Léonce Rosenberg), Paris
André Lefèvre, Paris (acquired by 1946 and sold: Palais Galliéra, Paris, November 29, 1966, lot 80)
Family of André Lefèvre, Paris (acquired at the above sale and sold: Drouot-Richelieu, Paris, December 21, 2007, lot 155)
Private Collection (acquired from the above sale and sold: Sotheby's, London, June 22, 2011, lot 24)
Acquired from the above sale by A. Alfred Taubman
Paris, Galerie des Beaux-Arts, Les Créateurs du Cubisme, 1935, no. 48
Stockholm, Art espagnol contemporain, 1937
Paris, Musée National d'Art Moderne, Collection André Lefèvre, 1964, no. 106
Dortmund, Museum am Ostwall & Cologne, Wallraf-Richartz Museum, Juan Gris, 1965-1966, no. 64, illustrated in the catalogue
Waldemar George, Juan Gris, Paris, 1931, illustrated pl. 37
Daniel-Henry Kahnweiler, Juan Gris: sa vie, son œuvre, ses écrits, Paris, 1946, illus. pl. XXII
Douglas Cooper, Letters of Juan Gris, 1913-1927, London, 1956, no. CI, illustrated p. 8
Douglas Cooper, Juan Gris, catalogue raisonné de l'œuvre peint, Paris, 1977, vol. II, no. 343, illustrated p. 143, illustrated in color p. 568
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.
Writing about this period in Gris's painting, Douglas Cooper and Gary Tinterow wrote that he "abandoned the late 'synthetic' Cubist style that he had developed since 1916 in favor of a more fluid, 'poetic' style of painting, in which he preserved much of the essential pictorial discipline of Cubism and of his own methods of non-illusionistic representation which he had been developing from the start of his career. New stylistic features here are Gris's insistence on formal resemblances and contrasts, and his extensive use of formal 'rhymes', that is to say, the repetition of the same form [...] to signify different things" (D. Cooper & G. Tinterow in The Essential Cubism (exhibition catalogue), Tate Gallery, London, 1983, p. 178).