- Juan Gris
- 款識：藝術家簽名並紀年 Juan Gris 1-1917（右上）
- 21 3/4 x 18 1/4 英寸
- 55.1 x 46.2 公分
Dr. Ismar Littmann, Breslau (acquired by 1933)
Sale: Max Perl, Berlin February 26-27, 1935, lot 2470 (involuntary auction of the estate of the above)
Private Collection, Switzerland
Otto Gerson, New York and M. Knoedler & Co., New York
Otto Gerson, New York
Virginia Booth Vogel, Milwaukee, WI (acquired from the above on September 1, 1949)
Acquired by descent from the above
Douglas Cooper, Juan Gris, Catalogue raisonné de l'oeuvre peint, Paris, 2014, vol. 1, p. 364, no. 211, illustrated
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.
After his dealer, Daniel-Henry Kahnweiler, had been exiled from France at the outset of World War I, Gris developed an important friendship with another prominent dealer of Cubism - Léonce Rosenberg. A champion of Cubism, Rosenberg and his gallery in Paris played a vital role in the early stages of European Modernism. After passing through Rosenberg's gallery, the present work was acquired by Dr. Ismar Littmann. During a time when paintings of the avant-garde were not readily accepted by members of the bourgeoisie, the successful Dr. Littmann was a fearless collector. His collection ranged from Impressionist and Fauvist landscapes to Cubist still-lifes and masterworks of Neue Sachlichkeit. His foresight as a patron made his collection a target for the rising Nazi party in the early 1930s and his widow was forced to liquidate much of the collection after he took his own life.
Over a decade later, the work was acquired through Otto Gerson by Virginia Booth Vogel. Mrs Vogel was the daughter of Ralph and Mary Booth, prominent collectors in Grosse Pointe, Michigan who were instrumental in founding the Detroit Institute of Arts. She married William Dickerman Vogel in 1931 and later settled in Milwaukee. Mrs Vogel was a signficant benefactor to important institutions including the Milwaukee Arts Center and the National Gallery of Arts in Washington, D.C. Compotier et fruits sur un guéridon remained in family of Virginia Vogel and is being sold pursuant to a settlement agreement between the heirs of Dr. Littmann and the current owner.