Juan Gris (1887-1927)
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Juan Gris (1887-1927)

Le gobelet

Juan Gris (1887-1927)
Le gobelet
oil on canvas
13 x 16 ¼ in. (33 x 41.2 cm.)
Painted between February and April 1927
Galerie Louise Leiris, Paris.
Galería Theo, Madrid.
José Sahgun, Caracas.
Anonymous sale, Sotheby's, London, 30 March 1988, lot 142.
Acquired at the above sale by the present owner.
J. A. Gaya Nuño, Juan Gris, Barcelona, 1984, no. 221, p. 197 (illustrated; dated '1926').
D. Cooper, Juan Gris, vol. II, Paris, 1977, no. 618, p. 434 (illustrated p. 435).
Paris, Galerie Louise Leiris, L'Atelier de Juan Gris, Peintures de 1926 et 1927, October - November 1957, no. 15 (illustrated).
London, Marlborough Fine Art Limited, Juan Gris, Retrospective Exhibition, February - March 1958, no. 49 (illustrated).
New York, Marlborough-Gerson Gallery, Artist and Mycenas: a tribute to Curt Valentin, 1963, no. 154 (illustrated; titled 'Goblet').
Dortmund, Museum am Ostwall, Juan Gris, October - December 1965, no. 97b; this exhibition later travelled to Cologne, Wallraf-Richartz Museum, December 1965 - February 1966.
Milan, Galleria del Milione, Juan Gris, dipinti e disegni 1911-1927, March - April 1968, no. 13.
Special notice
These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Lot Essay

'I work with the elements of the intellect, with the imagination. I try to make concrete that which is abstract. I proceed from the general to the particular, by which I mean that I start with an abstraction in order to arrive at a new fact. Mine is an art of synthesis, of deduction, as Raynal has said. [...] I consider that the architectural element in painting is mathematics, the abstract side; I want to humanise it. [...] Cézanne tends towards architecture, I tend away from it. That is why I compose with abstractions (colours) and make my adjustments when these colours have assumed the form of objects. For example, I make a composition with a white and a black and make adjustments when the white has become a paper and the black a shadow: what I mean is that I adjust the white so that it becomes a paper and the black so that it becomes a shadow.' (Gris, quoted in D.-H. Kahnweiler, Juan Gris: His Life and Work, London, 1969, p. 193).

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