Although these still-life objects are the same ones that appear in his prewar collages, here Gris worked in a classicizing style more in tune with wartime sobriety, creating a “new aesthetic based on the intellect,” as he wrote to his dealer Daniel-Henry Kahnweiler. Despite the seeming fidelity to nature in this still life, the strong diagonals and crystalline distillation of form betray Gris’s Cubist underpinnings. This illusionistic drawing is a study for a painting of an identical subject in a Cubist style (1918; private collection).
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Credit Line:Leonard A. Lauder Cubist Collection, Gift of Leonard A. Lauder, 2016
Accession Number:2016.237.5
Inscription: Signed and dated (lower left, in graphite): Juan Gris / 4-18
Marking: watermark: T L France
the artist (1918–19; sold on October 2, 1919 as "Nature morte" for Fr 33,33, to Rosenberg); [Galerie L’Effort Moderne (Léonce Rosenberg), Paris, from 1919; inv. no. 6140]; [Galerie Jeanne Bucher, Paris, 1925 or later–1938; sold in February 1938, for £10, to Cooper]; Douglas Cooper, London (1938–d. 1984; estate no. DC 11G 279; his bequest to McCarty Cooper); his partner and adopted son, William McCarty Cooper, London (1984–86; sold in November 1986 to Lauder); Leonard A. Lauder, New York (1986–2013; transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust); The Leonard A. Lauder Cubist Trust, New York (2013–16; gift to MMA)
Suffolk. Lowestoft Art Centre. "Exhibition of Contemporary Paintings from the Private Collection of Douglas Cooper, including Original Works by Picasso, Braque, Léger," January 1951.
Madrid. Museo Nacional Centro de Arte Reina Sofía. "Juan Gris: Paintings and Drawings 1910–1927," June 22–September 19, 2005, no. 211.
New York. The Metropolitan Museum of Art. "Cubism: The Leonard A. Lauder Collection," October 20, 2014–February 16, 2015, no. 32.
Daniel-Henry Kahnweiler. Juan Gris: His Life and Work. New York, 1947, p. ix, no. 3, ill. p. 3.
Douglas Cooper. Juan Gris. Exh. cat., Kunstmuseum Bern. Bern, 1955, unpaginated, no. 141.
Douglas Cooper and Hans A. Peters. Juan Gris. Exh. cat., Staatliche Kunsthalle Baden-Baden. Baden-Baden, 1974, unpaginated, no. Z 31a, ill.
Christopher Green. "Synthesis and the 'Synthetic Process' in the Painting of Juan Gris, 1915–19." Art History 5 (March 1982), p. 97, pl. 30.
Dorothy M. Kosinski. Douglas Cooper and the Masters of Cubism. Exh. cat., Kunstmuseum Basel. Basel, 1987, p. 202, no. 19, ill. p. 87.
Dorothy M. Kosinski. Picasso, Braque, Gris, Léger: Douglas Cooper Collecting Cubism. Exh. cat., Museum of Fine Arts. Houston, 1990, pp. 35, 56 n. 105, p. 61, no. 23.
Christopher Green, with Christian Derouet, and Karin von Maur. Juan Gris. Exh. cat., Whitechapel Gallery. London, 1992, p. 243, pl. 93.
Christian Derouet, ed. Juan Gris: Correspondances avec Léonce Rosenberg, 1915–1927. Paris, 1999, p. 128, inv. no. 6140.
Paloma Esteban Leal inJuan Gris: Paintings and Drawings 1910–1927. Ed. Paloma Esteban Leal. Exh. cat., Museo Nacional Centro de Arte Reina Sofía. Madrid, 2005, vol. 1, unpaginated, no. 211, ill., vol. 2, pp. 208–9, no. 211, ill.
"Objects Promised to the Museum during the Year 2012–2013." The Metropolitan Museum of Art, One Hundred Forty-third Annual Report of the Trustees for the Fiscal Year July 1, 2012, through June 30, 2013 (2013), p. 46, as "The Tobacco Pouch (La blague à tabac et théière) (La pochette à tabac)".
Kenneth E. Silver inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 196, 199, 201, no. 32, ill. p. 197 (color).
Anna Jozefacka and Luise Mahler inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 266–67, fig. 32 (as no. 3 in Ref. Kahnweiler 1947).
Written on the verso (upper center, in pencil): 6140 [Galerie L’Effort Moderne inv. no.]; ( lower-right corner, in pencil): ‘305’ [or ‘30S’] 47[?]
Juan Gris (Spanish, Madrid 1887–1927 Boulogne-sur-Seine)
1913
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