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61

Juan GrisRaisins, carafe et livreÖl auf Leinwand, doubliert 38 x 46 cm Gerahmt. Unten links grau

In Moderne und Zeitgenössische Kunst - Evening Sa...

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Juan GrisRaisins, carafe et livreÖl auf Leinwand, doubliert 38 x 46 cm Gerahmt. Unten links grau
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Juan Gris
Raisins, carafe et livre

Öl auf Leinwand, doubliert 38 x 46 cm Gerahmt. Unten links grau signiert und datiert 'Juan Gris. 1922'. - An der oberen Malkante mit minimalen Retuschen.

Cooper/Potter 405

Provenienz
Galerie Kahnweiler, Paris, Archiv Nr. 7436 (rückseitig mit fragmentiertem Etikett auf dem Keilrahmen); Galerie Simon, Paris (1923); Galerie Mettler, St. Gallen (Nr. 431); Madame Vandervelde, Schweiz; Sotheby's London, Auktion 17. Februar 1932, Lot 136; Major Simmons, London; Christie's London, Auktion 27 März 1973, Lot 24; Galerie Georges Moos, Genf, Nr. 444 (rückseitiger Rahmenaufkleber); Galerie Krugier, Genf; Brook Street Gallery, London; Privatsammlung Tschechien

Ausstellungen
Paris 1923 (Galerie Simon), Nr. 46 (rückseitig mit fragmentiertem Etikett auf dem Keilrahmen)

Literatur
L'Esprit Nouveau, Nr. 20, 1922, mit Abb.

In der kurzen intensiven Schaffenszeit, die ihm vergönnt war, konzentrierte sich Juan Gris motivisch hauptsächlich auf das Stillleben. Der Kubismus war dabei für ihn der einzige Weg, die von ihm und seinen Weggefährten angestrebte visuelle Essenz der gegenständlichen Welt bildlich umzusetzen. So schrieb er in einem Beitrag im Europa-Almanach von 1925: „Also ich kann im Augenblick nicht die Möglichkeit überhaupt nur in Betracht ziehen, sich mal auf Kubistische Manier, mal in einer anderen Kunstmanier auszudrücken, denn für mich ist der Kubismus keine Manier, sondern eine Ästhetik und selbst ein seelischer Zustand.“ (zit. nach: Daniel-Henry Kahnweiler, Einführung, in: Juan Gris, Ausst. Kat. Wallraf-Richartz-Museum, Köln 1965/66, o.S.). Sein Oeuvre weist eine Stringenz und Geschlossenheit auf, die von ausgeprägter Selbstreflektion und größter Leidenschaft für seine Sache zeugt. Dabei verfolgte Gris seinen ganz eigenen Weg innerhalb des Kubismus:
„Er knüpfte, im Gegensatz zu seinen Freunden, nicht bei Cézanne an. Er verkehrte die Methode des Meisters von Aix in ihr Gegenteil, indem er eine abstrakte architektonische Bildordnung entwarf, in die er die Gegenstände hineintrug. Er schuf keine Abstraktionen, er machte vielmehr das Abstrakte konkret: ‚Cézanne hat aus einer Flasche einen Zylinder gemacht. Ich mache aus einem Zylinder eine Flasche.' In seinen Stillleben, die nach dieser Methode entstanden, vereinigen sich Mathematik und Poesie wie in der Musik. […] Die ideale Form des Modells wird nicht länger in grüblerischer Analyse durch atomisierte Zerlegung ermittelt, sondern vom Maler aus der eigenen Vorstellung heraus gestaltet; im Gegensatz zu Cézanne geschieht das nicht ‚vor dem Motiv', sondern mit Hilfe der Erinnerung. Die sinnliche Erfahrung wird nicht mehr vergeistigt, eine geistige Vorstellung wird vielmehr sinnlich wahrnehmbar gemacht.“ (Karl Ruhrberg, in: Kunst des 20. Jahrhunderts, Bd. 1, Köln 2005, S. 74).
In unserem Stillleben aus dem Jahr 1922 fügt Gris das motivische Vokabular aus Karaffe, Buch, Fruchtschale, Zeitung und Pfeife zu einem in sich geschlossenen kristallinen Gebilde zusammen, das durch den umgebenden querovalen Rahmen wie ein Bild im Bild in besonderem Maße hervorgehoben wird. Scharfkantige und sanft geschwungene Formen laufen harmonisch ineinander, die Farbgebung in weißen und zartgrünen Tönen steht in spannungsvollem Kontrast zu dem Orangebraun des Rahmenovals.
Juan Gris
Raisins, carafe et livre

Oil on canvas, relined 38 x 46 cm Framed. Signed and dated 'Juan Gris. 1922' in grey lower left. - Minor retouches along the upper edge of painting.

Cooper/Potter 405

Provenance
Galerie Kahnweiler, Paris, archive no. 7436 (fragmented label verso on stetcher); Galerie Simon, Paris (1923); Galerie Mettler, St. Gallen (no. 431); Madame Vandervelde, Schweiz; Sotheby's London, Auction 17 February 1932, Lot 136; Major Simmons, London; Christie's London, Auction 27 March 1973, Lot 24; Galerie Georges Moos, Geneva, no. 444 (frame label verso); Galerie Krugier, Geneva; Brook Street Gallery, London; Private collection, Czechia

Exhibitions
Paris 1923 (Galerie Simon), no. 46 (fragmented label verso on stretcher)

Literature
L'Esprit Nouveau, no. 20, 1922, with illus.

In the short, intense period of creativity granted to him, Juan Gris primarily concentrated on the still life in terms of motifs. At the same time, for him, Cubism was the only way for himself and like-minded artists to realise that sought-after visual essence of the objective world in the form of pictures. Thus, in a contribution to the “Europa-Almanach” of 1925, he writes: “And so, at the moment, I cannot even consider the possibility of expressing myself sometimes in the Cubist manner, sometimes in a different artistic manner, because for me Cubism is not a manner, but an aesthetic, even a spiritual state.” (cited in: Daniel-Henry Kahnweiler, Einführung, in: Juan Gris, exhib. cat., Wallraf-Richartz-Museum, Cologne 1965/66, no pag.). His oeuvre displays a rigour and cohesiveness that testify to an exceptional level of self-reflection and the greatest passion for his cause. At the same time, Gris pursued his own very distinctive path within Cubism:
“In contrast to his friends, he did not build on Cézanne. He inverted the methods of the master of Aix into their opposite by composing an abstract, architectonic pictorial order into which he inserted the objects. He did not create abstractions, instead, he made the abstract concrete: 'Cézanne made a cylinder out of a bottle. I make a bottle out of a cylinder.' In the still lifes he created according to this method, mathematics and poetry become united, as in music. […] The ideal form of the model is no longer identified through atomised decomposition in the course of brooding analysis, rather, it is composed by the painter based on his own idea; in contrast to Cézanne, this takes place not 'before the motif', but with the aid of memory. The sensual experience is no longer spiritualised, instead, a spiritual idea is made perceptible to the senses.” (Karl Ruhrberg, in: Kunst des 20. Jahrhunderts, vol. 1, Cologne 2005, p. 74).
In our still life from 1922, Gris has combined his vocabulary of motifs consisting of carafe, book, fruit bowl, newspaper and pipe into a cohesive, crystalline figure that he causes to emphatically stand out like a picture within a picture through the horizontal, ovoid frame surrounding it. Sharp-edged and gently curvilinear forms merge harmoniously; the colour scheme in white and gentle shades of green stands in tense contrast to the orange-brown of the framing oval.

Juan Gris
Raisins, carafe et livre

Öl auf Leinwand, doubliert 38 x 46 cm Gerahmt. Unten links grau signiert und datiert 'Juan Gris. 1922'. - An der oberen Malkante mit minimalen Retuschen.

Cooper/Potter 405

Provenienz
Galerie Kahnweiler, Paris, Archiv Nr. 7436 (rückseitig mit fragmentiertem Etikett auf dem Keilrahmen); Galerie Simon, Paris (1923); Galerie Mettler, St. Gallen (Nr. 431); Madame Vandervelde, Schweiz; Sotheby's London, Auktion 17. Februar 1932, Lot 136; Major Simmons, London; Christie's London, Auktion 27 März 1973, Lot 24; Galerie Georges Moos, Genf, Nr. 444 (rückseitiger Rahmenaufkleber); Galerie Krugier, Genf; Brook Street Gallery, London; Privatsammlung Tschechien

Ausstellungen
Paris 1923 (Galerie Simon), Nr. 46 (rückseitig mit fragmentiertem Etikett auf dem Keilrahmen)

Literatur
L'Esprit Nouveau, Nr. 20, 1922, mit Abb.

In der kurzen intensiven Schaffenszeit, die ihm vergönnt war, konzentrierte sich Juan Gris motivisch hauptsächlich auf das Stillleben. Der Kubismus war dabei für ihn der einzige Weg, die von ihm und seinen Weggefährten angestrebte visuelle Essenz der gegenständlichen Welt bildlich umzusetzen. So schrieb er in einem Beitrag im Europa-Almanach von 1925: „Also ich kann im Augenblick nicht die Möglichkeit überhaupt nur in Betracht ziehen, sich mal auf Kubistische Manier, mal in einer anderen Kunstmanier auszudrücken, denn für mich ist der Kubismus keine Manier, sondern eine Ästhetik und selbst ein seelischer Zustand.“ (zit. nach: Daniel-Henry Kahnweiler, Einführung, in: Juan Gris, Ausst. Kat. Wallraf-Richartz-Museum, Köln 1965/66, o.S.). Sein Oeuvre weist eine Stringenz und Geschlossenheit auf, die von ausgeprägter Selbstreflektion und größter Leidenschaft für seine Sache zeugt. Dabei verfolgte Gris seinen ganz eigenen Weg innerhalb des Kubismus:
„Er knüpfte, im Gegensatz zu seinen Freunden, nicht bei Cézanne an. Er verkehrte die Methode des Meisters von Aix in ihr Gegenteil, indem er eine abstrakte architektonische Bildordnung entwarf, in die er die Gegenstände hineintrug. Er schuf keine Abstraktionen, er machte vielmehr das Abstrakte konkret: ‚Cézanne hat aus einer Flasche einen Zylinder gemacht. Ich mache aus einem Zylinder eine Flasche.' In seinen Stillleben, die nach dieser Methode entstanden, vereinigen sich Mathematik und Poesie wie in der Musik. […] Die ideale Form des Modells wird nicht länger in grüblerischer Analyse durch atomisierte Zerlegung ermittelt, sondern vom Maler aus der eigenen Vorstellung heraus gestaltet; im Gegensatz zu Cézanne geschieht das nicht ‚vor dem Motiv', sondern mit Hilfe der Erinnerung. Die sinnliche Erfahrung wird nicht mehr vergeistigt, eine geistige Vorstellung wird vielmehr sinnlich wahrnehmbar gemacht.“ (Karl Ruhrberg, in: Kunst des 20. Jahrhunderts, Bd. 1, Köln 2005, S. 74).
In unserem Stillleben aus dem Jahr 1922 fügt Gris das motivische Vokabular aus Karaffe, Buch, Fruchtschale, Zeitung und Pfeife zu einem in sich geschlossenen kristallinen Gebilde zusammen, das durch den umgebenden querovalen Rahmen wie ein Bild im Bild in besonderem Maße hervorgehoben wird. Scharfkantige und sanft geschwungene Formen laufen harmonisch ineinander, die Farbgebung in weißen und zartgrünen Tönen steht in spannungsvollem Kontrast zu dem Orangebraun des Rahmenovals.
Juan Gris
Raisins, carafe et livre

Oil on canvas, relined 38 x 46 cm Framed. Signed and dated 'Juan Gris. 1922' in grey lower left. - Minor retouches along the upper edge of painting.

Cooper/Potter 405

Provenance
Galerie Kahnweiler, Paris, archive no. 7436 (fragmented label verso on stetcher); Galerie Simon, Paris (1923); Galerie Mettler, St. Gallen (no. 431); Madame Vandervelde, Schweiz; Sotheby's London, Auction 17 February 1932, Lot 136; Major Simmons, London; Christie's London, Auction 27 March 1973, Lot 24; Galerie Georges Moos, Geneva, no. 444 (frame label verso); Galerie Krugier, Geneva; Brook Street Gallery, London; Private collection, Czechia

Exhibitions
Paris 1923 (Galerie Simon), no. 46 (fragmented label verso on stretcher)

Literature
L'Esprit Nouveau, no. 20, 1922, with illus.

In the short, intense period of creativity granted to him, Juan Gris primarily concentrated on the still life in terms of motifs. At the same time, for him, Cubism was the only way for himself and like-minded artists to realise that sought-after visual essence of the objective world in the form of pictures. Thus, in a contribution to the “Europa-Almanach” of 1925, he writes: “And so, at the moment, I cannot even consider the possibility of expressing myself sometimes in the Cubist manner, sometimes in a different artistic manner, because for me Cubism is not a manner, but an aesthetic, even a spiritual state.” (cited in: Daniel-Henry Kahnweiler, Einführung, in: Juan Gris, exhib. cat., Wallraf-Richartz-Museum, Cologne 1965/66, no pag.). His oeuvre displays a rigour and cohesiveness that testify to an exceptional level of self-reflection and the greatest passion for his cause. At the same time, Gris pursued his own very distinctive path within Cubism:
“In contrast to his friends, he did not build on Cézanne. He inverted the methods of the master of Aix into their opposite by composing an abstract, architectonic pictorial order into which he inserted the objects. He did not create abstractions, instead, he made the abstract concrete: 'Cézanne made a cylinder out of a bottle. I make a bottle out of a cylinder.' In the still lifes he created according to this method, mathematics and poetry become united, as in music. […] The ideal form of the model is no longer identified through atomised decomposition in the course of brooding analysis, rather, it is composed by the painter based on his own idea; in contrast to Cézanne, this takes place not 'before the motif', but with the aid of memory. The sensual experience is no longer spiritualised, instead, a spiritual idea is made perceptible to the senses.” (Karl Ruhrberg, in: Kunst des 20. Jahrhunderts, vol. 1, Cologne 2005, p. 74).
In our still life from 1922, Gris has combined his vocabulary of motifs consisting of carafe, book, fruit bowl, newspaper and pipe into a cohesive, crystalline figure that he causes to emphatically stand out like a picture within a picture through the horizontal, ovoid frame surrounding it. Sharp-edged and gently curvilinear forms merge harmoniously; the colour scheme in white and gentle shades of green stands in tense contrast to the orange-brown of the framing oval.

Moderne und Zeitgenössische Kunst - Evening Sale

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.

Wichtige Informationen

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AGB

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Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.

2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.

3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.

4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.

5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.

6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.

7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.

8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.

9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.

10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate.

11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.

12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.

13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.

Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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