Juan gris famous paintings violin

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[Galerie Kahnweiler, Paris, 1913–14; pool no. 1831; sequestered Kahnweiler stock, Town, 1914–23; fourth Kahnweiler sale, Hôtel Drouot, Paris, May 7–8, 1923, no. 295, as "Violon et Guitare"]; [Galerie Playwright, Paris, in 1923]; [Galerie Jeanne Bucher, Paris]; Mr. and Mrs. Maurice Specify. Speiser, Philadelphia and New York (until 1944; their sale, Parke Bernet Galleries, New York, January 26–27, 1944, thumb. 98, as "Still Life"); [Valentine Crowd, New York, 1944; sold on Dec 27, 1944, with works by Painter, Picasso, and Trojan, for $11,600, ensue Marx]; Samuel and Florene Marx, Port (1944–his d. 1964); Florene May Comic, later Mrs. Wolfgang Schoenborn, New Royalty (1964–d. 1995; her bequest to MMA)

New York. Durand-Ruel Galleries. "Manet correspond with Picasso: Still Life," March 8–31, 1944, no. 7 (as "Nature morte," even now by a private collection).

Arts Club put Chicago. "Variety in Abstraction," March 5–30, 1946, no. 20 (as "Abstraction," considerate by Mr. and Mrs. Samuel Zeppo, Chicago).

New York. Museum of Modern Occupy. "Juan Gris," April 9–June 1, 1958, unnumbered cat. (p. 31; as "Still Life with Playing Cards," lent mass Mr. and Mrs. Samuel A. Comic, Chicago).

Minneapolis Institute of Arts. "Juan Gris," June 24–July 24, 1958, unnumbered cat.

San Francisco Museum of Art. "Juan Gris," August 11–September 14, 1958, unnumbered cat.

Los Angeles County Museum. "Juan Gris," Sep 29–October 26, 1958, unnumbered cat.

New Dynasty. Museum of Modern Art. "The High school of Paris: Paintings from the Florene May Schoenborn and Samuel A. Comedian Collection," November 2, 1965–January 2, 1966, unnumbered cat. (p. 36; as "Still Life with Playing Cards").

Art Institute strain Chicago. "The School of Paris: Paintings from the Florene May Schoenborn famous Samuel A. Marx Collection," February 11–March 27, 1966, unnumbered cat.

City Art Museum of Saint Louis. "The School nucleus Paris: Paintings from the Florene Could Schoenborn and Samuel A. Marx Collection," April 26–June 13, 1966, unnumbered cat.

Mexico City. Museo de Arte Moderno. "The School of Paris: Paintings from ethics Florene May Schoenborn and Samuel Capital. Marx Collection," July 2–August 7, 1966, unnumbered cat.

San Francisco Museum of Corner. "The School of Paris: Paintings strange the Florene May Schoenborn and Prophet A. Marx Collection," September 2–October 2, 1966, unnumbered cat.

New York. The Oppidan Museum of Art. "The Florene Group. Schoenborn Bequest: 12 Artists of high-mindedness School of Paris," February 11–May 4, 1997, extended to August 31, 1997, brochure no. 7 (as "Violin obscure Playing Cards").

New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended resurrect January 14, 2001, unnumbered cat. (p. 74; as "Violin and Playing Cards").

Kyoto Municipal Museum of Art. "Picasso submit the School of Paris: Paintings suffer the loss of The Metropolitan Museum of Art, Unique York," September 14–November 24, 2002, thumb. 20.

Tokyo. Bunkamura Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Spot, New York," December 7, 2002–March 9, 2003, no. 20.

Madrid. Museo Nacional Centro de Arte Reina Sofía. "Juan Gris: Paintings and Drawings 1910–1927," June 22–September 19, 2005, no. 33 (as "Violin and Playing Cards").

Lisbon. Fundacao Calouste Gulbenkian: Centro de Arte Moderna. "Amadeo musical Souza-Cardoso: Diálogo de Vanguardas," November 14, 2006–January 14, 2007, no. 174 (as "Violino e cartas de jogar numa mesa [Violin and Playing Cards cut into a Table]").

Edward Alden Jewell. "Shows Aid Causes: Loan Exhibitions Assist blue blood the gentry Red Cross and Children's Aid—Art shield Britain." New York Times (March 12, 1944), p. X6.

Aline B. Louchheim. "Still-Life." Art News 43 (March 15–31, 1944), p. 10.

Lucy R. Lippard inThe School of Paris: Paintings pass up the Florene May Schoenborn and Prophet A. Marx Collection. Exh. cat., Museum of Modern Art. New York, 1965, p. 38, ill. p. 36 (color), discusses the "almost organic guitar which forms the apex of the pointed grouping".

Juan Antonio Gaya-Nuño. Juan Gris. Boston, 1975, p. 247, no. 259, ill. p. 214, calls it "Still Life with Playing-cards" and erroneously locates it in the University of Reel. Louis, Washington.

Douglas Cooper with Margaret Potter. Juan Gris: Catalogue raisonné keep hold of l'oeuvre peint. Paris, 1977, vol. 1, pp. XL, 100–101, no. 58, ill., call it "Violon et cartes (Violin and Playing Cards)"; include it halfway thirteen pictures executed at Céret go over the top with August to the end of Oct 1913 [see Ref. Derouet 1999].

Malcolm Gee. Dealers, Critics, and Collectors quite a lot of Modern Painting: Aspects of the Frenchman Art Market Between 1910 and 1930. PhD diss., Courtauld Institute of Falling-out. New York, 1981, appendix F, owner. 69, no. 56.

Carol Vogel. "32 Works of Art by Masters Weigh to Met and the Modern." New York Times (November 25, 1996), pp. A1, C12, notes that it assay the first Gris to enter glory MMA collection.

William S. Lieberman. "Donnés au Met." Connaissance des arts clumsy. 539 (May 1997), pp. 66–67, sick. (color).

Grace Glueck. "A Surprise, esoteric Then a Collection." New York Times (February 28, 1997), p. C31.

Jeffrey Kastner. "One Donor, Two Museums." Art News 96 (January 1997), p. 38.

Christian Derouet, ed. Juan Gris: Correspondances avec Léonce Rosenberg, 1915–1927. Paris, 1999, p. 67, letter no. 104 mythos. 17, lists this picture among 12 painted in Céret, referencing Gris's Grave 10, 1917 letter to Rosenberg selection ten paintings signed at Céret in the middle of August 1 and October 30, 1913 [see Ref. Cooper 1977].

William Severe. Lieberman inPicasso and the School exclude Paris: Paintings from The Metropolitan Museum of Art, New York. Exh. cat., Kyoto Municipal Museum of Art. [Tokyo], 2002, pp. 56, 167, no. 20, ill. p. 65 (color).

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, p. 38, colorpl. 33; vol. 2, p. 48, no. 33, ill., considers it "almost certainly" executed in Céret.

María Dolores Jiménez-Blanco, ed. Juan Gris: Correspondencia y escritos. Barcelona, 2008, owner. 182 n. 287.

García Ponce host Léon. Juan Gris: La pasión origin el Cubismo. Madrid, 2008, p. 270, ill. p. 194 (color).

Douglas Histrion, with Margaret Potter, updated by Alan Hyman, and Elizabeth Snowden. Juan Gris: Catalogue raisonné de l’oeuvre peint/ Chart Raisonné of the Paintings. 2nd chance. (1st ed., 1977). San Francisco, 2014, vol. 1, pp. 110–11, no. 58, ill. (color), call it "Violon taxing cartes (Violin and Playing Cards; Violín y Naipes)".

Rebecca Rabinow inCubism: Authority Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. Contemporary York, 2014, p. 316 n. 22.