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    Description

    JUAN GRIS (Spanish 1887 - 1927)
    Harlequin, circa 1917 - 1918
    Bronze, unique casting, 1/1
    25 x 11 x 6in.
    Signed and numbered under base, Juan Gris / No. 1

    PROVENANCE:
    Probably in the artist's collection;
    Private Collection, Paris;
    Property of a Gentleman

    RELATED LITERATURE:
    Daniel-Henry Kahnweiler, Juan Gris: His Life and Work, trans. Douglas Cooper (London, 1947), p. 108;
    James Thrall Soby, Juan Gris, exh. cat. (Museum of Modern Art, New York, 1958), pp. 72-73, 76;
    Juan Antonio Gaya-Nuño, Juan Gris, trans. Kenneth Lyons (Boston, 1975), pp. 135, 138;
    Gary Tinterow, ed., Juan Gris [1887-1927], exh. cat. (Salas Pablo Ruiz Picasso, Madrid, 1985), pp. 84, 428-29;

    This sculpture is an exciting, important new addition to Gris's oeuvre. Known almost exclusively for his masterful Cubist paintings, Juan Gris produced very few sculptural works. In fact, prior to the resurfacing of the present work, Gris was believed to have executed only one sculpture (Harlequin, 1917, carved and painted plaster, Philadelphia Museum of Art) and a few small theatrical objects in 1923. Harlequin is all the more rare because it is a unique bronze casting.

    Harlequin
    belongs to an important period in Gris's career, as he assumed a leading role in Cubism and forged significant relationships with fellow avant-garde artists in France during the First World War. The Cubist approach to sculpture, as with painting, sought to liberate art from the Renaissance constraints of naturalistic perspective. Such revolutionary principles are clearly at work in Harlequin, as Gris renders geometicized forms from multiple perspectives and plays with the concepts of positive and negative space.

    The present work is remarkably similar to the composition of the Harlequin in the Philadelphia Museum of Art, which is made of carved and painted plaster and also dates to 1917. This was a significant and inventive period in the artist's career. In 1916, Gris became very close with the pioneering sculptor, Jacques Lipchitz, with whom he spent much time in the provincial town of Beaulieu in 1917-18. Lipchitz certainly provided the impetus for Gris's sculptural creations during this period and actually assisted Gris in creating the armature for the Philadelphia Harlequin (see Soby in Literature above).



    More information about JUAN GRIS, also known as Gris, Juan, Gonzales, José, Gonzales, José Vittoriano, González Pérez, José Victoriano, González Pérez, José Victoriano Carmelo Carlos, González, José Victoriano, González, José Vittoriano, Gris, Joan, Gris, Juan-José Victoriano González, Juan Gris.

    Condition Report*: Condition report available upon request.
    *Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and shall not be liable for any damage/scratches to frames, glass/acrylic coverings, original boxes, display accessories, or art that has slipped in frames. All lots are sold "AS IS" under the Terms & Conditions of Auction.

    Auction Info

    Auction Dates
    November, 2006
    9th-10th Thursday-Friday
    Bids + Registered Phone Bidders: 2
    Lot Tracking Activity: N/A
    Page Views: 11,787

    Buyer's Premium per Lot:
    19.5% of the successful bid (minimum $9) per lot.

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