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Lot Essay
Bouteille, verre et journal détient une provenance particulièrement remarquable - étant passé par les mains de plusieurs collectionneurséminents du cubisme, de part et d’autre de l’Atlantique. Pierre Faure, premier propriétaire de l’oeuvre, était un important mécène de Gris et soutien de Léonce Rosenberg à Paris. En effet, entre 1915 et 1927, il acheta auprès de la Galerie L’Effort Moderne, un total de vingt-six oeuvres de l’artiste espagnol cubiste, y compris son chef-d’oeuvre de 1915, Nature Morte devant une fenêtre ouverte, place Ravignan, aujourd’hui exposé au Philadelphia Museum of Art. Lors de la grande exposition de 1933 à Zurich, Faure prêta vingt-et-un tableaux de sa collection, y compris la présente oeuvre. A la suite de l’exposition, Daniel-Henri Kahnweiler acquis la totalité de la collection du parisien. Enfin, le tableau estentré au sein de la collection de William N. Eisendrath de St. Louis, rejoignant ainsi le continent américain. En tant que Président du Club des Arts de Chicago, Eisendrath organisa les premières expositions américaines dédiées à Fernand Léger, à Paul Klee, ainsi qu’à Jackson Pollock.
Bouteille, verre et journal enjoys a particularly distinguished provenance listing, having passed through the hands of several distinguished collectors of Cubism on both sides of the Atlantic. Pierre Faure, first owner of the painting, was an important patron to Gris and supporter of Léonce Rosenberg. Indeed, he purchased a total of twenty-six works by the Spanish cubist artist from la Galerie L’Effort Moderne between 1915 and 1927, including his 1915 masterpiece Nature Morte devant une fenêtre ouverte, Place Ravignan now housed in the collection of the Philadelphia Museum of Art. Faure lent twentyone paintings from his collection to the ground-breaking exhibition in Zurich in 1933, including the present work. Following the exhibit, Daniel-Henri Kahnweiler acquired the entire collection from the Parisian collector. Crossing the Atlantic, the work entered the collection of William N. Eisendrath from St. Louis. Chairman of the Arts Club in Chicago, Eisendrath was responsible of the first American exhibits of Fernand Léger’s work, as well as those of Paul Klee and Jackson Pollock.
Bouteille, verre et journal enjoys a particularly distinguished provenance listing, having passed through the hands of several distinguished collectors of Cubism on both sides of the Atlantic. Pierre Faure, first owner of the painting, was an important patron to Gris and supporter of Léonce Rosenberg. Indeed, he purchased a total of twenty-six works by the Spanish cubist artist from la Galerie L’Effort Moderne between 1915 and 1927, including his 1915 masterpiece Nature Morte devant une fenêtre ouverte, Place Ravignan now housed in the collection of the Philadelphia Museum of Art. Faure lent twentyone paintings from his collection to the ground-breaking exhibition in Zurich in 1933, including the present work. Following the exhibit, Daniel-Henri Kahnweiler acquired the entire collection from the Parisian collector. Crossing the Atlantic, the work entered the collection of William N. Eisendrath from St. Louis. Chairman of the Arts Club in Chicago, Eisendrath was responsible of the first American exhibits of Fernand Léger’s work, as well as those of Paul Klee and Jackson Pollock.