Atelier Juan Gris, Paris
Galerie Louise Leiris, Paris
Perls Galleries, New York
Waddington Galleries, London
Galleria Internazionale, Milan
Galería Theo, Madrid
Galería Elvira González, Madrid

Paris, Galerie Louise Leiris, Atelier de Juan Gris, Peintures de 1926 et 1927, 1957, no. 2, illustrated in the catalogue
New York, Marlborough-Gerson Gallery, Artist and Maecenas: A Tribute to Kurt Valentin, 1963, no. 152, illustrated in the catalogue
Milan, Galleria del Milione, Juan Gris Dipinti e Disegni 1911-1927, 1968, no. 10

Juan Antonio Gaya-Nuño, Juan Gris, Paris, 1974, no. 596, illustrated p. 232
Douglas Cooper, Juan Gris, Parღis, 1977, vol. II, no. 🐟609, illustrated p. 425

The canvas is not lined. There are intermittent lines of retouching along all four edges (visible in the catalogue illustration), probably to cover previous frame-rubbing. There is a thin, intermittent line of retouching running through the top of the blue area and areas of retouching towards the top right and lower right corners. There are two small areas of retouching to the bowl. Apart from a small indentation with a pinhead-sized spot of paint loss to the bowl and two tiny spots of paint loss to the lower left quadrant this work is in good condition. Colours: Overall fairly accurate although deeper and richer in the original.
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Bol et Livre, painted in the last years of Juan Gris's life, exemplifies the stylistic traits that defined Cubism. The multiple planes and refracted perspective of the work are typical of the optical experimentation of the movement, but the bright colours of the work show Gris's distinctive take on Cubism. The present work illustrates what Gris described as his 'deductive method' in which he would begin with ab♍stract shapes which would, with the painting process, materialise in👍to concrete objects.  Firmly locked into place by a series of overlapping planes, the open book, bottle and pipe have lost the softness that characterized many of the elements in Gris's late work, gaining a solidity and clarity of definition that is the result of clearly defined boundaries and saturated areas of strong colour. This ensemble is depicted on an orange table-like shape against a flat, abstract monochrome plane, enhancing the dynamic immediacy of the composition.

Between 1911 and his untimely death in 1927, at the age of forty, Gris produced a rich and varied body of work, distinguished 'by a refinement of calculation and a highly original colour sense which have won him his separate place in Cubism's front rank. [The artist] remained throughout his life a solitary seeker whose calm, detached sobriety of mind was reflected as an art of ascetic purity' (Juan Gris, (exhibition catalogue), ꦦT🐷he Museum of Modern Art, New York, 1958).