The Checkerboard

1. The artist, Paris; upon his death, his estate, Paris, 1927 [this and the following according to Feb. 13, 1975 letter from Eleanore Saidenberg to Courtney Donnell, in curatorial object file]; Galerie Simon, Paris, from 1930 (later renamed Galerie Louise Leiris, 1941); sold to the Saidenberg Gallery, New York, Jan. 1956 [Jan. 30, 1956 letter from Eleanore Saidenberg to Katharine Kuh, in curatorial object file]; sold to the Art Institute of Chicago, Apr. 27, 1956.

Recorded by Art Institute of Chicago.

• New York, Museum of Modern Art, Juan Gris, Apr. 9–June 1, 1958, no cat. no., as The Checkerboard, Sept. 1915; Minneapolis, Institute of Arts, June 24–July 24, 1958; San Francisco, San Francisco Museum of Art, Aug. 11–Sept. 14, 1958; and Los Angeles, Los Angeles County Museum, Sept. 29–Oct. 26, 1958 (New York only).
• San Diego, Fine Arts Gallery, Masters of Modern Spanish Painting: Legacy of Spain, XXth Century, Jan. 2–Mar. 4, 1969, no cat. no., as The Checkerboard, 1915.
• Paris, Orangerie des Tuileries, Juan Gris, March 14–July 1, 1974, cat. 44, as Le damier, 1915.
• Nagaoka, Niigata Prefectural Museum of Modern Art, Masterworks of Modern Art from The Art Institute of Chicago, September 1915; Apr. 20–May 29, 1994, cat. 27, as The Checkerboard; Nagoya, Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, Aug. 6–Sept. 25, 1994 (organized by The Art Institute of Chicago and Asahi Shimbun).
• Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no.

• James Thrall Soby, Juan Gris, exh. cat. (New York: Museum of Modern Art, 1958), 57, 58, 59 (ill.), as The Checkerboard, 1915.
• Esteban Vicente, “Gris: Reality Cubed,” Art News 57, 3 (May 1958), 32, fig. 3, (ill.), 33, as The Checkerboard, 1915.
• Art Institute, Paintings in The Art Institute of Chicago (Chicago: Art Institute, 1961), 207, 470 (ill.), as The Checkerboard, 1915.
• A. James Speyer, “Twentieth-Century European Paintings and Sculpture,” Apollo 84 (September 1966), 222, as The Checkerboard, 1915.
• George Heard Hamilton, Painting and Sculpture in Europe, 1880 to 1940 (Harmondsworth: Penguin Books, 1967), 159, n.p., pl. 92a (ill.), as The Chessboard, 1915.
• Fine Arts Gallery of San Diego, Masters of Modern Spanish Painting: Legacy of Spain, XXth Century, exh. cat. (San Diego: Fine Arts Gallery, 1969), n.p. (ill.), as The Checkerboard, 1915.
• Orangerie des Tuileries, Juan Gris, exh. cat. (Paris: Orangerie des Tuileries, 1974), 89, cat. 44 (ill.), as Le damier, 1915.
• Gaya-Nuño, Juan Antonio Juan Gris (Barcelona: Ediciones Polígrafa, 1974), 72, no. 90 (ill.), 241, as El tablero de damas, 1915.
• Douglas Cooper, Juan Gris: catalogue raisonné de l’œuvre peint (Paris: Berggruen, 1977), 222, cat. 148, 223 (ill.), as Le Damier (The Checkerboard), 1915.
• E. A. Carmean, Jr., “Juan Gris’ Fantômas,” Arts Magazine 51, 5 (January 1977), 10, 11 (ill.), as Le Damier (The Checkerboard), 1915.
• A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago: University of Chicago Press, 1980), 45, no. 2A10, as The Checkerboard (Le Damier), 1915.
• Christopher Green, “Synthesis and the ‘Synthetic Process’ in the Painting of Juan Gris 1915–19,” Art History 5, 1 (March 1982), 90, n.p., fig. 21 (ill.), 95, as Le Damier, September 1915.

Portrait of Pablo Picasso

Art Institute of Chicago

Portrait of Picasso

Art Institute of Chicago

Abstraction (Guitar and Glass)

Art Institute of Chicago

Glass, Siphon and Checkerboard

Art Institute of Chicago

Glass and Playing Cards

Art Institute of Chicago

Table at a Café

Art Institute of Chicago

The Glass of Beer

Art Institute of Chicago

Still Life

Art Institute of Chicago

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