André Emmerich Gallery, New York (acquired from the artist in 1964)
Private Collection (acquired from the above in 1967) 

Zurich, Galerie Charles Lienhard; Hannover, Kestner Gesellschaft; Mannheim, Städtische Kunsthalle; Essen, 1959
Moscow, Puskin Museum; Leningrad, The Hermitage Museum; The British Council, Fine Arts Department, Exhibition of British Painting (1720-1960), 1960, no. 110
Dallas Museum of Fine Arts, Ben Nicholson Retrospective, 1964
New York, André Emmerich Gallery, Ben Nicholson, 1965, no. 2 
Flint Institute of Arts, First Flint Invitational, 1966 

The mid 1950s saw a great chang♋e in Ni🐲cholson’s works, particulary in their heightened simplicity, with marked a return to the geometric forms of the 1930s and 1940s. However, the way in which Nicholson uses the forms, and the subtle balances of geometry, surface and color are entirely new.

While few of the large still-life works of this period include major relief elements, the sense of receding and advancing planes is achieved for the most part through a bold use of tonal coloring in the background and a scrubbed and worked paint surface. In the present painting, this is particularly free and provides a vigorous contrast with the luminous brown wood grained surfaces on which the elements of the title sit. Many of the best-known still-life works of the later 1950s, such as 1959 (Argolis) (Private Collection) and August 1956 (Val d’Orcia) (Tate 🌃Collection), have kept a very distinct table form in their composition.  

The post-war situation caused the British Council to renew their interest in raising the profile of British art abroad, and as an established abstract artist, Nicholson was a clear choice for selection. The present work traveled to Moscow and Leningrad under the Council's auspices.  Under the leadership of Lilian Somerville, the British Council Fine Arts Advisory Committee at that time numbered amongst its influential members Herbert Read, Roland Penrose, Philip Hendy, John Rothenstein and Philip James. Nicholson’s long-standing association with Herbert Read was to be of particular value, and as Read’s position as one of the most influential writers on twentieth century art grew, his capacity to raise awareness of those artists he felt worthy of note increased as well. As Nicholson acknowledged in a letter to Patrick Heron, “What the contemporary art movement in England wld have done without him (& what Barbara Henry & I would have done in the 30s without his active support) I don’t know the whole landscape wld have been changed too slowly [sic]" (letter dated December 30, 1968).

Fig 1 Nicholson's St. Ives Studio