Herman C. Goldsmith, New York
Galerie Jan Krugier, Geneva
Galleria Annunciata, Milan
C. Tosi, Milan
The Morat Institute for Art and Art Research, Freiburg im Breisgau (sale: Sotheby's, London, 28th November 1995, lot 113)
Purchased at the above sale by the present owner

Geneva, Galerie Jan Krugier, 49 Huiles, 6 Aquarelles, 7 Dessins, 131 Eaux-fortes, 1968, no. 39, illustrated in the catalogue (dated 1957)
Paris, Galerie Villand & Galanis, Morandi, 1968-69, no. 35, illustrated in the catalogue
St. Petersburg, The Hermitage & Moscow, Pushkin Museum, Giorgio Morandi, 1973, no. 23, illustrated in the catalogue
Munich, Haus der Kunst, Giorgio Morandi, Ölbilder, Aquarelle, Zeichnungen, Radierungen, 1981, no. 96, illustrated in colour in the catalogue
Vevey, Musée Jenisch, Peintres du silence, Julius Bissier, Giorgio Morandi, Ben Nicholson, Mark Rothko, Mark Tobey, Italo Valenti, 1981, no. 182, illustrated in the catalogue
Nijmegen, Nijmeegs Museum & Innsbruck, Tiroler Künstlerschaft im Kunstpavillon im kleinen Hofgarten, Morandi. Die Sammlung des Morat-Instituts für Kunst und Kunstwissenschaft, 1982, no. 16
Saarbrücken, Saarland-Museum & Dresden, Kupferstich-Kabinett der Staatlichen Kunstsammlungen, Giorgio Morandi, Gemälde, Aquarelle, Zeichnungen, Radierungen, 1993, no. 8, illustrated in colour in the catalogue

Lamberto Vitali, Giorgio Morandi, Catalogo generale, 1948-64, Milan, 1977, vol. II, no. 1284, illustrated n.p.
Franz Morat, Giorgio Morandi, Ölbilder, Aquarelle, Zeichnungen, Radierungen, Freiburg, 1979, illustrated in colour p. 25
Jean Jouvet & Wieland Schmied, Giorgio Morandi - Ölbilder, Aquarelle, Zeichnungen, Radierungen, Zurich, 1982, no. 81, illustrated n.p.
Ernst Strauss, Koloritgeschichtliche Untersuchungen zur Malerei seit Giotto und andere Studien, Munich, 1983, pp. 251-2
Ernst-Gerhard Güse & Franz  Morat (eds.), Giorgio Morandi, Paintings, Watercolours, Drawings, Etchings, Munich, 1999, illustrated in colour p. 26

The canvas is not lined and there are no signs of retouching under UV light. Apart from a line of surface deposit, running down the canvas to the left of the jars, only visible under UV light, this work is in very good condition. Colours: The colours are warmer and deeper in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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."

Renowned for his eloquent, disciplined compositions of commonplace objects, Morandi was preoccupied with the interior reality that resides behind familiar appearances. His paintings are quietly arres𝐆ting, rich in the atmospheric effects created by subtle nuances of colour, tone and scale. The objects which popu🐷late his paintings hold little personal significance; rather, they are objects of meditation through which Morandi sought to resolve the composition, giving form to the artist's conception. For this reason, the theme of still-life remained central to Morandi's art throughout his career. He never tired of using the same objects, and found a challenge in rearranging them and in making slight changes to the angle of vision and lighting, thus creating numerous variations on a theme.

Natura morta, painted in 1962, demonstrates Morandi's tirelessly inventive approach. The ceramics which comprise the still-life 🎃have been chosen and arranged with great precision to achieve spatial equilibrium, and have been set against a simple background which is rendered in Morandi's typically subtle and subdued blocks of neutral colour. By pursuing an aesthetic beyond the limitations of place and time, Morandi became heir to a 'classical' purist tradition of Italian painting. His powerful compositꦉions blend a traditional genre of painting with a thoroughly modern aesthetic.