Paul Rosenberg & Co., New York
Private Collection
Arthur Tooth & Sons, London
Lady Sekers, United Kingdom (sale: Sotheby's, London, 7th July 1971, lot 26)
Arthur Tooth & Sons, London (purchased at the above sale)

Galerie Maeght (ed.), Catalogue de l'œuvre de Georges Braque. Peintures 1936-1941, Paris, 1961, illustrated pl. 71

The canvas is not lined and there appear to be no signs of retouching visible under UV light. Apart from two minor spots of paint loss to the glass, a thin small line of paint loss in the upper right quadrant and two further specks of paint loss above the fruits, this work is in very good condition. Colours: Overall fairly accurate though the colours are richer and more vibrant in the original, especially the yellows.
"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."

In the decades following the inception of Cubism, Braque continued to refine and re-examine the expressive possibilities of his still-lifes, always creating innovative ways to represent common objects. Braque's paintings of the late 1930s, including the present work, were bolder and more compositionally dynamic than his works from the first years of the decade. By the time he painted this picture, the artist's mood was more enlivened, resulting in fresh reinvigorated compositions like this one. In discussing Braque's works of the late 1930s, Douglas Cooper remarks, 'In these pictures Braque created a richly orchestrated synthesis of free form and controlled colour, which he embellished with arbitrarily disposed ornamental motifs and 'rhymes'' (Douglas Cooper, Braque: The Great Years, Chicago, 1972, p. 69).

In Verre, Fruits, Cuillère, the curved and angular forms of the fruit and tableware produce an organized rhythm and expand the pictorial space. Braque animates the composition by contrasting the patterns on the wallpaper with those on the tablecloth. Bernard Zurcher comments on Braque's still-lifes: 'The pieces of fruit occupy the majority of the picture surface, with the result that they seem larger than they normally do in perspective. This makes them look peculiar, paradoxical – by focusing on objects that have been removed from their natural environment, the eye makes them seem close, but at the same time they seem to be monumental, because the object has been transformed into a decorative motif, offering a choice of the subtlest tones and materials.' (Bernard Zurcher, Georges Braque: Life and Work, New York, 1988, p. 139).

COMP: 357L10005_COMP
Georges Braque, circa 1932