Arthur & Heddy Hahnloser, Winterhur 
Private Collection, Bern
Maurice Sternberg, Chicago
Mr. & Mrs. Jack Josey (and sold: Sotheby’s, New York, November 14, 1990, lot 338)
Acquired at the above sale 

Paris, Galerie Druet, Manguin, 1913
Geneva, Galerie Motte, Manguin, 1958, no. 59
Neuchâtel, Musée des Beaux-Arts, Manguin, 1964, no. 88
New York, New York Cultural Center; Los Angeles, U.C.L.A Musuem of Art; Athens, Georgia Musuem of Art; San Antonio, McNay Art Institue; Wichita, Wichita State University Art Muesum & Bloomington, Indiana University Art Museum, Manguin in America, 1974-75, no. 41, illustrated in the catalogue

Pierre Cabanne, Henri Manguin, Neuchâtel, 1964, no. 31, illustrated p. 71 
Raymond Cogniat, "Manguin: la peinture a l'état pur" in Galerie des Arts, 1969, illustrated p. 20
Lucile & Claude Manguin, Henri Manguin, Catalogue Raisonné de l'oeuvre peint, Neuchâtel, 1980, no. 414, illustrated p. 166 

In very good condition. Canvas is not lined. Surface is richly textured and pigments are extremely vivid. Very fine lines of stable shrinkage in dark green pigment of plant.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Painted in 1912, the present work evokes the strong palette used by the "Three M's," Manguin, Marquet and Matisse, who first banded together in a group studio in 1904 at the genesis of the Fauve movement. This canvas also introduces us to the domestic life of the artist who depicts his young wife resting by a fruit-laden table. Manguin here paints Jeanne Carette, his wife since 1899 and the woman who would continue to be his muse for over thirty years. If the domestic theme and ambience of this scene are not dissimilar to certain Nabis representations, the still life, at the heart of the composition, also suggests Manguin's admiration for the work of Paul Cézanne. Charles Terrasse writes, "A painting by Manguin is a concert of strong colors in which a true red dominates red-oranges, purple violets, deep blues, dark greens, and golden yellows. Lines, shapes, everything is strong. Everything is striking. It is an exalted painting that warms the heart and gives joy" (in Jean-Louis Ferrier, The Fauves: The Reign of Colour, Paris, 1992, p. 132).

The strongest palpable association is with the works of his friend Henri Matisse, whose vivid layering of patterns, flattened perspective and use of still life elements Manguin admired (see fig 1). It was compositions such as this that would earn him glowing praise from Guillaume Appolinaire: "Well composed, Manguin's still lives please the eye more perhaps than the paintings. It is only in these compositions that his colorist's instinct can fully reveal itself without being constrained" (Guillaume Apollinaire, "La Vie Artistique" in "Exposition Manguin," L'Intransigeant, June 14, 1910).