Commissioned by the previous owner, circa 1963
Thence by descent to the present owner

This work is in good overall condition as viewed. There is evidence of light wear at the edges of the work due to abrasions with the frame, but this is covered by the frame itself and does not affect the overall image. This work could benefit from a light professional cleaning if desired. Examination under ultraviolet light reveals some restoration at the left corner, near the signature, at the background of the upper right quadrant and at the top center edge of the work. Framed.
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.

The conclusion of World War II saw Burmese artist U Ngwe Gaing establish himself as one of the leading artists in the nation. A prominent figure from the Rangoon School, Ngwe Gaing reframed the trajectory of Burmese art with his heady synthesis of Western aesthetics and traditional Burmese scenes. Recognized as a ‘lateral’ painter, the experienced artist was well-versed with various mediums and genres, conceiving an extensive opus that spanned across commercial movie posters to the realms of fine art.^[1] Alongside his mentor and renowned Burmese painter Ba Nyan, both icons were pioneers of an expressive, naturalistic style that redefined the status of modern Burmese art. Burmese Fruits is a masterful execution of the still life genre, rendering the quotidian in vibrant, illustrious form. The overflowing cornucopia of native Burmese fruits spill across the table in a resplendent array of mangosteens, bananas and pineapples, the local imagery a departure from customary European still life subjects. While the abundant scene is rooted in Western aesthetics, Ngwe Gaing sets himself apart from contemporaries with a distinctive Burmese disposition.

Ngwe Gaing’s educational sojourn to London in 1952 enlightened the artist to the old master traditions of European art, establishing a foundation that would articulate itself in Burmese Fruits with adroit fluency. The assortment of fruits is saturated with a prismatic brilliance, its richer and expansive hues a divergence from the traditional Burmese colors of natural golds and yellows.^[2] The broader palette suggests Ngwe Gaing’s penchant for Western naturalism in his work, yet his chosen iconography of rattan baskets and oil bottles emulates the traditional Burmese dining set-up. In a performance of technical ingenuity, Ngwe Gaing composes the fruits in varying stages of ripeness, its variegation of color setting an undulating rhythm that arrests the viewer’s gaze with its movement. He describes the fruits with a fastidious attention to detail, its contours illuminated with a keen consciousness of light and shade. Effused in generous light, the painting exemplifies the budding optimism of Ngwe Gaing himself, who was famously remembered as the “ever-smiling” artist.A self-taught artist, U Ngwe Gaing was unrestrained by the technicalities of formal education, allowing him to develop an unadulterated, exceptional style that encapsulated his Burmese roots. Burmese Fruits is a still life work representative of the artist at the apotheosis of his career, testifying to his mastery over Western aesthetics with his recognizable Burmese touch.

^[1] Andrew Ranard, Burmese Painting: A Linear and Lateral History, Chiang Mai, 2009, p. 143

^[2] Andrew Ranard, Burmese Painting: A Linear and Lateral History, Chiang Mai, 2009, p. 147