Georges Braque

Jacques Helft, Paris (commissioned directly from the artist)
Thence by descent to the present owners

George Isarlov, Catalogue des œuvres de Georges Braque, Paris, 1932, no. 341
Jacques Helft, Vive la chine! Mémoires d'un antiquaire, Paris, 1955, illustrated pl. VI
Marcelle Brunet, 'La Manufacture de Sèvres', in L'Œil, Paris, March 1960, no. 63, illustrated in colour p. 65
Maeght Editeur (ed.), Catalogue de l'œuvre de Georges Braque, peintures 1924-1927, Paris, 1968, illustrated p. 13
Pierre Descargues & Massimo Carrà, Tout l'œuvre peint de Braque, 1908-1929, Paris, 1973, no. 221, illustrated p. 96

The canvas is unlined. There is no evidence of retouching under ultra-violet light. Apart from a tiny indentation towards the left of the upper edge, this work is in very good original condition. Colours: Overall fairly accurate in the printed catalogue illustration, although slightly fresher in the original. The white is cleaner and the green and blue tones are more pronounced 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."

Executed in 1924, the present work is an example of Braque's continued fascination with still-life, the genre that dominated his Cubist period. With the development of synthetic Cubism, the artist had discovered that he could begin a painting – nearly always a still-life on a table – by composing it with purely pictorial elements, such as shaped forms and planes of colour, and gradually endow them with an objective significance as his composition progressed. Braque's works of the 1920s such as Pichet, verre, fruits, couteau are characterised by a more restrained approach to Cubist forms, in line with the revival of Neo-Classicism and what Jean Cocteau referred to as le rappel à l'ordre across French society.

Braque's still-lifes of the 1920s are today considered as the most classical compositions within his œuvre, as the hard edges of his pre-War paintings evolved into softer curved lines. Typically, pigment is applied quite thickly and in broad brushstrokes and paint is used to achieve texture as well as colour. In the present work, the dark background emphasises spatial depth and increases the resonance of the bright oranges, of the decorative pattern on the wall and the sharply contrasted white table-cloth. The tilted table and pieces of fruit that appear to defy gravity can be seen as Braque's homage to Cézanne, whose still-lifes played such an important role in the development of modern painting.

The present work was commissioned by Jacques Helft directly from the artist in 1924 for his home in Paris. Helft was the leading antique dealer as well as a celebrated silver specialist in France. He was also a business partner of Paul Rosenberg, arguably the most dynamic dealer of early twentieth century art during this period. In his memoires, Helft recounts his visit to Braque's studio at 101 rue Caulaincourt, where he purchased two oils, followed shortly afterwards by an annual contract between Helft and the artist. Pichet, verre, fruits, couteau has remained in the family of Jacques Helft until now.