Georges Braque

O'Hana Gallery, London
Sale: Galerie Kornfeld, Bern, 23rd June 1982, lot 46
Purchased at the above sale by the present owner

This work is in very good condition. The canvas is unlined. It is slightly loose in the stretcher. There are two lines running vertically through the canvas, at the location of the glass, which are the original canvas weave. The surface is slightly dirty. There are a few spots of minor frame abrasion along upper edge on the left and along the lower edge on the right. These areas are visible in the catalogue illustration. The colours appear richer in reality than in the catalogue illustration. There is no restoration apparent when examined under ultraviolet light.
"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."

Georges Braque's exploration of the genre of still-life is undoubtedly one of the most exhaustive and exhilarating artistic journeys in the history of twentieth century art. He expressed his preference for the genre, saying that 'the still-life is a tactile, even manual space, in contrast to the space of the landscape, which is a visual space' (Edwin Mullins, The Art of Georges Braque, New York, 1968, p. 41). It is the malleability of the still-life composition, both real and illusory, that allowed Braque to approach his art with such rigour, and therefore make his work so rich, visually and intellectually.

Nature Morte à la Poire et aux Pommes is a remarkable example of the artist's post cubist period. The forms create a succession of layered kidney-shaped lozenges, some solid, like the white cloth the apples rest upon, and others delineated by charming arabesques, such as the dish and the globular pear. White curving lines caress every shape in the composition, adding to the sense of unity between form and content. Isabelle Monod-Fontaine has written of the 'inexhaustible poetic richness Braque achieved with his still-lifes' and the way in which 'the still life as a genre is raised to a new level of profundity and complexity, which has probably never been attained since.' (Isabelle Monod-Fontaine, Georges Braque: Order and Emotion (exhibition catalogue), Museum of Contemporary Art, Andros, 2003, p. 24)