Georges Braque

Galerie Louise Leiris, Paris
Sala Gaspar, Barcelone
Par descendance au propriétaire actuel

The canvas is unlined. Several thin cracks are visible in the lower half of the green pitcher. When examined under ultraviolet light several small areas of restoration are visible in the following places: in the yellow pigment just left of the fruit, a few scattered specks near upper left corner, two small strokes in the yellow pigment near right centre edge and a few pinhead sized dots along the upper and left edges to cover old frame abrasion, and a few pinhole sized dots on the lower right just below the green pitcher. The varnish is somewhat unevenly applied, especially in the green pitcher, which is visible in the catalogue illustration. This work is in good condition.
"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."

oil on canvas. Painted in 1945.

Aussitôt après la libération de Paris, en septembre 1944, Braque retourne à Varengeville, dans des lieux qu'il n'a pas revus depuis quatre ans et la joie de retrouver l'atelier normand transparaît dans ses toiles, comme dans cette Nature morte au pichet vert d'une rare luminosité. A cet égard, Braque confie à Anatole Jakofski en 1946 : "Pour moi, la couleur, cela n'existe pas... L'objet non plus d'ailleurs. C'est sa chaleur, c'est sa lumière à telle heure du jour, c'est la rencontre de sa lumière avec d'autres lumières, ce sont ses rapports avec d'autres objets qui finissent par lui donner sa vie. Et encore... c'est si complexe!" (Anatole Jakovski, "Interviews et opinions : Georges Braque", Arts de France, 1946, no. 8, p. 35).