The present work from 1924 combines the typical elements of Braque's classic early Cubist still lifes: violin, music book, vase, bottle, and patterned wallpaper. The organic forms of the objects and their Czannesque positioning seem to overflow towards the viewer at the bottom edge of the canvas. John Golding stated, "The tonal harmonies of the works of the 1920s are splendid in their sobriety --and in this respect they are reminiscent of the still lifes of Holland's Golden Age. But more than any other French painter of his generation Braque was content to remain firmly within a national context; Czanne was to remain a constant source of inspiration for Braque, but Poussin, Corot, Chardin and Le Nain also played a part in his affections. The paintings of the 1920s became more naturalistic, more accessible; it is possibly because of this that they remain amongst the most sought after and enjoyed of all Braque's still lifes" (J. Golding, Braque Still Lifes and Interiors, London, 1990, p. 15).