Georges Braque (1882-1963)

Cruche, cahier de musique, bouteille

Details
Georges Braque (1882-1963)
Braque, G.
Cruche, cahier de musique, bouteille
signed and dated 'G Braque 24' (lower left)
oil and sand on canvas
19.5/8 x 23.7/8 in. (49.8 x 60.7 cm.)
Painted in 1924
Provenance
Edward von Saher, Amsterdam.
Knoedler & Co., Inc., New York.
Acquired from the above by the late owner on 15 September 1948.
Literature
J. Cassou, "Georges Braque", Cahiers d'Art, no. 1, 1928, p. 6 (illustrated).
E. Triade, "Documentaire sur la jeune peinture; L'avnement classique du cubism", Cahiers d'Art, no. 10, 1929, p. 451 (illustrated).
G. Isarlov, Catalogue des oeuvres de Georges Braque, Paris, 1932, no. 335.
C. Zervos, "Georges Braque", Cahiers d'Art, no. 1-2, 1933, p. 48 (illustrated).
S. Fumet, Braque, Paris, 1948, no. 28 (illustrated).
M. Gieure, Georges Braque, Paris, 1956, no. 52 (illustrated).
ed. Galerie Maeght, Catalogue de l'oeuvre de Georges Braque, Peintures 1924-1927, Paris, 1968, p. 9 (illustrated, p. 8).
Exhibited
Amsterdam, Stedelijk Museum, Parijsche Schilders, February-April 1939, no. 19 (titled Karaf en appelen).
New York, M. Knoedler & Co., Inc., Twentieth Century Masters from the Bragaline Collection for the Benefit of the Museum of Early American Folk Arts, November 1963, no. 10 (illustrated).

Lot Essay

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).
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