Lot Essay
From around 1919, Peploe began to consider ways of extending the perspective of his still lifes to allow a greater variation of design and pattern in the depth of field. This is first seen as early as 1917 with the elimination of the flattened abstract design of the war years in favour of new props such as 'The Raeburn Chair' and brightly patterned drapes which introduced the new opportunities of vertical planes of colour and pattern. The field of vision is also extended to allow for table edges and ledges to further accentuate the spatial depth.
In this painting which dates from the early 20s, we see the development of these new techniques combined with a black fan, secondary oranges and the ubiquitous pink roses. E A Taylor who was a close friend of Peploe and was working in Paris during the pre-war years poetically refers to Peploe's roses as 'ever be Peploe's motive a single rose, he gave to it by his significant design and colour, a more enduring bloom than any yet produced by the superficial formula of academical cosmetics'.
In this painting which dates from the early 20s, we see the development of these new techniques combined with a black fan, secondary oranges and the ubiquitous pink roses. E A Taylor who was a close friend of Peploe and was working in Paris during the pre-war years poetically refers to Peploe's roses as 'ever be Peploe's motive a single rose, he gave to it by his significant design and colour, a more enduring bloom than any yet produced by the superficial formula of academical cosmetics'.