{"id":182696,"date":"2026-08-09T15:41:46","date_gmt":"2026-08-09T13:41:46","guid":{"rendered":"https:\/\/svetslik.si\/?post_type=product&p=182696"},"modified":"2026-08-09T15:42:33","modified_gmt":"2026-08-09T13:42:33","slug":"still-life-with-apples","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/paul-cezanne\/still-life-with-apples\/","title":{"rendered":"Paul C\u00e9zanne \u2013 Still Life with Apples"},"content":{"rendered":"
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Still Life with Apples \u2013 a work built on two pieces of cloth<\/h2>\n

On the table stand, side by side, a green olive jar with a terracotta foot, a raffia-wrapped bottle, a blue and white ginger pot caught in a net of cord, a small lidded sugar pot with a flowered pattern, and a plate heaped with apples. Under all of it lie two fabrics: a dark blue one with a large pattern at the left, and a white cloth falling away to the right in heavy folds. This hand-painted painting on canvas<\/strong> reproduces C\u00e9zanne\u2019s work of 1893 to 1894, which measures 65.4 \u00d7 81.6 centimetres in the original and is held by the J. Paul Getty Museum<\/strong> in Los Angeles under the inventory number 96.PA.8.<\/p>\n

Two cloths, which once gave the work its title<\/h3>\n

When the canvas was exhibited in Cologne in 1912, the catalogue entered it as Apfelstilleben, Tisch mit blauem und weissem Tuch<\/em> \u2013 apple still life, table with blue and white cloth. The title named neither the pottery nor the bottle but exactly the two things everything else stands on. And so it is: the blue patterned fabric at the lower left gives the work weight and depth, while the white cloth lifts it, breaks into sharp edges and carries the light rightwards to the edge of the canvas. A narrow red stripe runs through the white \u2013 the only warm line in the lower half. The catalogue raisonn\u00e9 records the two fabrics separately, and the white one twice, with an entry of its own for the red stripe.<\/p>\n

The ginger pot that turns up elsewhere<\/h3>\n

The vessel with the blue diamond pattern and the net of cord across its belly is not an invented prop but an object the painter puts on the table in other canvases too. The same ginger pot stands in Ginger Pot with Pomegranate and Pears<\/a> and in Flowers in a Ginger Jar and Fruit<\/a>. Beside it here are the green olive jar, the wrapped bottle, the sugar pot and the plate \u2013 the catalogue lists them one after another among the still-life objects, and every one stands on the canvas where the record puts it.<\/p>\n

From Vollard to Los Angeles<\/h3>\n

The first known owner was the dealer Ambroise Vollard<\/strong> in Paris. On 6 December 1904 Paul Cassirer bought it in Berlin, and around 1910 Baron Ferenc Hatvany in Budapest. After him the canvas returns to Berlin, to Hugo Cassirer, and then to Lotte Cassirer-F\u00fcrstenberg; a private collection follows, and in 1996 the Getty acquired it. Hatvany also lent the work out: to Berlin in 1909 and to Cologne in 1912.<\/p>\n

Vienna, Budapest, Prague \u2013 and some uncertainty<\/h3>\n

The year 1907 is unusual in the record. The canvas is said to have been at the Galerie Miethke in Vienna in the spring as number 95 or 91, at the Nemzeti Salon in Budapest in May as number 70, and at the M\u00e1nes pavilion in Prague in the autumn as number 55 \u2013 each time with a reservation, twice with the word \u201cprobably\u201d and once with a question mark. Only the shows at Paul Cassirer\u2019s in Berlin in November 1909 as number 32, where Hatvany lent it, and in Cologne in 1912 as number 129 with plate 19, are certain. In 1921 it was in Berlin again, this time under the title Stilleben mit Ingwertopf<\/em>, lent by Hugo Cassirer.<\/p>\n

Into a museum only in 1996<\/h3>\n

Unlike most of C\u00e9zanne\u2019s canvases in public collections, this one reached a museum late: the Getty bought it in 1996 and gave it the inventory number 96.PA.8, in which the first two digits are the year of purchase itself. For nearly a century after it was made it therefore stayed in private hands \u2013 dealers, a baron, and two generations of the same Berlin family \u2013 before it became something anyone could go and see.<\/p>\n

What stood beside the price<\/h3>\n

In Vollard\u2019s stockbook the canvas carries the number 3439, and beside it a description: peinture \u00e0 l\u2019huile. sur une table couverte d\u2019un tapis bleu et d\u2019une nappe blanche, plusieurs pots et bouteilles ainsi qu\u2019une assiette couverte de fruits<\/em> \u2013 oil painting; on a table covered with a blue cloth and a white tablecloth, several pots and bottles and a plate heaped with fruit. Next to it stand the measurement 65 \u00d7 81 centimetres and the price of 250 francs. Even then, the dealer described the work exactly as we look at it now: the fabrics first, and only then the vessels.<\/p>\n

Because the canvas is horizontal and full of quiet, round forms, it sits well above a chest of drawers, a sideboard or a dining table, where it has room across. It is available in fifteen sizes, from 50 \u00d7 40 to 180 \u00d7 145 centimetres; intermediate measurements we stretch on a made-to-measure stretcher frame, and the effect on the wall is shown in advance by our 3D application<\/strong>. Among the apple still lifes there is also The Basket of Apples<\/a>.<\/p>\n