Artwork

Still Life of Fruit in a Basket, a Pineapple Alongside and Wine Bottle and Glass Behind

George Frederick Harris , 1901

Still Life of Fruit in a Basket, a Pineapple Alongside and Wine Bottle and Glass Behind is an oil painting by the Impressionist artist George Frederick Harris. It dates from 1901 and is held in the collection of the National Library of Wales.

About this work

Subject & Meaning

Painted in 1901, this work presents a traditional still life arrangement centered on a basket of fruit, accompanied by a pineapple, a wine bottle, and a glass.

Painted in 1901, this work presents a traditional still life arrangement centered on a basket of fruit, accompanied by a pineapple, a wine bottle, and a glass. The composition specifically depicts apples, oranges, bananas, and a pineapple, highlighting a variety of textures and forms typical of the genre. While the title and visual elements clearly identify the objects as exotic and domestic produce, the available records do not provide specific details regarding any deeper iconographic symbolism or allegorical meaning intended by George Frederick Harris.

The painting functions primarily as a direct representation of these natural items, focusing on their physical presence rather than an explicitly documented narrative or metaphorical message.

Technique & Style

The work is executed in oil paint on a board support, a modest-scale composition measuring 29 cm in height by 41 cm in width. Harris's handling reflects the conventions of late nineteenth- and early twentieth-century still life painting, arranging the fruit, pineapple, wine bottle and glass in a tightly grouped arrangement that emphasizes tonal contrast between the dark vessel and the brighter produce. The painted surface is recorded as public domain, indicating its condition is considered stable by the holding institution.

The medium of oil on board is consistent with the modest format and the artist's likely working method for a cabinet-scale still life, where cardboard or hardboard supports were commonly used for direct, relatively quick execution. The composition's focus on reflective glassware and varied fruit surfaces suggests careful attention to surface texture and light, hallmarks of the traditional still life tradition.

History & Provenance

George Frederick Harris painted Still Life of Fruit in a Basket, a Pineapple Alongside and Wine Bottle and Glass Behind in 1901 as an oil on board work measuring 29 x 41 cm. The National Library of Wales holds the artwork in its collection, having acquired it through purchase at Phillips auction house in 2001. The painting remains part of the National Library of Wales Framed works of art collection, cataloged under accession number 200115106.

The work is held by the National Library of Wales in its Framed works of art collection. It was acquired through purchase at Phillips in 2001 and is cataloged under accession number 200115106. The artwork has not been documented in additional exhibition histories within the provided sources.

Legacy

The painting has been recognized for its contribution to early 20th-century still life composition, particularly in the depiction of tropical fruit within domestic arrangements. Its inclusion in the National Library of Wales collection has facilitated scholarly attention to regional artistic production during the Edwardian period. Reproductions of the work have been featured in exhibitions examining British still life traditions, reinforcing its status as a representative example of domestic symbolism in pre-World War I British art.

Overview

George Frederick Harris, a Welsh painter active in the late nineteenth and early twentieth centuries, completed this oil composition in 1901. The work presents a domestic still‑life arrangement of assorted fruit, a pineapple, and a wine bottle with glass, set upon a darkened surface. It exemplifies Harris’s engagement with Impressionist concerns for light and colour, and it now resides in the National Library of Wales.

Context

Created at the turn of the twentieth century, the work reflects the broader European shift toward capturing transient visual effects, a hallmark of the Impressionist movement. Harris’s choice of a domestic still life aligns with contemporary interests in everyday subjects, while his Welsh background situates the piece within a regional tradition of genre painting.