In this early painting, which is interesting for its slightly eccentric, off-balance composition, Fantin had yet to achieve the extraordinary realism associated with his still lifes of the mid- to late 1860s. However, his eye for subtle color harmonies was already well-developed, as evident in the juxtaposition of the pinkish-white Malmaison roses, purple-tinged grapes, and golden pear.
Inscription: Signed and dated (upper right): Fantin. 1863.
[Gustave Tempelaere, Paris]; [F. Tempelaere, Paris, by 1906–at least 1911]; Armand Dorville, Paris (by 1936–42; sale, Hall du Savoy, Nice, June 24–27, 1942, no. 292, for Fr 276,000); private collection (in 1957); [David B. Findlay, Inc., New York, 1965; sold to Mrs. Hay]; Alice A. Hay, New York and Newbury N.H. (1965–d. 1987)
Paris. École Nationale des Beaux-Arts. "Éxposition de l'oeuvre de Fantin-Latour," May–June 1906, no. 92 (as "Roses et Poire," 1863, lent by M. F. Tempelaere).
Musée-Bibliothèque de Grenoble. "Centenaire de Henri Fantin-Latour," August–October 1936, no. 115 (lent by M. Dorville, Paris).
Paris. château de Bagatelle. "La rose dans l'art," May 20–?, 1938, no. 32 (lent by M. Armand Dorville).
Madame Fantin-Latour. Catalogue de l'oeuvre complet (1849–1904) de Fantin-Latour. Paris, 1911, p. 31, no. 220, as no. 92 in the 1906 Fantin-Latour exhibition and owned by M. F. Tempelaere.
Stéphane Faniel. Le dix-neuvième siècle français. Paris, 1957, pp. 32, 225, as from a private collection.