In the period from the late 1940s to the early 1950s Raveel produces numerous still lifes. In them, trivial objects are laid out on tabletops, often viewed from an oblique top-down perspective. Raveel thinks from the perspective of the objects themselves, examines how they relate to each other and gives them each an appropriate material translation: the tablecloth becomes a chequerboard motif, while a yellowish plane might suggest a newspaper; the wood and metal of the breadboard and knife are made palpable; a transparent flask or bottle is suggested in a very spare manner. On the right, we see two mysterious, greasy-looking smudges across the tablecloth: the spectre of a barely present object or simply a painterly intervention?