Picasso’s still life, probably painted a few months before Braque’s, is arranged on a round pedestal table draped with a braided-and-fringe-trimmed cloth. The composition centers on the cup and saucer and the black sound hole of the mandolin. Depending on their placement and combination with other shapes, Picasso’s simple graphic marks—semicircles, triangles, short vertical and horizontal lines, and S-curves—assume the identities of different objects. For example, the prominent curved form with parallel lines at upper left denotes the loop of a curtain, while its fringed tassel, resembling a fluted bottle, dangles just below to the right.
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Inscription: Signed (verso, upper right, in gray paint): Picasso [underlined]
[Galerie Kahnweiler, Paris, spring or early summer 1911, as "Nature morte (Mandoline et trois verres)"; inv. no. 705, photo no. 84, valued at Fr 1,500]; Sir Edward and Lady Nika Hulton, London (by 1957–at least 1968); [Marlborough Fine Art Ltd., London, from March 18, 1981; inv. no. 23.494; sold in 1981 to Acquavella and The Fine Arts Investment Trust]; [Acquavella Galleries, New York, and The Fine Arts Investment Trust (Heinz Berggruen), 1981–82; sold in February 1982 to Lauder]; Leonard A. Lauder, New York (from 1982)
London. Tate Gallery. "A Selection of Pictures, Drawings and Sculpture from the Collections of Sir Edward and Lady Hulton," August 29–September 18, 1957, no. 25 (as 1912).
Wuppertal. Kunsthalle Barmen. "Sammlung Sir Edward und Lady Hulton, London," September 9–November 15, 1964, no. 43 (as "Stilleben mit Gläsern, Tassen und Mandoline").
Rotterdam. Museum Boijmans Van Beuningen. "Sammlung Sir Edward und Lady Hulton, London," November 27, 1964–January 17, 1965, no. 43.
Frankfurter Kunstverein. "Sammlung Sir Edward und Lady Hulton, London," February–March 1965, no. 43.
Munich. Städtische Galerie im Lenbachhaus. "Sammlung Sir Edward und Lady Hulton, London," April 3–May 9, 1965, no. 43.
Dortmund. Museum am Ostwall. "Sammlung Sir Edward und Lady Hulton, London," (June)–August 8, 1965, no. 43.
Kunsthaus Zürich. "Sammlung Sir Edward und Lady Hulton, London," December 3, 1967–January 7, 1968, no. 44 (as "Stilleben mit Gläsern, Tassen und Mandoline").
New York. Museum of Modern Art. "Picasso and Braque: Pioneering Cubism," September 24, 1989–January 16, 1990, unnumbered cat. (p. 188; as "Pedestal Table with Wineglasses, Cup, and Mandolin").
New York. The Metropolitan Museum of Art. "Cubism: The Leonard A. Lauder Collection," October 20, 2014–February 16, 2015, no. 63.
Christian Zervos. Pablo Picasso. Vol. 2a, Works from 1906 to 1912. Paris, 1942, unpaginated, (list of plates), no. 262, pl. 130.
A Selection of Pictures, Drawings and Sculpture from the Collections of Sir Edward and Lady Hulton. Exh. cat., Tate Gallery. London, 1957, unpaginated, no. 25.
The Institute of Contemporary Arts Honours Pablo Picasso. London, 1960, p. 27, no. 59, pl. 11g, as "Table, Glasses, Cups, Mandolin".
Picasso. Exh. cat., Tate Gallery. London, 1960, p. 27, no. 59, pl. 11g.
Sammlung Sir Edward und Lady Hulton, London. Exh. cat., Kunsthalle Barmen. Wuppertal, 1964, unpaginated, no. 43, ill.
Hulton-samlingen. Exh. cat., Moderna Museet. Stockholm, 1966, unpaginated, no. 40, as "Stilleben med glas, koppar, och mandolin".
Sammlung Sir Edward und Lady Hulton, London. Exh. cat., Kunsthaus Zürich. Zürich, 1967, p. 16, no. 44, ill.
Franco Russoli and Fiorella Minervino. L'opera completa di Picasso cubista. Milan, 1972, p. 107, no. 398, ill., as "Mandolino, bicchieri e tazze su un tavolino".
Françoise Cachin and Fiorella Minervino. Tout l'oeuvre peint de Picasso, 1907–1916. Paris, 1977, p. 107, no. 398, ill.
Pierre Daix and Joan Rosselet. Picasso, The Cubist Years, 1907–1916: A Catalogue Raisonné of the Paintings and Related Works. 2nd ed. [1st ed., 1979, French]. Boston, 1979, p. 263, no. 386, ill., as "Pedestal-table with Wineglasses, Cup and Mandolin".
William Rubin, ed. Picasso and Braque: Pioneering Cubism. Exh. cat., Museum of Modern Art. New York, 1989, ill. p. 188 (French ed., 1990, and Spanish ed., 1991, ill. p. 182), (German ed., 1990, fig. 163 [as "Tischchen mit Weingläsern, Tasse und Mandoline"]).
"Objects Promised to the Museum during the Year 2012–2013." The Metropolitan Museum of Art, One Hundred Forty-third Annual Report of the Trustees for the Fiscal Year July 1, 2012, through June 30, 2013 (2013), p. 47, as "Pedestal Table with Wine Glasses, Cup, and Mandolin".
Isabelle Monod-Fontaine inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 59, 64, 66–68, no. 63, ill. p. 64 (color).
Anna Jozefacka and Luise Mahler inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 285–86.
Emily Braun and Leonard A. Lauder inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, p. 9, fig. 7 (on display in the residence of Leonard A. Lauder, New York, 1987).
Alan Hyman, ed. The Picasso Project: Picasso's Paintings, Watercolors, Drawings, and Sculpture, A Comprehensive Illustrated Catalogue, 1885–1973. Vol. 1909–1912, Analytic Cubism. San Francisco, 2015, pp. 138, 322, 331, no. 1911-026, ill. p. 138.
"The Leonard A. Lauder Cubist Collection: A Conversation with Emily Braun and Pepe Karmel." IFAR Journal 16, no. 3 (2015), pp. 51–52, figs. 33 (color, on display at the Lauder residence, New York, 2014) and 34A (color).
Written on the verso (center of right stretcher bar, in blue crayon): GRANGE
Leonard A. Lauder discusses his appreciation of the Cubist works of art he has collected. Leonard A. Lauder answers the question: "Which is your favorite picture?"
The ninth-annual Women and the Critical Eye program featuring a conversation between Emily Braun and Rebecca Rabinow, who discuss Leonard Lauder's criteria for collecting, including the importance of the "aesthetic wow," rarity, state of conservation, and attention to a work's curriculum vitae.
The Met's engagement with art from 1890 to today includes the acquisition and exhibition of works in a range of media, spanning movements in modernism to contemporary practices from across the globe.
