A century ago, L’Estaque was a modest Mediterranean port to the northwest of the industrial city Marseille. Of the many artists who spent time painting its scenic vistas, none was better known than Paul Cézanne (1839–1906). It was partly in homage to this revered and recently deceased artist that Braque traveled to L’Estaque in the summer of 1907. The influence of Cézanne’s art can be seen here in Braque’s palette and use of geometric forms to render the terraced park adjacent to a seaside hotel.
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Inscription: Signed and dated (verso, vertically, left, in black paint): G. Braque 07
[Galerie Kahnweiler, Paris, probably before November 1908–14; inv. no. 95, photo no. 1032; sequestered Kahnweiler stock, December 12, 1914–21; Hotel Drouot, Paris, first Galerie Kahnweiler sequestration sale, June 13, 1921, lot 21 (purchased for Fr 260 by the Kahnweiler syndicate, under the pseudonym “Grassat,” for Galerie Simon, one of the seven shareholders composing “Grassat”)]; [Galerie Simon (Daniel Henry Kahnweiler), Paris, from June 1921; inv. no. 6647; probably sold by the gallery through Galerie Alfred Flechtheim GmbH, Düsseldorf and Berlin (no. “4968 [?] 4”), also one of the seven shareholders composing “Grassat,” in the early 1920s to Gröppel]; Irene and Karl Gröppel, Bochum and Gollenshausen, Germany (early 1920s–July 1953); [probably acquired from Gröppel by, or on consignment with, [Adolf?] Wüster, Munich, in July 1953; sold in July 1953 to Fine Arts Associates]; [Fine Arts Associates (Otto M. Gerson), New York, 1953–54; sold in January 1954, through their daughter Eileen Josten, to Margaret and Werner E. Josten]; Margaret and Werner E. Josten, New York (1954–her d. 1976); their son, Peter W. Josten, New York and Griggstown, New Jersey (1976–94; sold in November 1994 through Stephen Mazoh & Co., Inc., New York to Lauder); Leonard A. Lauder, New York (from 1994–2013; transferred on April 8, 2013 to the Leonard A. Lauder Cubist Trust); The Leonard A. Lauder Cubist Trust, New York (2013)
Paris. Galerie Kahnweiler. "Exposition Georges Braque," November 9–28, 1908, no. 6 or 11 as "La terrasse".
Bochum. Richard Baltz-Haus. "Expressionismus in Bochum: Malerei und Plastik vor 1933 aus Bochumer Privatbesitz," March 11–April 7, 1948, no. 8 (as "Terasse") [sic].
Bochum. Richard Baltz-Haus. "Expressionismus in Bochum: 2. Ausstellung von Werken aus Bochumer Privatbesitz," October 10–November 17, 1948, no. 1 (as "Terrasse").
Kunsthaus Zürich. "Georges Braque: Juni bis Juli 1953. Verzeichnis der ausgestellten Werke mit 24 Tafeln," June 7–July 19, 1953, no. 13 (as "Vue de l’Hôtel Mistral," lent by a private collection, Bochum).
New York. Fine Arts Associates. "French Art Around 1900, from Van Gogh to Matisse," October 26–November 21, 1953, no. 4 (as "View from the Hotel Mistral").
Edinburgh. Royal Scottish Academy. "G. Braque: An Exhibition of Paintings," August 18–September 15, 1956, no. 11 (as "View from the Hotel Mistral, L'Estaque").
London. Tate Gallery. "G. Braque: An Exhibition of Paintings," September 28–November 11, 1956, no. 11.
New York. Saidenberg Gallery. "Georges Braque, 1882–1963: An American Tribute. Fauvism and Cubism," April 7–May 2, 1964, no. 10.
New York. Museum of Modern Art. "Picasso and Braque: Pioneering Cubism," September 24, 1989–January 16, 1990, unnumbered cat. (p. 78).
Philadelphia Museum of Art. "Picasso and Braque: After Cézanne," November 9, 1996–February 25, 1997, extended to March 2, 1997, no catalogue.
Houston. Museum of Fine Arts. "Georges Braque: A Retrospective," February 13–May 11, 2014.
New York. The Metropolitan Museum of Art. "Cubism: The Leonard A. Lauder Collection," October 20, 2014–February 16, 2015, no. 1.
Exposition Georges Braque. Exh. cat., Galerie Kahnweiler. Paris, 1908, unpaginated, no. 6 or 11.
"Échos de l’Hôtel Drouot. Liste complète des prix atteints aux ventes Uhde et Kahnweiler: Vente Kahnweiler, 13 et 14 June 1921." L’Esprit Nouveau: Revue internationale illustré de l’actualité contemporaine no. 13 (1921), p. 1566, as "La Terrasse, L'Estaque".
George Isarlov. Georges Braque. Paris, 1932, p. 15, no. 29, as "La terrasse (Estaque)".
Henry R. Hope. Georges Braque. Exh. cat., Cleveland Museum of Art. New York, 1949, pp. 27–28, ill. p. 24, as "View from the Hotel Mistral".
Douglas Cooper. G. Braque: An Exhibition of Paintings. Exh. cat., Tate Gallery. London, 1956, p. 8.
G. Braque. Exh. cat., Royal Scottish Academy, Edinburgh. London, 1956, p. 27, no. 11, pl. 2.
Hilton Kramer. "Modern Art at the Turn of the Century." The Turn of the Century. New York, 1957, ill. p. 48, as "View from the Hotel Mistral, L’Estaque".
John Golding. "The History of Cubism, 1907–1914." PhD diss., Courtauld Institute of Art, London, 1958, pp. 87, 91, as "View of the Hotel Mistral".
Leo Nyssen. "Schmuckstück des deutschen Expressionismus - Die Sammlung Karl Gröppel." Westfalenspiegel 7, no. 2 (1958), p. 26.
John Richardson. Georges Braque. Harmondsworth, Middlesex, 1959, p. 6.
John Golding. Cubism: A History and an Analysis, 1907–1914. New York, 1959, pp. 9, 63, 66, pl. 24A, as "View from the Hotel Mistral".
Triumph der Farbe: Die europäischen Fauves. Exh. cat., Shaffhausen Museum zu Allerheigen. Berlin, 1959, unpaginated, under no. 61.
John Richardson. G. Braque. Milan, 1960, p. 11, unpaginated (list of plates), pl. IV, as "Vue de l’hôtel Mistral, L’Estaque".
John Richardson. G. Braque. Greenwich, Conn., 1961, p. 11, unpaginated (list of plates), pl. 4, as "Vue de l’hôtel Mistral, L’Estaque".
Jean Leymarie. Braque. Geneva, 1961, pp. 24–25, 132, ill. p. 23, as "View from the Hôtel Mistral, L’Estaque" (French ed., pp. 24–25, 131, ill. p. 23 as "L'Estaque. Vue depuis l'Hôtel Mistral").
John Richardson, ed. Georges Braque, 1882-1963: An American Tribute. Fauvism and Cubism. Exh. cat., Saidenberg Gallery. New York, 1964, unpaginated, no. 10, ill. (color).
Stanislas Fumet. Georges Braque. Paris, 1965, p. 219, ill. p. 23, as "La Terrasse a L'Estaque".
John Golding. Cubism: A History and an Analysis, 1907–1914. 2nd ed. Boston, 1968, pp. 58, 61, pl. 36A, as "View from the Hotel Mistral, L’Estaque".
Edwin Mullins. The Art of Georges Braque. New York, 1968, pp. 28, 30, 207, ill. no. 15, as "View from the Hôtel Mistral, L’Estaque".
Paul Waldo Schwartz. Cubism. New York, 1971, pp. 35, 207, ill. no. 19, as "View from the Hotel Mistral, L’Estaque".
Marco Valsecchi and Massimo Carrà. L'opera completa di Braque dalla scomposizione cubista al recupero dell'oggetto, 1908–1929. Milan, 1971, p. 86, no. 20, ill., as "Veduta dell’Estaque dall’hôtel Mistral (Terrazza all’Estaque)".
Francis Ponge, Pierre Descargues, and André Malraux. G. Braque. New York, 1971, p. 91, ill. p. 90, as "View from the Hotel Mistral, L’Estaque".
Pierre Descargues and Massimo Carrà. Tout l'oeuvre peint de Braque, 1908–1929. Paris, 1973, p. 86, no. 20, ill., as "Terrasse à L’Estaque".
Marcel Giry. "Le Style géométrique dans la peinture vers 1907. Contribution au problème du fauvisme comme source du cubisme." Le Cubisme. Actes du premier colloque d'Histoire de l'Art Contemporain tenu au Musée d’Art et d'Industrie, Saint-Étienne, les 19, 20, 21 novembre 1971, et organisé par le Centre de Documentation et d'Études d'Histoire de l'Art Contemporain. Saint-Etienne, 1973, p. 31.
Donald E. Gordon. Modern Art Exhibitions, 1900–1916: Selected Catalogue Documentation. Vol. 2, Munich, 1974, pp. 285 , 504.
John Elderfield. The "Wild Beasts": Fauvism and Its Affinities. Exh. cat., Museum of Modern Art. New York, 1976, pp. 9, 124, 158–59 nn. 108, 109, ill. p. 123, as "View from the Hôtel Mistral, L’Estaque".
William Rubin inCézanne: The Late Work. Ed. William Rubin. Exh. cat., Museum of Modern Art. New York, 1977, pp. 159–61, 166, 170, 172, ill. p. 161.
Alvin R. Martin. "Georges Braque: Stylistic Formation and Transition, 1900–1909." PhD diss., Harvard University, 1979, pp. 141–45, 149–56, 321, pl. 101, as "Terrace".
Malcolm Gee. Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian Art Market Between 1910 and 1930. PhD diss., Courtauld Institute of Art. New York, 1981, appendix F, p. 57, no. 121, as "La Terrasse—L’Estaque".
Alvin R. Martin. "The Moment of Change: A Braque Landscape in the Minneapolis Museum of Arts." Minneapolis Institute of Arts Bulletin 65 (1981–82), pp. 84, 86, fig. 5.
Pierre Daix. Cubists and Cubism. Geneva, 1982, p. 161, ill. p. 39.
Marcel Giry. Fauvism: Origins and Development. New York, 1982, pp. 240, 242, as "L'Estaque Seen from the Mistral Hotel".
Nicole Worms de Romilly and Jean Laude. [Catalogue de l'œuvre de Georges Braque]. Vol. [1], Le Cubisme, fin 1907–1914. [Paris], 1982, p. 29, ill. p. 28.
Marianne L. Teuber inKubismus: Künstler, Themen, Werke, 1907–1920. Exh. cat., Josef-Haubrich-Kunsthalle. Cologne, 1982, p. 38, fig. 31.
Georges Braque, 1882–1963. Exh. cat., Museu Picasso. Barcelona, 1986, ill. p. 96.
Ron Manheim. "Expressionismus - Zur Entstehung eines kunsthistorischen Stil- und Periodenbegriffes." Zeitschrift für Kuntsgeschichte 49, no. 1 (1986), p. 79 n. 36.
Serge Fauchereau. Braque. New York, 1987, pp. 9-10, 12, 126, no. 9, ill., as "View of L'Estraque from the Hotel Mistral".
Monika Flacke-Knoch and Stephan von Wiese inAlfred Flechtheim, Sammler, Kunsthändler, Verleger. 1937. Europa vor dem 2.Weltkrieg. Ed. Stephan von Wiese and Monika Flacke-Knoch. Exh. cat., Kunstmuseum Düsseldorf. Dusseldorf, 1987, p. 167.
Sigrun Loos. "Das Feuer der Begeisterung genügt mir." Georges Braque, Das Druckgraphische Werk. Ed. Otto Breicha et al. Graz, 1987, p. 13, as "Terrasse in L'Estaque, vom Hotel Mistral aus".
Bernard Zurcher. Georges Braque: Life and Work. New York, 1988, pp. 25, 29, 32, 33 (French ed., pp. 21, 28, 32).
John Golding. Cubism: A History and an Analysis 1907–1914. 3rd rev. ed. (1st ed., 1959; 2nd ed. 1968). Cambridge, Mass., 1988, pp. 58, 61, 221, pl. 36A, as "View from the Hotel Mistral".
William Rubin, ed. Picasso and Braque: Pioneering Cubism. Exh. cat., Museum of Modern Art. New York, 1989, ill. p. 78 (German ed., 1990, fig. 7; French ed., 1990, and Spanish ed., 1991, ill. p. 72).
Judith Cousins inPicasso and Braque: Pioneering Cubism. Ed. William Rubin. Exh. cat., Museum of Modern Art. New York, 1989, pp. 347–48 (German ed., 1990, p. 340; French ed., 1990, and Spanish ed., 1991, p. 339).
Alvin Martin and Judi Freeman in Judi Freeman. The Fauve Landscape. Exh. cat., Los Angeles County Museum of Art. New York, 1990, p. 235, pl. 253.
Pepe Karmel. "Appendix 2: Notes on the Dating of Works." Picasso and Braque: A Symposium. Ed. Lynn Zelevansky. New York, 1992, p. 323.
Russell T. Clement. Georges Braque: A Bio-Bibliography. Westport, Conn., 1994, pp. 69–70.
Jean-Paul Monery inL'Estaque: Naissance du paysage moderne, 1870–1910. Exh. cat., Musée Cantini. Marseille and Paris, 1994, pp. 106–7, 110.
Xavier Prati inL'Estaque: Naissance du paysage moderne, 1870–1910. Exh. cat., Musée Cantini. Marseille and Paris, 1994, p. 148, ill. no. 139.
William Rubin inL'Estaque: Naissance du paysage moderne, 1870–1910. Exh. cat., Musée Cantini. Marseille and Paris, 1994, pp. 41, 44–45, 47, 51, 53, ill. no. 25.
Véronique Serrano inL'Estaque: Naissance du paysage moderne, 1870–1910. Exh. cat., Musée Cantini. Marseille and Paris, 1994, p. 233.
Mark Antliff and Patricia Leighten. Cubism and Culture. New York, 2001, p. 56, ill. no. 46.
Véronique Serrano inGeorges Braque et le paysage: De l'Estaque à Varengeville, 1906–1963. Exh. cat., Musée Cantini, Marseille. Paris, 2006, p. 32, figs. 15, 154.
Ottfried Dascher. "Es ist was Wahnsinniges mit der Kunst." Alfred Flechtheim Sammler, Kunsthändler, Verleger. Wädenswil, 2011, p. 155 n. 63, as "La Terrasse (Estaque)".
Claudine Grammont inGeorges Braque, 1882–1963. Ed. Brigitte Leal, Gary Tinterow, and Alison de Lima Greene. Exh. cat., Grand Palais, Galeries nationales. Paris, 2013, p. 23, fig. 3.
Carol Vogel. "Billion-Dollar Cubist Gift to the Met." International Herald Tribune (April 11, 2013), p. 12.
Carol Vogel. "$1 Billion Gift Gives Met a New Perspective (Cubist)." New York Times (April 10, 2013), p. A18.
Armand Israël. Georges Braque: Père du Cubisme, initiateur de l'art contemporain. Paris, 2013, pp. 69–70, ill.
"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. 45, as "Terrace at the Hotel Mistral, l’Estaque (Terrasse de l’Hotel Mistral, l’Estaque)".
Jack Flam inCubism: The Leonard A. Lauder Collection. Ed. Emily Braun and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2014, pp. 22, 25, 302(1)n.6, no. 1, ill. p. 23 (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. 242–43, fig. 1 (installation photo, Exh. New York 1989–90).
Claudine Grammont inGeorges Braque: 1882-1963. Exh. cat., Museo Guggenheim Bilboa. Madrid, 2014, pp. 20, 23, fig. 3 (color).
Clemens Kreuzer. "Expressionismus in Bochum - eine Vision und ein Eklat: Die Geschichte der Gröppel-Sammlung." Bochumer Zeitpunkte: Beiträge zur Stadtgeschichte, Heimatkunde und Denkmalpflege no. 32 (July 2014), p. 25 n. 77.
Robert A. Davidson. The Hotel: Occupied Space. Toronto, 2018, pp. ix, 14, 16, 168, fig. 1.2 (color).
Pierre Wat inGeorges Braque: Tanz der Formen. Ed. Brigitte Léal and Kathrin Baumstark. Exh. cat., Bucerius Kunst Forum. Hamburg, 2020, p. 57, lists it erroneously in the collection of The Metropolitan Museum of Art.
Susanne Meyer-Büser inBraque, 1906–1914: Erfinder des Kubismus/Inventor of Cubism. Ed. Susanne Gaensheimer and Susanne Meyer-Büser. Exh. cat., Kunstsammlung Nordrhein-Westfalen. Düsseldorf, 2021, p. 22, as "La Terrasse de l'hôtel Mistral".
Véronique Serrano inBraque, 1906–1914: Erfinder des Kubismus/Inventor of Cubism. Ed. Susanne Gaensheimer and Susanne Meyer-Büser. Exh. cat., Kunstsammlung Nordrhein-Westfalen. Düsseldorf, 2021, pp. 73–74, 79 n. 41, fig. 6 (color), as "La Terrasse de l’hôtel de la Falaise".
Written on the verso (center of upper stretcher bar, in black crayon): J 4968[1?]4 (Galerie Alfred Flechtheim no.); (inverted at left corner of lower stretcher bar, in white chalk): 6704 [strikethrough]
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.
