Estate of the artist 

Ma൩rina Picasso♌ (granddaughter of the artist; by descent from the above)

Acquired from the above

Venice, Centro di Cultura di Palazzo Grassi,  Picasso, Opere dal 1895 al 1971 dalla Collezione Marina Picasso,1981, no. 111, illustrated in color in the catalogue

Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle; Frankfurt, Städtische Galerie im Städelschen Kunstinstitu; Zürich, Kunsthaus, Collection Marina Picasso, 1981-8🐲2, no. 95, illustrated in color in the catalogue

Tokyo, National Museum of Modern Art & Kyoto, Municipal Museum, Picasso, Masterpieces from Marina Picasso Collection and from Museums in USA and USSR, 1983, no. 80, ill♊ustrated in color in the c꧅atalogue

Melbourne, National Gallery of Victoria & Sydney, Art Gallery of New South Wales, Picasso, 1984, no. 56, illustrated in the catalogue

Geneva, Galerie Jan Krugier, Picasso, Oeuvres cubistes de la Collection Marina Picasso, 1986, no. 150

Barcelona & Madrid, Fundacio Caixa de Barcelona, Picasso cubista 1907-1920, Coleccion Marina Picasso, 1987, no. 34, illu🌸strated 🐬;in the catalogue

New York, Jan Krugier Gallery, Pablo Picasso, cubist works from the Marina Picasso Collection, 1987, no. 7

Tokyo, Tokyo Station Gallery, Pablo Picasso, Focused on cubist works from the Marina Picasso Collection, 1988, no. 27

Arles, Espace Van Gogh,  Picasso, la Provence et Jacqueline, 1991, no. 17, illustrated in the catalogue

Savonlinna, Finland, Retretti Art Centre, Picasso and Cubism in Finland, 1994, no. 18, illustrated in the catalogue

Schwerin, Staatliches Museum, Pablo Picasso. Der Reiz der Fläche / The Appeal of Surface, 1999, illustrated in color in the catalogue

Vienna, Albertina Museum, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 138, illustrated in col🌟or in෴ the catalogue

Berne, Zentrum Paul Klee, Klee rencontre Picasso, 2010, illustrated in color in the catalogue

Pierre Daix & Joan Rosselet, Le Cubisme de Picasso, Catalogue Raisonné de l'Oeuvre peint 1907 - 1916, Neuchâtel, 1979, no. 771, p. 335

Josep Palau I Fabre, Picasso Cubisme 1907 - 1917,🗹  Paris, 1990, no. 1242, p. 417 illustrated in color

Pierre Daix, Picasso et Matisse revisités, Neuchâtel, 2002, p. 188

Excellent condition. Thin panel laid down on cradled masonite. The central, darker green composition is edged with a lighter green border; the corners of this exterior light green border have been cut by the artist during execution. There appears to be a paint ridge uniformly around the darker green and lighter green, which is presumably as a result of the artist's process. The paint surface, with thicker areas of impasto and incising in the center of the composition, is intact. The panel is flat, with no evidence of bowing. Under UV, no evidence of retouching.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

“The outburst of lyricism here reaches its climax.” With these words Pierre Daix conveyed the effect produced by this exceptionally rich still-life. 1914 was an annus mirabilis for Picasso; firstly he seems to have been genuinely happy in his personal life. Late in 1911 he had met Marcelle Humbert, the companion of Louis Marcoussis, who entered Picasso’s life under the name Eva Gouel. “I love her so much that I shall write her name on my works," he said to Kahnweiler. Eventually Picasso and Eva settled in a new apartment on rue Schoelcher overlooking Montparnasse cemetery where they stayed until the summer of 1914, when they moved to Avignon. The developments in his career were another cause for satisfaction. As a result of the exclusive contract he signed with Kahnweiler in December 1912 Picasso was receiving a relatively high income and at an auction organized by the investment association La Peau de l’Ours in the spring of 1914 his painting titled La Famille de Saltimbanques was acquired by Thannhauser for 11,500 Francs.

The period immediately before the outbreak of World War I was also one of tremendous inventiveness and fertility in his art. Joan Sutherland Boggs described 1914 as “an effervescent year in Picasso’s work. He was never more inventive, more cheerful, more delighted with color and pattern, more curious about small things and happier animating them in his work. In addition, his paintings, sculpture, and drawings sparkled with those small dots that have been described as bubbled, confetti, fireworks and sequins” (J.S. Boggs, Picasso and Things, Cleveland, 1992, p. 132).

Picasso covered the two glasses with an array of colorful dots in the present work, giving these shapes an almost immaterial quality in contrast to the solid dark-green background. The bottle at the center of the composition is conveyed through layers of irregularly shaped, overlapping planes outlined black. Shadows from these objects are cast against the emerald and brown background, creating a three-dimensional effect while horizontal bars of picture frames cut through the composition, a humorous and somewhat self-referential play on the traditional still-life painting. Pierre Daix noted, “Picasso’s painting had become baroque. He was experiencing an evident pleasure in painting, in exploring every available decorative possibility, urged on by perhaps those whose Cubism he had inspired, like Juan Gris or Severini - but Eva was once again the queen of this flowering, which, with a sequence of still-lifes dedicated to Ma Jolie and an explosion of color, combines the most intense lyricism and humor. This will later be called Rococo Cubism, a particularly ill-chosen term. It is, in fact, amorous Cubism” (Pierre Daix, Picasso, Life and Art, 1987, p. 137).