This painting depicts the abstract form of a woman sitting in a chair with her head, shown in profile and tilted upward. There is a stringed instrument in her lap and her hands rest on the arms of the chair. It is painted in muted colors of aqua and lavender with brighter areas of yellow, orange and blue. The figure, chair and instrument are created with just a few black lines to suggest their forms.
The painting is an abstract rendering of a woman seated in a chair, playing a mandolin. Picasso has emphasized the theme by including several musical symbols. The subject is Marie Therese Walter, Picasso’s lover at the time.
Signed and inscribed: I once painted Three Fish and inscribed it: painting is what I did in the time remaining after work, poetry in the time remaining after sleep, and calligraphy in the time remaining after carving. This is what I call the three remaining. (in Chinese, "fish" and "remaining" are pronounced the same)
The painting depicts three fishes below a calligraphic poem. The poem goes: "I once painted Three Fish and inscribed it: painting is what I did in the time remaining after work, poetry in the time remaining after sleep, and calligraphy in the time remaining after carving. This is what I call the three remaining." (in Chinese, "fish" and "remaining" are pronounced the same)
Ewer decorated floral scrolls in fine blue-and-white and a slim handle. The original spout broke off and a silver replacement and lid are later additions.
The shape of this ewer looks back to metalwork models of the Sassanian Empire (based in modern Iran) that were first imported to China in the seventh century. The floral scrolls have their origin in ancient West Asian art, as seen on architecture and carpet.
36.7 cm x 100 cm x 70.49 cm (14 7/16 in. x 39 3/8 in. x 27 3/4 in.)
The rectangular table has shaped aprons and a reveal-moulded top above tour squared cbriole legs. The red/brown lacquer finish is heavily inlaid in mother-of-pearl, tortoise shell, two colors of shagreen and brass wire. It is also decorated with gold dust. Motifs on the top include writhing dragons, Taoist yin-yang symbold and a border with repeats of auspicious objects. The aprons repeat the symbols of the borders.
A woman in a dress with long sleeves and a fitted bodice, long skirts and train that wraps across the figure to the left, and holding a fan stands against an undifferentiated background. Her figures is turned in a 3/4 pose, although her face is seen in profile.
Drawn on the same stone as "Early Morning", this view of Maud Franklin was published in the periodical "Piccadilly" in July of 1878.