The dog originally belonged to Duncan, as Alan Riding explains in the New York Times.
The sequence starts on April 19, 1957, the day that Lump met Picasso. Mr. Duncan, who had first photographed Picasso a year earlier, brought Lump along for the ride, largely because the dog did not get along well with Mr. Duncan’s other pet, an Afghan hound called Kublai Khan.Lump stayed with Picasso for six years, during which time the little dachshund and the artist were inseparable. Lump often was in the studio with Picasso while he worked, a rare privilege, which may be why he appears in so many paintings.
“Lump immediately decided that this would be his new home,” Mr. Duncan recalled in an interview on a visit to Paris, noting pointedly that “lump” means “rascal” in German. “He more or less said, ‘Duncan, that’s it, I’m staying here.’ And he did, for the next six years.”
Picasso was apparently equally entranced. That very day, he did his first portrait of Lump, a signed and dated portrait of the dog that he painted on a plate while having lunch with Jacqueline Roque, his new partner, whom he would marry four years later.
Yes, that’s Lump at the bottom of the canvas in Picasso’s multiple reinterpretations of Velázquez’s masterpiece “Las Meninas.” Gone is the somnolently regal hound of the original. In its place is, well, a sausage with four short legs and two pointed ears. [See example at link.]When Lump contracted a spinal problem common to dachshunds in 1963, Duncan took him back so he could take him to Stuttgart for treatment. Lump stayed with his original owner for the rest of his life. In April 1973, Picasso -- and the canine friend he had once borrowed -- died.
Picasso painted 44 studies in his “Meninas” series between Aug. 17 and Dec. 30, 1957 — and Lump appears in 15 of them.