Before 1900, Vuillard focused his works primarily on dusky interior scenes, portraits and set decorations. After 1900 he moved out of doors into the gardens and onto the beaches, allowing his palette to become brighter. Vuillard began to leave Symbolism behind and became known as the last Impressionist.
During the early years of the twentieth century Vuillard would depict the environs of Amfréville, located on the northern coast of France, many times and in many media including several paintings, and this drawing, of Madame Hessel. Vuillard visited Lucie Hessel, the wife of his dealer, often, attracted by her company and the collection of contemporary art which included Cezanne, Lautern, Renoir, and some of his own paintings.
Prince Antoine Bibesco Collection, Paris (circa 1948).
Dr. Jules C. Stein Collection, Los Angeles.
Doris Babette Jones Oppenheimer Stein Collection, Los Angeles (by descent from the above, 1981).
Gerald H. Oppenheimer Collection, Beverly Hills (by descent from the above, 1984).
Gail Feingarten Oppenheimer Collection, Beverly Hills (by descent from the above, 2021).
Thence by descent to the present.
G. Newness (ed.), Country Life, London, July 2, 1948 (illustrated).
A. Salomon & G. Cogeval, Vuillard, The Inexhaustible Glance, Critical
Catalogue of Paintings and Pastels, vol. II, Paris, 2003, no. VIII-214 (illustrated p. 925).