Don de l’artiste à Emmy Lynn à l’occasion de son mariage avec Charles Peignot, le 22 mai 1936 

Galerie Daniel Malingue, Paris, 1983 

Galerie de la Présidence, Paris, 1988 

Collection particulière

Acquis auprès de cette dernière par l'actuel propriétaire le 19 mars 2022

Collection Louis Grandchamp des Raux

Paris, Galerie de la Présidence, Vert, mars-avril 2022, n° 26 p.44, reproduit en couleur p.45

A. Salomon, G. Cogeval, Vuillard, le regard innombrable, catalogue critique des peintures et pastels, vol. III, Skira/Seuil - Wildenstein Institute, Paris, 2003, n° XII-277, reproduit en couleur p. 1589

Un certificat d'Antoine Salomon sera remis à l'acquéreur.

On the mantelpiece, a bouquet of anemones in a ceramic vase stands next to a sculpture under a glass dome, a small vase and what might be a small bottle. The mirror above the mantle reflects the objects, but also a door and a white easel, reminding us that any image is simultaneously representation and illusion. It highlights the way in which life and art observe and contemplate themselves, thereby reinforcing the ephemeral and contemplative nature of the still life. The closed door, visible only in the mirror, lends perspective and depth to the composition. Anemones, a subject to which Vuillard returned repeatedly in his work, as in his Bouquet d’Anémones Blanches (circa 1909, Paris, Musée d’Orsay), once again take centre stage in this composition. Executed in pastel, the work makes full use of the medium’s powdery and vibrant qualities, which are ideal for capturing the delicacy and freshness of the petals. Vuillard gave the pastel as a wedding gift to his friend Emmy Lynn, a leading figure in the theatre and a pioneer of silent movies.