Vente Paris, Hôtel Drouot, 18 mai 1934, lot 105 (titré La Ménagère), adjugé 7900 frs 

Collection Alfred Daber, Paris (avant 1947)

Huguette Bérès, Paris (1956), puis par descendance 

Galerie Bérès, Paris

Acquis auprès de cette dernière par l'actuel propriétaire le 15 juillet 2021

Collection Louis Grandchamp des Raux

Paris, Galerie Daber, Œuvres remarquables de Vuillard, avril-mai 1947

Bâle, Kunsthalle, Édouard Vuillard (1868-1940), Charles Hug, mars-mai 1949, n°25 p.8

Paris, Galerie Huguette Bérès, Vuillard le lithographe, pastels, gouaches, dessins, avril - mai 1956, reproduit

Paris, Galerie Huguette Bérès, Au temps des Nabis, mai-juillet 1990, n°116, reproduit

Barcelone, Fundacio Catalunya La Pedrera, Les Nabis de Bonnard à Vuillard, mars-juin 2026, p.239, reproduit en couleur p.123

Varsovie, Royal Łazienki Museum, The Nabis – Prophets of a New Art, juillet-septembre 2026

C.Roger-Marx, Vuillard et son temps, Editions Arts et métiers graphiques, Paris, 1946, reproduit p.70

Arts, n° 113, 2 mai 1947, reproduit p.1

A. Salomon, G. Cogeval, Vuillard, le regard innombrable, catalogue critique des peintures et pastels, Vol. I; Skira/Seuil - Wildenstein Institute, Paris, 2003, n° IV-179, reproduit en couleur p.327

Dated to circa 1895, the scene takes place at 346 Rue Saint- Honoré, where Vuillard moved in with his mother in 1893, after the marriage of his sister Marie with his friend Ker-Xavier Roussel. At the time, the artist depicted interiors in which the figures stand out firmly, whilst the decor appears to detach itself from the walls and float in an almost immaterial space. A profusion of small brushstrokes unifies the surface of the painting, erasing depth and disrupting usual proportions. The family portraits and intimate scenes he produced during the last decade of the 19^th century remain today among his most iconic and accomplished works (ill. 2 and 3). Mostly small in scale, these domestic scenes explore the complex relationships the artist maintained with his loved ones and his family.

Madame Vuillard appears in them as both a regal matriarch and a muse.

The peaceful and mysterious atmosphere of the scene is reminiscent of the works of Vermeer, who Vuillard had observed at length in the Louvre during his studies at the Beaux- Arts. His journal testifies to this admiration: a drawing from 1888 after Vermeer and several sketches of domestic scenes, placing women around a table, already reveal his interest in the subject. Among the Old Masters that he venerated, Chardin occupied a particularly important place (ill. 1). Like Chardin, Vuillard knew how to capture the silent intimacy of rooms and objects, and imbue them with emotional weight through the atmosphere he creates.

Fig. 1 : Jean-Siméon Chardin, l’enfant au toton, 1738, huile sur toile, Musée du Louvre, Paris

Fig. 2 : Édouard Vuillard, Madame Vuillard cousant, rue Truffaut, circa 1900, huile sur toile

Fig. 3 : Édouard Vuillard, Madame Vuillard à table, 1896-1987, huile sur toile