Durand-Ruel, Paris (acquired from the artist in 1911)
M Marczell de Nemès, Paris (acquired from the above in 1914 and sold: Hôtel Druout, Paris, November 21, 1918)
Durand-Ruel, Paris (acquired at the above sale)
Wilhelm Hansen, Copenhagen (acquired from the above in 1919)
Winkel & Magnussen, Copenhagen (acquired at the above sale and sold: American Arts Association, New York, April 6, 1922)
Durand-Ruel Galleries, New York (acquired from the above and until 1949)
Private Collection, Missouri (and sold: Sotheby's, New York, October 3, 1990, lot 52)
Private Collection, New York (acquired at the above sale)
Schillay Fine Art, Inc., New York
Acquired from the above in 1995

Ghent, Exposition Universelle, 1913, no. 29
New York, Durand-Ruel Galleries, Exhibition of Paintings by Albert André, 1926, no. 6
New York, Durand-Ruel Galleries, Exhibition Still Life and Flowers by Georges D'Espagnat and Albert André, 1931, no. 12

The canvas is lined. The edges of the canvas are reinforced with tape. There are a few areas of hairline craquelure. There is a 1 inch diagonal area of minor paint lifting along the upper right edge. Under UV light: certain original pigments fluoresce. There are minor strokes of cosmetic inpainting scattered throughout, mostly along the extreme edges and in the right upper corner.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Albert André trained at the Académie Julian in Paris alongside Maurice Denis and Pierre Bonnard and as such was greatly influenced by the Post-Impressionists’ choice of subject matter, particularly the intimiste interior. The bourgeois dining room in the present work is lit sensitively by a window on the right, and the sitter’s direct gaze leveled at the viewer deepens the psychological intensity of the composition. André exhibited at the Salon des Indépendents in 1894 where he captured the attention of influential dealer Durand-Ruel, who was to be incredibly important for the artist’s career and the development of his market both in Europe and in the United States. It was also in 1894 that André first met Pierre-Auguste Renoir. The older artist took a keen interest in André’s work and would become a life-long mentor and close friend. André published a monograph on Renoir’s work and was curator of the art museum of Bagnols-sur-Cèze. His work is in the collections of, among others, the Museum of Modern Art in New York, the Musée d’Orsay in Paris and the National Gallery of Art in Washington, D.C.