Armand Lowengrad, Paris (probably acquired directly from the artist)
Le Nouvel Essor, Paris
Lady Ashton (Madge Garland), London (acquired from the above by 1955)
Private Collection (by descent from the above; sale: Christie’s, London, 27th June 1989, lot 478)
Paco Rebes, Barcelona
Acquired from the above by the present owner

Osaka, Daimaru Museum (& travelling in Japan), Marie Laurencin, 1984-85, no. 43, illustrated in colour in the catalogue (titled Nature morte (Le Citron et la rose))

Charlotte Gere, Marie Laurencin, London, 1977, n.n., p. 14
Daniel Marchesseau, Marie Laurencin, 1883-1956, Catalogue raisonée de l'œuvre Peint, Tokyo, 1986, no. 698, illustrated p. 291 (erroneously catalogued as oil on canvas)

Oil on board, the board is stable. Examination under UV light reveals two small spots of retouching in the lower left quadrant. There is some vertical abrasion approximately 6cm long running parallel to the lower part of the left edge. There is some minor pigment loss to all four corners. Otherwise, this work is in overall good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present work was formerly in the collection of Lady Ashton, known as Madge Garland, a hugely influential figure on the British fashion scene in the 1920s and 30s and founder of the first fashion course at the Royal College of Art. She is lauded for being a pioneer in the intellectualising of fashion, central to establishing it as an industry worthy of academic rigour and education.  Garland became a close friend to a number of artists and photographers of the time and her portrait was captured by creatives ranging from Man Ray to Cecil Beaton, the latter whom she introduced to Vogue. Marie Laurencin was another friend who painted her portrait and Madge recalls how Laurencin once brought her to tea at the house of M. Armand Lowengardt. It was here where Garland first saw the present work and was enamoured with it instantly. However, Lowengardt said that he would never part from it. 

Many years later, after the death of M. Lowengardt, Garland spied the work in a small gallery in Paris. In order to purchase it, she parted with all the money she had been advanced by the Ministry of Commerce for a collaboration with La Mode Française and borrowed the rest from a friend. The work was later exhibited in Japan alongside the portrait Laurencin painted of her.