Jean-Léon Gérôme

Possibly, Shickman Gallery, New York (by 1978)
Regency Art Corporation Inc., Republic of Panama (by 2 April 1982)
Mathaf Gallery, London (by 1982)
Purchased from the above 

Oeuvres de J. L. Gérôme, vol. XXV, no. 12B (as Maison du Caire)
Possibly, Inventoire, 1904 (as Anier à la porte d’une maison)
Gerald M. Ackerman, The Life and Work of Jean-Léon Gérôme, Paris, 1986, pp. 282-83, no. 456, catalogued & illustrated (as House in Cairo [Donkey Boy at the Door of a House] / Maison du Caire [Anier à la porte d'une maison] and whereabouts unknown)
Caroline Juler, Najd Collection of Orientalist Paintings, London, 1991, p. 138, cited, p. 142, catalogued & illustrated
Gerald M. Ackerman, Jean-Léon Gérôme, Monographie révisée, Paris, 2000, pp. 350-51, no. 456, catalogued & illustrated (as Maison du Caire / Anier à la porte d'une maison)

Waiting for the Master shows the breadth of subject within Jean-Léon Gérôme’s oeuvre and his ability to depict not only grand and heroic subjects but scenes from everyday life. Painted towards the end of his career, it exemplifies his masterful skill at depicting architecture, decoration, animals and figures and his expert handling of light and colour. Gérôme’s encyclopedic knowledge and careful attention-to-detail when painting scenes inspired by his travels to the Middle East led him to critical acclaim in his lifetime. The same care and attention is noticeable here, and brings the scene to life. A woman peers out from the door of her house in an expectant manner and is accompanied by a loyal dog sitting at her feet and a white donkey. The donkey is facing away from the direction the woman is looking, however, the slight tilt of its head and the pricked ears indicates the donkey is listening for the same footsteps as the woman, bringing added depth to the narrative. Soft sunlight filters in from the top, giving the work a luminous quality and contrasts with the welcoming orange glow of the interior, seen through a crack in the door at the end of the passageway. The work is imbued with serenity, providing the viewer with a snapshot of life away from the bustle and noise of the busy city streets.

A white donkey featured in other works painted by Gérôme, for example Ane égyptien and Saïs et son âne (no. 453 and 455, Ackerman, 2000, p. 350) and it was based on a plaster model he contained in his studio. He also made a large number of sketches of animals on his expeditions to Egypt. Like many of his contemporaries, Gérôme was resourceful once he returned to his Paris studio, using these sketches and also photographs, local goods and memories as inspiration and visual reminders.