In 1910, Liebermann acquired some land by the Wannsee near Berlin, and the following year had a summerhouse and studio erected, closely modelled on a villa in Hamburg and inspired by Dutch patrician country houses. The large garden which stretched down to the lake, designed with the help of his friend, Alfred Lichtwark, was Liebermann's pride and joy and inspired many of his compositions. This is where Liebermann preferred to paint after the First World War.

As a mature artist at the height of his powers, Liebermann's most expressive post-war pictures are characterised by tremendous light effects and a lively impressionistic handling of paint. His most successful pictures capture the bourgeoisie in the beergardens, cafés and restaurants of Berlin. According to Professor Eberle, the café depicted in this painting may well be the celebrated Schwedischer Pavillion which was a particularly fashionable meeting place in the 1920s. Liebermann's touch, texture and compositional sense in these Wannsee pictures is rarely bettered. At more than 70 years of age, Liebermann's style is fresh and vivacious, the brushstrokes loose and expressive.

Purchased in London the picture has not been on public display since it was acquired at the Leicester Galleries exhibition in 1934.

Professor Matthias Eberle has kindly confirmed the authenticity of this work.