Cassatt, account

 

 

Impressionism, a historical reconstruction:

Mary Cassatt

(1845-1926)

Account

of her exhibited works

 

Introduction:
On this page you’ll find an account of the works Mary Cassatt has exhibited at the ‘impressionist’ expositions of 1879 + 1880 + 1881 + 1886, at the Salon, at the solo exposition of 1898 and at other exhibitions and auctions. My main sources are Moffett (1986=R2), Berson (1996=R90I=reviews + II=exhibited works), Effeny ( 1991=R44) and Magrusku.de (=iR59). Moffett and Berson mostly refer to the Catalogue Raisonné of the Oils, pastels, watercolors and drawings of Breeskin (1970=CR187) and to his overview of her graphic work (1948=R188). For other references / sources see at the bottom of the main page on Mary Cassatt. In the rendering of reviews I will concentrate on the works exhibited, when it is not (fully) clear what work it was. Often I will render several options.

 

The fourth ‘impressionist’ exposition 1879:

  • catalogue numbers 46-56+hc
  • one work was exhibited outside the catalogue (=hors catalogue=hc)
  • in total  Cassatt exhibited probably 11+1hc=12 works;  probably 8x oil paintings, 3x pastel, 1x détrempe (=tempera; soaked wet; no.56). Still Havard writes Cassatt exhibited 11 works, which would mean she substituted the hc for another work (R2,p264).
    • 0x indication of place
    • 0x indication of time, season or weather
    • 1x a study
    • 1x loans (appartient à…)
  • See for the suggestions of Moffett (ed.) (R2,p267). Pickvance refers to notebook pages of Degas, who helped Cassatt to select 11 works (R2,p256). I also will refer to his writings and his notes on p264 (R2). See for the sugggestions of Berson (R90II,p108/9+126/7).
  • See link for the pictures.

1879 catalogue: (R2,p267;R90I,p204;iR1)

4IE-1879-46, Portrait de M. C…
Sébillot (R90I,p239) and Martelli (R90I,p231) don’t describe the work.
Moffett suggests with a perhaps CR79 now in the Philadelphia MA (R2,p267), now: 1880, CR79, Portrait of Alexander J. Cassatt, 101×81, private (iR92;iR10;iR7;R187;R90II). This suggestion is not confirmed by Breeskin (R187,no79).
Berson suggests CR49, Portrait of Mr. Robert Simpson Cassatt,  67×56, private (R90II,p108+126), because in the notes of Degas was written “R.S.C.”.
Against this work speaks, that it is an old work of 1871, so I render them both.

4IE-1879-47, Portrait de petite fille
J. de Tarade doesn’t describe the work (R90I,p245).
Moffett suggests with a perhaps CR85 or CR56 in the NGA Washington. Berson affirms this last suggestion, now:
1878, CR56, Portrait of a Little Girl (in a blue armchair), 89×129, NGA Washington (iR2;iR59;R90II,p108+126). R44,p53;R3,p592;M21).
This work maybe was rejected at the Salon of 1877.
In a note (R2,p264) Pickvance suggests a pastel CR85, Portrait of little Marthe Laurent and writes it’s unlikely CR53 (probably he ment CR56), now:
1880 (or 1879), CR85, Portrait of a girl, 63×41, MBA Bordeaux (iR6;iR92;iR50;R187,no85;R2,p267;R90II,p108).

4IE-1879-48, Étude de femme avec éventail
Le Soir (1879/04/12) mentions the framework was red and called it a ‘pendant’ of no.49, but there is no concrete description (R90I,p241). Besson (1879/04/11) just mentions the work (R90I,p213).
Moffett and Berson suggest CR80, now: 1878-9, CR80, Miss Mary Ellison, 85×65, NGA Washington (iR92;iR2;iR3;iR59;R90II,p108+126;R187,no80;M21). Note: It is the only work exhibited in 1879 that Cassatt called a study, but it doesn’t look like a study. In the notebook of Degas it is probably called ‘la femme désolée’ (Eng.: The desolate woman; R2,p264), this corresponds with the look of the model in CR80.

4IE-1879-49, Femme dans une loge
This work was most often written about by the critics (R2,p256). See also her drawing in ‘La Vie Moderne’ (1879, 283; R90I,p254). Le Soir (1879/04/12) mentions the framework was green (R90I,p241).
Moffett and Berson suggest CR64, Philadelphia MA (R2,p264+267+276). Now:
1879, CR64, Woman (with a Pearl Necklace) in a Loge, 80×58, Philadelphia MA (iR92;iR2;iR3;iR5;iR8;R90II,p108+127;R187,no64;R2,p276;M28).

4IE-1879-50, Tête de jeune fille; appartient à M. R…
M. R… is Henri Rouart (R2,p256). This work probably wasn’t part anymore of his collection in 1912 (R45).
Compare 6IE-1881-5+6, pastels with the same title.
Armand Silvestre (1879/04/24) in his review calls it ‘Tête d’étude’ and adds ‘is of a strong, beautiful, delicate and fine tone. ‘ (R90I,p240).
Moffett doesn’t give a suggestion, nor does Berson.
I like to suggest: 1875ca, CR40, young woman with red hair before a woods, 60×48, xx (R187), a work that was part of the Henri Rouart collection. Sadly I only have a black and white picture. Still this work doesn’t look like a study, because it seems that details are rendered.
To compare I also render: 1874-76ca, Head of a young girl, 32×23, MFA Boston (iR92;iR2;M22). The Boston museum makes clear that Cassatt gave the painting in 1878 to Alfred Q. Collins, which rules it out as an option.

4IE-1879-51, Portrait de Mlle P…
Moffett doesn’t give a suggestion. Berson omits this work, which also means there were no references to this work in the reviews.
To compare I render: 1879ca, CR71, A visitor in hat and coat holding a Maltese dog, 35×27, private (iR92;iR2;R2,p311;R90I,p274;R90II,p146;R187,no71); a work I also suggest for 5IE-1880-17, Portrait de Mme J…

4IE-1879-52, Femme lisant
There were several reviews, I haven’t analysed them yet.
Moffett and Berson suggest CR51, JAM Omaha (R2,p264+267+277). Now: 1878-79, CR51, Woman reading, 82×60, JAM Omaha, (iR2;R2,p277;R90II,p108). There is a quite similar work, now: 1878, CR52, Lydia (Cassatt) reading the morning paper (no.2), 81×65, NSM Pasadena (iR2;iR92;R187,p45). Berson mentions that another source also suggests CR52, but a drawing of Cassat send to Les Beaux-Arts illustrés in 1879 affirms the CR51 suggestion (R90II,p109). Berson renders this drawing (R90I,p254). The leaving out the background pleads for CR51. But when I look closely the head and the hair look more like the CR52 painting. I render them all: CR51, CR52 and the drawing.

4IE-1879-53, Portrait de M. D… (pastel)
Moffett and Berson suggest CR66, MPP Paris (R2,p264+267). Pickvance makes clear this was a pastel of Moyse Dreyfus (R2,p256). Now: 1879, CR66, Moïse Dreyfus, pastel, 80×63, MPP Paris (iR2;R90II,p109+127;R44,p61).
Note: this is another person than the officer Alfred Dreyfus, around whom the Dreyfus affair developed at the end of the 19th century in France, see political developments.

4IE-1879-54, Au théâtre  (pastel)
4IE-1879-55, Au théâtre  (pastel)
Only Silvestre (1879/04/24) shortly refers to no. 54 calling it figure d’avant-scène and reviewing ’the effect of which is full of sincerity’ (R90I,p240).
Moffett suggests with a perhaps CR61, Philadelphia MA or CR72. Berson (and Magrasku) suggest ‘arbitrarily’ for no.54:
1879, CR61, Young woman in a loge, pastel, 65×81, Philadelphia MA (iR59;R90II,p109+127;R84,p307;R187,no61;R2,p267;M28), which was part of Degas his collection.
and for no.55: 1878-80, CR72, At the theatre, gouache + pastel, 65×54, A2022/10/20 (iR59;iR15;R90II,p109+127;R187,no72;R2,p267).
I follow their suggestions.
Pickvance writes ‘jeune femme au théâtre’ probably was CR72 and unlikely CR63, which was exhibited in 1880 (R2,p264) as no.22 (R90II,p109).

4IE-1879-56, Dans un jardin (couleur à la détrempe)
Martelli (1879/07/05) described it as a group of women in the open in a garden (R2,p264;R90I,p231). J. de Tarade (1879/05/04) reviewed ‘A new watercolour by Miss Mary Cassatt deserves attention for its fine tones and the boldness of the touch.’ (R90I,p245).
Moffett doesn’t give a suggestion, Berson calls the work not identified.
Berson writes that one source suggests CR92, In the meadow (no.1). (R90II,p109), now:
1880, CR92, 1880ca, In the meadow (no.1), oil + gouache, 61×82, xx (R187); I only have a black and white picture.
To compare I also render: 1880, CR93, On the meadow (no.2), 54×65, private (iR208;iR10;R187).

4IE-1879-56+hc, Coin de loge
According to Moffett and Berson Cassatt exhibited outside the catalogue (=hors catalogue = hc) Coin de loge, now:
1879, CR62, A Corner of the Loge (In the Box), 43×61, private (iR2;R2,p256;R90II,p109+127).
Cassatt later published a drawing after this work, which was published in La Vie Moderne (1879/05/01): 1879, Corner of a theater box, dr, xx, xx  (R2,p267+257;R90I,p254). Note the subscription: ‘Exposition des Indepenants No. 1’. For Cassatt it was the first time she joined the expositions, but it was already the fourth exposition.

 

 

The fifth ‘impressionist’ exposition 1880:

  • catalogue numbers 17-32.
  • Number 25+27 contained both of 2 engravings.
    Note: the ‘idem’ of number 28 (and all the following works) probably meant ‘Eau forte’, but it also could mean ‘Eau forte. Premier et second état’, which would also mean that the numbers 28-32 contained two works.
  • So in total Cassatt exhibited at least 18 works, including at least 10 engravings. Still Silvester (1880/04/24) mentioned in his review Cassatt showed 15 images (R2,p302).
    • 0x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p310/1) and Berson (R90II,p146/7+161/2).
  • Note: many of the etchings can be found in the New York Public Library (=NYPL)
  • See link for the pictures.

1880 catalogue: (R2,p310/1;R90I,p260;iR1)

5IE-1880-17, Portrait de Mme J.
Moffett and Berson suggest CR129, Peabody Institute Baltimore (R2,p310+321). Now:
1880-83ca, CR129, Mrs. Gardner Cassatt in Black, 80×64, Baltimore MA (iR2;iR59;R2,p321;R90II,p146+161;R44,p77).
Breeskin doesn’t confirm this suggestion and dates the work 1883 (R187,p76). Effeny adds the picture was made in 1883 when the family was in mourn after the death of Lydia 1882/11/07. She writes her first name is Jennie, which could affirm the ‘J’. But ‘Mme J’ mostly refers to a last name beginning with a ‘J’ instead of a first name. Berson adds that the fan held was the one Degas exhibited as 4IE-1879-80-81.  Armand Silvester calls the work ‘a piquant little piece’ (1880/04/24;R2,p321), but this doesn’t seem to correspond with the quite normal measures of ’81x65cm’. So I render as an uncertain alternative:
1879ca, CR71, A Visitor in Hat and Coat Holding a Maltese Dog, 35×27, private (iR92;iR2;R187), a work I also suggest for 4IE-1879-51. Aug. Dalligny (1880/04/16) reviews ‘Mlle Marie Cassatt abuses yellow in some cases.’ And he continues ‘There is of her an excellent portrait of a sitting lady in black…’ (R90I,p274) The only other painting in which Cassatt uses many yellows is no.22 (=CR63). So it’s likely Dalligny also referred to no.17 and than it confirms my alternative suggestion. Elie de Mont (1880/04/20) calls this work ‘insane’ (R90I,p302). Burty (1880/04/10) reviews that ’the background is lacking very much’ (R90I,p269). These remarks plead more for my alternative suggestion. Armand Silvestre (1880/04/24) reviews ‘Her Portrait de Mme J… in a black dress, sitting on flowered cushions, is a piece full of taste.’ (R90I,p306). This flowered cushion is more visibel on CR129. Still I have a little preference for my alternative suggestion. I will both render them.

5IE-1880-18, Portrait de Mlle G.
Moffett doesn’t give a suggestion. Berson omits this work. There is not a review of this work.
As an uncertain suggestion I render: 1880ca, CR-, Lady with a Fan (Portrait of Anne Charlotte Gaillard), 82×65, private (iR92;iR2;iR10;R168,p138). 

5IE-1880-19, Portrait de Mlle H.
Moffett doesn’t give a suggestion. Berson omits this work. There is not a review of this work.
As a very uncertain suggestion I render: 1878-80ca, CR-, Portrait of an Italian Lady, 80×59, GM Tulsa (aR1;iR92).

5IE-1880-20, Sur un balcon
Eng.: On a balcony. Moffett suggests with a perhaps CR94, AI Chicago, Berson and the Art Institute affirm this suggestion, now:
1878-80, CR94,  Woman (Lydia) reading in a garden (on a balcony), 90×65, AI Chicago (iR92;iR2;iR6;iR59;aR1;R90II,p146+161;M20).
But the picture seems more to render a woman reading in a garden, than a woman sitting on a balcony. Compare: 8IE-1886-7.
Armand Silvestre (1880/04/24) reviews ‘I like also very much the woman reading on a balcony, in which bushes frame her blond head with peonies.’ (R90I,p306). This review supports CR94.
I can’t find another work that could be an alternative.

5IE-1880-21, Le thé
Moffett suggests CR78, MFA Boston (R2,p310+305), Berson affirms this suggestion, so does the Boston museum. It was reviewed several times. Now: 1880ca, CR78, 5 o’clock Tea, 65×93, MFA Boston (iR3;iR6;R2,p305;R90II,p146+161;R44,p17;M22).

5IE-1880-22, Au théâtre
Moffett suggests CR63, NAMA (R2,p310+304), Berson affirms this suggestion. It was reviewed several times. Now:
1879ca, CR63, Lydia Leaning on Her Arms, Seated in Loge (at the theatre), pastel, 55×46, NAMA Kansas (iR3;R2,p304;R90II,p147+161;R44,p59).
Note: the catalogue doesn’t indicate this work was a pastel.
Armand Silvestre (1880/04/24) reviews ‘The woman in the yellow dress on a red velvet armchair, from afar, creates the illusion of being a Degas; but, by studying it more closely, you can see everything the student lacks to achieve the secure execution and the intensity of the master’s impression.’ (R90I,p306). This reviews clearly supports CR63 as suggestion.

5IE-1880-23, Portrait de Mme C.
Moffett mentions this was previously thought to be CR90 Los Angeles County MA, but he doesn’t give another suggestion. Berson omits this work. There is not a review of this work.
As a very uncertain suggestion I render:
1880, CR97, Lydia Cassatt in a Green Bonnet and a Coat, 50×60, private (iR92;iR10;R187,p62).
Note: Lydia was not married, what makes her a Mademoiselle (Mlle.) instead of a Madame (Mme).
Compare: S1876-353, Mlle Mary Cassatt, Portrait de Mlle C…
As a very uncertain suggestion I also mention: 1874, CR35, Portrait of Mme Cortier, 48×40, A2016/10/20 (iR10;iR14;iR2;iR92)
=S1874-326, Mlle Mary Cassatt: Ida.

5IE-1880-24, Jeune femme
Moffett doesn’t give a suggestion. Berson omits this work. There is not a review of this work.
To compare I render a later work with partly the same title:
1881-82ca, CR105, Susan in a Toque Trimmed with Two Roses (la jeune femme), 53×46, private (iR92;iR10). 

5IE-1880-25,    Femme au théâtre; eau-forte,
5IE-1880-25-1, premier état,
5IE-1880-25-2, dernier état   
Moffett suggests Breeskin, 1948, no.22. I render to compare the 2nd state for 25-1:
1879-80, In the Opera Box (no.3), etch 2nd, 21×19, private (R84,p238;iR59;R188,no22), which is probably close to the first state
and for 25-2:
1879-80, In the Opera Box (no.3), etch 4th, 21×19, Metropolitan (R84,p238;iR59;R188,no22).
Note: according to Berson the 4th state is the last state, which would make my suggestion the one Cassatt exhibited, but it is more detailed than the picture Berson renders, of which she also says it is the 4th and final state (R90II,p147+161). I can’t explain the differances. My suggestion is also inspired by Magrasku. Effeny affirms this work is now called ‘At the opera’ (no.3) and suggests she showed (several) trial proofs (R44,p22).
Breeskin (1948) no.20+21 seem to be those trials (R188,no20+21).

5IE-1880-26, Femme lisant; eau-forte
Moffett suggests Breeskin, 1948, no.63, Berson affirms. Now:
1881ca, CR63, Lydia reading, turned toward right, etch, 18×11, A2007/10/30 + Metropolitan (iR11;R2,p310;R188,no63;R90II,p147+161;M23)

5IE-1880-27, Portrait d’enfant; eau-forte,
5IE-1880-27-1, premier (état)
5IE-1880-27-2, second état
Moffett suggests with a perhaps Breeskin, 1948, no.49, Berson affirms. She renders:
1880-83ca, CR49, Mlle Luquet seated on a couch, soft ground etching and aquatint 2of2, 22×14, New York PL (R188,no49;iR6;iR61;iR10;R90II,p147+162;R2,p311)
For the first state I am much obliged to Otón Pabst:
1880-83ca, CR49, Mlle Luquet seated on a couch, soft ground etching and aquatint 1of2, 22×14, unknown location (iR59;R90II,p147;R188,no49)
Note: sometimes this etch is dated around 1880 and sometimes around 1883, just like the similar drawing: 1883ca, Child seated on a sofa, dr, 22×15, NGA Washington (iR155;iR10;iR373;R2,p311;M21). If the dating of 1883 is correct, the etchings couldn’t have been exhibited in 1880.

5IE-1880-28, Enfant en chapeau; eau-forte
Moffett suggests Breeskin, 1948, no.48, Berson affirms. Now: 1883, Mll Luguet in coat and hat, etch, 22×19, NYPL (R90II,p147+162;R188,no48).

5IE-1880-29, Au coin du feu; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.64 or 65. Berson also renders both options. Now:
1882ca, before the fireplace (no.1), etch, 16×21, A2014/09/23 (iR11;R90II,p147+162;R188,no64)
and: 1883, before the fireplace (no.2), etch, 16×21, NYPL (R90II,p147+162;R188,no65).
Note: both works are dated later.

5IE-1880-30, Homme lisant; eau-forte
Moffett and Berson suggest Breeskin, 1948, no.74. Now:
18??, CR74, Mr. Cassatt reading, etch, 17×13, private (R90II,p147+162;R188,no74).

5IE-1880-31, Le soir; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.71, Berson affirms this suggestion. Now:
18??, Under the lamp, etch, 20×22, NYPL (R90II,p147+162;R188,no71).
As another uncertain suggestion I render:
1882ca, Reading the newspaper, etch, 14×22, A2007/10/30 (iR11;R188,no72).
‘Le Soir’ can also refer to the newspaper ‘le Soir’. Compare Mrs. Cassatt reading Le Figaro (R44,p55).

5IE-1880-32, Portrait de femme; eau-forte
Moffett suggests with a perhaps Breeskin, 1948, no.5. Berson repeats this suggestion, but leaves the work not identified. Now:
18??, CR5, The umbrella, etch, 28×19, Philadelphia MA (R90II,p147;R188,no5).

 

 

The 6th ‘impressionist’ exposition 1881:

  • catalogue numbers 1-11
  • in total  Cassatt exhibited 11 works: 4 oil paintings; 7 pastels
    • 0x indication of place
    • 0x indication of time, season or weather
    • 0x a study;
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p353) and Berson (R90II,p179/180+189)
  • See link for the pictures.

1881 catalogue: (R2,p353;R90I,p325;iR1)

6IE-1881-1, La lecture, peinture
This painting has been reviewed many times.
Moffett suggests CR77, private collection New York (R2,p353+349). Berson and Effeny affirm this suggestion. Now:
1880, CR77, Mrs Cassatt Reading to Her Grandchildren, 58×100, private, (iR2;iR59;R44,p71;R2,p349;R90II,p179+189).
The grandchildren are the children of her brother Alexander and his wife Lois: Katherine, Rob and Elsie (R2,p348-352).

6IE-1881-2, Le jardin, peinture
This painting has been reviewed many times.
Moffett suggests CR98, Metropolitan (R2,p353+358), Berson affirms this suggestion. Now:
1880, CR98, Lydia croceting in the garden at Marly, 66×94, Metropolitan (iR2;iR59;R2,p358;R90II,p179+189).

6IE-1881-3, L’automne, peinture
This painting has been reviewed many times.
Moffett suggests CR96, MPP Paris (R2,p353). This suggestion is affirmed by Magrasku and Berson. Now:
1880, CR96, Autumn (Profile of Lydia Cassatt), 93×65, MPP Paris (iR2;iR59;R90II,p179+189).

6IE-1881-4, Le thé, peinture
Ernest Hoschedé (1881/04) reviews ’this young woman dressed in pink, gloved in white, nonchalantly taking her cup of tea’ (R90I,p348). Nina de Villars (1881/04/23) reviewed ‘A beautiful and elegant lady drinking a cup of tea, nonchalantly stretched out in a garden armchair, modeled in fine grey tones, happily stands out against the powerful green stains of the background.’ (R90I,p371).
Moffett suggests CR65, Metropolitan (R2,p353+358). Berson and Effeny affirm this suggestion. Now:
1879-81ca, CR65, The Cup of Tea, 92×65, Metropolitan (iR2;iR59;R2,p359;R44,p66;R90II,p179+189).
Note: the Metropolitan doesn’t affirm this suggestion (M23).
Breeskin suggests CR78, which was also exhibited as 5IE-1880-21, but Berson states that the reviews contradict this suggestion, which I agree.
Berson also mentions that CR65 presumably was exhibited outside the catalogue (=hc) in 1879 (R90I,p179), but she didn’t suggest this earlier (p.109).
Maybe this work was also exhibited as: 15LE-1908-17, La Tasse de thé.

6IE-1881-5, Tête de jeune fille, pastel
Henry Trianon (1881/04/24; referring maybe to no.5 or 6) reviewed ‘Another portrait of an young English girl, ugly, but with a very ethnic character should be similarly pointed out.’ (R90I,p367).
Moffett suggests for no.5,6,7,9: CR86 and CR106 in AI Chicago and: CR132. Berson affirms CR106 for no.5 or 6, now:
1880, CR106, Portrait of a Young Girl, pastel, 62×51, AI Chicago (iR92;R90II,p179+189).
But it is more a portrait than a head of a young girl.

6IE-1881-6, Tête de jeune fille, pastel
Moffett suggests for no.5,6,7,9: CR86 and CR106 in AI Chicago and: CR132. Berson affirms CR106 for no.5 or 6, see at no.5.
As a very uncertain suggestion I render for no.6:
1880-86ca, Young Girl with Brown Hair, pastel, 52×49, private (iR92;iR2).
This is clearly more a head than a portrait of a young girl, but also more a sketch.

6IE-1881-7, Tête d’enfant, pastel
Note the same title as no.11.
Geoffrey (1881/04/19; referring to no.7 or 11) reviewed ‘The artist has also fixed on the canvas, with great happiness, the mouth and nostrils rosy, the skin delicate and shiny, the eyes pure, filled with clarity, a child’s face.’ (R90I,p343). Elie de Mont. (1881/04/21; possibly referring to no.7, 9 and/or 11) reviewed ‘Unhappily, beside these qualities, what a remarkable combination of colour sometimes! Is it prejudiced? Is it an aberration of taste?’ (R90I,p361).
Moffett suggests for no.5,6,7,9: CR86 and CR106 in AI Chicago and: CR132. Berson leaves the work unidentified.
As a very uncertain suggestion I render:
1878-81, CR53, Madame Bérard’s baby in a striped armchair (Enfant sur un fauteuil; Mlle Lucie Bérard), pastel, 63×67, Philadelphia MA (iR92;R187,p45=no53;R2,p353;M28). Note: this is more a portrait than a head of a child.

6IE-1881-8, Mère et enfant, pastel
There were many reviews.
Moffett suggests CR88 (R2,p353+348), Berson affirms. Now:
1880, CR88, Mother and Child, pastel, 42×61, A1984/06/01 (iR2;iR59;iR15;R2,p348;R90II,p179+189).
I render this pastel also as a very uncertain option for 8IE-1886-13, Mère et enfant, pastel.

6IE-1881-9, Portrait d’enfant, pastel
Ernest Hoschedé (1881/04; maybe referring to no.9) reviewed ’this other baby, astride in a willow chair, in attitudes that promise a Mirabeau or a Beryer. ‘ (R90I,p348). Elie de Mont. (1881/04/21; possibly referring to no.7, 9 and/or 11) reviewed ‘Unhappily, beside these qualities, what a remarkable combination of colour sometimes! Is it prejudiced? Is it an aberration of taste?’ (R90I,p361).
Moffett suggests for no.5,6,7,9: CR86 and CR106 in AI Chicago and: CR132. Berson leaves the work unidentified.
As a very uncertain suggestion I render:
1880ca, CR81, Elsie Cassatt Holding a Big Dog, pastel, 64×50, private (iR92;iR2;R187,p58=no81).

6IE-1881-10, Portrait d’une jeune violiste, pastel
Henry Trianon (1881/04/24) reviewed ‘Mlle Cassatt has exhibited a good <full-length portrait of a young violinist>. An open piano obscures the background of the painting.’ (R90I,p367). Antony Valabrègue (1881/04/15) reviewed ‘la jeune violiste is of a perfect grace’ (R90I,p369).
Moffett doesn’t give a suggestion, nor does Berson.
I couldn’t find any work that comes close.

6IE-1881-11, Tête d’enfant, pastel
Geoffrey (1881/04/19; referring to no.7 or 11) reviewed ‘The artist has also fixed on the canvas, with great happiness, the mouth and nostrils rosy, the skin delicate and shiny, the eyes pure, filled with clarity, a child’s face.’ (R90I,p343). Gustave Goetschy (1881/04/05) reviewed ‘and the one that carried the number 11: it’s a babies head wonderfully modeled’ (R90I,p344) Elie de Mont. (1881/04/21; possibly referring to no.7, 9 and/or 11) reviewed ‘Unhappily, beside these qualities, what a remarkable combination of colour sometimes! Is it prejudiced? Is it an aberration of taste?’ (R90I,p361).
Moffett doesn’t give a suggestion, nor does Berson.
As a very uncertain suggestion I render: 1880, CR86, Elsie in a Blue Chair, pastel, 88×63, private (iR92;iR2;R187,p59), which is more a portrait.
As second very uncertain suggestion I render: 1881-84ca, CR132, Child on a Blue Cushion, pastel, 44×43, ML Baden (iR92;iR2;R187,p77), which is more only a head of a child, and also more a sketch. But Breeskin dates this work 1884ca (R187,no132). It was part of the Viau collection.

 

 

The 8th ‘impressionist’ exposition 1886:

  • catalogue numbers 7-13.
  • in total  Cassatt exhibited 7 works, including 1 pastel (no.13). This is what Geffroy mentioned: 6 paintings and 1 pastel (1886/05/26). Maus wrote about six paintings in oils and pastels… It is unclear if he meant 6 works, some oils and some pastels or 6 oil paintings and at least 2 pastels (1886/06/27;R2,p450).
    • 0x indication of place
    • 0x indication of time, season or weather
    • 1x a study, no.9
    • 4x loans (appartient à…),
  • See for the suggestions of Moffett (R2,p443/4) and Berson (R90II,p239+257/8)
  • See link for the pictures.

1886 catalogue: (R2,p443/4;R90I,p421/2;iR1)

8IE-1886-7, Jeune fille à la fenêtre; appartient à M. Berend
Moffett suggests CR125 (R2,p443+449). Berson affirms this suggestion. Now:
1883, CR125, Susan on a balcony holding a dog, 100×65, CGA Washington, (iR2;iR59;R2,p449;R90II,p239+257;R44,p23).
Note: the title of the catalogue ‘at the window’ doesn’t correspond the actual title ‘on a balcony holding a dog’. But, Auriol refers to this work as ‘Femme au chien’ (R90I,p). There were also reviews of Geffroy, Hermel and Maus (R90II,p239).

8IE-1886-8, Jeune fille au jardin; appartient à M. Personnaz
Moffett suggests CR144, Musée d’Orsay. Berson and Effeny affirm this suggestion. Now:
1886ca, CR144, Young Woman Sewing in a Garden, 92×65, Orsay, (iR2;iR59;R90II,p239+257;R44,p89).
Probably also exhibited as: DR1893-14, Jeune fille travaillant (92×65) (à M. Personnaz)

8IE-1886-9, Étude
Moffett suggests CR146 (R2,p443+450).
The description of Geffroy seems to confirm Moffett his choice: ‘The young girl in a nightdress who twists her hair… is still swollen with sleep… (1886/05/26;R2,p450).
Berson and the National Gallery of Art affirm this suggestion. Now:
1886, CR146, Girl Arranging Her Hair, 75×62, NGA Washington, (iR2;iR59;R2,p450;R90II,p239+257;R44,p91).
This suggestion is not affirmed by Effeny.

8IE-1886-10, Portrait
Moffett doesn’t give a suggestion. Berson omits this work. There was no review on this work.
As two uncertain suggestions I render:
1881-83, CR107, Susan seated in Garden, 65×50, A2017/05/15 (iR92;iR11;R187,p66)
and: 1886ca, CR143, Child in Straw Hat, 64×49, NGA Washington (iR92;iR3;R187,p82); note: this suggestion is not affirmed by the National Gallery of Art (M21).

8IE-1886-11, Enfants sur la plage
Moffett suggests CR131 (R2,p443+451). Berson affirms this suggestion. Now: 1884, CR131, (two) children playing on the Beach, 97×74, NGA Washington, (iR2;iR3;iR59;R2,p451;;R90II,p239+258;R44,p79;R3,p601).

8IE-1886-12, Enfants au jardin; appartient à M. H.
Moffett suggests with a perhaps CR57. Berson affirms this suggestion. Now:
1878, CR57, Children in a Garden, 73×92, private (iR2;iR59;R90II,p239+258).

8IE-1886-13, Mère et enfant (pastel); appartient à M. Nunès
Octave Mirbeau (1886/05/21) reviewed ’the piece that I prefer is Mère et enfant, pastel of the master where I find all the eminent qualities of knowledge and feeling that make Miss Mary Cassatt one of the most interesting artists of this time. ‘ (R90I,p466). Maurice Hermel (1886/05/27) reviewed ‘In her pastel Mère et enfant, there’s also a very touching nuance of feeling; the touch is greasy and tasty, the texture is a bit sparse perhaps; but you can’t resist the beauty of the maternal gesture, that sweet surrender of childhood, has this flower of skins.’ (R90I,p456).
Moffett doesn’t give a suggestion. Berson also leaves the work unidentified.
As a very uncertain suggestion I render:
1880, CR88, Mother and Child (a goodnight hug), pastel, 42×61, A2018/05/14 (iR2;iR59;iR13;iR92), the same work Cassatt exhibited as 5IE-1880-8.

 

 

Cassatt at the Salon (iR1;R44)
Mary Cassatt exhibited several times at the Salon from 1868-1876. Sometimes she was rejected. She is mostly called a pupil of Soyer and C. Bellay (iR1). See link for her pictures.

S1868-2335, La mandoline
Cassatt exhibits as ‘Mary Stevenson’ and is called a pupil of MM. Chaplin and Soyer.
Debut at the Salon as Mary Stevenson with A Mandolin player (R44,p140+7;R3).
Note: Jennings wrongly writes Cassatt debuted in 1872 (R86,p36).
Probably now: 1868, CR17, The Mandolin Player, 92×74, private (iR2;iR92;R44,p7;R187,p34); this work is also dated 1872ca (iR10).
As an alternative option I also render: 1869ca, CR5, Young woman wearing a ruff, 81×63, A2017/04/07 (iR92;iR13).

S1869-R, ??
Her picture was rejected at the Salon (R44,p140).
Just to give a suggestion I render: 1869, CR8, Two Women Seated (by a Woodland Stream), 24×33, private (iR2;iR92;iR1;R187,p31).

S1870-2675, Une Contadina di Fobello; val Sesia (Piémont)
Eng.: A farmer’s wife from Fobello, Sesia Valley (Piedmont).
Note: Cassatt exhibited as Mlle Mary Stevenson.
This is one of the few works of Cassatt with an indication of place (Piémont is a region in northern Italy, see map; val Sesia is the valley of the Sesia river in this region, see map; Fobello lies in this region, close to the Swiss border; Fobello lies along the Mastallone rive, which to the south confluences with the Sesia river, see map).
To compare I render a work made two years later, the woman looks a bit like a farmer’s wife: 1872, CR16, Portrait of a Woman, 58×51, Dayton AI (aR1;iR1;iR6;iR10;R187,p33;R44,p8).

S1872-1433, Pendant le carnaval
Cassatt exhibited under the name ‘Mlle Mary Stevenson’ (iR1).
At the Carnival is accepted at the Salon; probably now:
1872, CR-, (two women throwing flowers) during Carnival, 65×57, Philadelphia MA (iR2;iR92;iR1;R44,p10;R3;iR3).

S1873-1372, “Offrant le panal au torero”
Cassatt exhibited under the name ‘Mlle Mary Stevenson-Cassatt’ (iR1).
Offering the Panel to the Toreador was accepted at the Salon of 1873 (R44,p44). Now:
1872-73, CR22, Offering the Panal to the Bullfighter, 101×85, CAI Williamstown (iR3;iR92;iR1;R44,p44;R3,p591;R187,no22).

S1874-326, Ida
Cassatt for the first time exhibits under the name ‘Mary Cassatt’.
The painting attracts Degas’s praise, he reacts: there is someone who feels like me (R86,p36;R44,p140;R3).
According to Breeskin (R187,no35): 1874, CR35, SDtl, Portrait of Mme Cortier, 48×40, A2016/10/20 (iR10;iR14;iR2;iR92;iR1;R187,no35).
Compare: 1868-74, Ida, 57×44, A2010/03/03 (iR92;iR49;iR11;iR1) .

S1875-367, Portrait de Mlle E. C…
To compare I render: 1873, CR27, Mrs. Robert Simpson Cassatt, 62×57, private (iR2;iR92;iR1;R187,p37).
This picture renders Marry Cassatt’s mother, so it  doesn’t correspond with ‘mademoiselle’.
Compare also S1876-353.

S1875-R, ??
There also was a work rejected for the Salon of 1875 (R44,p14;iR3).
Just to give a suggestion I render: 1875, CR45, Young Woman on a Striped Sofa with Her Dog, 33×41, FAM Cambridge (iR92;iR1;R187,no45;R44,p14).

S1876-352, Portrait de Mme W…
Maybe the mother or sister in law of Louisine Waldron Elder (later Havemeyer), whom she met in 1874 (R44,p13)?
An uncertain suggestion given by Breeskin is: 1875, CR44, The Young Bride, 87×69, private (iR92;iR50;aR1;R187,no44).
Info: given to Martha Gansloser, her maid, when she married Mr. Röhrich.
For the Salon of 1876 Cassatt had darkened her palette to get accepted (R44,p14;iR3).

S1876-353, Portrait de Mlle C…
Compare also S1875-367.
I don’t have a suggestion.
Compare: 1874, CR35, Portrait of Mme Cortier, 48×40, A2016/10/20 (iR10;iR14;iR2;iR92;iR1;R187,no35), according to Breeskin exhibited as S1874-326, Mlle Mary Cassatt: Ida.

S1877-R1, ??
Cassatt her two works were rejected for the Salon (iR3;R44,p14).
In the future I hope to give a suggestion.

S1877-R2, ??
Just to give a suggestion I render: 1877, CR50, The Reader, 81×65, CBAM Bentonville (iR3;iR2;iR92;iR1;R187,p43).

 

Exposition Universelle:
Mary Cassatt was rejected for the American section of the Exposition Universelle in 1878.

EU-1878-USA-R.
=1878, CR56, Portrait of a Little Girl (in a blue armchair), 89×129, NGA Washington (R16,p92/3;R3,p602;R44,p53;R187,no56;M21), later maybe exhibited as 4IE-1879-47.

 

Solo exposition at Durand-Ruel:
In 1893 (November and December) the art-dealer Durand-Ruel organised a solo exhibition, called “Exposition de Tableaux, Pastels et Gravures de Mary Cassatt” (=DR1893). The preface was written by André Mellerio. 98 art-works were exhibited. 17 paintings (1-17), 14 pastels (18-31), 16 pointe sèche et aquatinte (32-47),  38x pointes sèches (48-85), 12x série de douze pointes sèches (86-97), 1 lithograph (98). Some of the works are identified.

DR1893-1, La toilette de l’enfant (Sbl, 100x65cm)
“A woman in a dressing gown is washing the feet of a child sitting on her lap, who seems to be watching the process intently.”
DR1893-2, Enfant cueillant un fruit (Sl, 100×65)
“In a garden, a mother is holding a naked child in her arms. She bends down a branch of a tree laden with fruit, towards which the baby reaches out his hands in a gesture of longing.”
DR1893-3, La famille (Sr, 80x65cm)
“Seen in profile, a little girl with flowing hair and an expressive face sits in the foreground, holding a daisy that she is offering to a child. The child, half-naked on his mother’s lap, reaches out with one hand towards the flower and with the other towards the little girl, whose cheek he is stroking. In the background are the paths and groves of a park.”
DR1893-4, Au théâtre (Sl, 80x60cm) (à M. A. Rouart)
“At the front of her box, a woman in an elegant gown displays the splendour of her bare shoulders, adorned with a shimmering pearl necklace. The brightly lit auditorium is reflected in the mirror at the back.”
=? CR64 =4IE-1879-49.
DR1893-5, five o’clock (Sl, 65×93):
=CR78; a loan by Henri Rouart (M22).
DR1893-6, Femme mettant ses gants (Stl, 35×27) (à M. A. Rouart)
“A woman in a yellow dress, sitting in an armchair, is finishing fastening her gloves.”
DR1893-7, En brodant (Sl, 65×100)
“In a garden, a woman, her thoughtful, radiant face peeking out from beneath her large white hat, seems lost in thought as she works on her embroidery.”
=? 5IE-1881-2 (M23).
DR1893-8, La tasse de thé (Sl, 100×65)
“A woman in a pink dress, sitting casually in an armchair, is holding a cup of tea and appears to be listening to a conversation.”
=!? CR65 =6IE-1881-4, Le thé
DR1893-9, Jeunes filles cueillant des fruits (Sr, 130×90)
“In a garden, a young woman sits looking up at her companion, who, with a graceful gesture, is picking fruit from a tree. In the background is a bed of brightly coloured flowers.”
DR1893-10, Femme à l’éventail (Scl, 65×84)
“A woman with deep blue eyes, seen from the front, is sitting holding an open fan. Her silhouette is reflected in a mirror placed behind her.”
DR1893-11, Mère et enfant (Sr, 46×39) (à M. Durand-Ruel)
“Set against the backdrop of a park, bathed in sunlight, stands the figure of a young mother. She is holding a baby with a fresh-faced expression, who is snuggling up to her.”
DR1893-12, Dans la prairie (Sr, 54×65) (à MM. Martin et Camentron)
“In a corner of a meadow, bordered at the far end by a curtain of greenery, a woman is sitting and appears to be speaking to a young girl, beside whom stands a little girl, completing the group.”
DR1893-13, La loge (81×65) (à MM. Martin et Camentron)
“A woman, dressed in dark colours and wearing a black hat, leans on the ledge of the box and focuses her opera glasses on the stage. We catch a glimpse of a corner of the auditorium, where, amidst the black attire, a few brightly coloured outfits stand out.”
DR1893-14, Jeune fille travaillant (92×65) (à M. Personnaz)
“Seen from the front, a young girl, sitting near a bed of geraniums, is intently engaged in embroidery.”
=!? CR144 =8IE-1886-8.
DR1893-15, Rêverie (Sr, 74×60) (à M. Durand-Ruel)
“Leaning on the bench she is sitting on, a young woman holds a red flower in her hand and appears lost in silent contemplation. In the background are the tall trees of the park.”
DR1893-16, Jeunes filles travaillant (61×42) (à M. Viau)
“Two young girls, one in pink, the other in white, sit together, both having lowered their heads to their work in the same way.”
DR1893-17, Jeune fille se coiffant (75×62) (à M. E. Degas)
“In her dressing room, a young girl in a chemise, with a graceful gesture as she raises one arm, twists her plait, which she holds in place with her other hand. In the background, a floral-patterned tapestry against which the dressing table accessories stand out.”
=CR146 =8IE-1886-9 (M21).

DR1893-18, L’enfant à l’orange (Str, pastel, 80×65)
Seated and seen from the front, a little girl, wearing a blue dress and a pink frilled collar, is holding an orange in her hands.”
DR1893-19, Dans le jardin (Sl, pastel, 70×62)
“Against a backdrop of greenery dotted with large flowers, a mother is holding a beautiful chubby-cheeked baby dressed in a white dress and a little apron.”
DR1893-20, Enfant dans un fauteuil (pastel, 88×65)
“Dressed in white and wearing a pink hat, a little girl is sitting with her hands resting on the arms of the chair.”
DR1893-21, L’enfant en bleu (Sr, pastel, 44×52) (à M. Viau)
“Amidst the jumble of blue clothes, the child, wearing a hood of the same colour, presses his two little clenched fists against his chest.”
=!? CR132 =Viau sale DR1907/03/21-100.
DR1893-22, Après la promenade (Sr, pastel, 65×43) (à M. P. Gallimard)
“A woman is holding a child in her arms; the child, wearing a large hat, looks as though he is returning from a walk.”
DR1893-23, Avant la toilette (Sr, pastel, 65×50) (à M. H. Rouart)
“A young mother is holding her baby, who has just got out of bed. The baby is a bit nervous about getting washed, whilst sucking his thumb. In the background is a washbasin with its fittings. ”
DR1893-24, Tête de femme, étude (pastel, 44×39) (à M. E. Degas)
“In a dreamlike atmosphere, a woman’s head, wearing a white hat, leans against the back of an armchair.”
DR1893-25, La caresse (Stl, pastel, 72×60) (à M. Durand-Ruel)
“A mother in a white dressing gown dotted with flowers holds a naked child, who is stroking her chin with a gentle, innocent gesture.”
DR1893-26, Tête de femme, étude (pastel, 52×50) (à M. E. Degas)
“Against a light background, a woman’s head sketched in broad strokes.”
DR1893-27, Femme et enfant (Sl, pastel, 65×53) (à M. Durand-Ruel)
“A woman in a blue dress, with red hair, tenderly wraps her arms around a child whose little brown locks fall across his forehead.”
DR1893-28, Mère et enfant (Sr, pastel, 65×53) (à M. le docteur Peyrot)
“A woman is holding a half-clothed child, who has his left hand resting on his bare little neck.”
DR1893-29, Le lever de l’enfant (Sr, pastel, 80×60) (à M. Manzi)
“A woman in a white dressing gown is holding a child in a shirt on her lap, and is putting a little boot on the child’s foot, whilst the impatient baby stretches out his arm as if to grab something.”
DR1893-30, Femme dans une loge (pastel, 81×65) (à M. E. Degas)
“Leaning against the red velvet frieze, a woman seen in profile unfolds her fan, its green hue standing out against the brightly lit background of the room.”
DR1893-31, Contemplation (Sl, pastel, 66×52) (à M. G. Murat)
“Seated, in a three-quarter view, a young girl in a dress rests her bare arm on the back of the armchair. In her left hand she holds an open fan, and appears to be lost in thought, lost in a vague contemplation.”

DR1893-32, Bain d’enfant (pointe sèche et aquatinte, série de dix planches, 32x25cm)
=1890-91, CR143, before the bath, 37×27 (R186,p192)
DR1893-33, La Lampe (pointe sèche et aquatinte, série de dix planches, 32x25cm)
=1890-91, CR144, The lamp, 45×28 (R168,p193)
DR1893-34, Intérieur d’un tramway passant un point (pointe sèche et aquatinte, série de dix planches, 36x25xm)
=1890-91, CR145, In the tramway, 44×30 (R168,p194)
DR1893-35, La lettre (pointe sèche et aquatinte, série de dix planches, 35x23cm)
=1890-91, CR146, The letter, 43×30 (R168,p195)
DR1893-36, Jeune femme essayant une robe (pointe sèche et aquatinte, série de dix planches, 36×25)
=1890-91, CR147, Woman trying on a dress, 43×30 (R168,p196)
DR1893-37, La toilette (pointe sèche et aquatinte, série de dix planches, 36×26)
=1890-91, CR148, Woman at her toilet, 43×31 (R168,p197)
DR1893-38, Le baiser (pointe sèche et aquatinte, série de dix planches, 35x22cm)
=1890-91, CR149, The kiss, 37×28 (R168,p198)
DR1893-39, Enfant nu (pointe sèche et aquatinte, série de dix planches, 36×26)
=1890-91, CR150, Woman and child, 45×28 (R168,p199)
DR1893-40, La visite (pointe sèche et aquatinte, série de dix planches, 35×26)
=1890-91, CR151, The visit, 44×31 (R168,p200)
DR1893-41, Femme se coiffant (pointe sèche et aquatinte, série de dix planches, 36×26)
=1890-91, CR152, The coiffure, 44×30 (R168,p201)

DR1893-42, Le potager (pointe sèche et aquatinte; 43x38cm)
“In a vegetable garden, a woman, standing on a ladder, hands the fruit she has just picked to a young girl.”
DR1893-43, Le potager (pointe sèche et aquatinte; état)
DR1893-44, Le banjo (30×24) (pointe sèche et aquatinte)
“A young woman, playing the banjo, is joined by a little girl who, leaning over her shoulder, listens intently”
=1893ca, CR156, The Banjo lesson, 40×26 (R168,p202)
DR1893-45, Le banjo (pointe sèche et aquatinte; état de planche)
DR1893-46, Le banjo (pointe sèche et aquatinte; état)
DR1893-47, Le banjo (pointe sèche et aquatinte; état)

Nos. 48-68 belonged to Mary Cassatt:
DR1893-48, Buste de femme (eaux-forte; pointe sèche; 26×18)
“Making a gesture as if to tie her hair back, a woman turns her head to the right. At the bottom of the panel, in a few strokes, the first hint of the same subject.”
DR1893-49, Femme dans un fauteuil (eaux-forte; pointe sèche; vernis mou et aquatinte, 22×15)
“In a three-quarter view, a young woman in a city dress is sitting in an armchair, her elbows resting on the arms, looking to the right.”
DR1893-50, Sollicitude (eaux-forte; pointe sèche rehaussée de rouge; 19×15)
“A mother is holding a child on her lap, whose head rests on her shoulder, and she gazes at the child with tenderness.”
DR1893-51, Mère jouant avec un enfant (eaux-forte; pointe sèche, 26×15)
“A mother holds a little girl standing on her lap, who is gently stroking her face.”
DR1893-52, Au théâtre (eaux-forte; pointe sèche; vernis mou et aquatinte, 20×18)
“Viewed from the front, a woman with a low-cut neckline holds her fan wide open. The room
and the chandelier are reflected in the mirror at the back.”
DR1893-53, Mère et poupon (eaux-forte; pointe sèche; vernis mou, 16×12)
“Sitting in an armchair, a mother is holding a baby in a shirt on her lap.”
DR1893-54, Au jardin (eaux-forte, 13×17)
“Seen in profile, looking to the right, a woman is sitting and reading. The front of the house is visible, with a few flower pots in front of it.”
DR1893-55, Scène d’intérieur (eaux-forte; pointe sèche; vernis mou, rehaussé d’aquatinte, 20×22)
“Two women, one working, the other reading by lamplight.”
DR1893-56, État à la pointe sèche de l’impression en colours no. 32 (eaux-forte; pointe sèche; 31×24)
DR1893-57, Mère et poupon (eaux-forte; pointe sèche; aquatinte, 19×13)
“Sitting on a bench, a mother is holding a baby wearing a little round bonnet.”
DR1893-58, Au spectacle (eaux-forte; pointe sèche; vernis mou et aquatinte, 20×30)
“In front of a box, a woman, seen in profile, is looking to the right, holding an open fan in her hand.”
DR1893-59, Repos (pointe sèche, 26x18cm)
“A mother, with a calm and thoughtful expression, holds a child in her arms who rests his head against her in a tender gesture, seeking comfort.”
DR1893-60, Mère et poupon (eaux-forte; pointe sèche; vernis mou, 22x14cm)
“The silhouette of a mother holding a baby stands out clearly against the brownish background.”
DR1893-61, La caresse (eaux-forte; pointe sèche, épreuve sur papier bleuté, 20×15)
“Seen in profile, facing left, a mother is sitting with a child in a shirt on her lap; the child is stroking her cheek with his little hand.”
DR1893-62, Quiétude (eaux-forte; pointe sèche; épreuve bistrée, 26×18)
“On the forehead of a naked child, a woman’s head rests in a gentle gesture marked by profound tranquillity.”
DR1893-63, En déshabillé (pointe sèche, 18x13cm)
“A woman is sitting in an armchair wearing a negligee.”
DR1893-64, Au balcon (eaux-forte; pointe sèche; vernis mou; 28x22cm)
“Seen in profile, an elderly lady wearing a wide-brimmed hat is sitting on a balcony, holding a small dog on her lap. On the horizon, the outlines of a city’s monuments and houses fade into the distance.”
DR1893-65, Femme sortant du bain (pointe sèche, 20x15cm)
“A half-clothed woman, seen in profile, raises both arms and, with a sweeping gesture, twists her thick hair.”
DR1893-66, Le thé (pointe sèche, état, 18x16cm)
DR1893-67, Le miroir (pointe sèche, épreuve d’essai, 23×17)
DR1893-68, Femme tenant un enfant appuyé sur son bras gauche (pointe sèche, 20x13cm)

Nos. 69-84 were loans of M. A. Rouart.
DR1893-69, Femme dans un fauteuil lisant (eaux-forte; pointe sèche; aquatinte, 18×11)
DR1893-70, Fillette assise sur un divan (eaux-forte; pointe sèche; vernis mou et aquatinte, 22x14cm)
DR1893-71, Femme assise au coin du feu (eaux-forte; pointe sèche; vernis mou et aquatinte, 16x21cm)
DR1893-72, Scène d’intérieur (eaux-forte; pointe sèche; vernis mou et aquatinte, 40×31)
“On the right, a seated woman, seen in profile, appears to be listening to another woman standing, leaning against a chair, near the window that illuminates the background of the composition.”
DR1893-73, Le liseur (eaux-forte; pointe sèche; vernis mou et aquatinte, 17×13)
DR1893-74, La petite au manteau de fourrure (eaux-forte; pointe sèche; vernis mou, 21×12)
=CR48 =5IE-1880-28
DR1893-75, Femme portant un enfant nu sur son bras (pointe sèche, 1er état, 24×17)
DR1893-76, Femme portant un enfant nu sur son bras (pointe sèche, 2me état)
DR1893-77, Femme tenant sur ses genoux un enfant auquel elle met des bras (pointe sèche, 1er état, 26×19)
DR1893-78, Femme tenant sur ses genoux un enfant auquel elle met des bras (pointe sèche, 2me état)
DR1893-79, Le Repos (pointe sèche, 1er état, 24×17)
DR1893-80, Le Repos (pointe sèche, 2me état, rehaussé à l’eau-forte)
DR1893-81, La femme à la mandoline (pointe sèche, 1er état, 23x16cm)
DR1893-82, La femme à la mandoline (pointe sèche, 2me état)
DR1893-83, La femme à la mandoline (pointe sèche, 3me état)
DR1893-84, La femme à la mandoline (pointe sèche, 4me état)

DR1893-85, Femme et enfant (pointe sèche, 22x15cm) (à M. André Mellerio)
“A woman is carrying a child, whom she is holding against her right shoulder. In the background, a silhouette is reflected in a mirror.”

DR1893-86, La leçon (série de douze pointes sèches, 24x16cm)
“Seated at a large table are two girls; one is explaining the lesson to the other, who is listening intently.”
DR1893-87, Femme portant un enfant (série de douze pointes sèches, 24x17cm)
“A child, seen from behind and looking to the right, is resting on his mother’s arm as she holds him close.”
DR1893-88, Femme tenant sur ses genoux un enfant auquel elle met des bras (série de douze pointes sèches, 26x19cm)
DR1893-89, La mandoline  (série de douze pointes sèches, 24x16cm)
“Seated on a sofa, a young girl, seen in three-quarter profile, is playing the mandolin, her gaze fixed on her music stand.”
DR1893-90, Réflexion (série de douze pointes sèches, 26x18cm)
“A three-quarter view of a young woman in street clothes, sitting on a low armchair and appearing to be deep in thought.”
DR1893-91, Le repos (série de douze pointes sèches, 24×17)
“A woman, seated and seen from the front, is holding a child on her lap who is snuggling up to her, seeking comfort.”
DR1893-92, Le thé (série de douze pointes sèches, 18x16cm)
“A young girl, seen in three-quarter profile, is sitting in an armchair, casually resting her bare arm against the backrest; in her hand she holds a fan. To the left, a small side table bearing a teapot and a cup.”
DR1893-93, L’enfant au perroquet (série de douze pointes sèches, 24x16cm)
“A mother is holding a child standing on her lap, who is reaching out towards a parrot perched on its perch.”
DR1893-94, Le nourrisson (série de douze pointes sèches, 24x18cm)
“A half-dressed child is sitting on his nanny’s lap, suckling greedily.”
DR1893-95, Le miroir (série de douze pointes sèches, 23x17cm)
“A child wraps his arms tenderly around the neck of the young woman holding him on her lap. The group is reflected in a mirror placed at the back left.”
DR1893-96, Le chapeau (série de douze pointes sèches, 19x14cm)
“A three-quarter view of a woman trying on a hat and looking at herself in a mirror.”
DR1893-97, Le perroquet  (série de douze pointes sèches, 16x12cm)
“A woman, seen in three-quarter profile, is sitting, holding a parrot in her cupped hands, with which she appears to be talking.”

DR1893-98, Au théatre (lithographie; 28×22).
“A woman leaning on an armchair and looking through binoculars.”

 

Cassatt at the Salon de la Société National des Beaux-Arts:
A source mentioned that Mary Cassatt also exhibited at the SNBA in 1898.
But the Catalogue illustré (R340/1898) doesn’t mention she showed a painting, nor a pastel, nor an engraving.

 

Cassatt at exhibitions in France:
Works of Mary Cassatt were exhibited at other exhibitions in France, namely in Paris.

18 works of Mary Cassatt were exhibited at the Manzi, Joyant & Cie gallery in 1912 in Paris, called “Exposition d’Art Moderne” (iR261).
MJ1912-82, Miss Mary Cassatt: Maman coiffant sa fillette.
MJ1912-83, Miss Mary Cassatt: Petite Fille dans la chambre bleue.
MJ1912-84, Miss Mary Cassatt: Mère et Enfant.
MJ1912-85, Miss Mary Cassatt: Petite Fille au chien, pastel.
MJ1912-86, Miss Mary Cassatt: Petite Fille au chien, pastel.
MJ1912-87, Miss Mary Cassatt: La Toilette, pastel.
MJ1912-88, Miss Mary Cassatt: Maman avec ses enfants, pastel.
MJ1912-89, Miss Mary Cassatt: Enfant en bleu, avec un chien, pastel.
MJ1912-90, Miss Mary Cassatt: Enfant avec chapeau bleu, pastel.
MJ1912-91, Miss Mary Cassatt: Enfant en bleu, avec un chien, pastel.
MJ1912-92, Miss Mary Cassatt: Petite Fille avec chien, pastel.
MJ1912-93, Miss Mary Cassatt: Mère jouant avec son bébé.
MJ1912-94, Miss Mary Cassatt: Portrait de Mlle D. R.
MJ1912-95, Miss Mary Cassatt: Portrait de Mlle D. R.
MJ1912-96, Miss Mary Cassatt: Enfant en grenat.
MJ1912-97, Miss Mary Cassatt: Enfant et Chien.
MJ1912-98, Miss Mary Cassatt: Enfant en jaune.
MJ1912-99, Miss Mary Cassatt: Enfant en bleu.

A work of Mary Cassatt was shown at an exhibition at the Musée du Luxembourg in Paris, called “Sommaire des Peintures et Sculptures de l’École Contemporaine” (iR261).
ML-1912-710, Cassatt (Mlle Mary): Mère et enfant (pastel, 55x45cm)

 

 

Cassatt at international exhibitions in Europe:
Works of Mary Cassatt were exhibited at international exhibitions in Europe, that were sometimes called “impressionist” (iR261).
Several works were loans from the Durand-Ruel gallery.
I will render them in a chronological order.

A work of Mary Cassatt was shown at an exhibition of French Impressionists in Prague in 1907 (iR261):
Prague-1907-FI-59, Cassattová Mary: Dítě trhající ovoce [Child Picking Fruit]  10000Ckr

A work of Mary Cassatt was exhibited with La Libre Esthétique in 1908 (R237=iR261):
15LE-1908-17, La Tasse de thé.
=? 6IE-1881-4, Le thé, peinture

Works of Mary Cassatt were exhibited at an opening exhibition of the ‘Moderne Galerie’ in Munich 1909/11 (=Munich-1909); the works were loans from the Durand-Ruel gallery ; a part of the exhibition was called “impressionisten Ausstellung” (=IA) (iR261):
Munich-1909-5, Die Tasse Tee.
=? 15LE-1908-17, La Tasse de thé; =? 6IE-1881-4, Le thé, peinture
Munich-1909-IA-6, Am Strand.
Munich-1909-7, Bildnis eines jungen Mädchens.

A work of Mary Cassatt was exhibited at an “international impressionist exhibition” in Budapest in 1910 (=Budapest-1910-IE) (iR261):
Budapest-1910-IE-4, Játszó gyermek [Playing Child]

A work of Mary Cassatt was exhibited at an exhibition in het Stedelijk Museum in Amsterdam in 1912, called “Stedelijke Internationale Tentoonstelling Van Kunstwerken Van Levende Meesters” (iR261).
Amsterdam-1912-1137, Cassatt Mej. Mary: Breister  50gld

A work of Mary Cassatt was exhibited at the exhibition held at Miethke in Vienna 1913/03, called “Französische Impressionisten“. The paintings were lent by Durand-Ruel. (iR261):
Vienna-1913-FI-27, Mutter und Kind (loan Durand-Ruel).

A work of Mary Cassatt was exhibited at the exhibition held at Miethke in Vienna 1913/12 – 1914/01/18, called “Französische Meister“.
Vienna-1913/1914-5, Mutterliebe.

A work of Mary Cassatt was exhibited at the exhibition Erste Ausstellung der Freien Secession in Berlin in 1914 (iR261):
Berlin-1914-36, Kind mit Katze ( Sammlung Stern)

 

Cassatt at international exhibitions in the USA:
Works of Mary Cassatt were exhibited at international exhibitions in the USA, that were sometimes called “impressionist” (iR261).
Several works were loans from the Durand-Ruel gallery, namely the New York branche.
I will render them in a chronological order.

Works of Mary Cassatt were exhibited at annual exhibitions in Pittsburgh in 1910 (the 14th), in 1911 (the 15th), in 1912 (the 16th), in 1913 (the 17th), in 1914 (the 18th) (iR261):
Pittsburgh-1910-14th-41, Children Playing with a Cat.
Pittsburgh-1910-14th-42, Reading.

Pittsburgh-1911-15th-38, Little Girl Reading*.

Pittsburgh-1912-16th-59, Woman with Fan*.

Pittsburgh-1913-17th-54, Woman at her Toilet*.

Pittsburgh-1914-18th-48, Woman and Child with Pink Scarf*.
Pittsburgh-1914-18th-49, Child holding a little Dog*.

 

Works of Mary Cassatt were exhibited at the International Exhibition of Modern Art (Armory Show) in New York in 1913 (iR261):
New York-1913-493, Mère et enfant 1903 (loan Durand-Ruel).
New York-1913-584, Mère et Enfant, aquarelle (loan John Quinn).

 

New York Durand-Ruel:
Several of the works of Mary Cassatt were exhibited at the Durand-Ruel gallery in New York (=NYDR). Some works are identified.

 

Mary Cassatt in auction sales:
Works of Mary Cassatt were present at several auction sales. Here below you will find some exemples.

There were works of Mary Cassatt in the first and second George Viau sale (iR261):

DR1907/03/04-9, Maternité (Sbl, 89x64cm)
“Seen in a three-quarter view from the right, wearing a red floral dressing gown, a young mother sits holding the child she has just lifted from her bed, and is about to bathe him. With a tender gesture of his chubby little hand, the blond-haired baby strokes his mother’s chin and seems to dread the washing suggested by the basin and the white earthenware jug placed on a table.”
See the suggestion at the Viau website (iR493), now in the Wichita Art Museum (see; =R168,p163) .
DR1907/03/04-10,  Portrait de Marcellin Desboutin (Stl, 46x38cm)
“Depicted in a three-quarter view facing left, wearing a loose-fitting beret, a pipe in his mouth, his moustache and black beard standing out against his white collar. The painter and engraver is seated in an armchair; to the left, above his shoulder, the red velvet cushion of the backrest is visible.”
The painting is now lost. See black and white picture at the Viau website (iR493),

DR1907/03/21-99, Jeune fille en toilette de bal (Sr, pastel, 60x49cm)
“Shown from the waist up, with her head turned three-quarters to the right, a young girl, dressed in a ball gown with a low-cut pink bodice, is seated at a table. Her right arm rests on the back of a chair, and she is holding a Japanese fan in her hand. To the right, on the table, a white porcelain vase is filled with a bouquet of chrysanthemums in shades of yellow and pink.”
See the suggestion at the Viau website (iR493).
DR1907/03/21-100, L’Enfant en bleu (Sr, pastel, 44x52cm)
“The child’s rosy face stands out clearly against the greenery background. The baby’s head is covered with a woollen hood that also protects its arms.”
Suggested is CR132 (iR493), but this baby is clearly lying on a blue pillow, the background doesn’t depict greenery. But, maybe this description was not correct. The title clearly mentions the blue colour.

 

There were works of Mary Cassatt in the sales of the Henri Rouart collection, namely at the Manzi-Joyant gallery.

MJ1912/12/09-91, Le thé(?): =CR78 (M22)

 

There were works of Mary Cassatt in the sales of the Roger Marx collection in 1914 at the Manzi-Joyant gallery (iR261).

MJ1914/05/11-15, La Femme au tournesol (Sr, 91x73cm)
“A young blonde woman is sitting in a green lacquered wooden armchair. She is wearing a loose-fitting dressing gown with yellow sleeves and a plunging neckline, adorned with a large sunflower, and is holding a naked child on her lap, to whom she is holding out a round mirror in her right hand so that the child can look at itself. On the left, the family scene is reflected in the green-framed mirror.”
=DR1908-6, Le miroir
Now in Washington (M21).
MJ1914/05/11-101, La Lecture 1898 (Stl, pastel, 45x64cm)
“On the right, a young woman with her hair swept back from her forehead, wearing a purple blouse with a black collar, is showing a little girl dressed in white, sitting beside her, the open book she is holding in both hands.”
=DR1908-33; =Segard 1913.
MJ1914/05/11-102, Femme et Enfant (Sr, drawing, 35x25cm)
“A young woman, seated and seen from the front, is holding a naked child in her arms; the child is snuggling up to her in a loving gesture.”
MJ1914/05/11-103, Buste de Fillette (Sr, pastel, 59x44cm)
“Smiling, seen from the front, with her right arm drawn in close to her body, a little girl with rosy cheeks, wearing a large white hat trimmed with tulle, the brim of which frames her chestnut-coloured hair.”

 

Recommanded citation: “Impressionism: Mary Cassatt, an account of her exhibited works. Last modified 2026/06/14. https://www.impressionism.nl/cassatt-account/.”

 

Note: additional info and improved sugggestions will be given in the future.