by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on November 2, 2026
Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Bust of Ellen with Bows in Her Hair by Mary Cassatt: Introduction
A carefully modelled face emerges from a field of blue loops, above a white collar and a body left largely in outline. In Mary Cassatt’s Bust of Ellen with Bows in Her Hair, the difference between those areas is the first thing to notice. The portrait gives its fullest colour to the head while allowing the gestures of drawing to remain visible around and below it.
Denver Art Museum’s Whistler to Cassatt exhibition guide identifies the work as an 1898 pastel on paper and describes it as belonging to a private collection. The guide reproduces this composition: a child with short dark hair, pale bows, an emphatically marked collar and blue strokes spreading around the head. That exhibition credit does not establish the name of a present private owner. [1]
At a Glance
- ArtistMary Cassatt [1]
- TitleBust of Ellen with Bows in Her Hair [1]
- Date1898 [1]
- MediumPastel on paper [1]
- Collection descriptionPrivate collection in Denver’s Whistler to Cassatt exhibition guide [1]
- SitterEllen; precise family identification unconfirmed [1]
This work across Mary Cassatt’s career
The Letter
1890–91 [6]Modern Woman
1892–93; displayed in 1893 [7] [8] [9]The Boating Party
1893–94 [10]The Child's Bath
1893 [11]Woman with a Sunflower
About 1905 [13]Young Woman in Green Outdoors in the Sun
About 1914 [14]Contents
- The head turns within the sheet
- Bows interrupt the dark hair
- A collar made of separate strokes
- Blue loops and uncovered paper
- Pastel can model and draw
- Does the outlined body mean the portrait was abandoned?
- Ellen Mary in a White Coat
The head turns within the sheet
Ellen looks towards the left side of the image. Her nose projects into a light area, while the far side of the face remains narrower. The turn is slight enough to preserve both eyes, yet clear enough to give the head a direction within the larger arrangement.
The face is built through differences of colour as well as through an enclosing contour. Pink appears across the cheek; cooler blue and greenish passages occur around the forehead, eye and ear. Light marks near the nose and mouth interrupt those broader areas. At ordinary viewing distance these separate colours cooperate in describing a rounded head.
The ear is especially useful to study. It sits between the cheek and the dark hair, with cooler marks helping distinguish its edge. The child’s jaw leads down to the neck and collar. These transitions connect the most developed part of the portrait to the stronger, more separated strokes below it.
Nothing in the direction of the eyes identifies what the child was looking at. The leftward gaze is a compositional fact; a story about a distraction, a conversation or the length of the sitting would require other evidence. Cassatt has supplied enough information to make the turn convincing without depicting an object at its destination.
Bows interrupt the dark hair
Two pale bows appear within the short dark hair. The more conspicuous one spreads across the upper right of the head as we see it; another pale accent lies farther to the left. Their irregular light shapes break into the darker mass rather than enclosing it in a continuous band.
This contrast helps the small accessories register. A bow represented by a few light marks can remain legible because of the surrounding dark hair. Individual strands and short strokes complicate the boundary, particularly where hair meets the blue background. The edge feels worked rather than cut into one smooth silhouette.
The bows also distinguish the top of the head from the white collar below. Both involve pale marks, but their sizes and directions differ. The bows cluster within the hair, while the collar spreads horizontally and then drops in repeated strokes. Looking between them reveals how the same general light colour can perform different descriptive tasks.
A collar made of separate strokes
The collar forms a broad, bright area immediately beneath the face. Its white marks descend at different angles and lengths. Small intervals remain between some of them, making their application conspicuous even while the group reads as clothing.
The collar’s upper edge helps seat the head on the body. Its lower edge is less continuous, allowing white to break into the largely uncovered area beneath. There is no need for a fully coloured dress to make the relationship understandable. A few lines at the shoulders and sleeves extend the figure beyond the collar.
Blue marks cross some of those outlines. They provide a loose continuation of the colour around the head without filling the entire garment. The result is an uneven distribution of information: the face has many small transitions, the collar has strong repeated accents, and the torso is carried mostly by contour.
This is why describing the work simply as a bust can understate its construction. The lower body matters even where little pastel has been applied. Its broader outline gives the concentrated head a place within the sheet and a different scale of mark against which to be seen.
Blue loops and uncovered paper
The blue background is not a uniform rectangle. Long loops reach towards the upper corners, while shorter, denser marks lie closer to the hair and shoulders. Their changes of direction remain visible. Near the head, overlapping colour creates a more continuous field; farther out, the paper opens between strokes.
The loops surround the head without describing a particular room. They give the portrait a coloured setting whose boundaries are determined by marks rather than furniture or architecture. On the right, several strokes extend away from the hair into the open area, keeping the background active beyond the figure’s contour.
The paper looks warm in the reproduction, particularly across the lower half. That appearance contributes to the relationship between blue, white and flesh colour, but a photograph cannot by itself establish the sheet’s original hue or subsequent material changes. The visible contrast is enough for looking: the pale collar and blue marks stand clearly against the surrounding ground.
The signature occupies the lower right, within the comparatively open part of the sheet. It is another kind of drawn mark, separate from the lines describing the child. The wide area around it makes that distinction easy to recognise.
Watch: Mary Cassatt
Choose a film to explore the artist’s work, its interpretation and its wider setting.
Demonstrating Mary Cassatt's Color Printmaking Techniques
The Philadelphia Museum of Art demonstrates techniques used to make Cassatt’s colour prints.
Watch on YouTubePastel can model and draw
Pastel allows broad areas of colour and narrow linear marks to coexist. In her technical essay in American Pastels in the Metropolitan Museum of Art, Marjorie Shelley explains how nineteenth-century artists combined blended modelling, distinct strokes and visible support. Her discussion supplies a useful vocabulary for looking at these differences; it is a general account, rather than a material examination of this particular portrait. [15]
In Ellen’s face, neighbouring colours give the impression of continuous form. In the background, the path of an individual stroke is much easier to follow. The collar falls between the two: it forms a recognisable light garment while preserving the separate marks that build it.
The lower torso adds a more economical use of line. Contours suggest shoulders, sleeves and the arrangement of clothing without turning those parts into solid colour masses. Pastel is therefore doing several jobs within one sheet. Calling it a drawing or a painting can direct attention towards one aspect, but neither term should conceal the other.
Our guide to Cassatt’s drawings and pastels follows this relationship across different works. Here, the important evidence is the contrast within a single image: detailed modelling does not require every neighbouring area to receive the same treatment.
Does the outlined body mean the portrait was abandoned?
The difference in finish is visible; its cause is less certain. An open torso does not establish that Cassatt stopped because the child moved, lost patience or became tired. Nor does the amount of uncovered paper measure the number of minutes spent working.
It is more useful to ask what the contrast accomplishes in the image. The dense head remains the centre of attention. The outlined shoulders widen the figure without competing with the face. The white collar connects those two levels of description, while the blue field carries colour outwards into the sheet.
Denver’s exhibition commentary emphasises the appeal of visible marks and the close looking encouraged by private galleries. That interpretation helps explain why an image with exposed working gestures could interest a viewer. It does not provide a documented sale history or an original statement of Cassatt’s intentions for this pastel. [1]
Ellen Mary in a White Coat
A useful comparison is Ellen Mary Cassatt in a White Coat, an oil painting of about 1896 in the Museum of Fine Arts, Boston. The National Gallery of Victoria’s loan-exhibition label identifies that sitter as Cassatt’s two-year-old niece. The shared name Ellen does not, by itself, prove that the pastel represents the same child. [16]
The oil presents a much more extensive arrangement of clothing and furniture. A pale coat with dark trim spreads across a seated body; the child’s hands reach towards the arms of a chair. A bonnet rises above the face. The chair and garment establish the figure’s position through large, connected areas.
The pastel reduces those surrounding structures. There is no comparably defined chair, and the lower clothing remains largely open. Yet both pictures use pale clothing to make the face distinct. The oil’s dark trim gives the coat a strong boundary, while the pastel’s white collar has a broken lower edge.
Comparing the two does not produce a hierarchy in which the more completely covered surface is automatically the more successful portrait. Each distributes attention differently. The oil gives the child a substantial place in a chair; the pastel makes a developed head, a band of white and a field of blue strokes carry most of the encounter.
Ellen Mary Cassatt in a White Coat.
Cassatt artworks and studies
A source-bounded directory of documented works and studies, including the works in the National Gallery’s 2026 checklist and one clearly marked former attribution. Different print impressions are grouped by design and remain searchable by their recorded accessions. This is not a complete catalogue raisonné. Unlinked titles have no individual article here.
| Name | Date | Medium |
|---|---|---|
| A Child’s Bath — LACMA oil | 1880 | Oil on canvas |
| A Goodnight Hug | 1880 | Pastel |
| After the Bullfight | 1873 | Oil on canvas |
| Afternoon Tea Party | 1890–91 | Colour print |
| At the Theatre (Lydia Cassatt Leaning on Her Arms, Seated in a Loge) | About 1879 | Pastel |
| Automne, portrait de Lydia Cassatt | 1880 | Oil on canvas |
| Breakfast in Bed | 1897 | Oil on canvas |
| Bust of Ellen with Bows in Her Hair | 1898 | Pastel |
| By the Pond | About 1896 in Met and Terra records; about 1898 at MoMA | Not established |
| Child Drinking Milk from a Bowl; provisionally identified composition (qualified identification) | About 1890, following inventory and catalogue text | Pastel |
| Child in a Straw Hat | About 1886 | Oil on canvas |
| Child Picking a Fruit | 1893 | Oil on canvas |
| Children Playing on the Beach | 1884 | Oil on canvas |
| Clarissa, Turned Left, with Her Hand to Her Ear | About 1890–93 in Sotheby’s 2012 entry; about 1893 in GCMA notice | Pastel |
| Denise at her Dressing Table | About 1908–09 | Oil on canvas |
| Driving | 1881 | Oil on canvas |
| Eddy Cassatt (Edward Buchanan Cassatt) | 1875 | Oil on canvas |
| Ellen Mary Cassatt in a White Coat | About 1896 | Oil on canvas |
| Emmie and her Child | About 1890 | Oil on canvas |
| Gathering Fruit | About 1893 | Not established |
| Girl Arranging her Hair | 1886 | Oil on canvas |
| Head of a Child with a Red Hat | 1903, signed and dated | Pastel |
| Head of a Woman in a Large Hat | About 1909 | Pastel |
| Head of Simone in a Green Bonnet with Wavy Brim | About 1904 | Pastel |
| In the Garden | 1903 or 1904 | Oil on canvas |
| In the Loge | 1878 | Oil on canvas |
| In the Omnibus | 1890–91 | Colour print |
| In the Omnibus [recto] — preparatory drawing | c. 1891 | Chalk and graphite |
| In the Opera Box (No. 3) [recto] — preparatory drawing | 1880 | Graphite |
| In the Opera Box (No. 3) — print | c. 1880 | Intaglio print |
| Jeune fille au jardin (Young Woman Sewing in a Garden) | 1880–82 | Oil on canvas |
| Jules Dried by His Mother; provisionally identified composition (qualified identification) | 1901, following catalogue text | Oil on canvas |
| Lady in Black, in a Loge, Facing Right | c. 1880 | Etching |
| Lilacs in a Window | About 1880–83 | Oil on canvas |
| Little Girl in a Blue Armchair | 1878 | Oil on canvas |
| Louise Nursing her Child | 1899 in Luxembourg caption; 1898–99 in loan and Arp records | Pastel |
| Madame Gaillard and Her Daughter Marie-Thérèse | 1897, Reynolda collection listing | Pastel |
| Maternal Caress | 1890–91 | Not established |
| Maternal Caress — preparatory drawing | About 1891 | Charcoal and graphite |
| Mathilde Holding a Baby Who Reaches out to the Right | About 1889, Christie’s catalogue | Pastel |
| Mimi as a Brunette | c. 1889 | Drypoint |
| Mimi Holding a Japanese Fan | c. 1889 | Drypoint |
| Modern Woman | 1892–93; displayed in 1893 | Not established |
| Mother about to Wash her Sleepy Child | 1880 | Oil on canvas |
| Mother and Child (Maternal Kiss) | 1896 | Pastel |
| Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper) | About 1898–99, Sotheby’s catalogue | Pastel |
| Mother and Child (The Oval Mirror) | About 1899 | Oil on canvas |
| Mother Berthe Holding Her Nude Baby | 1898–99 | Pastel |
| Mother in Purple Holding her Child | About 1914, Christie’s catalogue | Pastel |
| Mother Playing with Child | About 1897 | Pastel |
| Mother’s Kiss | 1890–91 | Colour print |
| Nurse Reading to a Little Girl | 1895 | Pastel |
| Poppies in a Field (formerly Cassatt; attributed to Victor Gabriel Gilbert) | About 1880, current museum record | Oil on panel |
| Portrait of an Elderly Lady | c. 1887 | Oil on canvas |
| Portrait of Madame AF Aude and her Two Daughters | 1899, Breeskin 1970 exhibition catalogue | Pastel |
| Portrait of the Artist | 1878 | Watercolour and gouache |
| Reading Le Figaro | 1878, NGA 2026 checklist; about 1877–78 in SAAM’s 2015 caption | Oil on canvas |
| Reflection — drypoint | c. 1890 | Drypoint |
| Sara Holding a Cat | About 1907–08 | Oil on canvas |
| Sara in a Green Bonnet | About 1901 | Oil on canvas |
| Sara with Her Dog, in an Armchair, Wearing a Bonnet with a Plum Ornament | 1901 | Pastel |
| Self Portrait | About 1880 | Watercolour and gouache |
| Simone in Blue Plumed Hat | About 1903 | Pastel |
| Simone Seated on the Grass next to her Mother | 1901–02 | Pastel |
| Sketch of Master St. Pierre | Date not established | Pastel |
| Sleepy Baby | About 1910 | Pastel |
| Smiling Mother with Sober Faced Child | Date not established | Pastel |
| Spanish Dancer Wearing a Lace Mantilla | 1873 | Oil on canvas |
| Summertime, horizontal painting | 1894–95, current Sotheby’s catalogue | Oil on canvas |
| Tea — print | c. 1890 | Drypoint |
| The Bath | 1890–91 | Not established |
| The Boating Party | 1893–94 | Oil on canvas |
| The Caress | 1902 | Oil on canvas |
| The Child's Bath | 1893 | Oil on canvas |
| The Coiffure | 1890–91 | Colour print |
| The Cup of Tea | About 1880–81 | Oil on canvas |
| The Fitting | 1890–91 | Colour print |
| The Lamp | 1890–91 | Colour print |
| The Letter | 1890–91 | Colour print |
| The Loge | About 1878–1880 | Oil on canvas |
| The Mandolin Player | 1868 | Oil on canvas |
| The Manicure (Les Ongles; The Nails) | About 1908 | Intaglio print |
| The Tea; Le Thé | About 1880 | Oil on canvas |
| The Visitor | c. 1880 | Intaglio print |
| Two Sisters | 1896 | Pastel |
| Two Women Seated by a Woodland Stream | About 1869 | Oil on canvas |
| Two Women Throwing Flowers During Carnival | 1872 | Oil on canvas |
| Under the Horse-Chestnut Tree | 1896–97, National Gallery and MoMA records | Not established |
| Woman Bathing (La Toilette) | 1890–91 | Colour print |
| Woman in a Loge (Woman with a Pearl Necklace) | 1879 | Oil on canvas |
| Woman Reading | 1878–79 | Oil on canvas |
| Woman Standing, Holding a Fan | 1878–79 | Distemper |
| Woman with a Fan | c. 1878–1879 | Oil on canvas |
| Woman with a Red Zinnia | 1891 | Oil on canvas |
| Woman with a Sunflower | About 1905 | Oil on canvas |
| Young Girl at a Window | c. 1883–1884 | Oil on canvas |
| Young Girl with Brown Hair, Looking Left | About 1913 (1997 summary catalogue) | Pastel |
| Young Mother Sewing | 1900 | Oil on canvas |
| Young Woman in Green, Outdoors in the Sun | About 1914 | Oil on canvas |
Discussion
Look again at the images and ideas explored in Bust of Ellen with Bows in Her Hair by Mary Cassatt. These editorial prompts invite your observations.
Reader Insights
A carefully modelled face emerges from a field of blue loops, above a white collar and a body left largely in outline. What does this first detail make you notice?
Ellen looks towards the left side of the image. How does it affect your reading of the whole work?
Where does the face become distinct from the marks that surround it?
Join the Conversation
Share a detail, comparison or question about Bust of Ellen with Bows in Her Hair by Mary Cassatt below.
References
- Denver Art Museum, Whistler to Cassatt exhibition guide: Exposition Mary Cassatt, stop 112; exact object caption, photograph and modern commentary on pastel and gallery viewing. View source.
- Denver Art Museum, Whistler to Cassatt Access Guide, The Salon, stop 104. View source.
- Denver Art Museum, Whistler to Cassatt:American Painters in France, bilingual exhibition livret,The Salon,no2. View source.
- National Gallery of Art, Little Girl in a Blue Armchair, 1983.1.18. View source.
- Philadelphia Museum of Art, Driving, 1881. View source.
- National Gallery of Art, The Letter,1943.3.2763. View source.
- Art Institute of Chicago, Ryerson and Burnham Archives, Bertha Honoré Palmer Correspondence Collection finding aid, selected Mary Cassatt entries, Box1Folder3. View source.
- Museum of Modern Art, Mary Cassatt artist essay and print records. View source.
- MaudHoweElliott(ed.) / UniversityofIllinoisUrbanaChampaign scan, Art and Handicraft in the Woman’s Building of the World’s Columbian Exposition,Chicago,1893,Chicago:RandMcNally,1894. View source.
- National Gallery of Art, The Boating Party, 1963.10.94. View source.
- Art Institute of Chicago, The Child’s Bath,1910.2,current expanded collection entry. View source.
- Metropolitan Museum of Art, Young Mother Sewing, 29.100.48. View source.
- National Gallery of Art, Woman with a Sunflower, 1963.10.98. View source.
- Sotheby’s, Young Woman in Green Outdoors in the Sun, Modern Day. View source.
- Marjorie Shelley, technical essay in Doreen Bolger, ed., American Pastels in the Metropolitan Museum of Art, 1989, especially pp. 39–41; general account of modelling, visible strokes and support. View source.
- National Gallery of Victoria, French Impressionism: Artwork Labels & Didactics, selected label for Ellen Mary in a white coat, about 1896, Museum of Fine Arts, Boston, 1982.630. View source.
- Art Gallery of Ontario, Cassatt–McNicoll:ImpressionistsBetweenWorlds. View source.
- Metropolitan Museum of Art, The Bath, 16.2.7. View source.
- National Gallery of Art, Children Playing on the Beach, 1970.17.19. View source.
- Colby College Museum of Art, Explore Inside Out: The Prints of Mary Cassatt; Mother Berthe Holding Her Nude Baby,2013.549. View source.
- Sotheby’s, syndicated auction catalogue hosted by Invaluable, Simone in Blue Plumed Hat, Watson collection, 18 May 2005, lot 20. View source.
- The Huntington, Breakfast in Bed, 83.8.6. View source.
- Adelyn Dohme Breeskin / Smithsonian Institution Press; University of California scan indexed by Google Books, Mary Cassatt:A Catalogue Raisonné of the Oils,Pastels,Watercolors,and Drawings,1970,322pp; selected public search snippets pp91–92,143–144,316,318. View source.
- Metropolitan Museum of Art, The Private Collection of Edgar Degas: A Summary Catalogue, Cassatt entries, printed p.7, no.48. View source.
- Art Institute of Chicago, After the Bullfight, 1969.332. View source.
- Smithsonian American Art Museum, Art Inventories, After the Bullfight, siris_ari_180619. View source.
- Smithsonian American Art Museum, The Caress, 1911.2.1. View source.
- Museum of Modern Art, Under the Horse-Chestnut Tree,671.1940. View source.
- National Gallery of Art, Under the Horse-Chestnut Tree,1959.12.4. View source.
- Virginia Museum of Fine Arts, Board of Trustees minutes,17September2020,loan recommendation7:ChildPickingaFruit75.18. View source.
- Cincinnati Art Museum, Les Ongles(The Nails;The Manicure),ca1908,1940.155,secondstate. View source.
- Sotheby’s, Clarissa Turned Left with Her Hand to Her Ear, 2012 lot 51. View source.
- Greenville County Museum of Art, Recent Acquisitions Funded by Sale of Alma Thomas Painting, 2021. View source.
- Metropolitan Museum of Art, The Coiffure,16.2.3. View source.
- Metropolitan Museum of Art, The Cup of Tea, 22.16.17. View source.
- Sotheby’s, Mother and Child (Nude Dark-Eyed Little Girl with Mother in Patterned Wrapper), 19 May 2010, lot 31. View source.
- Metropolitan Museum of Art, Denise at Her Dressing Table, 2005.129. View source.
- Museum of Fine Arts, Boston, Ellen Mary in a White Coat, 1982.630. View source.
- Amon Carter Museum of American Art, Woman Standing Holding a Fan, 2011.20. View source.
- Smithsonian American Art Museum, Special Installation of Nineteen American Masterworks, 2015. View source.
- Metropolitan Museum of Art, The Fitting, 16.2.8 final state. View source.
- Reynolda House Museum of American Art, Mary Cassatt collection listing: Madame Gaillard and Her Daughter Marie-Thérèse, 1897. View source.
- Wake Forest University, Wake Women 2023 schedule, Highlighting the Art of Women at Reynolda, captioned Cassatt image. View source.
- Detroit Institute of Arts, In the Garden, 36629. View source.
- National Gallery of Art, Gathering Fruit,1943.3.2757. View source.
- Sotheby’s, A Goodnight Hug,N09860lot11,14May2018. View source.
- Sotheby’s, syndicated auction catalogue hosted by Invaluable, Head of Simone in a Green Bonnet with Wavy Brim, Watson collection,18May2005,lot39. View source.
- National Gallery of Art, Girl Arranging Her Hair, 1963.10.97. View source.
- Joslyn Art Museum, Art Break:Woman Reading,1943.38,program object caption. View source.
- Los Angeles County Museum of Art, A Child’s Bath, M.62.8.14. View source.
- National Gallery of Art, The Lamp, 5937. View source.
- Sotheby’s, Tête de Femme au Grand Chapeau, 2008 N08449 lot135. View source.
- Metropolitan Museum of Art, Lilacs in a Window, 1997.207. View source.
- National Gallery of Art, The Loge,1963.10.96. View source.
- Arp Museum Bahnhof Rolandseck, Maestras: Malerinnen1500–1900,25February–16June2024,official five-page flyer. View source.
- Spanish official gazette / exhibition insurance schedule, BOE-A-2023-19808,21September2023,Maestras loan schedule. View source.
- Nationalmusée um Fëschmaart / ArpMuseum CollectionRauforUNICEF, Louise,NursingHerChild,1899,GR1.949;FromRenoirtoMonet2026–27. View source.
- Petit Palais / Paris Musées, Automne, portrait de Lydia Cassatt, PPP706; IIIF manifest 160008392. View source. (in French).
- Metropolitan Museum of Art, Maternal Caress, 16.2.5. View source.
- Philadelphia Museum of Art, Mother and Child Maternal Kiss, object 54049. View source.
- Metropolitan Museum of Art, Maternal Caress, preparatory drawing64.123.3, c1891. View source.
- Christie’s, Mathilde Holding Baby who Reaches out to Right, lot 5459369. View source.
- National Portrait Gallery / Catalog of American Portraits, Madame Meerson and her Daughter, SSSA2282. View source.
- Museum of Fine Arts Boston, In the Loge, 10.35. View source.
- Smithsonian art inventories, Child Drinking Milk from a Bowl, siris_ari_197517. View source.
- MutualArt public auction index; original auctioneer undisclosed without subscription, Child Drinking Milk from a Bowl, public listing dated 2 June 2024. View source.
- National Gallery of Art, Mother's Kiss,1963.10.254. View source.
- National Gallery of Art, Mary Cassatt the Daring Printmaker, 23 January 2026. View source.
- National Gallery of Art, Mary Cassatt An American in Paris checklist, updated 24 February 2026. View source.
- Adelyn D. Breeskin / National Gallery of Art, Mary Cassatt 1844–1926, 1970 exhibition catalogue. View source.
- Metropolitan Museum of Art, Nurse Reading to a Little Girl, 62.72. View source.
- National Gallery of Art, In the Omnibus, 46725. View source.
- Metropolitan Museum of Art, Mother and Child (The Oval Mirror), 29.100.47. View source.
- Philadelphia Museum of Art, Woman in a Loge, 1978-1-5, object72182. View source.
- Metropolitan Museum of Art, Mother Playing with Child, 22.16.23. View source.
- Metropolitan Museum of Art, By the Pond,60.732bis. View source.
- Museum of Modern Art, By the Pond,673.1940. View source.
- Terra Foundation for American Art, By the Pond,1999.25. View source.
- Philadelphia Museum of Art, Poppies in a Field, attributed to Victor Gabriel Gilbert; formerly attributed to Mary Stevenson Cassatt, 1978-1-6. View source.
- Christie’s, Mother in Purple Holding Her Child, lot 5369421. View source.
- Sotheby’s, Tête d’enfant au chapeau rouge, American Art N09229, 20 November 2014, lot 39. View source.
- Christie’s, Sara Holding a Cat, lot 5561267. View source.
- Smithsonian American Art Museum, Art Inventories Catalog, Sara with Her Dog, in an Armchair, Wearing a Bonnet with a Plum Ornament; IAP 80170363 / siris_ari_180925. View source.
- Smithsonian American Art Museum, Sara in a Green Bonnet, 1929.6.11. View source.
- Mary Cassatt Catalogue Raisonné project, with Adelson Galleries, presented on Artnet, Sara with Her Dog, in an Armchair, Wearing a Bonnet with a Plum Ornament, work 424155733. View source.
- Metropolitan Museum of Art, Portrait of the Artist, 1975.319.1. View source.
- National Portrait Gallery, Mary Cassatt Self-Portrait, NPG.76.33. View source.
- Musée d’Orsay, Jeune fille au jardin,RF193720. View source. (in French).
- Sotheby’s, Simone Seated on the Grass Next to Her Mother, 30 September 2020, lot 33. View source.
- Dallas Museum of Art, Sleepy Baby,1952.38.M. View source.
- Sotheby’s, Smiling Mother with Sober Faced Child, 2022. View source.
- Smithsonian American Art Museum, Spanish Dancer Wearing a Lace Mantilla, 1967.40. View source.
- Spencer Museum of Art,University of Kansas, The Manicure,c1908,1991.0266. View source.
- Christie’s, Sketch of Master St Pierre, 2017 online lot. View source.
- National Gallery of Art, Child in a Straw Hat, 1983.1.17. View source.
- Sotheby’s, Summertime, Armand Hammer: The Private Collection, Modern Evening Auction 2026. View source.
- National Gallery of Art, Afternoon Tea Party, 46731. View source.
- Museum of Fine Arts, Boston / Erica E. Hirshler, The Tea, 42.178. View source.
- The Nelson-Atkins Museum of Art, At the Theater,F77-33;French Paintings and Pastels appendixII. View source.
- Metropolitan Museum of Art, Woman Bathing La Toilette, 16.2.2. View source.
- Sotheby’s, Two Sisters, 2005 American Paintings sale N08134, lot 44. View source.
- Wichita Art Museum, Mother and Child, M109.53. View source.
- Smithsonian American Art Museum, Art Inventories, Two Women Seated by a Woodland Stream / Duex femmes assises aupres de l’eau, IAP 80170008. View source.
- Tacoma Art Museum / David Setford, Impressionist Painting: From Pleasure Gardens to the Palais Garnier, 22 October 2019. View source.
- Tacoma Art Museum, French Impressionism and the Northwest, Works of Art Adoption Program, 2019–2020, no. 10 / PDF p. 12. View source.
