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
Head of a Child with a Red Hat by Mary Cassatt: Introduction
An irregular red hat surrounds a small face with pale hair and blue eyes. Below, white collar strokes spread into pink marks at the shoulders, while much of the lower paper remains open. Mary Cassatt’s Head of a Child with a Red Hat concentrates its most detailed work in the face and lets the surrounding marks remain conspicuous.
The French auction title is Tête d’enfant au chapeau rouge. Sotheby’s 2014 catalogue records pastel on paper, 40 × 33.7 cm, signed and dated 1903 at the lower right. The measurement basis is not specified as sheet, image or frame. The entry does not name the child. [1]
At a Glance
- ArtistMary Cassatt [1]
- Auction titleTête d’enfant au chapeau rouge [1]
- Date1903, signed and dated [1]
- MediumPastel on paper [1]
- Catalogue dimensions40 × 33.7 cm; measurement basis unspecified [1]
- Historical ownershipOlivier Sainsère before 1920, as reported by Sotheby’s [1]
- SitterUnidentified child [1]
- Current collectionNot established from the reviewed public sale record [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]Head of a Child with a Red Hat (current article)
1903, signed and dated [1]Woman with a Sunflower
About 1905 [13]Young Woman in Green Outdoors in the Sun
About 1914 [14]Contents
- The red silhouette
- Pale hair and blue accents
- A collar made of radiating marks
- Dark hatching around the hat
- Open paper and the signature
- Pastel can draw and model
- Sainsère and the 2014 catalogue
- A green bonnet with a different outline
The red silhouette
The hat does not form a neat symmetrical circle. It rises above the pale fringe, spreads out at the sides and descends farther beside one cheek. Its uneven boundary makes the headwear a substantial shape around the smaller head.
Red also varies within that shape. Denser passages occur beside more open strokes through which the ground can be seen. The hat consequently reads as both a coloured object and an area of visible pastel handling.
Its scale changes the encounter with the face. The eyes, nose and mouth occupy only part of the larger red enclosure, but their finer description makes them a focus. The broad accessory and the small features require different kinds of attention.
Pale hair and blue accents
Light hair crosses the forehead and falls beside the face. Individual pale strokes interrupt the hat’s inner edge, softening the boundary between the head and its surrounding colour. The fringe is more irregular than a single smoothly drawn band.
Blue marks articulate the eyes and parts of the face’s contour. They sit among pink and pale passages that suggest cheeks, forehead and chin. At a small scale these colours cooperate in describing a rounded head; closer looking reveals their separate contributions.
The eyes face towards the viewer’s side of the composition without becoming an exact statement of feeling. The open mouth and coloured cheeks can prompt a personal response, but they do not identify an age, a conversation or the circumstances of the sitting.
A collar made of radiating marks
White strokes spread around the neck and downwards across the upper chest. Their separate lengths and directions remain easy to follow. As a group, they form a light collar between the face and the much less fully described clothing below.
The collar has a different edge from the hat. Red supplies a broad enclosing area, while white breaks into many small projections. Both frame the face, but their marks behave differently.
Pink strokes extend towards the shoulders and lower part of the sheet. They enlarge the figure without turning the torso into a continuous solid mass. A little colour and a few directional marks are enough to suggest that the head belongs to a body beyond the collar.
Dark hatching around the hat
Dark diagonal marks surround much of the red. They create a rough field whose edges stop irregularly across the paper. Their direction is particularly clear where the strokes remain separated.
This field helps the red silhouette register. It also introduces another kind of texture beside the more closely modelled skin and softer pale hair. The portrait does not conceal the difference between a face built through small colour transitions and a background established through hatching.
The background marks do not describe a named room. They supply a coloured and tonal setting close to the head, leaving the child’s outline as the main structure within it. The open lower area gives the upper concentration of marks additional weight.
Open paper and the signature
The lower part of the reproduction contains far fewer marks than the head and hat. The signature and date sit within that relatively open area at the right. Their placement helps connect the broad paper field with the more concentrated portrait above.
Uncovered intervals participate in the image rather than simply disappearing from attention. Pink shoulder marks are legible because of the ground between them, just as individual dark diagonals remain clear beside the hat.
The amount of coverage does not establish that the portrait was abandoned or prepared for a later painting. It reveals a difference in treatment across the sheet. A face can receive concentrated modelling while the surrounding body remains economical in description.
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 draw and model
Marjorie Shelley’s general account of nineteenth-century pastel explains the coexistence of blended modelling, open strokes and visible support. These terms help distinguish the portrait’s different effects without turning a visual impression into a technical examination. [15]
Modelling makes the cheek appear rounded through changes of tone and colour. Hatching preserves the direction of repeated strokes. The collar lies between these effects: it describes a recognisable garment while keeping individual white marks clearly visible.
Our guide to Cassatt’s drawings and pastels explores that relationship across her work. Here it is especially direct. The image combines the descriptive concentration of a portrait head with the linear openness of the areas around it.
The catalogue’s paper designation does not identify an exact original hue or a fixative. Nor does the reproduction establish every material used in the darker lines. Those questions require object-specific evidence beyond the general medium label.
Sainsère and the 2014 catalogue
Sotheby’s records Olivier Sainsère as owner before 1920, followed by descent to the 2014 consignors. It describes him as the likely first owner. That qualification leaves direct acquisition from Cassatt unproven. [1]
The distinction matters because a short provenance can appear more complete than it is. A first recorded owner and a documented purchase from the artist are different claims. The later auction entry also does not establish a present owner or a realised sale price.
The signed 1903 date is more specific than those ownership limits. It should remain attached to this exact red-hat composition, rather than being replaced by the approximate date of another child portrait with similar headwear.
A green bonnet with a different outline
Head of Simone in a Green Bonnet with Wavy Brim offers a useful comparison. The Sotheby’s 2005 catalogue, preserved through its Invaluable syndication, dates that pastel to about 1904. Its named sitter and separate catalogue history do not identify the child in the 1903 red hat. [16]
The green bonnet has a darker, lower brim whose wave rises sharply at one side. A dark band also encloses the neck. These forms differ from the red hat’s broader irregular enclosure and the radiating white collar below it.
Both portraits leave much of the lower body lightly described. Yet the headwear directs attention differently: one makes a large red field around the face, while the other gives the brim a stronger sequence of dark curves. Comparing these outlines is more revealing than assuming that two similar child subjects must share an identity.
Head of Simone in a Green Bonnet with Wavy Brim.
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 Head of a Child with a Red Hat by Mary Cassatt. These editorial prompts invite your observations.
Reader Insights
An irregular red hat surrounds a small face with pale hair and blue eyes. What does this first detail make you notice?
The hat does not form a neat symmetrical circle. How does it affect your reading of the whole work?
Which marks make the hat distinct from the face it surrounds?
Join the Conversation
Share a detail, comparison or question about Head of a Child with a Red Hat by Mary Cassatt below.
References
- Sotheby’s, Tête d’enfant au chapeau rouge, American Art, 20 November 2014, lot 39; signed 1903 date, exact image, material, dimensions and qualified provenance. 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, pp. 39–41; general discussion of modelling, hatching and visible support. View source.
- Sotheby’s, Head of Simone in a Green Bonnet with Wavy Brim, Watson collection, 18 May 2005, lot 39; syndicated catalogue hosted by Invaluable, separate pastel and approximate date. 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.
- Denver Art Museum, Whistler to Cassatt exhibition guide, stop 112: Bust of Ellen with Bows in Her Hair. 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.
- 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.
- 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.
