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 Woman in a Large Hat by Mary Cassatt: Introduction
A broad blue hat extends far beyond a small, nearly frontal face. Its pale underside forms a wide oval, while a darker mass of looped strokes rises above. Below the head, a white collar and a few thin lines suggest clothing across otherwise open tan paper. Mary Cassatt’s Head of a Woman in a Large Hat makes these differences of scale and description its principal interest.
Sotheby’s 2008 catalogue titles the work Tête de Femme au Grand Chapeau, dates it to about 1909 and identifies pastel on tan paper. It cites Breeskin’s number 564 under the alternate title Dora in a Large Round Blue Hat. The name in that catalogue title does not supply a documented biography of the sitter. [1]
At a Glance
- ArtistMary Cassatt [1]
- Auction titleTête de Femme au Grand Chapeau [1]
- Alternate catalogue titleDora in a Large Round Blue Hat [1]
- DateAbout 1909 [1]
- MediumPastel on tan paper [1]
- Catalogue referenceBreeskin 564, as cited by Sotheby’s [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]Woman with a Sunflower
About 1905 [13]Young Woman in Green Outdoors in the Sun
About 1914 [14]Contents
- A hat much wider than the head
- Dark blue loops above a pale brim
- A closely described face
- White collar, open shoulders
- Pastel and the role of the support
- Dora and the historical catalogue
- Denise at Her Dressing Table
A hat much wider than the head
The brim spreads across most of the upper image. Its pale blue underside surrounds the face with an oval field, giving the small head a setting that belongs to the costume rather than a room.
A curved boundary distinguishes this underside from the darker blue above. The brim is therefore more than an outline around a patch of colour: it has an upper and lower relationship, with the head placed beneath and in front of it.
The hat’s breadth also changes the apparent scale of the sitter. The shoulders are only lightly indicated, yet the headwear establishes a substantial upper silhouette. The picture can feel expansive without filling the whole sheet with a solidly described body.
Dark blue loops above a pale brim
The upper blue area contains repeated loops, diagonals and denser patches. Individual marks remain visible, particularly near the irregular outer edge. Their energy differs from the more continuous curve of the brim below.
The two blue areas have different effects. The pale underside gives the face room within a broad enclosure; the darker upper marks create weight above it. Looking between them reveals a structure within what might first seem a single oversized accessory.
Warm-looking ground appears through some of the strokes. The hat is not uniformly filled, and its upper boundary is not cut into a perfectly smooth contour. Open marks let the making remain visible while still suggesting a substantial object.
The reproduction does not identify a species of feather or a particular milliner. What it supplies clearly is an arrangement of colour and direction: a wide pale oval beneath a more irregular, intensely blue mass.
A closely described face
The face occupies the centre beneath the hat, framed by brown hair and the pale underside of the brim. Small changes of pink, blue and light colour describe cheeks, eyes and mouth. The head receives more concentrated modelling than the shoulders or lower costume.
The eyes look towards the viewer’s side of the image, while the head turns only slightly. Their small dark and cool accents hold attention within a very large surrounding colour shape. The scale contrast makes precision in the face particularly important.
The mouth is closed, and the lower contour leads down to a long neck. Neither feature establishes a particular emotion. A portrait can offer a clear direction of gaze and a recognisable facial structure without explaining the model’s private thoughts.
The neck connects the developed head to the abbreviated body. Its outline and cooler colour marks prevent the face from seeming detached above an empty lower field. Only a limited amount of description is needed when its placement is exact.
White collar, open shoulders
White zigzag strokes spread across the upper chest. Their repeated pointed turns make a collar-like area without concealing every interval of paper. The marks remain conspicuous even while they indicate clothing.
Thin warmer lines describe the shoulders behind them. Other pale contours extend farther down, suggesting the body’s breadth and a lower horizontal division. The costume is present through a few directional signals rather than an uninterrupted surface of colour.
This economy gives the face and hat greater emphasis. The eye can follow the shoulders, yet it is drawn back towards the much denser marks above. The open field is part of that distribution of attention, not simply an absence surrounding the subject.
The signature lies lower on the right, separated from the main colour mass. Together with the lightly indicated torso, it makes the whole sheet matter. A crop around the face alone would lose much of the contrast between concentrated headwear and open clothing.
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 and the role of the support
Marjorie Shelley’s general technical essay on nineteenth-century pastel explains how artists could combine modelling, visible strokes and uncovered support. These terms offer a useful way to examine the portrait’s different areas. They do not constitute a material test of this particular work. [15]
The face suggests volume through smaller transitions of colour. The blue upper hat preserves the path of repeated strokes. The collar uses a lighter graphic rhythm, with the surrounding paper participating in its appearance.
Our guide to Cassatt’s drawings and pastels considers this overlap between coloured form and linear description. Here the same medium can give weight to a hat, roundness to a cheek and only a slight indication of a shoulder.
The open torso does not establish a preparatory purpose or abandonment. Nor does it measure execution time or document the artist’s health. It demonstrates that different parts of a portrait can receive very different amounts of marking while remaining connected in one composition.
Dora and the historical catalogue
The alternate title Dora in a Large Round Blue Hat is transmitted through Sotheby’s citation of Breeskin. It is useful as a catalogue name, but it should not be expanded into an occupation, family relationship or detailed account of a sitting. [1]
The 2008 entry traces the work through Durand-Ruel and Marlborough Fine Art, then to the Meltzer collection in 1955, descent and a 2003 sale. That is a historical chain reported by the auction catalogue, rather than a current collection credit. [1]
A later auction appearance also does not establish a present display location. The distinction is practical for a work without a current owning-museum record: its image and basic identification can be discussed securely while its latest whereabouts remain unconfirmed.
Denise at Her Dressing Table
Denise at Her Dressing Table, an oil of about 1908–09 in the Metropolitan Museum of Art, provides a close comparison in date and a different approach to the surrounding body. Denise wears a broad pale robe and holds a green-backed mirror, with a larger mirror showing the rear of her head. [16]
Both works concentrate description in the face while allowing more open handling around it. Their large surrounding forms differ, however. The pastel expands upwards through the hat; the oil expands downwards and sideways through the robe and the positions of the arms.
The mirrors also give Denise a particular activity and a second view of the head. In the hat portrait, the accessory itself provides most of the setting, with no similarly elaborate reflective arrangement. The nearly contemporary dates do not make the subjects or methods interchangeable.
Seen together, the pictures show how a face can remain a compact focus within very different structures. A large hat, a broad robe or a mirror can enlarge the encounter without enlarging the features themselves. In the pastel, blue loops, a pale brim and an open torso make that balance especially clear.
Denise at her Dressing Table.
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 Woman in a Large Hat by Mary Cassatt. These editorial prompts invite your observations.
Reader Insights
A broad blue hat extends far beyond a small, nearly frontal face. What does this first detail make you notice?
The brim spreads across most of the upper image. How does it affect your reading of the whole work?
How does the pale brim change your perception of the darker blue marks above it?
Join the Conversation
Share a detail, comparison or question about Head of a Woman in a Large Hat by Mary Cassatt below.
References
- Sotheby’s, Tête de Femme au Grand Chapeau, 2008, lot 135; exact image, approximate date, medium, alternate catalogue title and reported 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, strokes and visible support. View source.
- Metropolitan Museum of Art, Denise at Her Dressing Table, 2005.129, about 1908–09; separate oil painting. 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.
- 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.
- 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.
- 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.
