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
Jules Being Dried by His Mother by Mary Cassatt: Introduction
A child stands at the left of a seated woman, with a large white towel gathered around the lower body. The woman’s yellow-and-white patterned wrapper fills much of the right side. Her face turns towards the child, while the child looks more nearly out of the picture. Drying becomes a composition of upright and seated bodies, supporting hands and overlapping cloth.
This image is provisionally identified with Jules Dried by His Mother, number 332 in Adelyn Dohme Breeskin’s 1970 catalogue. Publicly available snippets describe a standing, dark-haired child and a large white towel, and give the date 1901 and medium oil on canvas. Those details support the identification, but the original catalogue illustration and complete entry have not been inspected. The date and medium are therefore presented with that qualification; dimensions, current owner and complete provenance remain unestablished here. [1]
At a Glance
- ArtistMary Cassatt; qualified identification [1]
- TitleJules Dried by His Mother; provisionally identified composition [1]
- Date1901, following catalogue text [1]
- MediumOil on canvas, following catalogue text [1]
- CatalogueQualified identification with Breeskin 1970 no. 332 [1]
- DimensionsNot independently established
- Present locationNot independently established
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]Jules Being Dried by his Mother — qualified identification (current article)
1901, following catalogue text [1]Woman with a Sunflower
About 1905 [13]Young Woman in Green Outdoors in the Sun
About 1914 [14]Contents
- Standing beside a seated adult
- The towel and the patterned wrapper
- Why similar titles need care
- Washing, drying and looking in a mirror
- What to look for first
Standing beside a seated adult
The child’s body forms the clearest vertical in the left half. Head, torso and arms can be followed down towards the towel, whose light folds continue the figure towards the lower edge. The adult occupies a broader, more angled shape. Her upper body leans towards the child while her seated lower body extends towards the right.
That difference in posture gives each figure a distinct role. The child’s near-frontality makes the torso conspicuous, while the woman’s turned head brings her attention across the space between them. Their faces remain close without sharing exactly the same direction. The scene can feel connected even though the child is not looking directly back at the adult.
The woman’s extended forearm crosses the lower centre. At its end, her hand meets the towel beside the child’s body. The arm joins an area of exposed skin to an area of pale cloth, helping the viewer understand how the drying action works. It also creates a broad crosswise movement against the child’s upright torso.
The child’s lowered hands remain near the towel rather than reaching around the woman’s neck. That position distinguishes the scene from a conventional embrace. Care is communicated through a practical task, with the cloth and the adult’s handling of it carrying much of the relationship. The figures do not need to exchange a kiss for their physical dependence to become visible.
The standing pose also makes balance a central concern. We see the child’s lower body partly concealed by fabric, rather than a complete exposed stance that explains every point of support. The adult’s proximity and hand placement hold the arrangement together. The painting invites attention to those contacts without allowing an exact reconstruction of the pose from every angle.
The towel and the patterned wrapper
The white towel is the largest light object apart from the child’s body. At the left it falls in long folds; nearer the centre it gathers against the figure and beneath the woman’s hand. Those changes in direction give the cloth a role in describing both the action and the space occupied by the two people.
The wrapper behaves differently. Yellow marks, pale areas and small green accents create a busy surface that expands around the woman’s shoulder, sleeve and seated form. Where the sleeve meets the forearm, the change from patterned cloth to skin clarifies the bend of the arm. Lower down, the material spreads towards the right edge, balancing the towel’s fall on the opposite side.
The contrast between the textiles is more useful than treating them as interchangeable signs of domestic comfort. The towel describes a task through its position around the child. The wrapper describes the adult’s volume through folds and pattern. Both are pale, but their different marks prevent the lower half from becoming one undifferentiated area of white.
Behind the heads, the darker field makes faces and shoulders stand forward. A pale vertical division appears above and behind the woman, providing a straighter line than the curved bodies and folded fabrics. It suggests a constructed interior without identifying a particular room. The background remains subordinate to the close arrangement in front of it.
Colour also separates the upper and lower parts. Dark hair marks both heads, warm skin connects faces with the exposed torso and forearm, and brighter yellow pattern spreads through the woman’s clothing. These relationships can be described from the image. They do not identify particular pigments, a sequence of painted layers or the amount of time spent on a sitting.
Why similar titles need care
Cassatt’s bathing subjects include several works associated with the name Jules. A shared name and a drying or bathing title do not make them one composition. The number 332 attached to this qualified identification should therefore be kept separate from neighbouring catalogue numbers and their histories. The standing child and large towel in Breeskin’s available description are the relevant textual features here. [1]
The title also needs to be distinguished from a verified account of the models. It supplies a conventional family description, but this identification does not establish the adult’s name or prove biological motherhood. There is no secure basis here for extending it into a conversation, a forthcoming appointment or an account of the woman’s private life.
The picture’s specificity comes instead from observable differences: standing and sitting, looking outward and looking across, exposed body and patterned cloth. Each distinction helps explain what Cassatt has arranged. Naming an undocumented event would add a story while doing little to clarify these choices.
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 YouTubeWashing, drying and looking in a mirror
The Child’s Bath offers a clear contrast. The Art Institute of Chicago dates that oil painting to 1893. An adult supports a seated child while washing a foot in a basin, and the higher viewpoint makes patterned surfaces particularly conspicuous. Its action takes place below the figures’ heads, drawing their attention downwards. [11]
In the drying composition, the child is upright and the adult’s turned face remains close to the child’s head. The towel extends through a larger vertical area than the basin occupies in The Child’s Bath. Comparing the two shows how different stages of bodily care can organise a picture differently, without establishing that Cassatt intended them as a narrative pair.
The Metropolitan Museum’s Mother and Child (The Oval Mirror), dated about 1899, supplies another arrangement of a supported upright child. A mirror surrounds and reflects the child’s head, adding a second view to the grouping. In the drying scene, the dark background and pale vertical panel provide no comparable reflected head; attention stays with the actual bodies and towel. [15] The oval-mirror composition consequently raises a different question about how a figure is seen.
A shorter comparison with the pastel A Goodnight Hug makes the orientation still clearer. There, nested heads and enclosing arms extend across a horizontal format. Here, the upright child and falling towel give the embrace of care a longer vertical structure. The pastel’s title does not supply evidence for an actual bedtime episode in this oil. [16]
The Child’s Bath, 1893. Art Institute of Chicago. Image source. Public domain. Resized only; whole composition retained.
Mother and Child (The Oval Mirror).
What to look for first
Begin with the adult’s hand where skin, towel and the child’s body meet. Then follow the forearm back through the patterned sleeve to her turned face. That route connects the practical action with her attention. Looking next at the child’s more outward-facing head reveals that the two figures remain linked without mirroring each other’s gaze.
The qualified identification leaves some historical questions open, but the composition itself gives the viewer substantial things to examine. Weight, direction, touch and the difference between the two textiles make this a particular arrangement of care, rather than a generic illustration of bathing.
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 Jules Being Dried by His Mother by Mary Cassatt. These editorial prompts invite your observations.
Reader Insights
A child stands at the left of a seated woman, with a large white towel gathered around the lower body. What does this first detail make you notice?
The child’s body forms the clearest vertical in the left half. How does it affect your reading of the whole work?
How does the towel change the relationship between the standing child and the seated adult?
Join the Conversation
Share a detail, comparison or question about Jules Being Dried by His Mother by Mary Cassatt below.
References
- Adelyn Dohme Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings, Smithsonian Institution Press, 1970; selected public search snippets from page 143 and index page 318, not the complete entry or original illustration. 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. 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.
- Metropolitan Museum of Art, Mother and Child (The Oval Mirror), 29.100.47. View source.
- Sotheby’s, A Goodnight Hug, lot 11, 14 May 2018, public catalogue and image. 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.
- 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, 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.
- 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.
