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
Sara with Her Dog by Mary Cassatt: Introduction
A small face looks out from within a large pale-yellow bonnet. Two dark ribbon streamers descend towards the shoulders, while a dog’s head occupies the centre of the child’s enclosing arms. Behind them, a red armchair gives the group a strong curved surround. Cassatt joins costume, furniture and an animal into a compact portrait arrangement.
The Smithsonian’s Art Inventories Catalog records the expanded title Sara with Her Dog, in an Armchair, Wearing a Bonnet with a Plum Ornament, dated 1901, in pastel on paper. A historical catalogue-project page presented on Artnet gives the same date and reproduces this exact composition. [1] [2]
The medium is an important distinction: this is a pastel, rather than the oil painting it has sometimes been called. The image’s separate marks, open lower area and differently described surfaces can be explored without transferring information from another Sara portrait with a dog.
At a Glance
- ArtistMary Cassatt [1] [2]
- Expanded titleSara with Her Dog, in an Armchair, Wearing a Bonnet with a Plum Ornament [1] [2]
- Date1901 [1] [2]
- MediumPastel on paper, Smithsonian inventory result [1]
- Historical measurements21¼ × 17¼ inches, catalogue-project record; basis unspecified [2]
- Inventory referenceIAP80170363 / siris_ari_180925; not a current museum accession [1]
- Current collectionNot established from the reviewed public historical records [2] [1]
This work across Mary Cassatt’s career
The Letter
1890–91 [7]Modern Woman
1892–93; displayed in 1893 [8] [9] [10]The Boating Party
1893–94 [11]The Child's Bath
1893 [12]Woman with a Sunflower
About 1905 [14]Young Woman in Green Outdoors in the Sun
About 1914 [15]Contents
- A face enclosed by a broad bonnet
- The dog at the centre
- A red chair around the pair
- Open marks below the hands
- What the historical records establish
- Sara Holding a Cat: a different embrace
- Little Girl in a Blue Armchair: separate seats
A face enclosed by a broad bonnet
The bonnet has a much larger outline than the face it surrounds. Its broad brim curves above the forehead and descends at the sides, making a light enclosing shape against the red chair and muted field. Warm yellow, pale cream and greenish marks give its surface variety.
The child’s face sits within that opening, relatively frontal and clearly available to the viewer. Eyes, nose and small mouth are described more closely than much of the surrounding clothing. The face becomes a point of concentration inside a sequence of larger shapes: bonnet, ribbons and chair back.
An ornament appears at the upper left of the headwear, with green, purple and warmer accents. The long title calls it a plum ornament. That description helps distinguish the pictured bonnet; it does not establish an additional symbolic programme or a private occasion for wearing it. [1]
The two dark streamers add a different direction. They descend from beside the face over the pale upper body, with pointed, irregular ends. Their weight makes the bonnet more than a light halo. They connect the headwear to the shoulders and draw the eye down towards the dog.
The dog at the centre
The dog’s light-coloured head sits below the child’s chest, facing broadly outward. Dark marks identify eyes and muzzle amid lighter, longer strokes of fur. The animal’s face therefore provides a smaller point of attention beneath the child’s own face.
The hands and forearms overlap around its body. Their pale shapes mingle with light fur and clothing, so the holding action is understood through several edges rather than a single continuous outline. Some passages are more emphatic; others remain loosely indicated.
This arrangement creates a vertical connection between the two faces. From the child’s eyes, the dark ribbons lead downward; below them, the dog’s muzzle brings another dark accent into a much lighter area. The portrait has two centres of recognition within one enclosing form.
The pose does not tell us how long the animal remained there, whether it belonged to the sitter or what its temperament was. It shows an animal held close, with the child’s arms shaping the foreground. A name or breed would require evidence beyond the visible head and the title.
A red chair around the pair
The chair back curves up on both sides and around the upper group. Its red surface supplies the strongest warm surround to the bonnet and pale arms. Along the edge, darker textured marks distinguish the boundary from the smoother red area within.
Furniture performs two roles here. It explains a seated position and gives the portrait an enclosing shape. The chair’s curve repeats something of the bonnet’s rounded outline, but at a larger scale. The child and dog fit inside both arrangements, with the streamers connecting the upper and middle regions.
The red also helps separate the figure from the outer background. A muted grey-violet field remains beyond the chair, while warmer colour presses close behind the shoulders. These successive surrounds concentrate attention without requiring an elaborate room.
The effect is quite different from a full interior filled with several chairs. This seat acts almost as a frame around the bodies. Its visible curve is enough to establish the portrait’s immediate setting and to provide a substantial colour field behind the small face.
Open marks below the hands
The lower part of the image becomes less densely described. Long pale, dark and warm lines move across an exposed tan area, indicating clothing, lap and the continuation of the held body. The upper face is more fully modelled than these lower passages.
That change gives the pastel a visible range of description. A small feature can be carefully shaped while a larger area is carried by a few sweeping lines. The group remains understandable because the chair, arms and central head supply enough connections for the eye to follow.
Open handling alone does not prove abandonment or identify a preparatory relationship with an oil. It is more useful first to ask what the marks do within this image. Here, the loose lower area allows the denser face, dark streamers and red chair to retain their emphasis.
The reproduction also cannot establish the paper’s original hue, a fixative recipe or an exact sequence of working. These are separate material questions. The visible contrast between modelled head and open clothing can be described without claiming a scientific examination.
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 YouTubeWhat the historical records establish
The catalogue-project page gives measurements of 21¼ × 17¼ inches, without specifying their basis. They are historical published figures, not a new measurement of the sheet. Its medium field is blank; the matching Smithsonian inventory supplies pastel on paper. Neither record establishes a present museum owner or current display. [2] [1]
The Artnet presentation identifies its collaboration with the Mary Cassatt Catalogue Raisonné project and Adelson Galleries. That makes its exact illustration and object label useful historical evidence. It does not make every related Sara title interchangeable or certify the current completeness of a separate catalogue website. [2]
The first name Sara should also remain within the limits of the record. It does not independently establish a full biography, a relationship to Cassatt or a famous family connection. The bonnet, ribbons, chair and held dog distinguish this particular image more reliably than a name shared by several works.
Sara Holding a Cat: a different embrace
Sara Holding a Cat is an oil on canvas dated about 1907–08 in Christie’s record. It shows a bareheaded child inclining towards a cat within her arms. The animal, medium and bodily direction differ from those of the 1901 pastel. [16]
In the oil, the child’s lowered face brings attention towards the animal. Hair and pale clothing surround a cat whose body turns across the lap. The embrace becomes an inward exchange of directions, rather than a largely frontal arrangement beneath a broad bonnet.
The pastel gives greater prominence to costume and furniture. Yellow headwear, dark streamers and the red chair establish a nested structure around child and dog. The comparison does not prove a shared session, the same pet or a preparatory sequence. It shows two distinct ways of organising a child’s contact with an animal.
Sara Holding a Cat.
Little Girl in a Blue Armchair: separate seats
In the National Gallery of Art’s Little Girl in a Blue Armchair, dated 1878, child and dog occupy different chairs. The work is an oil on canvas, with a wider interior containing repeated blue upholstery. [5]
The child sprawls across one seat while the dog curls on another. Furniture separates them and distributes attention across the room. Their bodily relationship is therefore different from the held animal in Sara with Her Dog.
Here, the red chair encloses one compact group. Child, hands and dog overlap, while the large bonnet gives the upper silhouette its distinctive shape. Seen beside the earlier interior, the pastel reveals how much can change when furniture gathers bodies together rather than giving them separate spaces.
Little Girl in a Blue Armchair, 1878. National Gallery of Art, Washington. Image source. CC0 / Public domain. Resized only; whole composition retained.
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 Sara with Her Dog by Mary Cassatt. These editorial prompts invite your observations.
Reader Insights
A small face looks out from within a large pale-yellow bonnet. What does this first detail make you notice?
The bonnet has a much larger outline than the face it surrounds. How does it affect your reading of the whole work?
How do the bonnet, dark streamers and chair curve lead your eye from the child’s face to the dog?
Join the Conversation
Share a detail, comparison or question about Sara with Her Dog by Mary Cassatt below.
References
- Smithsonian American Art Museum, Art Inventories Catalog, exact Sara armchair-and-plum-ornament result, IAP 80170363 / siris_ari_180925, 1901, pastel on paper. The result entry, rather than a full standalone inventory body, is the source used. 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, historical object record and displayed image; measurements have no stated basis and medium field is blank. 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, current 1878 oil record and image; no animal identity is transferred to the Sara pastel. 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.
- Christie’s, Sara Holding a Cat, public description and image; about 1907–08, oil on canvas. Its genealogy and broader psychological claims are not transferred here. 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.
- 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.
- Smithsonian American Art Museum, Sara in a Green Bonnet, 1929.6.11. 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.
