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
Young Girl with Brown Hair, Looking Left by Mary Cassatt: Introduction
A small dark-haired head turns towards the left above a broad network of pale strokes. The face is comparatively concentrated, while white and blue lines spread across the collar and shoulders. Much of the warm surrounding field remains visible. The difference between a compact head and an openly indicated body gives this pastel its particular balance.
The Metropolitan Museum of Art’s 1997 Private Collection of Edgar Degas: A Summary Catalogue illustrates the work as Little Girl with Brown Hair, Looking to the Left, number 48. The entry dates it to about 1913 and identifies pastel on cardboard, 50.2 × 48.3 centimetres, with Breeskin catalogue number 591. Those details belong to the exact illustrated composition. [1]
At a Glance
- ArtistMary Cassatt [1]
- Catalogue titleLittle Girl with Brown Hair, Looking to the Left [1]
- DateAbout 1913 (1997 summary catalogue) [1]
- MediumPastel on cardboard [1]
- Dimensions50.2 × 48.3 cm [1]
- Catalogue referenceBreeskin 1970, no. 591; Degas summary catalogue, no. 48 [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 Girl with Brown Hair, Looking Left (current article)
About 1913 (1997 summary catalogue) [1]Young Woman in Green Outdoors in the Sun
About 1914 [14]Contents
- The head and the turn
- A wide collar of pale marks
- The visible ground
- The Degas collection record
- A red hat in 1903
- Looking between line and modelling
The head and the turn
The dark hair establishes a rounded mass near the upper centre. Shorter, closely grouped marks move across its surface, while a darker area descends beside the face. The top contour is clearer than many of the longer strokes extending through the lower figure.
The face turns left without becoming a strict profile. Both eyes remain visible, and the nose shifts towards one side of the lighter facial area. The mouth supplies a small warmer accent below. These compact features give the head more concentrated definition than the garment.
The direction of looking draws attention towards the less densely filled space at the left. The figure does not confront the viewer with an evenly frontal arrangement. At the same time, the visible second eye keeps the face open enough to inspect rather than reducing it to an outer silhouette.
No precise age, personal name or recorded thought follows from that expression. The title identifies a girl and the direction of her head. The face can be described closely while the model’s biography remains unknown.
A wide collar of pale marks
Below the chin, pale strokes gather around the neck and spread across both shoulders. They form an irregular network rather than an evenly filled white garment. Longer blue-white lines move outward, meeting shorter marks nearer the face.
The two sides are unequal. At the right, the pale network extends farther out in a loose sequence of diagonals and zigzags. At the left, a different set of strokes moves away from the head, with more open ground around it. This asymmetry keeps the broad shoulder area from becoming a simple balanced triangle.
The marks also change direction as they descend. Some cross the chest, others angle downward, and several finish without meeting a fully drawn outer edge. The viewer can recognise collar and upper body without receiving an exhaustive account of every seam and fold.
That difference in definition gives the face priority. After following an extended pale line, the eye can return to the small, comparatively complete features above. The lower strokes contribute a substantial body while allowing the head to remain the principal focus.
The visible ground
A warm tan field surrounds the figure and appears between many of the pale marks. Cooler strokes gather above and beside the hair, while larger areas below remain less densely covered. The support participates in the image instead of disappearing beneath continuous colour.
Marjorie Shelley’s technical essay in American Pastels in the Metropolitan Museum of Art discusses visible strokes and retained support as important possibilities of pastel handling. That general vocabulary helps describe what can be seen here; the essay is not an object-specific examination of this cardboard. [15]
The distinction matters when interpreting openness. An area with fewer strokes does not by itself prove abandonment, preparatory purpose or the exact time spent working. The image supplies a relationship between concentrated modelling and longer graphic marks, while the circumstances of execution require other evidence.
Nor does the visible tan establish the support’s original colour or a history of fading. The catalogue identifies cardboard as the support. Its precise treatment, manufacture, mounting and chemical condition are separate questions that cannot be settled from this reproduction.
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 YouTubeThe Degas collection record
The 1997 summary catalogue connects the pastel with the Degas collection sale, recording Sale I, number 103, and a purchase by Schömeyer. It subsequently lists a private collection. This is a published historical collecting account, rather than a present ownership statement. [1]
The entry provides a useful association with Degas’s collecting, but does not establish that he helped execute the work. Ownership and authorship are different relationships to an object. The pastel remains catalogued as a work by Cassatt.
The catalogue’s historical private-collection wording also cannot identify an owner today. It describes the location reported when that publication was prepared. A modern valuation, current display location or complete chain of later transfers would need additional evidence.
The approximate date about 1913 should likewise retain its scope. It is the date assigned by the illustrated scholarly entry, not an exact documented sitting. The picture’s open handling does not independently support a much earlier date or explain the artist’s health.
A red hat in 1903
Head of a Child with a Red Hat offers a useful comparison. Sotheby’s 2014 catalogue records that separate pastel on paper as signed and dated 1903, measuring 40 × 33.7 centimetres. Its large red headwear and darker surrounding hatching distinguish it from this brown-haired head and broad pale shoulders. [16]
The comparison reveals a shared interest in varying the density of marks. In the red-hat work, the face and hat gather colour near the centre while the lower collar and garment remain more openly indicated. Here the pale network extends across a wider shoulder field beneath the compact dark hair.
Both images allow warm ground to remain visible. Their different dates therefore do not make openness a simple measure of age or a medical progression. The earlier signed work already uses a concentrated head beside less fully covered passages.
The children should also remain separate identities. Similar scale, a turned face and visible ground do not demonstrate that the same model returned. The comparison concerns the arrangement of marks and colours, with each object retaining its own date, support and collecting history.
Head of a Child with a Red Hat.
Looking between line and modelling
The drawings and pastels discussion considers how Cassatt combines individual strokes with more continuous modelling. This work makes that distinction particularly clear: dark hair, small facial features and an expanded pale garment receive different kinds of attention.
Looking only at the face misses the longer movements below it. Looking only at the loose shoulder strokes misses how the concentrated head anchors them. The image depends on both, with visible ground providing space through which the different passages can be connected.
The descriptive title is consequently a useful beginning, but a limited summary. It names the hair and turn of the head; the actual pastel also asks us to follow a much broader field of marks. The relationship between that field and the small face gives the work more visual range than a head-only description suggests.
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 Young Girl with Brown Hair, Looking Left by Mary Cassatt. These editorial prompts invite your observations.
Reader Insights
A small dark-haired head turns towards the left above a broad network of pale strokes. What does this first detail make you notice?
The dark hair establishes a rounded mass near the upper centre. How does it affect your reading of the whole work?
Do the pale shoulder strokes lead your eye away from the face, or make it feel more concentrated?
Join the Conversation
Share a detail, comparison or question about Young Girl with Brown Hair, Looking Left by Mary Cassatt below.
References
- Metropolitan Museum of Art, The Private Collection of Edgar Degas: A Summary Catalogue, 1997, printed p. 7, illustrated entry 48; about 1913, pastel on cardboard, 50.2 × 48.3 cm, Breeskin 591, and transmitted collection-sale history. The selected illustrated entry is the authority here; the original sale catalogue and full book are not treated as newly read. 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 American Pastels in the Metropolitan Museum of Art, 1989, printed pp. 39–41; general discussion of visible marks and retained support, not a technical examination of this work. View source.
- Sotheby’s, Tête d’enfant au chapeau rouge, American Art, 20 November 2014, lot 39; separate pastel signed and dated 1903, with its own support and dimensions. 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.
- 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.
- 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.
