Mary Cassatt, ‘Mére Et Enfant’, ca. 1902, Christopher-Clark Fine Art
Mary Cassatt, ‘Mére Et Enfant’, ca. 1902, Christopher-Clark Fine Art

This drawing was inspected in April 2002 by the Mary Cassatt Catalogue Raisonné Committee (Adelyn Breeskin, founder; Jay Cantor, director) and will be included in the forthcoming newly revised Mary Cassatt Catalogue Raisonné.

Paris, Galerie A.M. Reitlinger, Dessins, Pastels, Peintures, Etudes par M. Cassatt, May 19- June 30, 1931.

Adelyn Dohme Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors and Drawings, Smithsonian Institution, Washington D.C., 1970, no. 398, p. 162 (ill.);

Ex-collection Mathilde Valet (French, late 19th-early 20th century), in the later years of Cassatt's life Mathilde Valet served as her housekeeper, maid and personal companion, in her will Cassatt bequeathed the contents of her atelier to Valet, bearing the “Mathilde X” collection stamp [Lugt 2665a] in black ink lower right recto; Sale, Hôtel Drouot, Paris, “Vente-Collection Mlle. X,” March 30, 1927; Ex-collection Ambroise Vollard (French, 1866-1939), recognized as one of the most important dealers in French contemporary art at the beginning of the twentieth century; Private collection.

About Mary Cassatt

Mary Cassatt is widely acclaimed for her intimate scenes of mothers and children, such as Mother About to Wash Her Sleepy Child (1880), that are painted with quick brushstrokes in a pastel palette. Invited in 1877 by her friend and mentor Edgar Degas, Cassatt was one of three women—and the only American—to join a group of artists later known as the Impressionists, which included Claude Monet and Camille Pissaro. Influenced by the Japanese prints she collected, Cassatt developed a refined drawing style that blended European and Asian effects, increasingly creating figural compositions, like The Letter (1890), with flattened forms and harmonious color combinations.

American , 1844-1926, Philadelphia, PA, United States, based in Paris, France