Mary Cassatt, Sara Wearing Her Bonnet and Coat, c. 1904
|Artist:||Mary Cassatt (1845 - 1926)|
|Title:||Sara Wearing Her Bonnet and Coat, c. 1904|
|Sheet Size:||20 in x 16 7/16 in (50.8 cm x 41.8 cm)|
|Framed Size:||33 7/8 in x 30 3/4 in (86 cm x 78.1 cm)|
|Edition:||From the only state, presumably a later impression, printed on Ingres D’Arches paper with an MBM watermark.|
|Signature:||This work is signed ‘Mary Cassatt’ in the plate in the lower right of the image.|
|Condition:||This work is in excellent condition.|
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Historical Description of this artwork
Mary Cassatt Sara Wearing Her Bonnet and Coat, c. 1904 is one of only two known prints in lithography executed by Cassatt. This work is a transfer lithograph which characteristically shows the surface texture of the paper from the original drawing which was transferred onto the stone. Depicting a young girl found in several other works by the artist, the image appears active and full of life. Delicately rendered with fine details in the facial features and hair, it expresses the tenderness and care in which Cassatt creates her portraits. Sara is found in this scene to be wearing a bonnet and large bow in her hair with a coat buttoned up to her chin. Her eyes gaze off into the distance as though intrigued by something the viewer can only imagine. The expression on her face is that of relaxed contentment, appearing as though she enjoys having her portrait done. Using broad sweeping strokes and flowing shifts of tonality, this work appears thoughtfully designed with a masterful eye.
The pastel of the same subject is currently in the Metropolitan Museum collection. Other examples of this work have also been in the collections of the New York Public Library, the Baltimore Museum of Art, the Bibliothèque Nationale Paris, The Brooklyn Museum, the Cleveland Art Museum, the Fogg Art Museum at Harvard University, the Grand Rapids Museum of Art, and the Philadelphia Museum of Art.
Created circa 1904, this lithograph is signed ‘Mary Cassatt’ in the plate in the lower right of the image. From the only state, presumably a later impression, printed on Ingres D’Arches paper with an MBM watermark.
Catalogue Raisonné & COA:
Mary Cassatt Sara Wearing Her Bonnet and Coat is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).
1) Breeskin, Adelyn Dohme, Mary Cassatt A Catalogue Raisonné of the Graphic
Work, 1979, listed as plate 198.
2) Wechsler, Herman J., Great Prints and Printmakers, listed as plate 30.
3) A Certificate of Authenticity will accompany this work.
ABOUT THE FRAMING:
Mary Cassatt Sara Wearing Her Bonnet and Coat, c. 1904 is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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American Mary Cassatt fell in with the French Impressionists upon moving to Paris, and her signed drawings, etchings, and lithographs spring from a feminine perspective favoring the mother-child relationship.
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Artistic Styles of Cassatt
Mary Cassatt Complete Biography
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Mary Cassatt Biography
Mary Cassatt captures the personal lives of women through her drawings and etchings. Cassatt especially concentrated on the bond between mother and child. Under the guidance of Impressionist artists, Cassatt’s works became increasingly popular.
Mary Cassatt was born in Allegheny City (Pennsylvania) and died in Le Mesnil-Theribus (Oise). The daughter of a banker, she moved with her family to Paris in 1851. From 1853 to 1855 she lived at Heidelberg and Darmstadt. From 1861-1865 she studied at the Pennsylvania Academy of Fine Arts in Philadelphia, then in the studio of Charles Chaplin in Paris. In 1868 she exhibited for the first time at the Salon. While studying at the Academy Raimondi in Parma in 1871, she copied Correggio and Parmigianino and became an admirer of Velazquez and Rembrandt. In 1873 she traveled to Madrid, Seville, Belgium and the Netherlands, and made copies especially of Velazquez and Rubens, before finally settling in Paris. There she met Edgar Degas in 1877, who suggested her joining the Impressionists. Her work was greatly influenced by Degas and Renoir, taking as principal subject portraits of women and children. Cassatt took part in the IV to VI and again in the VIII Impressionist exhibition. Her own work was shown by Durand-Ruel in 1891. In 1898 she visited the United States, went to Italy and Spain in 1901, and for the last time to the United States in 1908. In 1910 she became a member of the National Academy of Design in New York. In 1914 she was awarded the gold medal of the Pennsylvanian Academy of Art. Cassatt gradually lost her sight and was compelled to give up painting. It was due to her efforts that French Impressionism became known and understood in America, and also thanks to her initiative that the Havemeyer collection, now at the New York Metropolitan Museum, came into being.