Mary Cassatt Sold at Auction Prices

Painter, b. 1844 - d. 1926

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          • Mary Cassatt (1844-1926) Drypoint On Paper
            Nov. 25, 2023

            Mary Cassatt (1844-1926) Drypoint On Paper

            Est: -

            Titled: Looking into The Hand Mirror. Frame is in good condition. Frame measures approximately 19.5in x 15.25in. Unsigned. NR30100 SA

            EJ'S Auction & Appraisal
          • Mary Cassatt, Sara Wearing Her Bonnet and Coat
            Nov. 16, 2023

            Mary Cassatt, Sara Wearing Her Bonnet and Coat

            Est: $1,500 - $2,500

            Mary Cassatt Sara Wearing Her Bonnet and Coat c. 1904 lithograph on Ingres D'Arches 24.625 h x 18.625 w in (63 x 47 cm) This work is from the only state. Literature: Breeskin 198 This work will ship from Lambertville, New Jersey.

            Toomey & Co. Auctioneers
          • Mary Cassatt (attrib.), gouache on paper, c. 1905
            Nov. 16, 2023

            Mary Cassatt (attrib.), gouache on paper, c. 1905

            Est: $5,000 - $7,000

            Attributed to Mary Stevenson Cassatt (American, 1844-1926), Head of a Young Girl (a Study of White Flowers on verso sheet), signed Mary Cassatt lower edge, information label to mount, hinged to heavy paper stock mat, 9"h x 9" (sheet), 18"h x 14"w (mat)

            Millea Bros Ltd
          • CASSATT, MARY: "Margot Wearing à Bonnet".
            Nov. 09, 2023

            CASSATT, MARY: "Margot Wearing à Bonnet".

            Est: CHF375 - CHF750

            CASSATT, MARY (Allegheny 1844 - 1926 Beaufresne/Mesnil-Théribus) : "Margot Wearing à Bonnet"; Radierung; 35,5x26 cm (BG)

            Dobiaschofsky Auktionen AG
          • Mary Cassatt (1844-1926) Stout Mother Trying to Awaken Her Baby (Femme se penchant sur un bébé) 20 1/2 x 17 1/8 in. (52.1 x 43.5 cm.) (Executed in 1906-07.)
            Nov. 07, 2023

            Mary Cassatt (1844-1926) Stout Mother Trying to Awaken Her Baby (Femme se penchant sur un bébé) 20 1/2 x 17 1/8 in. (52.1 x 43.5 cm.) (Executed in 1906-07.)

            Est: $150,000 - $250,000

            Mary Cassatt (1844-1926) Stout Mother Trying to Awaken Her Baby (Femme se penchant sur un bébé) pastel and charcoal on paper laid down on board 20 1/2 x 17 1/8 in. (52.1 x 43.5 cm.) Executed in 1906-07.

            Bonhams
          • Mary Cassatt Etching, Pedicure / Female Figures
            Nov. 04, 2023

            Mary Cassatt Etching, Pedicure / Female Figures

            Est: $6,000 - $8,000

            Provenance: Estate of Richard K Weiss, Boynton Beach, Florida, thence by descent.

            Palm Beach Modern Auctions
          • Mary Cassatt "Mother & Child" Etching
            Nov. 04, 2023

            Mary Cassatt "Mother & Child" Etching

            Est: $5,000 - $7,000

            Provenance: Estate of Richard K Weiss, Boynton Beach, Florida, thence by descent.

            Palm Beach Modern Auctions
          • Mary Cassatt "Under the Horse Chestnut Tree" Etching
            Nov. 04, 2023

            Mary Cassatt "Under the Horse Chestnut Tree" Etching

            Est: $25,000 - $35,000

            Provenance: Estate of Richard K Weiss, Boynton Beach, Florida, thence by descent.

            Palm Beach Modern Auctions
          • MARY CASSATT Margot in a Floppy Bonnet Leaning against a Chair.
            Nov. 02, 2023

            MARY CASSATT Margot in a Floppy Bonnet Leaning against a Chair.

            Est: $3,000 - $5,000

            MARY CASSATT Margot in a Floppy Bonnet Leaning against a Chair. Drypoint on antique cream laid paper, circa 1902. 215x147 mm; 8 1/2x5 3/4 inches. Second state (of 2). Signed in pencil, lower right. A superb, dark, richly-inked impression of this extremely scarce print. We have found only two other impressions at auction in the past 30 years. Breeskin 185.

            Swann Auction Galleries
          • MARY CASSATT The Manicure.
            Nov. 02, 2023

            MARY CASSATT The Manicure.

            Est: $1,000 - $1,500

            MARY CASSATT The Manicure. Drypoint on antique cream laid paper, circa 1908. 210x147 mm; 8 1/4x5 7/8 inches, full margins. A very good, early impression with traces of burr on the mother's and child's hair. Breeskin 199.

            Swann Auction Galleries
          • MARY CASSATT The Banjo Lesson.
            Nov. 02, 2023

            MARY CASSATT The Banjo Lesson.

            Est: $12,000 - $18,000

            MARY CASSATT The Banjo Lesson. Color drypoint and soft-ground on thin laid paper, circa 1893. 295x237 mm; 11 5/8x9 3/8 inches, wide margins. Fourth state (of 4), printed in colors. Signed in pencil, lower right. A very good impression of this scarce drypoint. We have found only seven other impressions in all states combined at auction in the past 30 years. The same-titled pastel drawing of this subject is in the collection of the Virginia Museum of Fine Art, Richmond. To adorn the north tympanum to the entrance to the Gallery of Honor in the Woman's Building at the 1893 World's Columbian Exposition in Chicago, Cassatt (1844-1926) painted a three panel mural, now lost, entitled Modern Woman. The panels were divided into three subjects, Young Girls Pursuing Fame, Young Women Plucking the Fruits of Knowledge of Science, and Arts, Music, and Dancing, the latter of which includes a woman playing the banjo. Breeskin 156.

            Swann Auction Galleries
          • Mary Cassatt And Philadelphia
            Nov. 02, 2023

            Mary Cassatt And Philadelphia

            Est: $10 - $1,000

            February 17april 14, 1985 - By: Suzanne G. Lindsay - Published By: Philadelphia Museum Of Art - Copyright: 1985 - Paperback Dimensions: 11" X 8 1/2"

            Berner's Auction Gallery
          • Mary Cassatt (1844-1926)
            Nov. 01, 2023

            Mary Cassatt (1844-1926)

            Est: $2,000 - $3,000

            SARAH WEARING HER BONNET; THE MANICURE; LOOKING INTO THE HAND MIRROR (NO. 1); (BREESKIN 198; 199; 201) A lithograph and two drypoints, circa 1904, circa 1905 and circa 1908, respectively, with good or full margins, unframed. Largest sheet 25 x 18 7/8 inches; 635 x 479 mm.

            Doyle New York
          • Mary Cassatt (1844-1926); Tea (Woman with a Fan);
            Oct. 30, 2023

            Mary Cassatt (1844-1926); Tea (Woman with a Fan);

            Est: $8,000 - $10,000

            Mary Cassatt (1844-1926) Tea (Woman with a Fan) (Breeskin 133V), c. 1890 Drypoint on thin laid paper, signed in pencil, Breeskin's fifth (final) state, from the edition of 25, with wide margins. 7 1/8 x 6in (18 x 15.2cm) sheet 13 1/4 x 8 3/8in (33.6 x 27cm)

            Bonhams
          • MARY STEVENSON CASSATT (Pennsylvania/France, 1844-1926), “Looking into the Hand Mirror (No. 2)”, 1905., Drypoint on cream laid paper, 8" x 6". Framed 16.25" x 13.25".
            Oct. 19, 2023

            MARY STEVENSON CASSATT (Pennsylvania/France, 1844-1926), “Looking into the Hand Mirror (No. 2)”, 1905., Drypoint on cream laid paper, 8" x 6". Framed 16.25" x 13.25".

            Est: $600 - $900

            MARY STEVENSON CASSATT Pennsylvania/France, 1844-1926 "Looking into the Hand Mirror (No. 2)", 1905. A very good impression with warm plate tone. Breeskin 202.

            Eldred's
          • Mary Cassatt (American, 1844-1926) Study of Sara, c. 1900-1901
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Study of Sara, c. 1900-1901

            Est: $7,000 - $9,000

            Mary Cassatt (American, 1844-1926) Study of Sara, c. 1900-1901 paster counterproof on Japan paper with counterproof signature (lower left) 19 5/8 x 17 1/4 inches. Property from the Private Collection of Miroslav Klabal Provenance: Marc Rosen Fine Art, Ltd. and Adelson Galleries, New York, by 2004 Exhibited: New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt, November 1, 2004 - January 14, 2005, no. 40, p. 115, illus. Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Margot in a Pale Rose Hat, c. 1902-1903
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Margot in a Pale Rose Hat, c. 1902-1903

            Est: $15,000 - $20,000

            Mary Cassatt (American, 1844-1926) Margot in a Pale Rose Hat, c. 1902-1903 pastel counterproof on Japan paper with counterproof signature (lower left) 23 3/4 x 20 3/4 inches. Property from the Private Collection of Miroslav Klabal Provenance: Marc Rosen Fine Art, Ltd. and Adelson Galleries, New York, by 2004 Exhibited: New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt, November 1, 2004 - January 14, 2005, no. 28, p. 91, illus. Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Margot Wearing a Blue Gauze Bonnet, c. 1900-1901
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Margot Wearing a Blue Gauze Bonnet, c. 1900-1901

            Est: $15,000 - $20,000

            Mary Cassatt (American, 1844-1926) Margot Wearing a Blue Gauze Bonnet, c. 1900-1901 pastel counterproof 19 1/8 x 17 3/4 inches. Property from the Private Collection of Miroslav Klabal Provenance: Marc Rosen Fine Art, Ltd. and Adelson Galleries, New York, by 2004 Exhibited: New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt, November 1, 2004 - January 14, 2005, no. 6, p. 47, illus. Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Head of Adèle (No. 4), c. 1908
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Head of Adèle (No. 4), c. 1908

            Est: $10,000 - $15,000

            Mary Cassatt (American, 1844-1926) Head of Adèle (No. 4), c. 1908 pastel counterproof on Japan paper with counterproof signature (lower left) 29 1/2 x 26 1/2 inches. Property from the Private Collection of Miroslav Klabal Provenance: Adelson Galleries, New York Exhibited: New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt, November 1, 2004 - January 14, 2005, no. 46, p. 127, illus. Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Nude Baby Standing Beside Mother, c. 1898-1899
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Nude Baby Standing Beside Mother, c. 1898-1899

            Est: $6,000 - $8,000

            Mary Cassatt (American, 1844-1926) Nude Baby Standing Beside Mother, c. 1898-1899 pastel counterproof on Japan paper with counterproof signature (lower left) 27 5/8 x 34 inches. Property from the Private Collection of Miroslav Klabal Provenance: Adelson Galleries, New York Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Woman Gazing to Left, Resting Her Head on Her Gloved Hand, c. 1879
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Woman Gazing to Left, Resting Her Head on Her Gloved Hand, c. 1879

            Est: $20,000 - $30,000

            Mary Cassatt (American, 1844-1926) Woman Gazing to Left, Resting Her Head on Her Gloved Hand, c. 1879 pastel counterproof on Japan paper 23 1/2 x 17 1/2 inches. Property from the Private Collection of Miroslav Klabal Provenance: Adelson Galleries, New York Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Young Woman Reflecting, c. 1894-1895
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Young Woman Reflecting, c. 1894-1895

            Est: $15,000 - $20,000

            Mary Cassatt (American, 1844-1926) Young Woman Reflecting, c. 1894-1895 pastel counterproof on Japan paper with counterproof signature (lower left) 27 1/2 x 21 1/8 inches. Property from the Private Collection of Miroslav Klabal Provenance: Marc Rosen Fine Art, Ltd. and Adelson Galleries, New York, by 2004 Exhibited: New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt, November 1, 2004 - January 14, 2005, no. 35, illus. Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Mother and Child, c. 1908
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Mother and Child, c. 1908

            Est: $10,000 - $15,000

            Mary Cassatt (American, 1844-1926) Mother and Child, c. 1908 pastel counterproof on Japan paper with counterproof signature (lower left) 23 1/2 x 16 3/4 inches. Property from the Private Collection of Miroslav Klabal Provenance: Marc Rosen Fine Art, Ltd. and Adelson Galleries, New York, by 2004 Exhibited: New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt, November 1, 2004 - January 14, 2005, no. 37, illus. Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
          • Mary Cassatt (American, 1844-1926) Mother Jeanne Nursing Her child (Profile Left) (No. 3), c. 1908
            Oct. 17, 2023

            Mary Cassatt (American, 1844-1926) Mother Jeanne Nursing Her child (Profile Left) (No. 3), c. 1908

            Est: $20,000 - $30,000

            Mary Cassatt (American, 1844-1926) Mother Jeanne Nursing Her child (Profile Left) (No. 3), c. 1908 pastel counterproof on Japan paper with counterproof signature (lower left) 31 1/4 x 25 inches. Property from the Private Collection of Miroslav Klabal Provenance: Marc Rosen Fine Art, Ltd. and Adelson Galleries, New York, by 2004 Exhibited: New York, Adelson Galleries, Art in a Mirror: The Counterproofs of Mary Cassatt, November 1, 2004 - January 14, 2005, no. 36, illus. Lot note: In addition to her extensive work in oil, Mary Cassatt also excelled at the printed medium, especially favoring etching and drypoint and ramping up her production during the 1890s. Her Parisian dealer, Ambroise Vollard, became instrumental in her interest in printmaking. He noticed the high appeal of prints, which were perceived as a bridge between fine art and popular trends, and saw an opportunity: while large productions of prints would sell well, he insisted on connoisseurship and artistic vision as well. It is no surprise, then, that Vollard also championed Cassatt's production of pastel counterproofs, approximately between 1889 and 1913. A counterproof is created by applying a damp sheet of paper to the surface of a work in pastel before rubbing or running it through a press, resulting in a mirror image of the original. It is not an exact mirror, however, since the image is rendered in flatter and softer tones. The pastel medium, which fell out of favor with the advent of Romanticism, became fashionable again with the Impressionists, as it allowed for subtle palettes and airy visual effects. Renoir and Degas, Cassatt's close friend, are also known to have produced pastel counterproofs. In 2004, Adelson Galleries curated "Art in a Mirror," a landmark exhibition of Cassatt's pastel counterproofs, shedding light on this little-known medium and practice by the artist. The exhibition recorded more than 130 counterproofs, from 67 pastels, and a substantial number of counterproofs are believed to be the only remaining trace of the original pastel. Among the counterproofs offered here, only Young Woman Reflecting (lot 55) and Head of Adèle (No. 4) (lot 58) are from known pastels listed in the Breeskin catalogue raisonne, while the rest are from pastels that are unaccounted for. Though technically derived from pre-existing original works, Cassatt's counterproofs are arguably works of art in their own right, not mere reproductions. Jay E. Cantor, in his essay "Vollard is a Genius in his Line" published in the Adelson exhibition catalogue, speculates that she likely viewed the medium as a worthy creative experiment: the counterproofs "offered an occasion for innovative reworking. Since the image was reversed, it became, in effect, an entirely different and original work to be confronted on its own term" even though "there is no clear evidence of the degree to which [they] may have been used in this way." (p. 18). Stylistically, the counterproof process further flattened the image and amplified the evocative, subdued, ethereal tones already displayed in the pastel works. These features, reminiscent of the symbolist aesthetic of the time, especially in the Vollard circle, make Cassatt's counterproofs a distinct body of work within her oeuvre. The imagery of motherhood and early childhood is recognizably personal to Cassatt, and the present selection offers a glimpse into her characteristic handling of the subject. As argued by Pamela Ivinsky in her "After Impressionism: Cassatt's Counterproofs and her Later Career," also featured in the exhibition catalogue, her rendering of motherhood emphasizes its engrossing element, with the use of the profile and of the maternal gaze directed at the child, not at the viewer. It is a depiction imbued with utmost sensitivity and intimacy, making the maternal bond intangible, nearly lost to viewers as it resides strictly in the space shared by the absorbed mother and her child. The immaterial depth of the maternal bond reflects the diaphanous aesthetic of the image, coalescing in one gesture the narrative and artistic elements of Cassatt's work.

            Hindman
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