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American Art and Pennsylvania Impressionists
|
- Sale 2780
Live
| Philadelphia
Dec 3 | 2:00 PM EST
Live
| Philadelphia
Sale 2780
| Philadelphia
| Philadelphia
Estimate$300,000 – $500,000
Signed ‘Mary Cassatt’ bottom left, pastel on brown paper
23 x 19 in. (58.4 x 48.3cm)
Executed in 1898.
The present lot is no. 275 in the Cassatt Committee's revision of Adelyn Dohme Breeskin's Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings.
In January 1898, Mary Cassatt returned to America for the first time in over twenty-five years. After staying with her younger brother, Gardner, his wife, and their children in Philadelphia, she traveled to Boston and Naugatuck, Connecticut, where the wealthy John Howard Whittemore commissioned her to paint a portrait of several members of his family. Cassatt ultimately produced three works for his friend: one of Mr. Whittemore’s wife, Julia Spencer Whittemore (Portrait of a Grand Lady, location unknown), another of his grandson, Harris Whittemore, Jr. (Boy with Golden Curls, Yale University Art Gallery), and the present work, Mrs. Harris Whittemore and Baby Helen—a double portrait of Whittemore's daughter-in-law (Harris's wife), Justine Whittemore, and their youngest daughter at the time, Helen (another daughter named Gertrude would be born soon after).
This beautiful portrait is an example of Cassatt’s mature style and evidence of her experimentation with pastel throughout the 1890s. In 1898, the year the present work was executed, she confessed to Harris Whittemore that it was indeed “the most satisfactory medium for [portraying] children.” Its velvety, tactile quality may have encouraged her to use it whenever she depicted young people, as the spontaneity of pastel matched the energy of free-spirited children, who struggled to sit still for extended periods of time.
With a soft palette and powdery texture, Cassatt offers a tender scene that suits the intimacy of the moment. Caught in a loving embrace reminiscent of the Madonna and Child, the standing figures are enveloped by a background of indigo blue. Dressed in white, baby Helen commands viewers’ attention. Alert, and with a steady gaze, she is animated and full of personality. Cassatt describes Helen’s features with care, most notably in her well-defined curls, piercing eyes (which echo her mother’s), and rosy cheeks.
Cassatt had met the Whittemores in Paris in 1893, which resulted in a close friendship and a body of seventy-five original works by "La Grande Dame de l'Impressionisme" in the family collection. For many years, she served as their art advisor, apprising them of upcoming sales and exhibitions in Paris, and working to secure Impressionist gems on their behalf—particularly those by Degas, a close friend of Cassatt whom the family revered. Acting as a liaison between two continents, Cassatt not only played the role of a trusted agent to the Whittemores, but also helped introduce Impressionism to American audiences. Even as she returned to Paris, Cassatt was still ideally situated to source new works, discover emerging artists, send their work abroad, thus helping to keep modern French art alive.
The Artist.
Galerie Durand-Ruel, Paris.
Acquired directly from the above in 1898.
Harris Whittemore, Naugatuck, Connecticut.
Estate of the above (until 1942).
By descent to Austin L. Adams Jr., Los Angeles, California, by 1966.
Acquired directly from the above.
Private Collection.
Hammer Galleries, New York, New York (by 1992).
Adelson Galleries, New York, New York (by 1992).
Acquired directly from the above in 1997.
Jules Brassner, Palm Beach, Florida.
Private Collection.
Martha Parrish and James Reinish, Inc., New York, New York (by 2005).
ACA Galleries, New York, New York.
Oliver, Elliot and Sebastian Fine Art, Carmel, California.
Acquired directly from the above.
Private Collection.
To request further details about this lot, please email conditionreports@freemansauction.com
Please email conditionreports@freemansauction.com for any additional information or questions you may have
In overall very good condition. The sheet is affixed to a white foamcore board via three white linen tape hinges at upper left corner, upper center and upper right corner (all on the verso of the sheet). The work presents well, with a very powdery texture. The sheet is flat with two very minor creases in the bottom corners (diagonal). The outer edges are very even. A minuscule loss in the bottom right corner (pinpoint sized); a minuscule vertical tear in the paper can be seen at bottom center left (covered by the mat when framed, less than 0 1/8 in. long) and a small repair also visible in the background at upper left, along the left outer edge of the sheet (just less than 1 in.). With very strong colors, and passages more vibrant than others (see at center left, which is likely due to the harder pastel used by the artist). No sign of restoration or inpainting have been seen under UV light. The verso presents well: some discoloration in the bottom left corner, which suggests a small repair in the paper (about 0 ½ in. stretching horizontally). With remnants of dry glue in the bottom left and bottom right corners verso. Also remnants of old tape at bottom right and along the top of the right oute ridge verso. Withs light discoloration along the top and right outer edges verso: most likely from past mounting strips. We also notice an H-shaped shadow on the back of the sheet: likely a sign that the work was affixed to a stretcher in the past. To that end, on the recto we notice a thin ridge along the extreme bottom outer edge, which might be an old tacking edge. See Specialist's pictures for more details.
For more information on this Lot, please contact Raphael Chatroux at rchatroux@freemansauction.com
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