Beschreibung:

Details
MARY CASSATT (1844-1926)
Young Lady in a Loge Gazing to Right
signed ‘M. Cassatt’ (lower left)
pastel, gouache, watercolor and charcoal with metallic paint on paper
25 1/4 x 19 7/8 in. (64.1 x 50.5 cm.)
Executed circa 1878-79
Provenance
The artist.
Paul and Mette Gauguin Paris and Copenhagen, acquired from the above, by 1884.
Edvard Brandes, Copenhagen, Denmark, brother-in-law of the above, acquired from the above, by 1911.
Dr. Alfred Gold, Berlin, Germany, acquired from the above, 1928.
Elizabeth Paine Card, Fairhaven, Massachusetts, acquired from the above, circa 1930-35.
Private collection, New England, by descent from the above.
Estate of the above.
Sotheby's, New York, 10 November 1992, lot 7, sold by the above.
Acquired by Ann and Gordon Getty from the above.
Literature
(Probably) Bachaumont, “Notes parisiennes,” Le sportsman, April 12, 1879.
(Probably) A. Silvestre, “Les expositions: Des Indépendants,” L’estafette, April 16, 1879.
(Probably) A. Silvestre, “Le Monde des arts: Les Indépendants—Les Aquarellists,” Vie moderne, April 24, 1879, p. 38 (as Figure d'avant-scène (no. 54)).
(Probably) H. Havard, "L'exposition des artistes indépendants," Le siècle, April 27, 1879.
K. Madsen, Copenhagen Politiken, November 9, 1889, pp. 224, 226-27, illustrated (as Femme à l'éventail and Portrait of a Young Lady).
L. Venturi, Les archives de l’Impressionnisme, vol. 2, Paris, 1939, p. 125.
M. Malingue, ed., Lettres de Gauguin à sa femme et à ses amis, Paris, 1946, p. 75.
M. Bodelsen, “Gauguin’s Cézannes,” The Burlington Magazine, vol. 104, no. 710, May 1962, pp. 205, fig. 38, 207 (as Jeune fille à l’éventail).
M. Bodelsen, “Gauguin Studies,” The Burlington Magazine, vol. 109, no. 769, April 1967, pp. 224, 226-27, fig. 69, illustrated (as Femme à l’Eventail).
M. Bodelsen, “Gauguin, the Collector,” The Burlington Magazine, vol. 112, no. 810, September 1970, pp. 593, 602, 604-05, no. 3 (as Femme à l’éventail).
A.D. Breeskin, Mary Cassatt A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings, Washington, D.C., 1970, p. 54, no. 72, illustrated.
S.B. Conpoy, “50 Years Tracking Down Mary Cassatt ” Washington Daily News, October 2, 1970, p. 21.
(Probably) S. Monneret, L'Impressionnisme et son époque, Paris, 1978, pp. 112, 227 (as Jeune fille à léventail).
L.S. Richards, “Mary Cassatt’s Drawing of The Visitor,” Bulletin of the Cleveland Museum of Art, vol. 65, October 1978, p. 275.
(Probably) S. Monneret, L'Impressionnisme et son époque, Paris, 1980, p. 151 (as Au théâtre).
G. Pollock, Mary Cassatt New York, 1980, pp. 28, 82 (as Woman in a Loge with a Fan).
V. Merlhès, ed., Corrsepondance de Paul Gauguin Paris, 1984, p. 118.
(Possibly) R. Pickvance, “Contemporary Popularity and Posthumous Neglect,” The New Painting: Impressionism 1874-1886, exhibition catalogue, San Francisco, California, 1986, pp. 264n77-78, 267 (as Jeune femme au théâtre).
J. Tully, “Auction,” Washington Post, November 11, 1992 (as Young Lady in a Loge Gazing to the Right).
C. Vogel, “Museum in Texas Buys a Matisse for $11 Million,” The New York Times, November 11, 1992, p. C15.
S. Snow, “Matisse the Hot Ticket in N.Y. Auctions,” Los Angeles Times, November 13, 1992 (as Young Lady in a Loge).
S. Melikian, “Art Market Finds Some Stability—at a Much Lower Level,” International Herald Tribune, November 14-15, 1992, p. 7.
J. Tully, “Impressionist and Modern Art,” Art & Auction, vol. 15, January 1993, p. 90.
C. Wood, The Great Art Boom, 1970-1997, Surrey, England, 1997, p. 70.
G. Pollock, Mary Cassatt New Yotk, 1998, pp. 129, 146-47, 149, illustrated (as Woman in a Loge with a Fan Gazing Right).
L.R. Prieto, At Home in Studio: The Professionalization of Women Artists in America, Cambridge, Massachusetts, 2001, p. 88.
C.M. Jennings, “Paintings and the Nuanced Gaze: Studies in the Application, Complication, and Limitations of Psychoanalytic Gaze Theory,” Ph.D. dissertation, Texas Tech University, 2001, pp. v, viii, 264, 268-71, 277, 279, 281, 283, 288, 291-92, 309, 333n9, 334n103, 339, fig. 4.5, illustrated (as At the Theater (Au théâter)).
D. Wildenstein, Gauguin: Premier itinéraire d’un sauvage, vol. 2, Paris, 2001, p. 65, illustrated (as Jeune fille dans une loge).
R.R. Brettell, A.-B. Fonsmark, Gauguin and Impressionism, Fort Worth, Texas, 2005, p. 346, no. 3 (as Woman with a Fan).
K. Hvidt, Edvard Brandes: Portræt af en radikal blæksprutte, Copenhagen, Denmark, 2005, p. 250 (as Jeune femme à l’éventaille).
K. Brugnara, Four Women Impressionists in Paris, San Francisco, California, 2008, pp. 20-22, illustrated.
“Upcoming Exhibitions: Women Impressionists,” Fine Arts, San Francisco, California, Summer 2008, p. 11, back cover illustration.
D.D. Saeks, “Getty Glamour,” Harper’s Bazaar, October 2012, p. 282, illustrated.
A. Higonnet, “In the fan club,” Apollo, September 2014, pp. 124-25, fig. 1, illustrated (as At the Theater).
K. Rosenberg, “Friendship Was Their Medium,” The New York Times, May 29, 2014, p. C21 (as At the Theater).
Exhibited
Paris, 28 avenue de l’Opera, Quatrième Exposition de peinture, April 10-May 29, 1879, (probably) no. 54 (as Au théàtre).
Copenhagen, Kunstforeningen, Scandinavian and French Impressionists, October 30-November 11, 1889.
Berlin, Germany, Dr. Alfred Gold’s Gallery, French Impressionists, April 1928.
Berlin, Germany, Dr. Alfred Gold’s Gallery, French Impressionists, Old Masters: 35 Paintings Selected from Exhibitions at Dr. Alfred Gold’s Gallery, 1930, illustrated (as Young Lady in a Theatre).
Boston, Massachusetts, Museum of Fine Arts, 1968, on loan.
Chicago, Illinois, Art Institute of Chicago; Boston, Massachusetts, Museum of Fine Arts; Mary Cassatt Modern Woman, October 10, 1998-May 19, 1999, pp. 51, 112, 213-14, 246, 318, no. 19, figs. 2-3, illustrated (as At the Theater).
San Francisco, California, Palace of the Legion of Honor, Women Impressionists: Berthe Morisot Mary Cassatt Eva Gonzales, Marie Braquemond, June 19-September 21, 2008, pp. 142, 310, illustrated.
Washington, D.C., National Gallery of Art, Degas/Cassatt, May 11-October 5, 2014, pp. 9, 30, 122, 153, pl. 9, illustrated (as At the Theater).
Post Lot Text
This work is included as no. 63 in the Cassatt Committee's revision of Adelyn Dohme Breeskin's catalogue raisonné of the works of Mary Cassatt