MARY CASSATT (1844-1926)
The Long Gloves
signed 'Mary Cassatt' (lower right)
pastel on paper
25 1/2 x 21 1/4 in. (64.8 x 53.9 cm.)
Painted in 1886
The artist.
Mrs. Percy C. Madeira, Berwyn, Pennsylvania, niece of the above, by 1941.
Private collection, by descent.
Christie's, New York, 10 May 1989, lot 45, sold by the above.
Acquired by Ann and Gordon Getty from the above.
D. Breeskin, "The Line of Mary Cassatt," Magazine of Art, vol. 35, January 1942, p. 30, illustrated.
R.M. Coates, "The Art Galleries: Reviving Mary Cassatt," New Yorker, vol. 23, November 8, 1947, p. 96.
T. Hess, "The Degas-Cassatt Story," Art News, vol. 46, November 1947, p. 18, illustrated.
E.P. Richardson, "Sophisticates and Innocents Abroad," Art News, vol. 53, April 1954, p. 23.
D. Lowe, "Mary Cassatt," American Heritage, vol. 25, December 1973, p. 11, illustrated.
A.D. Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings, Washington, D.C., 1970, p. 88, no. 157, illustrated.
Baltimore, Maryland, Baltimore Museum of Art, Mary Cassatt, November 28, 1941-January 11, 1942, no. 19.
New York, Wildenstein & Co., Inc., A Loan Exhibition of Mary Cassatt for the Benefit of the Goddard Neighborhood Center, October 29-December 6, 1947, p. 34, no. 18, illustrated.
Chicago, Illinois, Art Institute of Chicago; New York, The Metropolitan Museum of Art, Sargent, Whistler and Mary Cassatt, January 14-May 23, 1954, no. 13.
Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, The One Hundred and Fiftieth Anniversary Exhibition, January 15-March 13, 1955, no. 113.
Madrid, Spain, La Casa Americana de la Embajada de los Estados Unidos, Sala de Exposiciónes, Exposición del 150 Aniversario de la Academia de Bellas Artes de Pennsilvania, opened April 23, 1955, no. 43 (as Los Guantes Largos).
Philadelphia, Pennsylvania, Philadelphia Museum of Art, Mary Cassatt, April 22-May 26, 1960, p. 2.
Baltimore, Maryland, Baltimore Museum of Art, Paintings, Drawings and Graphic Works by Manet, Degas, Berthe Morisot and Mary Cassatt, April 18-June 3, 1962, pp. 20, 60, no. 111.
New York, M. Knoedler & Co., Inc., The Paintings of Mary Cassatt: A Benefit Exhibition for the Development of the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., February 1-26, 1966, no. 19, illustrated.
Omaha, Nebraska, Joslyn Art Museum, Mary Cassatt Among the Impressionists, April 10-June 1, 1969, no. 11, illustrated.
Washington, D.C., National Gallery of Art, Mary Cassatt 1844–1926, September 27-November 8, 1970, no. 40, illustrated.
Washington, D.C., National Collection of Fine Arts, Mary Cassatt: Pastels and Color Prints, February 24-April 30, 1978, no. 8, illustrated.
New York, Coe Kerr Gallery, Mary Cassatt: An American Observer, October 3-27, 1984, no. 22, illustrated.
Philadelphia, Pennsylvania, Philadelphia Museum of Art, Mary Cassatt and Philadelphia, February 17-April 14, 1985, p. 67, no. 21, illustrated.
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. 149, 310, illustrated.
Further details
This work is included as no. 141 in the Cassatt Committee's revision of Adelyn Dohme Breeskin's catalogue raisonné of the works of Mary Cassatt.

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Lot Essay

One of only three women—and the only American artist—to be included in the seminal Impressionist exhibitions, Mary Cassatt participated in four of their eight shows in 1879, 1880, 1881, and 1886. Executed during this important early period of her career, The Long Gloves of 1886 uniquely combines the bold executional style and everyday subject matter of the movement with Cassatt's own characteristically feminine point of view. The influence of her close friend and colleague Edgar Degas reveals itself in both medium and palette; loose strokes of cerulean pastel indicate a sheer fabric such as organza or chiffon for the young woman's gloves. The artist captures a sense of intimacy through this direct perspective, elevating the classic subject with her distinct modern flair. Indeed, Suzanne Lindsay writes, "The subject of a young woman pulling on gloves is common in Impressionist works and recurs in Cassatt's own," yet she distinguishes that the present work's "figure seems alive, an impression heightened by Cassatt's realism" (Mary Cassatt and Philadelphia, exhibition catalogue, Philadelphia, Pennsylvania, 1985, p. 67).

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