663 (Breeskin 550)
Mother in a Large Hat Holding Her Nude Baby Seen in Back View
Alternate title(s): Femme et enfant; Femme et enfant vu de dos; Mother and Child
c. 1914
Oil on canvas
32 x 25 1/2 in. (81.28 x 64.77 cm)
Inscribed lower right: Mary Cassatt
Texas A&M University

provenance / ownership history
Placed by the artist on deposit with Durand-Ruel, Paris, c. June 1914 (Paris deposit #11716, Paris photo #7907); on deposit with Durand-Ruel, Paris and New York, through c. June 1920
to the Cassatt family
to Jacques Seligmann & Co., New York, c. 1948
Pedro Vallenilla Echeverría, Caracas, Venezuela
to Hirschl & Adler Galleries, New York, 1961 (stock #3170)
to Euro-American Trading Corporation (Saldinger Gallery), New York, 1964
Renee Helfer, New York
to Coe Kerr Gallery, New York
to Rainone Galleries, Arlington, Texas, August 24, 1973
to Bill and Irma Runyon
to MSC Forsyth Center Galleries, Memorial Student Center, Texas A&M University, College Station, Texas

exhibition history
1914 Durand-Ruel Paris: #1 or #5, as Femme et enfant
1915 Knoedler NY: #43, as Femme et enfant vu de dos
1917 Durand-Ruel NY: #16, as Femme et enfant vu de dos

published references
Britton 1915: p. 1, as Femme et enfant vu de dos
Havemeyer, L. 1915: p. 8, as "mother in a hat"
American Art News 1917: p. 2, as Femme et enfant vu de dos
Havemeyer, L. 1927: p. 378, as "mother in a hat holding her baby"
Hirschl & Adler 1961: p. 24, ill., as Mother and Child
Mathews 1984: letter: possibly MC to Louisine Havemeyer, March 22, 1920, p. 332, if this is the work described as depicting a "woman in shadow holding a child"
Rabinow 1993: p. 93, ill.; p. 94nn13--14,27, as Femme et enfant vu de dos
Stein 1993: p. 277, ill., as Mother in a Large Hat Holding Her Nude Baby Seen in Back View
Ivinski 1997: p. 2, ill., in situ; p. 13n25, as Mother in a Large Hat Holding Her Nude Baby Seen in Back View


Mary Cassatt placed Mother in a Large Hat Holding Her Nude Baby Seen in Back View on deposit with Durand-Ruel, Paris, for the gallery's June 1914 Cassatt exhibition. The gallery then sent the painting to its New York branch, which lent the work to the "Loan Exhibition of Old and Modern Painters," held at M. Knoedler & Co., New York, in April 1915. The picture then remained on deposit with Durand-Ruel, New York. In the spring of 1920, Cassatt began to worry that the gallery would take too large a commission on the picture if they sold it, and she did not believe they would buy it outright for her desired price of $3,000. By October 1920, Durand-Ruel delivered the work to Cassatt's friend Louisine Havemeyer, who offered to help find a buyer, but Cassatt wanted Havemeyer to have it. Nonetheless, Havemeyer did not keep the painting, and at some point it was returned to the Cassatt family.[1]

Jacques Seligmann & Co., an art gallery founded in the 1880s, sold works through its Paris and New York branches to important collectors including J. Pierpont Morgan and Henry Clay Frick.

Pedro Vallenilla Echeverría (1894–1988), a Venezuelan financier, assembled a significant collection of modern art. In 1978, he donated a large group of Cubist works to the Museo de Bellas Artes in Caracas.


[1] For a more detailed account of Cassatt's instructions regarding this painting in 1920, see Susan Alyson Stein, "Chronology," in Alice Cooney Frelinghuysen et al., Splendid Legacy: The Havemeyer Collection, exh. cat. (New York: Metropolitan Museum of Art, 1993), p. 277.

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