68 (Breeskin 61)
Young Woman in a Loge Holding a Wide-open Fan
Alternate title(s): ?Au th√©√Ętre; A Young Woman in a Loge Holding a Wide-open Fan; √Čtude de femme avec √©ventail; Femme dans une loge; In der Loge (Frau mit F√§cher); In the Loge; La loge; La loge. Femme a l'√©ventail; The Loge, Woman with a Fan; Young Woman in a Loge; Young Woman in a Loge Holding a Fan
c. 1878--79
Pastel and metallic paint on canvas
25 3/8 x 32 in. (64.45 x 81.28 cm)
Unsigned
Philadelphia Museum of Art: Gift of Mrs. Sargent McKean, 1950

provenance / ownership history
Edgar Degas, by 1893
to Degas studio sale, March 26--27, 1918, #102, ill., as La loge---Femme à l'éventail
to Trotti (probably Trotti et Cie., Paris)
to Margarett Sargent (Mrs. Quincy A. Shaw) McKean, Pride's Crossing, Massachusetts, probably in the 1920s
to the Philadelphia Museum of Art, Philadelphia, Pennsylvania, 1950

exhibition history
1879 Impressionist Exh: ?#55, as Au th√©√Ętre
1893 Durand-Ruel Paris: #30, as Femme dans une loge, lent by Mr. E. Degas (dimensions reversed in catalogue)
1935 Fogg Harvard: no #, as Young Woman in a Loge Holding a Wide-open Fan, on loan to the museum from the McKean family for these dates
1941--42 Baltimore Museum: #5, as In the Loge, lent by Mrs. Q. A. Shaw McKean
1978 MFA Boston: #4, as Young Woman in a Loge Holding a Fan, lent by the Philadelphia Museum of Art
1985 Phila Museum: #5, ill., as In the Loge
1997--98 Met Museum NY: #47, ill., as Young Woman in a Loge, lent by the Philadelphia Museum of Art

published references
Bachaumont 1879: p. 210 in Berson, as "les √©tudes de femme au th√©√Ętre de M. Casatt [sic]," if this work was shown in the 1879 Impressionist exhibition
de Tarade 1879: p. 245, as "55," if this work was shown in the 1879 Impressionist exhibition
Havard 1879: p. 223 in Berson, as "quatre de ses portraits," if this work was shown in the 1879 Impressionist exhibition
Silvestre 1879a: p. 239 in Berson, as "figures éclairées par la lumière de la scène," if this work was shown in the 1879 Impressionist exhibition
[Rappel] 1893: n.p., as Femme dans une loge
Cortissoz 1918: p. 307, ill., as Young Woman in a Loge
Damécourt 1918: p. 367, as La loge (see Rabinow p. 324)
Gazette Drouot 1918c: n.p., as La loge
Gazette Drouot 1918e: n.p., as La loge. Femme à l'éventail
Journal des débats 1918: p. 2, as The Loge, Woman with a Fan
Graber 1942: p. 241, as In der Loge (Frau mit Fächer)
Sutton 1977: p. 55, as A Young Woman in a Loge Holding a Wide-open Fan
Pollock 1980: p. 66; p. 82, ill., as Young Woman in a Loge Holding a Wide-open Fan
Mathews 1984: letter: MC to Louisine Havemeyer, December 12 [1917], pp. 329--30, as "a pastel"
Lindsay 1985: p. 43, ill., as In the Loge
Pickvance 1986: p. 267, as √Čtude de femme avec √©ventail
Mathews 1994: p. 313, as "Degas owned . . . pastel"
Philadelphia Museum 1994: p. 265, ill., as In the Loge
Callen 1995: p. 187; p. 188, ill., as In the Loge
Constantino 1995: p. 10; pp. 28--29, ill., as In the Loge
Dumas 1997: pp. 63--64, 73n294, as In the Loge
Rabinow 1997: p. 307, ill.; pp. 318, 324, as Young Woman in a Loge
Tinterow 1997: p. 100, as Young Woman in a Loge
Pollock 1998: p. 129, as one of "[figs.] 108--34" [margin note]; p. 149, ill., as In the Loge
Meyers 2005: p. 275, as Young Woman in a Loge Holding a Wide-open Fan

commentary

Cassatt's Impressionist colleague Edgar Degas owned Young Woman in a Loge Holding a Wide-open Fan by November 1893, when he lent it to the Cassatt exhibition held at Durand-Ruel, Paris. Though no evidence has yet been located to explain how or when he acquired this pastel, it is possible that the two artists exchanged works (as they did in 1886; see Girl Arranging Her Hair). Cassatt is said to have owned Degas's Fan Mount: Ballet Girls by 1883; both that work and Young Woman in a Loge Holding a Wide-open Fan were likely included in the Impressionist exhibition of 1879, leading to the intriguing possibility that the artists traded pictures after the show closed.[1]

Margarett Sargent (Mrs. Quincy A. Shaw) McKean (1892‚Äď1978), who likely purchased the painting in the 1920s, was a fourth cousin of American expatriate painter John Singer Sargent and a painter in her own right. Her troubled history has been treated in Honor Moore's book, The White Blackbird: A Life of the Painter Margarett Sargent by Her Granddaughter.

PAI

[1] For more information on Fan Mount: Ballet Girls and Cassatt's ownership of that work, see Alice Cooney Frelinghuysen et al., eds., Splendid Legacy: The Havemeyer Collection (New York: Metropolitan Museum, 1993), p. 331.

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