The Manicure by Mary Cassatt, 1844-1926

Mary Cassatt, 1844-1926
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The Manicure

Original drypoint in black ink. c.1908. An exceptionally early impression (unsigned as always) from the edition printed by Delatre just after 1926. These first impressions from the second edition were printed onto special antique laid papers as were the first issue impressions. Only some 20 first issue impressions exist. Much richer in impression
than later reprints. Rare in this quality.
Ref: Breeskin - The Graphic Work no 199

Exceptionally fine impression of this issue with rich but delicate tonal variations. On light cream handmade antique laid paper with coat-of-arms watermark (paper date c.1850
or earlier). Excellent condition. c.1 inch margins. Sheet: 10 1/8 x 7 3/8ins. Plate: 8 1/4 x 5 7/8ins (209x149mm).

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This plate was drawn in drypoint by Cassatt about 1908. Cassatt printed a very small number of impressions, certainly less than 20, at about that time - some were signed and a some were left unsigned. Shortly after 1926 and Cassatt's death Delatre, with the agreement of the estate, printed a few further impressions from some of the plates. These first reprint impressions, as here, were printed onto antique laid papers just like the earlier lifetime impressions. (Later after the plates had passed into a private collection further impressions were printed onto later types of paper and the plates faced, and it is these late reprints which are normally seen).

The impression above is on a sheet of light antique (early 19th century or before) laid paper. This, the quality of impression and the degree of burr and ink tone in the hair etc. confirm that it is ceratinly one of the earliest of the impressions printed for Delatre in c.1926/28, and much earlier than the late reprints.

Mary Cassatt was one of the most beautiful draughtsmen in the whole circle of Impressionism. Her favourite subjects were chosen from studies, like this, of intimate domestic scenes, particularly of mothers with their young children. Her drawing is in many ways seen at its finest in her drypoints. In this medium, where the extreme delicacy of the line allowed the capture of the finest of shading, and the strength of the stroke can be varied from the strongly incisive to tiny feather-like touches, she achieved a depiction of surface and light, as well as of form, which is a mark of real genius and a highpoint of Impressionist drawing.