How Much Is Little Girl in a Blue Armchair Worth?

Painted in 1878, Little Girl in a Blue Armchair is a touchstone of Cassatt’s mature Paris period—an iconic early oil that crystallizes her modern approach to interior space, point of view, and the psychology of childhood. Its prominence in scholarship and exhibitions positions it among the artist’s most important works. Uniquely, Cassatt acknowledged Degas’s help on the composition; technical studies presented by the National Gallery of Art support his reworking of the back corner, adding a rare and desirable cross‑artist connection within Impressionism. This documented collaboration deepens the painting’s historical resonance and market appeal, expanding the bidder base to collectors focused on Degas and on landmark moments in the formation of the Impressionist canon.

Prime‑period Cassatt oils from the late 1870s—especially large, fully resolved compositions of canonical status—are exceptionally scarce in private hands. Many of the best examples, including this painting, have long been in museum collections. By contrast, Cassatt’s market more frequently offers works on paper (pastels, prints), which, while desirable, do not carry the same value ceiling as a top‑tier oil. The paucity of directly comparable, A‑plus oils is the central reason her public records understate the replacement value of a masterpiece of this caliber. When a fresh, museum‑grade Impressionist oil of iconic status appears, competitive tension can push pricing far beyond the artist’s historical benchmarks, justifying a meaningful masterpiece premium.

The painting’s chain of ownership—artist; leading Paris dealers (including Ambroise Vollard and Hector Brame); acquisition by Paul Mellon; gift to the National Gallery of Art—confers exceptional credibility. Its long institutional residence and frequent inclusion in exhibitions and literature amplify familiarity, confidence, and desirability among top buyers. Works with Mellon provenance and NGA stewardship carry a prestige premium that often translates into stronger bidding on the rare occasion analogously pedigreed works come to market. Extensive publication and exhibition histories also help de‑risk acquisition for both private and institutional buyers by demonstrating stable scholarship, visibility, and importance within the oeuvre.

Impressionist masterworks remain a stable blue‑chip segment, with trophy‑level lots showing resilient demand when marketed globally. The past two years saw renewed institutional and curatorial focus on Cassatt, sustaining interest among collectors of American art and Impressionism. Additionally, the secular rise in attention to women artists supports re‑rating of best‑in‑class examples. Offsetting factors include selectivity at the highest price points, the thin supply of prime Cassatt oils (limiting direct comparables), and sensitivity to condition and narrative. Netting these, the market backdrop is supportive, but final pricing would hinge on presentation, guarantees, and the depth of international competition in a marquee evening context.

While no public condition report is available, the valuation assumes sound structural condition and a favorable conservation history commensurate with major museum stewardship. The National Gallery of Art’s prior technical work—especially around Degas’s contribution—adds scholarly depth and helps substantiate the painting’s exceptional status. Any future technical note confirming unlined canvas, original surface quality, and minimal retouching would support the high end of the range; conversely, evidence of significant restoration, structural issues, or color change would constrain bidding and skew the outcome toward the lower bound. In sum, condition is a material swing factor but likely a net positive given the work’s custodial history.