Titles

The original title is not known, and only one later title is known:

• 'Harmony in White and Blue' (1945, Sir Philip Anstiss Hendy (1900-1980)). 1
• 'Harmony in White and Blue' (1980, YMSM). 2

Description

Harmony in White and Blue, Leeds Art Gallery

A portrait of a woman in a white dress, in vertical format. She stands with her body facing left, hands clasped in front of her, her head slightly bent, looking at the viewer. She has dark hair, with a small bun arranged high at the back of her head. Her dress has a fitted bodice, and narrow sleeves, trimmed with lace or a ruffle. The skirt falls into a long train swept forward towards the viewer. She stands on a white and dark blue chequered carpet or tiles, in front of a pale blue/grey background. At left there is a long thin vertical green panel, and at right a vertical blue cartouche bearing a butterfly signature. Down the right edge there are a few sprigs of blossom.

Sitter

Harmony in White and Blue, Leeds Art Gallery

The identity of the sitter is not known.

It was definitely not Whistler's step-sister, Deborah Delano Haden (1825-1908), as suggested by the Pennells. 3 Most of Whistler's 'Women in White' are portraits of Joanna Hiffernan (b. ca 1843-d.1886) or Maud Franklin (1857-1939). This, however, is not part of the series.

W Greaves, The Green Dress, Tate Britain

If, as is possible, the painting was painted or repaired by Walter Greaves (1846-1930), then the model could be one of his sisters. His portrait, The Green Dress (ca 1875, Tate NO4599) shows a model who has slightly similar features.

Formerly attributed to J. McN. Whistler, Young woman in a white dress, Singer Memorial Museum, Laren

Another portrait of uncertain lineage, Young woman in a white dress [YMSM 126b], shows a woman who bears a certain resemblance to the portrait under discussion, though this is by no means certain.

Comments

After its purchase in 1944 the painting was exhibited in Temple Newsam House, Leeds, and Sir Philip Anstiss Hendy (1900-1980), Director of Leeds City Art Gallery, commented, 'I cannot understand this picture ever getting attributed to Greaves. With all its weaknesses as a picture, it is an exceptionally fine portrait, with the very aristocratic flavour which Whistler had at his best.' 4