Several possible titles have been suggested:
It was recorded as part of a numbered sequence in 1888 and 1889 as 'Arrangement in Black, No. 3' , but Whistler had already exhibited Arrangement in Black, No. 3: Sir Henry Irving as Philip II of Spain [YMSM 187] with that number.
A photograph in the Lucas Collection, Baltimore, shows the picture before completion. 17 Joseph Pennell (1860-1926) called this 'the destroyed version' and said Whistler gave it the title 'Arrangement in Brown'. 18
'Arrangement in Black and Brown: The Fur Jacket' is the preferred title.
A full-length portrait of a woman standing, in profile to left. She wears a dark brown dress with a gathered skirt, and a fur-trimmed jacket, and stands against a very dark background. The canvas is in vertical format.
Maud Franklin (1857-1939), Whistler's chief model and partner.
On 2 August 1892 Whistler wrote through his amanuensis, Beatrice Philip (Mrs E. W. Godwin, Mrs J. McN. Whistler) (1857-1896), to the Glasgow art dealer Alexander Reid, stating that the portrait of Janey Sevilla Campbell (Lady Archibald Campbell) (ca 1846-d.1923) (namely Arrangement in Black: La Dame au brodequin jaune - Portrait of Lady Archibald Campbell [YMSM 242]) was 'much more important, (than, for instance, the "Furred Jacket", which is more of an artists picture) besides being the portrait of a well-known lady - instead of an obscure nobody.' 20
1: I Summer Exhibition, Grosvenor Gallery, London, 1877 (cat. no. 9).
2: [1886/1887], formerly dated [4/11 January 1892], GUW #06795. A reference to 'Mrs Godwin' in the list indicates a date before his marriage in 1888. The list may have been related to an abortive plan for a retrospective exhibition at the RBA in 1886/1887.
3: International Exhibition, Edinburgh, 1886 (cat. no. 1414).
4: Ve Exposition des XX, Société des XX, Brussels, 1888 (cat. no. 1).
5: Derde Tentoonstelling der Nederlandsche Etsclub, Amsterdam, 1889 (cat. no. 469).
6: Exposition Générale des Beaux-Arts, Brussels, 1890 (cat. no. 839).
8: 21st Autumn Exhibition of Pictures, Walker Art Gallery, Liverpool, 1891 (cat. no. 906).
9: Nocturnes, Marines & Chevalet Pieces, Goupil Gallery, London, 1892 (cat. no. 8).
11: VI. Internationale Kunst-Ausstellung, Königlicher Glaspalast, Munich, 1892 (cat. no. 1950)
12: World's Columbian Exposition, Department of Fine Arts, Chicago, 1893 (cat. no. 751). Likewise in Sixty-third Annual Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia, 1893 (cat. no. 29), and 1st Annual Exhibition, Carnegie Institute, Pittsburgh, 1896.
14: International Exhibition, Glasgow Art Galleries, Glasgow, 1901 (cat. no. 399); likewise in 77th Exhibition of the Royal Scottish Academy of Painting, Sculpture and Architecture, Royal Scottish Academy, Edinburgh, 1903 (cat. no. 232).
15: Memorial Exhibition of the Works of the late James McNeill Whistler, First President of The International Society of Sculptors, Painters and Gravers, New Gallery, Regent Street, London, 1905 (cat. no. 14) in ordinary and deluxe edition respectively.
18: Pennell, Joseph, ‘The Forty Undiscovered Whistlers’, International Studio, vol. 72, February 1921, pp. cv-cxiii., at p. cxii.
Last updated: 4th June 2021 by Margaret