Provenance

• 1903: in Whistler's studio at his death, and bequeathed to his ward and executrix, Rosalind Birnie Philip (1873-1958) ;
• 1935: given by Miss R. Birnie Philip to the University of Glasgow.

There is some confusion over the history of this painting and Red and Black: The Fan [YMSM 388], caused by the variation in titles used by Whistler and others.

It is difficult to be absolutely sure which of the portraits of Ethel Philip (Mrs Whibley) was the one that E. G. Kennedy saw Whistler repainting in the Fitzroy Street studio, shortly after the death of Beatrice Philip (Mrs E. W. Godwin, Mrs J. McN. Whistler) (1857-1896), as described in a series of letters and notes. Kennedy noted: 'Whistler ... had repainted the picture ... In my astonishment I said - "Good Lord you've spoiled my picture".' Kennedy then apologised and left the studio, and Whistler wrote to him, describing the 'spoiled' painting as the 'red picture': 'I ... release you from all further entanglement in that unfortunate work ... were it by a miracle to turn out a masterpiece it would be immoral to let you have it.' 1 The 'full length in pink' or indeed 'red' was never sold.

In November 1897 Kennedy recorded: 'Pictures (paintings) bought by E. G. Kennedy, from J. McN. Whistler, at different times & not yet received. / 4 full length portraits of a lady (Mrs. Whibley)'. 2 This portrait, Rose et or: La Tulipe, remained in Whistler's studio, and was inherited by the younger sister of the sitter, Rosalind Birnie Philip (1873-1958), who gave it to the University of Glasgow.

Exhibitions

• 1894: Catalogued but not exhibited at Exposition Nationale des Beaux-Arts, Société Nationale des Beaux-Arts, Champ de Mars, Paris, 1894 (cat. no. 1184) as 'Rose et rouge; – la Tulipe'.
• 1904: Fourth Exhibition, International Society of Sculptors, Painters and Gravers, Regent Street, London, 1904 (cat. no. 153) as 'Rose et Or: La Tulipe (unfinished)'.
• 1905: Œuvres de James McNeill Whistler, Palais de l'Ecole des Beaux-Arts, Paris, 1905 (cat. no. 24) as 'Rose et or. La Tulipe. – (Rose and Gold. The Tulip).'

This photograph may have been taken when Rose et or: La Tulipe was considered ready for exhibition, either for Whistler or for his ward and executrix, Miss R. Birnie Philip. However, although Whistler had apparently intended to send it to the Champ de Mars in 1894, and it was included in the catalogue, in the end it was not sent because, as he told Robert de Montesquiou-Fezensac (1855-1921) , 'la pauvre Tulipe Rose! ... n'a pas fini sa toilette' (that is, it was not quite finished). 3

In the catalogue of the Exposition Nationale des Beaux-Arts in 1894 (cat. no. 1184) it was given the title 'Rose et rouge; – la Tulipe'. The 'rouge' (red) in the proposed title may mean that the painting was more red at that time – an orangey red that is now only visible in the outlines of the skirt and around the neck, as seen in the detail above. On the other hand it might have referred to the reddish brown of the background.

At the same time, in May 1894, E. G. Kennedy of Wunderlich's was pressing for a one-man exhibition of Whistler's work in America, and wrote:

'Also, let me call your attention once more to the fact that you have a lot of pictures in Hamburg, Antwerp, Munich & goodness knows where else. Now, why not get up that exhibition for America, where things can be sold? Also why not send the portrait in pink silk of Miss Phillips there, as it is brighter in colours than most of the others and would prove attractive I'm sure.' 4

It was not exhibited in Whistler's lifetime, but it was shown immediately after his death, both in London, by the International Society of Sculptors, Painters and Gravers, in 1904, and in Paris, in the Whistler Memorial Exhibition of 1905. In 1904 one reviewer praised it highly, describing it in some detail:

' "Rose et Or: la Tulipe” is its title, and it is described in the catalogue as "unfinished." But though much remained for Whistler to do had he lived (the arms are just brushed in, the hands not more than suggested), it is complete in its color harmony and its design. It is a large, full-length portrait of a tall, graceful woman in long, rose-coloured draperies, standing against a background of rose-purple. The hands are clasped behind her – the grace of the attitude is already in the suggestion – her face is in profile, and the pose has all the elegance and distinction, the color all the subtlety, of which Whistler was the master. In fact, the picture as it is has such charm that one almost wonders whether it needed "finishing." ' 5

By the terms of Miss R. Birnie Philip's gift to the University of Glasgow, it can not be lent to any other venue.