Detail from The Canal, Amsterdam, 1889, James McNeill Whistler, The Hunterian, University of Glasgow

Home  > Catalogue > People > Edith Burkitt (related works) > Catalogue entry

Rose and Gold: The Little Lady Sophie of Soho

Composition

David Park Curry suggests that in this portrait, Whistler attempted 'to capture the enigmatic half-smile of Leonardo's Mona Lisa.' 1

Technique


                    Rose and Gold: The Little Lady Sophie of Soho, photograph by W. E. Gray, 1899
Rose and Gold: The Little Lady Sophie of Soho, photograph by W. E. Gray, 1899

                    Rose and Gold: The Little Lady Sophie of Soho, Freer Gallery of Art
Rose and Gold: The Little Lady Sophie of Soho, Freer Gallery of Art

Whistler made a 'rough sketch' of Sophie Burkitt (1882-1959), before working on her portrait. Work took place 'at intervals for some weeks' in London, and it was continued at 110 rue du Bac where Sophie had about three sittings in six weeks. 2 Even after it was bought by Freer, Whistler wrote, 'I know of a touch I must add.' 3 The portrait seems to have been travelling back and forth between London and Paris. Three months later, Whistler told his sister-in-law Rosalind Birnie Philip (1873-1958), 'You had better now at once see about getting off the "Sophie of Soho" through Mr. Marchant of Goupils - to be sent to their house in Paris.' 4

According to the Pennells, Whistler continued to work at 8 Fitzroy Street on 'the Little Lady Sophie that he has worked on since the International last year, giving it finer colour and tone.' 5 Considering that the Pennells said that Whistler worked on it for a whole year after it was first exhibited in 1898, there are remarkably few signs of alterations.

Her hair seems to have been softened and details of her hair at the top and right, and particularly down her right arm, have been smoothed over. Many areas were rubbed down almost to canvas, and in some places show the actual weave, as part of the working process. The result is many soft blurred areas with minimal paint. Her forehead and nose have a stroke of paint as a highlight, and, by contrast, the front of her bust was darkened. The butterfly was possibly moved to the right.

Conservation History


                    Rose and Gold: The Little Lady Sophie of Soho, Freer Gallery of Art
Rose and Gold: The Little Lady Sophie of Soho, Freer Gallery of Art

                    Rose and Gold: The Little Lady Sophie of Soho, photograph, 1899
Rose and Gold: The Little Lady Sophie of Soho, photograph, 1899

Freer Gallery records note that it was cleaned and resurfaced in 1922, 1935 and 1951, and surfaced in 1933; the heavy discoloured varnish was removed by Ben Johnson in 1965, and it was cleaned and revarnished.

Frame

An elliptical frame.

Notes:

1: Curry 1984 [more] , p. 151, plate 60.

2: R. Birnie Philip to Ethel Whibley, 28 April 1899, GUL MS Whistler BP III.

3: Whistler to Freer, 29 July 1899, GUW #03196.

4: 2 November 1899, GUW #04756.

5: Pennell 1921C [more] , pp. 77, 281.

Last updated: 21st November 2020 by Margaret