Little Lizzie Willis dates from 1896 or 1897. 1 Whistler painted Lizzie Willis, the daughter of his housekeeper at 8 Fitzroy Street, about 1896, according to Harold Wright (1885-1961), probably on information provided by the artist's sister-in-law, Rosalind Birnie Philip (1873-1958). 2 Lizzie is mentioned in Whistler's letters in 1897, when her mother was housekeeper for the artist at 8 Fitzroy Street. 3
Little Lizzie Willis, The Hunterian
In December 1899 Whistler told Miss Birnie Philip to ask the Goupil Gallery in London to send two portraits of Lizzie to him in Paris, 'you had better send over the little Lizzie - there are two - the old black one, and a rather fair one barely begun.' 4 It is likely that this is the 'fair one' and unlikely that he worked on it further.
Little Lizzie Willis, The Hunterian
Little Lizzie Willis, The Hunterian
Little Lizzie Willis, frame detail
Whistler's own title is not known. Only one title has been suggested:
Little Lizzie Willis, The Hunterian
An unfinished half-length portrait of a young girl in three-quarter view to right, painted in vertical format. She stares at the viewer with big brown eyes; she has a pale face, and brown hair with a couple of curls falling over her forehead. Her clothes are barely indicated with a few brushstrokes. The background, thinly brushed in, is a dark shade of terracotta.
Elizabeth Willis (fl. 1890/1900). This is one of three portraits of Lizzie Willis. In this portrait she appears pale, plain and serious, unlike the beauty that appears in Little Juniper Bud - Lizzie Willis y475 and the pretty Little Lizzie Willis y476.
The 1901 UK census lists an Elizabeth M. Willis, the eight year old daughter Thomas J. Willis, frame maker, and Mary A. Willis. They had two daughters and three sons, and were then living in Hernshaw street, Southwark. However, the girl in the portrait seems a little older.
Little Lizzie Willis, The Hunterian
It is painted on a plain open weave tabby canvas primed in grey over a white under-layer. A few crayon or graphite lines are visible across her neck and chest, suggesting the figure was drawn lightly before being painted. The background was painted broadly, and some suggestions of dress were sketched in roughly with an almost dry brush. The mouth and the adjacent area were lightly rubbed down and reworked, but the rest of the face was more fluidly painted and carefully modelled; flickering brushstrokes define the eyes and eyebrows. The face is lit from upper left, and a comparatively broad brushstroke around the face makes it stand out from surrounding areas. Paint has been partly scraped off the bottom of the canvas, which is clearly unfinished.
The canvas is unlined. It was 'cleaned and varnished' by John Bull for Agnew's in 1980 and surveyed by Clare Meredith in 1980, who found it in sound condition. She noted, interestingly, that some 5-8 cm hairs were embedded in the paint layer below the sitter's chin and at lower right, coming either from the artist's head or a broad decorator's brush. 7
Little Lizzie Willis, The Hunterian
Little Lizzie Willis, frame detail
A Whistlerian Flat frame, dating from the 1920s. 8 Size: 58.2 x 38.0 x 3.6 cm.
It was not exhibited in Whistler's lifetime.
COLLECTION:
EXHIBITION:
1: Dated 'about 1896' in YMSM 1980 [more], cat. no. 476.
2: Inscription on the verso of the stretcher.
3: i.e., Whistler to R. Birnie Philip, [16 January 1897], and [24 June 1897], GUW #04698 and #04711.
4: [13/15 December 1899], GUW #04764.
5: Glasgow University's Pictures, London, Colnaghi, 1973 (cat. no. 104).
6: YMSM 1980 [more], cat. no. 476.
7: Condition report by Clare Meredith, 5 April 2001, Hunterian files.
8: Dr S. L. Parkerson Day, Report on frames, 2017; see also Parkerson 2007 [more].