A woman standing facing slightly to the left looks over her shoulder to the right. She has a Victorian dress with high collar, long sleeves and skirt; she is wearing a hat with a curved brim and comes to a point at the top; in her hands she is holding a pair of long gloves. Her figure casts a shadow on the right side of the image although there is no indication of surroundings or background,
Whistler's 1888 marriage to Beatrix Philip Godwin provided Whistler with the congenial company of his wife's siblings and mother. Here, Ethel Philip, who also acted as Whistler's secretary, is seen standing in fashionable dress in a pose closely related to the painting "Harmony in Brown: The Felt Hat" (Hunterian Art Gallery, Univ. of Glasgow).
"Gants de Suede" was published in "The Studio" in april 1894, although it is believed that this impression was from a group printed posthumously under the direction of his executrix, Rosalind Birnie Philip.
Verso: Label on frame, u.r.: CITY OF MANCHESTER ART GALLERY 55 Label on panel, u.c.: BARTEL BRUYN / PORTRAIT OF A NOBLEMAN Label on panel, center: THOS. AGNEW & SONS, LTD. / NO 23988 / BY APPOINTMENT / TO THE LATE KING GEORGE VI / LONDON / 43, OLD BOND STREET / PICCADILLY, W. Inscribed with black on panel, l.c.: 216 l.r.: HR Stamped on panel in black, l.r. Stamped three times, l.c. and l.r.
This elegant self-portrait depicts a half-length figure of a man in three-quarters profile with his left arm resting on a stone ledge. The somber colors of his garb, consisting of a white shirt with a dark robe, is offset by luxurious details: the fur collar of his robe, the black ribbon and gold chain around his neck, the embroidered collar and cuffs of his shirt, and the three rings on his right hand. Two pink carnations appear on the ledge before him.
Bartholomaeus Bruyn the elder displays his rank as a successful young painter in Cologne through this elegant self-portrait. For the painting he adopted a casual but self-possessed pose that imbues him with an air of confidence that is reinforced by the understated luxury of his garb and jewelry. The gold chain around his neck perhaps refers to his profession as a painter, and the carnations, popular symbols of conjugal love, on the ledge before him suggest that Bruyn might have painted this portrait for his betrothal or marriage.
Panel painting depicting a young woman of high society in an interior setting filled with Asian accessories. She stands behind a door, which she holds partly open revealing a small white dog sitting in front of an armchair.
The setting for “Cache-cache” is Stevens’ own Parisian house on the Rue de Martyrs. X-ray examination revealed that he first painted a young girl standing in the doorway, with whom the game of hide and seek is being played. She was subsequently painted over and a dog was painted in her stead, which enabled Stevens to concentrate on the perspective into the room beyond, the glove on the floor (indicating the haste with which the lady has entered the room), and it diminishes the potential human interest of the scene allowing the viewer to focus more fully on the beautiful rendering of objects and surfaces. The real subject of this painting therefore, is Stevens’ study of decorative objects and costumes and the play of light on their various surfaces, textures, and colors.