A wide gladd vase rests upon a table partly covered by a cloth in a blue pattern. The vase contains a tall floral arrangement. Some flowed include pink, white, red and yellow roses, hydrageas, and lillies, among other flowers and greens. Floating around the flowers are three blue and white butterflies. The background behind the flower arrangement transitions from an almost black background from the left to a distant landscape scene, either through a window view or a painting.
Black background with red trim on either side, but not on the top and bottom. There is a large orange tiger in the center with a red donkey and blue bird on the left side. Colors of blacks, greens, reds, blues, oranges and yellow. There is lilac trim on the top and bottom of the cloth.
A female figure, dressed in diaphanous green drapery with a purple and green cap over her curly blond hair, holds a fan as she reclines on a cloth-covered couch. Her left leg is up on the couch while her right leg and arm drape over the front of the couch; a patterned pillow seen near her left leg mirrors the colors on the fan. The wall behind them also appears to be draped with fabric. On the wall to the right is a flower-like symbol that is the artist's "butterfly" signature
The female figure, both draped and nude, was a subject matter that occupied Whistler beginning the 1860s. This was drawn in his studio in Paris and was printed (as with Yellow House, Lannion) by Henri Belfond. This rare and exquisite print shows how skillfully Whistler matched his image to the paper employed: the diaphanous drapery of the reclining figure is superbly evoked through the translucent quality of the Japan tissue.
A woman draped in diaphanous drapery sits on a couch facing the viewer. The arm of the couch is visible at the left of the image and the woman glances down towards her knees. To the right is a flower-like form that is the artist's "butterfly" signature.
Draped figures were important to Whistler's work, reflecting his interest in Asian drapery as well as Greek 'tanagra' terracotta figurines that had become popular in Victorian England.
Whistler was asked by André Marty to submit a lithograph to Marty's publication, "L'Estampe Oiginale"; this image was the one that Whistler selected to be included in that French publication. As Whistler wrote to his printer Thomas Way, "The little sitting figure in drapery I am immensely pleased with...The work is beginning to have the mystery in execution of a painting."