Oil on canvas: 101.8 x 81.0 cm
Collection: National Gallery of Canada, Ottawa

In Against All Odds, Joan Murray comments: "Carlyle's Gey and Gold, for instance, makes use of abbreviated means, The sitter, painted indoors, is bathed in warmlight and luminous; the viewer noted the iridescent tints to the dress, its semi-transparetnt quality, and the atmosphere surrounding the figure, but the vigorous brushwork looks more finished and the colour more subtle and natural than full-scale Impressionism. Her work might therefore be said to mediate the shrinking gap between the progressive and the academic art of the late nineteenth and early twentieth century."