When Some women prefer dogs was first published as an illustration in the early 20th century, it sparked amused commentary on both sides of the Atlantic. Charles Dana Gibson, famed for his creation of the “Gibson Girl,” used this work to poke fun at shifting social habits among American women. The image quickly became a talking point in magazines and drawing rooms, with critics noting how it captured a new, independent spirit among the era’s fashionable young ladies.

The title itself became a catchphrase, quoted in newspapers and even referenced in debates about women’s roles and affections. At the heart of the image, a poised young woman sits serenely with her loyal dog, while a would-be suitor—often depicted by Gibson as awkward or outmatched—looks on, ignored or rebuffed. The woman’s relaxed posture and direct gaze signal her self-possession, while the dog, nestled comfortably at her side, stands in for companionship chosen freely over convention. Gibson’s crisp penwork highlights the contrast between the soft, affectionate bond with the animal and the stiff, formal presence of the man.

Unlike the sentimental pet portraits of Edwin Landseer, here the dog is a symbol of autonomy and preference, not just loyalty. As with many of Gibson’s works, Some women prefer dogs circulated widely in illustrated magazines and prints, rather than as a single canvas or drawing. The original drawing’s current whereabouts are unknown, and its medium—likely ink on paper—remains unconfirmed. Over the decades, the image has been reproduced in anthologies of Gibson’s art, emblematic of his sharp social observation.

It stands as a testament to his influence on the visual language of the Gilded Age and the early Progressive Era, capturing the wit and changing mores of his time.