No single image did more to cement the legend of the "Gibson Girl" than The weaker sex.—IX, one of a celebrated series by Charles Dana Gibson that both satirized and defined American gender relations at the turn of the twentieth century. Published widely in magazines, these drawings sparked lively debate: was Gibson mocking men, women, or both? The ambiguity was part of their appeal, and The weaker sex.—IX became a touchstone in the ongoing conversation about shifting social roles. In this scene, Gibson captures the precise moment when the balance of power tips: a poised, elegantly dressed young woman sits serenely at the center, surrounded by a group of men who appear utterly captivated, even helpless before her. The men’s postures—leaning forward, gazing in awe, some with hands nervously clasped—contrast sharply with her calm confidence.

The title’s irony is clear: here, the so-called "weaker" sex dominates the room without lifting a finger. The crisp pen lines and subtle shading heighten the theatricality, much as John Singer Sargent did in his portraits of society women, though Gibson trades paint for ink and wit. The original drawing’s current whereabouts are uncertain, as many of Gibson's works circulated as prints and magazine illustrations rather than as single, precious objects. Like much of his output, The weaker sex.—IX was likely first published in Life magazine, reaching a broad audience and cementing Gibson's reputation as the chronicler of his era’s social comedy.

Today, the image survives in countless reproductions and anthologies, a testament to its enduring power. It remains a key example of Gibson's ability to capture, with a few deft strokes, the complexities and contradictions of his age.