coming along very nicely 
i think for me what make the figure in the original painting so intriguing is the way she’s almost peaking out over the rim of all this clothing to the comfortable dog on the floor. there’s almost this face-peering-out-of-jungle effect, as if the figures natural camouflage is the layers and layers of clothing that she’s bundled up in.
i think your figures pose and the arrangement of clothing, especially around her torso, loses some of that hidden depth that’s present in the original.
maybe it’s just that your figure looks more comfortable and, well, happy while the original seems to me more distracted and confined. down to the point we even her hands are busy in the task of just dealing with her enormous wardrobe.
i’d like to see the folds and creases in your cloth get sharpened, with some nice flat spaces between. the referenced material appears to be stiff with starch and i think it’s important, adding to this feeling that the clothing is greater than the lady.
the expression on the face in your image seems quite happy, which is fine as after all it’s a self portrait and the emotion has to be your own. that being said, if you dropped the outer part of the eyes slightly and pulled the neck back i think it’d go a long way to adding a more mysterious look to the face.
i feel like the face in this portrait could wear any emotional expression as long as it suggests a particular thought. the viewer needs to be asking “what is she thinking about?”
finally, i wouldn’t worry about the other side of the fireplace too much. for me the original image is about claustrophobia, it’s tight on the lady and even the main light through the window has to fight for it’s space on the canvas. i think you could tighten up your framing and drop those extra tasks.
over all i really like where this is going and wouldn’t have bothered with my above comments if i wasn’t impressed with your attention to form, as I am every challenge you do
and yeah the fireplace may be blazing a bit much 
