Detail from The Canal, Amsterdam, 1889, James McNeill Whistler, The Hunterian, University of Glasgow


Nocturne: Blue and Silver – Cremorne Lights

Catalogues Raisonnés

  • Young, Andrew McLaren, Margaret F. MacDonald, Robin Spencer, and Hamish Miles, The Paintings of James McNeill Whistler, New Haven and London, 1980 (cat. no. 115), plate 110, as 'Nocturne: Blue and Silver – Cremorne Lights'.

Authored by Whistler

  • Nocturnes, Marines & Chevalet Pieces, Goupil Gallery, London, 1892 (cat. no. 34) as 'Nocturne. Blue and Silver – Cremorne Lights'.

Catalogues 1855-1905

  • Possibly 6th Winter Exhibition of Cabinet Pictures in Oil, Dudley Gallery, London, 1872 (cat. no. 237) as 'Nocturne, in Blue and Silver'.
  • Possibly [Exposition], Galerie Durand-Ruel, Paris, 1873.
  • Possibly Second Annual Exhibition of Modern Pictures in Oil and Water Colour, Royal Pavilion Gallery, Brighton, 1875 (cat. no. 98) as 'Nocturne in blue and gold' priced at £420 (see Nocturne: Blue and Silver - Battersea Reach [YMSM 119], Nocturne in Blue and Gold [YMSM 141]).
  • Blackburn, Henry, Grosvenor Notes, London, 1882, p. 8.
  • Probably VI Summer Exhibition, Grosvenor Gallery, London, 1882 (cat. no. 2) as 'Nocturne in Blue and Silver'.
  • Nocturnes, Marines & Chevalet Pieces, Goupil Gallery, London, 1892 (cat. no. 34) as 'Nocturne. Blue and Silver – Cremorne Lights'.
  • [Exhibition], Boussod, Valadon & Cie., of the Goupil Gallery, London, at Wellington Studios, Glasgow, 1893.
  • Possibly A Collection of Selected Works by Painters of the English, French & Dutch Schools, Goupil Gallery, London, 1898 (cat. no. 25) as 'Nocturne – Blue and Gold' (see Nocturne: Blue and Gold - Southampton Water [YMSM 117]).
  • Oil Paintings, Water Colors, Pastels and Drawings: Memorial Exhibition of the Works of Mr. J. McNeill Whistler, Copley Society, Boston, 1904 (cat. no. 56) as 'Nocturne in Blue and Silver / "Cremorne Lights" '.
  • Œuvres de James McNeill Whistler, Palais de l'Ecole des Beaux-Arts, Paris, 1905 (cat. no. 69) as 'Nocturne en bleu et argent. Les lumières de Cremorne. – (Nocturne in Blue and Silver. – Cremorne Lights.)'.

Newspapers 1855-1905

  • Anon., 'The Dudley Gallery', Globe, London, 25 October 1872, p. 4.
  • Anon., 'The Dudley Gallery', The Times, London, 11 November 1872, p. 4.
  • Anon., 'The Society of French Artists', Pall Mall Gazette, 28 November 1872, p. 11.
  • Anon., 'The Grosvenor Gallery', Daily Telegraph, London, 1 May 1882, p. 5.
  • 'L. S. D.', 12 June 1882 (unidentified press cutting in GUL Whistler PC4, p. 113).
  • Anon., 'London Gossip', Nottingham Evening Post, 21 June 1882, p. 2.
  • Anon., 'Literature', Glasgow Herald, Glasgow, 9 November 1893, pp. 9-11.

Journals 1855-1905

  • Anon., [Review of the Grosvenor Gallery], The Athenaeum, 6 May 1882, p. 576.
  • Anon., 'Grosvenor Gallery', Court Journal, 6 May 1882.
  • Anon., 'Fantaisie', Society, 13 May 1882, cartoon repr.


  • None.

Books on Whistler

  • Cary, Elizabeth Luther, The Works of James McNeill Whistler: A Study, with a Tentative List of Artist’s Works, New York, 1907 (cat. no. 56).
  • Petri, Grischka, Arrangement in Business: The Art Markets and the Career of James McNeill Whistler, Hildesheim, 2011, pp. 229, 542, 544-45.
  • Sickert, Bernhard, Whistler, London and New York, 1908 (cat. no. 73, 103).
  • Sutherland, Daniel E., Whistler: A Life for Art's Sake, New Haven and London, 2014, p. 275.
  • Sutton, Denys, James McNeill Whistler: Paintings, Etchings, Pastels and Watercolours, London, 1966, pl. 64.

Books, General

  • Hackney, Stephen, 'Art for Art's Sake: The Materials and Techniques of James McNeill Whistler (1834-1903)', in: Wallert, Arie, Erma Hermens, and Marja Peek (eds), Preprints: Historical Painting Techniques, Materials, and Studio Practice. Preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995, Lawrence, Kansas, 1995, pp. 186-90.
  • Hackney, S. and J. Townsend, 'Nocturne in Blue and Silver: Cremorne Lights 1872', in: Hackney, S., R. Jones and J. Townsend (eds.), Paint and Purpose: A Study of Technique in British art, London, 1999, pp. 86-89.
  • Hobson, G. D., Some Thoughts on the Organisation of Art after the War, London, [1946], pp. 37-38.
  • Hermens, Erma, and Margaret F. MacDonald, in: Townsend, Joyce, and Erma Hermenns (eds), Sources and Serendipity: Testimonies of Artists' Practice, Art Technological Source Research (Study group), Archetype, 2009, p. 116.
  • Moore, George, Modern Painting, London, 1893, p. 23.
  • Ono, Ayako, Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan, London, 2003, p. 85.
  • Prettejohn, Elizabeth, Art for Art’s Sake: Aestheticism in Victorian Painting, New Haven and London, 2007, pp. 176-77, 179.
  • Pyne, Kathleen A., Art and the Higher Life: Painting and Evolutionary Thought in Late Nineteenth-Century America, Austin, TX, 2010, pp. 117, 119-21.

Catalogues 1906-Present


  • Davies, Martin, National Gallery catalogues: The British School, 1946, p. 172.


  • Loan Collection of Works by James McNeill Whistler, Tate Gallery, London, 1912 (cat. no. 19).
  • American Painting: From the Eighteenth Century to the Present Day Tate Gallery, London, 1946 (cat. no. 232).
  • Young, A. McLaren, James McNeill Whistler, Arts Council Gallery, London, and Knoedler Galleries, New York, 1960 (cat. no. 27).
  • Spencer, Robin, James McNeill Whistler (1834-1903), Nationalgalerie, Berlin, 1969 (cat. no. 17).
  • Dorment, Richard, and Margaret F. MacDonald, James McNeill Whistler, Tate Gallery, London, Musée d’Orsay, Paris, and National Gallery of Art, Washington, DC, 1994-1995 (cat. no. 47).
  • Wilton, Andrew, and Robert Upstone (eds), The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860-1910, Tate Gallery, London, 1997 (cat. no. 80), repr. p. 208.
  • Merrill, Linda, et al., After Whistler: The Artist and His Influence on American Painting, High Museum of Art, Atlanta, 2003, p. 65, repr. fig. 55 (not exhibited).
  • Lochnan, Katharine, Turner, Whistler, Monet, Art Gallery of Ontario, Toronto; Galeries nationales du Grand Palais, Paris; Tate Britain, London, 2004-2005 (cat. no. 46), repr. p. 153.
  • Andreeva, Galina, and Margaret F. MacDonald, Whistler and Russia, State Tretyakow Gallery, Moscow, 2006, pp. 40-41 (cat. no. 8), repr. p. 41.
  • MacDonald, Margaret, and Patricia de Montfort, An American in London: Whistler and the Thames, Dulwich Picture Gallery, Addison Gallery of American Art, Freer Gallery of Art, 2013-2014 (not exhibited).

Journals 1906-Present

  • The Builder, vol. 117, 15 August 1919, p. 164.
  • Whitley, William T., 'The Acquisitions of 1919' in 'The Art Collections of the Nation, Some Recent Acquisitions', Studio, special number, 1920, pp. 33-61, repr. p. 59.
  • Hackney, S., ‘Colour and tone in Whistler’s “nocturnes” and “harmonies” 1871-72’, The Burlington Magazine, 1994, vol. 136, pp. 695-99.


  • Tate website at
  • Philip Shaw, ‘The Sublime Exceeded: James Abbott McNeill Whistler’s Nocturne: Blue and Silver – Cremorne Lights’, in Llewellyn, Nigel, and Christine Riding (eds), The Art of the Sublime, Tate Research Publication, January 2013, Tate website at


  • Revillon, Joseph Whistler, Draft Catalogue Raisonné of the Paintings of J. McN. Whistler, [ca 1945-1955], Glasgow University Library (cat. no. 70) 'Nocturne, blue and silver / Nocturne, blue and silver: Cremorne lights'.


  • Siewert, John, 'Whistler’s Nocturnes and the Aesthetic Subject', PhD thesis, University of Michigan, Ann Arbor, 1994.

Last updated: 22nd November 2020 by Margaret