Composition

The Sketch for the Portrait of Carlyle (1) is one of a number of sketches and studies for or after Whistler's Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle [YMSM 137]. This one shows Carlyle's hat higher up his knee than in Whistler's completed painting, Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle [YMSM 137]. However, it is totally unlike Whistler's other sketches (Sketch for the Portrait of Carlyle (2) [YMSM 134] and Study for 'Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle' [YMSM 135]) in technique.

This figure study, visible underneath the Carlyle study, may be related to paintings by Whistler of the same period (see Harmony in Grey and Peach Colour [YMSM 131]), and to a painting that was formerly attributed to Whistler, but may be by Walter Greaves, Harmony in White and Blue [YMSM 126]. Indeed both studies on the verso were probably by Greaves, who also painted the oil, Nocturne Violet and Gold – Winter, on the recto.

Technique

The underlying painting of a standing woman has been rubbed out, and parts of the canvas weave remain visible. The sketch of Thomas Carlyle is executed with broad, almost rectangular brushstrokes. Both sides of the canvas are painted with similar brushstrokes.

These sketches were painted on the verso of Nocturne Violet & Gold - Winter by Walter Greaves (1846-1930), and were probably also painted by Greaves.

Although it has been considered just possible that it was a very rough sketch done by Whistler to show the Greaves brothers the composition of Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle [YMSM 137], no other extant preliminary sketches by Whistler are remotely like these. They are quite unlike Whistler's known work.

Conservation History

Unknown.

Frame

Unknown.