Composition

A pen drawing related to this painting, Souvenir of Nocturne in Blue and Gold / From Westminster bridge [M.0569], has a later butterfly signature (dating from ca 1875) and the inscription by Whistler, 'Souvenir of Nocturne in Blue & Gold / From Westminster Bridge.' The drawing shows more prominent towers on the horizon and two additional barges on the river, which were painted over, and are barely visible in the painting when seen in raking light.

MacDonald commented:

'The drawing was entitled 'Souvenir of Nocturne in Blue and Gold I From Westminster Bridge' (M.569), suggesting that the original painting might have experienced a slight change in the color balance, from gray to blue, possibly as a result of cleaning and varnishing. It is not clear if the drawing is really a "souvenir" (for it appears to date from much the same time as the painting), or records a stage in the development of the composition.' 1

There are other faint signs of alterations to the composition, still barely visible in the painting, possibly including another boat at left and one or more boats in the distance.

Technique

The canvas, coarse in weave, is roughly equivalent to the French 'toile de 12' (46 x 61 cm) and may have been acquired in Paris. There is noticeable cusping at the top and bottom edges.

A dark reddish brown undercoat is visible where the buildings and their reflections have been partly painted, partly rubbed down, revealing the undercoat and producing soft outlines. This use of rubbing down was part of Whistler's painting process. The sky was then painted carefully around the shapes of towers, spoil heaps and chimneys, all along the horizon. The rest of the sky and water is thinly painted, with fluid brushstrokes crossing the entire canvas from left to right, merging into each other.

MacDonald commented 'It is a wonderfully atmospheric painting, glowing with rich color, subtle gray-blue and deep, greenish blues set off by the massive dark tower. It is extremely simple in composition, and the paint is fairly thin and smoothed over.' 2

Conservation History

The owner, Madeline Caroline Frances Eden Campbell (Mrs P. Wyndham) (1835-1920) told Whistler in February 1892 that 'the Picture has met with a serious accident & had a hole run thro it.' 3 She considered getting it repaired by William Dyer (b. ca 1821), picture restorer and art dealer, but it was sent for repair by Stephen Richards (1844-1900) of Berners Street, London. 4 Whistler wrote,

'Tell Richards that I am not sure that this picture was ever varnished - to deal with it very delicately in cleaning - and finally give beautiful coat of varnish - Let me know if the accident to the canvas was a very bad one - and if he thinks he can repair it so that no trace [is left].' 5

A Glasgow Museums conservation report in 1960 noted an area of damage on the middle skyline towards the right, which had been roughly repaired; the canvas was then relined, lightly and partially cleaned, retouched and revarnished at that time. The retouching and varnish have discoloured slightly. The painting may subsequently have been given a matt varnish. The paint layer itself is structurally secure, though in places very thin (for instance, towards the top and in the lower third of the painting). 6

Frame

The frame size is given on Glasgow Museums website as 71.0 x 86.4 x 7.5 cm.