Sketch for the Portrait of Carlyle (1) may date from between 1872 and 1873. 1
Sketch for the Portrait of Carlyle, Private collection
It is dated from its relationship to Whistler's completed portrait, Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle y137, but is more likely to be by Walter Greaves (1846-1930).
Sketch for the Portrait of Carlyle, Private collection
Sketch for the Portrait of Carlyle (rotated), Private collection
Sketch for the Portrait of Carlyle, photograph, 1980
Whistler, Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle, Glasgow Museums
Harmony in White and Blue, Leeds City Art Gallery
Whistler, Harmony in Grey and Peach Colour, Fogg Art Museum
Two titles have been suggested for the painting:
The title 'Sketch for the Portrait of Carlyle (1)' (used in the 1980 catalogue) is retained here.
Sketch for the Portrait of Carlyle, Private collection
The Sketch for the Portrait of Carlyle (1) y133 shows a seated man in black, in profile to left, unfinished; it is in horizontal format. It is on the verso of Nocturne Violet and Gold – Winter by Walter Greaves (1846-1930).
Sketch for the Portrait of Carlyle (rotated), Private collection
Underneath this rough sketch, a full length figure is just visible, painted at right angles to the study of Carlyle. It shows a woman in a long white dress standing on a beige floor before a black dado.
Not identifiable.
The sitter for Whistler's completed portrait was Thomas Carlyle (1795-1881).
Walter Greaves is known to have painted several portraits of Carlyle, probably from memory. A good example is in the Scottish National Portrait Gallery (PG 982).
Sketch for the Portrait of Carlyle, Private collection
Whistler, Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle, Glasgow Museums
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 y137. 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 y137. However, it is totally unlike Whistler's other sketches (Sketch for the Portrait of Carlyle (2) y134 and Study for 'Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle' y135) in technique.
Sketch for the Portrait of Carlyle (rotated), Private collection
Harmony in White and Blue, Leeds City Art Gallery
Whistler, Harmony in Grey and Peach Colour, Fogg Art Museum
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 y131), and to a painting that was formerly attributed to Whistler, but may be by Walter Greaves, Harmony in White and Blue y126. Indeed both studies on the verso were probably by Greaves, who also painted the oil, Nocturne Violet and Gold – Winter, on the recto.
Sketch for the Portrait of Carlyle, Private collection
Sketch for the Portrait of Carlyle (rotated), Private collection
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 y137, no other extant preliminary sketches by Whistler are remotely like these. They are quite unlike Whistler's known work.
Unknown.
Unknown.
The early history and provenance of Sketch for the Portrait of Carlyle (1) y133 remains obscure.
It surfaced in 1910, when Walter Dowdeswell (1858-1929) showed it, together with other paintings, to the Pennells on 15 September 1910. It was described as 'a sketch of Carlyle on the back of the gold-brown nocturne' when it was being restored 'in a remote part of Camden Town.' 4 The Pennells also identify Frida Strindberg as the lady who bought the fifty or so canvases from W. T. Spencer and sold them to Dowdeswell & Dowdeswell. 5 At the time of publication of the Pennell's Whistler Journal, in 1921, it was still in the possession of Dowdeswell & Dowdeswell in London.
Portraits of Carlyle by others:
1: YMSM 1980 [more], cat. no. 133.
2: Pennell 1921C [more], p. 129.
3: YMSM 1980 [more] (cat. no. 133).
4: Pennell 1921C [more], pp. 127, 129.
5: Pennell 1921C [more], p. 133.