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Creator:
Samuel Scott, 1701/2–1772
Title:

The Thames with Montagu House and Westminster Bridge

Date:
undated
Materials & Techniques:
Watercolor, graphite, pen and black ink and gouache on medium, slightly textured, beige laid paper with medium, slightly textured, cream wove paper border, mounted on linen, backed with medium, slightly textured, blue laid paper
Dimensions:
Sheet: 17 1/4 x 36 inches (43.8 x 91.4 cm), Mount: 19 3/4 x 38 3/4 inches (50.2 x 98.4 cm)
Credit Line:
Yale Center for British Art, Paul Mellon Fund, in honor of John Baskett
Copyright Status:
Public Domain
Accession Number:
B2009.5.1
Classification:
Drawings & Watercolors
Collection:
Prints and Drawings
Subject Terms:
architectural subject | boats | bridge (built work) | buildings | cityscape | fence | houses | men | river
Associated Places:
City of Westminster | England | Montagu House | Thames | United Kingdom | Westminster bridge
Access:
Accessible by appointment in the Study Room [Request]
Note: The Study Room is open by appointment. Please visit the Study Room page on our website for more details.
Link:
https://collections.britishart.yale.edu/catalog/tms:61433
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Although Samuel Scott produced a number of paintings of Westminster Bridge and the grand houses adjacent to it on the west bank of the Thames (the river runs north at that point), none correspond exactly to this composition. Prominent at right are the mansions built on the site of the former Palace of Whitehall, including the white summer house of Joshua Smith and, behind it, the imposing facade of Montagu House. This view is taken from the terrace adjoining the houses of Jane, Countess of Portland, and Andrew Stone, who in 1761 would be appointed Treasurer of the Queen’s Household. On the river are a number of small vessels including a ferry, a barge carrying bales, and a boat from which figures are fishing. The last is a ubiquitous feature of Scott’s views: in the eighteenth century, herring, flounder, salmon, and sturgeon were all sourced from the Thames. Even a working drawing, then, proves Scott’s interest in the Thames as a zone of intersection between commerce, labor, and refinement, with the neoclassical form of Westminster Bridge providing a point of focus and a frame.

Gallery label for Spreading Canvas - Eighteenth-Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04)

Spreading Canvas - Eighteenth - Century British Marine Painting (Yale Center for British Art, 2016-09-09 - 2016-12-04) [YCBA Objects in the Exhibition] [Exhibition Description]

Eleanor Hughes, Spreading Canvas : Eighteenth-Century British Marine Painting, Yale Center for British Art, New Haven, 2016, p. 201-202, cat. 60, ND 1373.G74 S67 2016 (YCBA) [YCBA]


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