A moonlit country road

JOHN ATKINSON GRIMSHAW

1836 - Leeds - 1893

Ref: CL 3692

A moonlit country road

Signed and dated lower left: Atkinson Grimshaw 1877

Oil on board: 21 ¾ x 17 ¾ in / 55.2 x 45.1 cm

Frame size: 29 ½ x 25 in / 74.9 x 63.5 cm

Provenance:

Private collection

Sotheby’s London, 7th June 1995, lot 123;

Richard Green, London, acquired from the above;

private collection, USA, 1995, acquired from the above;

Richard Green, London, 2010, acquired from the above;

private collection, UK, 2014, acquired from the above

Exhibited:

London, Richard Green, John Atkinson Grimshaw, September 2011, no.15, pp. 50, 51, illus. in colour

Although executed in an unusually vertical format, it is likely that the location for the present work is the village of Bonchurch, near Ventnor on the Isle of Wight. The delicate beauty of this familiar composition is heightened by its theatrical construction, layering scenery in a sequence of aerial perspective and dramatic lighting.  The dark silhouette of the foreground tree and its framing branches cutting through the full moon upon a pale green sky, recalls the conventions of Japanese print making, which had such an impact on the Aesthetic movement.   The fence around it and the wall on the other side of the road are of an equally dark tonality.  In the mid-ground a pair of fawn-coloured, virtually symmetrical trees form a beautiful, almost art-nouveau design, in turn framing the brightly illuminated path towards the horizon. The road, imprinted with various cart tracks in the foreground, reflects the light even more vividly than the pond.

Two shadowy figures on the roadside offer a hint of narrative. Is this a chance encounter or carefully planned moonlit tryst? The painting closely resembles The Gossips, Bonchurch, Isle of Wight, 1880 (Private collection).  Contemporaries no doubt appreciated the romantic glow which the artist imparted to such subjects and could not be unaware of poetic resonances close to Tennyson, Shelley, Keats or Longfellow – poets dear to Grimshaw’s heart.

We are grateful to Professor Robin McInnes and Fay Brown, Ventnor History Society, for their assistance with the cataloguing of this work.

JOHN ATKINSON GRIMSHAW

1836 - Leeds - 1893

John Atkinson Grimshaw was a Victorian artist who became famous for his sombre views of the dockyards and his nocturnal scenes of urban lanes with leafless trees silhouetted against the moonlight sky.  During his later life, he became a close friend of James McNeill Whistler who admired his work and admitted: ‘I considered myself the inventor of nocturnes until I saw Grimmy’s moonlight picture.’

Born in Leeds, the son of an ex-policeman, Grimshaw first took up painting while he was employed as a clerk for the Great Northern Railway.  He married his cousin Frances Theodosia Hubbarde in 1858 and by 1861, he had abandoned his job in order to devote all his time to becoming an artist.  In his early work, John Atkinson Grimshaw was influenced by John Ruskin’s creed of ‘truth to nature’ and adopted the detailed Pre-Raphaelite technique of the Leeds painter, John William Inchbold.  He was also fascinated by the relatively new art of photography and may have used a camera obscura in developing his compositions. Towards 1865, he renounced this painting style.  He painted many urban scenes in which moonlight and shadows were the most striking features.  The towns and docks that he painted most frequently were Glasgow Liverpool. Leeds, Scarborough, Whitby and London.  These works have become his best known though he also painted  landscapes, portraits, interior scenes, fairy pictures and neo-classical subjects.  Grimshaw painted mostly for private patrons.  He only exhibited five works at the Royal Academy between 1874 and 1876.

By 1870, Grimshaw had become successful enough to move to Knostrop Old Hall, a seventeenth century mansion about two miles from the centre of Leeds, which featured in many of his paintings.   He rented another home near Scarborough which he called ‘The Castle by the Sea’, towards 1876.  Grimshaw suffered a serious financial disaster in 1879 and had to leave his house at Scarborough.  He moved to London and rented a studio in Chelsea, leaving his family at Knostrop.  He returned to Knostrop, where he died in 1893.  Several of his children, Arthur Grimshaw (1868-1913), Louis  Grimshaw (1870-1944), Wilfred Grimshaw (1871-1937) and Elaine Grimshaw (1877-1970), became painters.

The work of Grimshaw is represented in the Bradford City Art Gallery, the Shipley Art Gallery, Gateshead, the Gloucester Museum and Art Gallery, the Bankfield Museum, Halifax, the Harrogate Museums and Art Gallery, the Ferens Art Gallery, Kingston-upon-Hull, the Huddersfield Art Gallery, Kirklees Metropolitan Council, the Harris Art Gallery, Preston, the Leeds City Art Gallery, the Walker Art Gallery, Liverpool, the Guildhall Art Gallery and the Tate Gallery, London, the Scarborough Art Gallery, the Wakefield Art Gallery and Museums, the Pannett Gallery, Whitby, the Musée des Beaux-Arts, Brest, France, the Wadsworth Atheneum, Hartford, Connecticut, the Nelson-Atkins Gallery, Kansas City, Missouri, the Minneapolis Institute of Arts, Minneapolis, Minnesota, the Yale Center for British Art, New Haven, Connecticut, the Museum of Art, New Orleans, Louisiana, the Rhode Island School of Design, Providence, Rhode Island in the United States, the Shepparton Art Centre, Welsford, Victoria, Australia and the King George VI Art Gallery, Port Elizabeth, South Africa.