John Atkinson Grimshaw

Moonlight after rain

Oil on card: 17.5(h) x 13.3(w) in /

44.4(h) x 33.7(w) cm

Signed and dated lower left: Atkinson Grimshaw 1881

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BT 144



 1836 – Leeds – 1893


Moonlight after rain


Signed and dated lower left: Atkinson Grimshaw 1881

Oil on card: 17 ½ x 13 ¼ in / 44.4 x 33.7 cm

Frame size: 28 x 23 ½ in / 71.1 x 59.7 cm


Provenance :

Hélène Bokanowski (niece of Alphonse Kann); then by descent

Private collection, Paris



Alexander Robertson, the author of the seminal monograph on the artist, Atkinson Grimshaw, writes of the present work :

‘This appears to be a very fine example of the artist’s mature work. The amount of detail shown in the roadway and on the walls as well as the lacework of delicate twigs and branches show how much care the artist has taken. I particularly admire the puddles of water on the road with its intricate pattern of reflections. From what I can see the total effect gives us a complete picture of an autumnal evening in Grimshaw’s inimitable style with great poetic atmosphere.’


In the 1870s and 1880s, John Atkinson Grimshaw painted a series of deserted suburban street scenes in Yorkshire and London. These images, often depicting a solitary female figure standing in a leaf and puddle strewn road, are perhaps the most emotive and typical of the artist, who was unrivalled in his depiction of the evening gloaming. The horses and carts which have left their impressions in the damp soil have long since departed and the gateways have been closed to the outside world. A sense of stillness and calm pervades these images of evening light.


In this painting the artist displays his careful study of cloud formations and their effect on the quality of moonlight. In his celebrated work Modern Painters, John Ruskin applauded Turner’s attention to the atmospheric effects of cirrus clouds, evoking both ‘the serenity of sky and intensity of light’. Absorbing these important principles, Grimshaw developed the moonlit scenes which were to become synonymous with his name. The full moon shines brightly on the winter street, illuminating a young woman who gazes across the road at the grand mansion which emanates a warm, hospitable glow. Unusually in the present work, another figure sits on the wall before her, almost hidden in shadow, suggesting a secret assignation.


Knostrop Old Hall, Grimshaw’s home for twenty-three years from 1870 until his death in 1893, was often the inspiration for the fantastic composite buildings in his lane scenes. The move from Cliff Road, Woodhouse to the village of Knowsthorpe two miles east of the centre of Leeds, signified the artist’s success and standing as an important local figure. A seventeenth century manor house on the Temple Newsam estate (sadly demolished in the 1960s), Knostrop was once the home of Adam Baynes, MP for Leeds during the Commonwealth.





Moonlight scene near Leeds, 1881, Kirklees Museums and Galleries


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 (1864-1913), Louis H 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.

VictorianJohn Atkinson Grimshaw