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JOHN ATKINSON GRIMSHAW, BRITISH, 1836 - 1893, OIL ON CANVAS Titled ‘Under The Silvery Moonlight’,
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Description
JOHN ATKINSON GRIMSHAW, BRITISH, 1836 - 1893, OIL ON CANVAS
Titled ‘Under The Silvery Moonlight’, fully signed, titled and dated in ink on stretcher verso ‘Under The Silvery Moonlight, Atkinson Grimshaw, 1880’, further inscribed ‘2672, Trees near Chapeltown, Leeds’, original canvas and stretcher with stencil mark for Winsor & Newton, held in a gilt frame.
(sight 34cm x 44cm, stretcher 35.5cm x 46cm, frame 61cm x 71cm)
Provenance: John Mathieson & Co, Fine Art Dealers and Artist Supplier of 20 Frederick Street, Edinburgh, with partial label fixed to stretcher, private family collection, Buckinghamshire, for over 60 years
N.B. In 1879 Grimshaw incurred heavy debts ‘having guaranteed a bill for a friend who then decamped and he spent the rest of his life trying to produce enough pictures to pay off that debt.” (P.149 European Painting & Sculpture 1770 - 1937 in the Museum of Art, Rhode Island School of Design). Despite increasing his output to almost 50 paintings a year - a number of which remain untraced - Atkinson Grimshaw was still trying to pay off the debt when he died.
Later in 1880, Grimshaw embarked for London in an effort to produce new work for a new audience of buyers, and rented rooms at Trafalgar Studios in Manresa Road, Chelsea, near James Abbott McNeill Whistler. Whistler later famously stated: “I considered myself the inventor of Nocturnes until I saw Grimmy’s moonlit pictures” (J.M. Whistler, quoted in L Lambourne, Victorian Painting, 1999, p.112).
'Under the Silvery Moonlight' was copied by Grimshaw’s noted pupil Walter Linsley Meegan [1859 - 1944], and was sold in Nov 2022 at Växjö Auktionskammare , Sweden. [ 2458107 ‘City in the Moonlight” signed and dated 1891].
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JOHN ATKINSON GRIMSHAW, BRITISH, 1836 - 1893, OIL ON CANVAS
Titled ‘Under The Silvery Moonlight’, fully signed, titled and dated in ink on stretcher verso ‘Under The Silvery Moonlight, Atkinson Grimshaw, 1880’, further inscribed ‘2672, Trees near Chapeltown, Leeds’, original canvas and stretcher with stencil mark for Winsor & Newton, held in a gilt frame.
(sight 34cm x 44cm, stretcher 35.5cm x 46cm, frame 61cm x 71cm)
Provenance: John Mathieson & Co, Fine Art Dealers and Artist Supplier of 20 Frederick Street, Edinburgh, with partial label fixed to stretcher, private family collection, Buckinghamshire, for over 60 years
N.B. In 1879 Grimshaw incurred heavy debts ‘having guaranteed a bill for a friend who then decamped and he spent the rest of his life trying to produce enough pictures to pay off that debt.” (P.149 European Painting & Sculpture 1770 - 1937 in the Museum of Art, Rhode Island School of Design). Despite increasing his output to almost 50 paintings a year - a number of which remain untraced - Atkinson Grimshaw was still trying to pay off the debt when he died.
Later in 1880, Grimshaw embarked for London in an effort to produce new work for a new audience of buyers, and rented rooms at Trafalgar Studios in Manresa Road, Chelsea, near James Abbott McNeill Whistler. Whistler later famously stated: “I considered myself the inventor of Nocturnes until I saw Grimmy’s moonlit pictures” (J.M. Whistler, quoted in L Lambourne, Victorian Painting, 1999, p.112).
'Under the Silvery Moonlight' was copied by Grimshaw’s noted pupil Walter Linsley Meegan [1859 - 1944], and was sold in Nov 2022 at Växjö Auktionskammare , Sweden. [ 2458107 ‘City in the Moonlight” signed and dated 1891].
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