SP 4435 WH
JOHN ATKINSON GRIMSHAW
1836 - Leeds - 1893
London Bridge - Night
Signed and dated 1884; signed, dated and inscribed London Bridge – Night, Knostrop Hall, Leeds on the reverse
Canvas: 20 x 30 in / 50.8 x 76.2 cm
Framed: 29.1 x 39 x 1.5 in / 73.9 x 99 x 3.8 cm
Provenance:
Ferrers Gallery, London, 1964
The Ella Gallup Sumner and Mary Catlin Sumner Collection, Wadsworth Atheneum, Hartford, USA
Richard Green, London, 2002
Private collection, USA
Exhibited:
London, Ferrers Gallery, Grimshaw, 1964, no. 18
New York, Widenstein, From realism to symbolism: Whistler and his world, 4th March-3rd April 1971, then Philadelphia Museum of Art, 15th April-23rd May 1971
John Atkinson Grimshaw specialised in dockside views of Britain’s nineteenth century urban centres, including Glasgow, Hull, Liverpool, Scarborough and, as in the present work, London. These works in many ways perfectly illustrate Whistler’s Ten O'Clock Lecture of 1885, in which he described how the “evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens”. Whistler also portrayed the Pool and docks of London repeatedly in his exquisite etchings of the 1870s.
The Old London Bridge of the nursery rhyme was a medieval structure covered with dwellings, much like the Ponte Vecchio in Florence which survives to this day. The bridge portrayed in Grimshaw’s painting was a new bridge composed of five stone arches built between 1823 and 1831, completed by Sir John Rennie according to his father’s design. It was opened by King William IV and Queen Adelaide on 1st August 1831. This bridge was removed and re-erected at Lake Havasu City, Arizona in the 1960s.
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 (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.