John Atkinson Grimshaw 1836-1893

With William A. Coles by October 1980
from whom purchased by the present owner

STRUCTURE The card is in sound original condition and has not been backed or laid down. CATALOGUE COMPARISON The catalogue illustration is broadly representative but the overall tone of the work is slightly darker and richer than the image suggests. PAINT SURFACE The paint surface is generally in good condition. There are two flecks of dirt, lower left. Examination out of the frame reveals a few minor abrasions to the upper right corner in the area covered by the mount; some further minor frame abrasions again in the areas behind the mount. ULTRAVIOLET UV light reveals no sign of restoration or retouching. FRAME Under glass and held in plaster gilt frame in fair condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Wharfedale provided early inspiration for Grimshaw and he returned to the area on a number of occasions working in oil and watercolour.  These works provide evidence of Grimshaw's enthusiasm for the natural world as well as his consummate ability to convey it.  Grimshaw began to paint and develop moonlit scenes from the late 1860s; the present work shows that by 1872 he was master of the subject.  As in many of his works we witness a scene following a heavy downpour; the surface water reflects the moon producing light sources throughout the composition.  This not only illuminates perspective but imbues the work with an atmospheric harmony.  

The lone figure carries a pail suggesting a sense of toil and hardship yet they pause from their labour for a moment, drinking in the magnificent landscape as the moonlight catches the river on the floodplain below.  The valley is portrayed with a skillful economy as the line between horizon and sky is left blended and undefined.  This contrasts to the foreground which is rendered with meticulous detail;  the ruts and branches brilliantly silhouetted against the night sky are akin to the Pre-Raphaelite ideals of landscape painting.  The leafless trees suggest it is Autumn which along with the labourer produces a strong feeling of the rural and agricultural cycle rooted in the pastoral tradition.