John Atkinson Grimshaw

Sotheby's Belgravia, 29 June 1976, lot 186 where acquired by the present owners

STRUCTURE The canvas has been relined. There is a faint craquelure pattern across the surface and there are some minor frame abrasions along the left and lower edges. There is a very minor spot of paint loss in the trees above the house and another in the trees near the upper right corner; otherwise the work appears in good overall condition. ULTRAVIOLET LIGHT Under UV light there appears to be retouching to a repaired tear upper right; there is an opaque varnish which makes the surface difficult to interpret. FRAME Held in a gilt plaster frame. Please telephone the department on 0207 293 5718 if you have any questions about the present work.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

'I considered myself the inventor of nocturnes until I saw Grimmy's moonlight pictures.' (James Abbott McNeill Whistler, quoted in John Atkinson Grimshaw, Richard Green, 2003, p.28)

Grimshaw became well known in the 1870s and 1880s for his nocturnal depictions, particularly his masterful capturing of the atmospheric effects created by the moonlight. As his obituary notice suggests: 'Daylight effects had little attraction for him; the details were too hard and staring; it was the mystery of the murky air, the tender hues of dawn, or the mellow light of the moon thrown on all beneath it, a silvery radiance, that appealed to him most deeply...' In the present work there is a pervasive feeling of mystery and romance; the light creeping through misty parting clouds, the branches of the trees becoming simple dark shadows against the eerily green colour of the sky, and the reflection of the moonlight on the pools of water that remain in the street following the rain.

Interestingly, one typically sees in Grimshaw's compositions of this type and period a lone figure, often a maid, making her way slowly down a darkened deserted street as she heads home after a long day's work. However, Figures in a Moonlit Lane After Rain is particularly haunting as we see a pair of individuals whose relationship is ill-defined; they are shown from a distance silhouetted from behind, their shadows stretching out towards the viewer. By pulling out and emphasizing the ethereal effect moonlight has on this a scene of everyday life, Grimshaw transforms the familiar; the half-light giving the residential street and its occupants a fascinating mystery and ambiguity that is delightfully intriguing but not dour or sentimental.

We are very grateful to Alexander Robertson for his kind assistance with the cataloguing of this work.