John Atkinson Grimshaw

Christie's, London, 14 February 1986, lot 175

James Abdy, Atkinson Grimshaw, London, 1970, p. 122

Charlotte Mosley, The World of Interiors, ‘Debo’s Delights’, September 2010, p.80, illustrated in the Drawing Room at the Old Vicarage, Edensor.

Bolton Abbey by Moonlight: The board appears sound. Some minor frame abrasions and gilt paint along right edge. A faint surface abrasion in centre of the Abbey and another in the trees upper right, only visible upon close inspection.  Ultraviolet light reveals an opaque varnish that makes the surface difficult to read conclusively but there appear to be no signs of retouching.  A Wooded Landscape with a Woman Walking on a Path in the Moonlight: The board appears sound. Slightly dirty and some minor frame abrasions in upper right corner; otherwise the work appears in good overall condition.  Ultraviolet light reveals an opaque varnish that makes the surface difficult to read conclusively but there appear to be no signs of retouching.  Both held in matching composite frames with a canvas inset. 
"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."

The present pair of paintings by John Atkinson Grimshaw superlatively demonstrate his reputation as a master of nocturnal subjects. Each work is suffused in rich moonlight - the trees' bare, sinewy branches are silhouetted against the sky and cast shadows across meandering, silvery paths. Along one, a solitary woman walks. Instilled with mystery and romance, such works appealed greatly to a Victorian audience enchanted with narrative. It is easy to understand why the crumbling ruins of Bolton Abbey, so evocatively rendered here, appealed to the imagination of Grimshaw.  

Bolton Abbey is in North Yorkshire, the Devonshire estate where the Duchess learnt to shoot grouse. It was a much-loved place and featured extensively in her writing and accounts for the acquisition of the present pair, which were among her favourite paintings. The original gatehouse of the Abbey survives within the ruins of the 12th-century Augustinian Bolton Priory or ‘Abbey’ depicted above. 

The Bolton Abbey Estate in Wharfedale came into the family in the 1740s through the marriage of William Cavendish, 4th Duke of Devonshire (1720-1764) to Charlotte Elizabeth Cavendish, 6th Baroness Clifford, née Boyle; (1731–1754) the daughter of Richard Boyle, 3rd Earl of Burlington.