John Atkinson Grimshaw (British, 1836-1893)


At the Lakeside, Moonlight signed, numbered and inscribed 'At the Lakeside_Moonlight_/Atkinson Grimshaw./Leeds. 6072+' (on the backboard)oil on card28 x 44.5cm (11 x 17 1/2in).
|We are grateful to Alexander Robertson for confirming the attribution to John Atkinson Grimshaw on the basis of photographs.ProvenancePrivate collection, UK.In spite of a change of style by the end of the decade – from meticulous detail, high finish and bright colour to a more sombre palette – [Grimshaw's] interest in nature always remained.(Alexander Robertson, Atkinson Grimshaw, page 29)Grimshaw's popularity amongst collectors had markedly grown by the 1870s, in part due to the help of London art dealer William Agnew. His first accepted Royal Academy submission was The lady of the lea, exhibited in 1874, no 967. Grimshaw had moved to Knostrop Old Hall, just outside of Leeds, opening up a wealth of new vistas. Waterloo Lake at Roundhay Park, the location of the present lot, became a favourite subject for Grimshaw to depict. Grimshaw was initially asked to produce three paintings of the Park to present to the parliamentary committee. The Town Council was attempting to promote the 'Leeds Improvement Bill' in Parliament, with the hope to open the estate as a public park (amid criticism that the park was too far out of Leeds and not easily accessible). Alexander Robertson notes how interesting it was that Grimshaw chose to portray a night-time scene, rather than the view of the lake that most people would see in daylight.1 The poetic beauty of the park has been expertly captured by Grimshaw in the present lot, and possibly this quality is what attracted him to the view in the first place. Dark, extended branches contrast against the soft green tones of the sky and water, creating an eerie atmosphere. A lone swan is a focal point, the calm of the lake only slightly disturbed by its presence, and Grimshaw has expertly captured this ripple of water outward from the landing by incising into the paint. The moon's reflection shimmers on the water and it's glow is just visible at the top of the composition. The whole scene is imbued with romance and evocative luminosity. 1 Alexander Robertson, Atkinson Grimshaw, London, 1988, p. 35.