Purchased directly from the artist;
Private collection Canada and thence by family descent;
Private Collection, United Kingdom
The composition is dotted with isolated anonymous figures. The silhouettes of horse drawn carriages fade into the background, suggesting the rise of steam technology and modernization. The sole figure to the right of the composition in the foreground is holding an umbrella, which pierces the bright yellow light from the houses. Grimshaw asserts both steam and electric light as symbols of modernity.
Notably, in this scene Grimshaw has been influenced by photography which was a new technique at the time the artist was painting. Grimshaw drew from the perspective achieved from photographs and used this to achieve his perfect sense of proportion on his canvases.
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. 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. Grimshaw 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. Grimshaw 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 Grimshaw’s best known though he also painted landscapes, portraits, interior scenes, fairy pictures and neoclassical 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.
Grimshaw painted mostly for private patrons. He only exhibited five works at the Royal Academy between 1874 and 1876.