John Atkinson Grimshaw

Phillips London, 16 December 1997, lot 76;
Private collection;
Richard Green, London

London, Richard Green, John Atkinson Grimshaw 1836-Leeds-1893, 1998, no.8

STRUCTURE The board is sound. There are several tiny brush hairs engrained in the surface. The surface is slightly dusty but is in otherwise apparently good overall condition. ULTRAVIOLET UV reveals an opaque uneven varnish which makes the reading extremely difficult to interpret. Some pigments fluoresce which appear to be the hand of the artist but there does appear to be a small area of retouching in the lower left corner. FRAME Held in a gilt plaster frame.
"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."

During the 1870s, Grimshaw was heavily influenced by the Aesthetic movement and in particular the classical works of Sir Lawrence Alma-Tadema, whose paintings were occasionally exhibited in Leeds. Grimshaw certainly saw at some stage Tadema's Pleading (1876, Guildhall Art Gallery, London) as his Two Thousand Years Ago (1878, Owan Edgar Gallery, London) directly mirrors the earlier composition, showing  of two classically dressed figures, one seated, one reclining,  on a marble bench. The present work is a key example of this type; set in a courtyard surrounded by Roman columns, a beautiful female figure in classical garb rests on a chair, lost in thought. The picture is devoid of any particular subject; rather the focus is on the combined sensual effects, the glowing light of the moon, the scent of the blooming flowers, and the smoothly polished marble floor.  The blue and white urn in the foreground relates to the late Victorian vogue of Japonism, and is of a type which features frequently in the works of Aesthetes such as Albert Moore (see for example his Lilies of 1866, Streling and Francine Clark Art Institute, Williamstown) and J. A. M. Whistler.