Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Knostrop Cut, Leeds, Sunday Night - John Atkinson Grimshaw
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A quiet, atmospheric nocturne by John Atkinson Grimshaw, depicting the industrial canal at Knostrop, Leeds, during a hazy Sunday evening.
John Atkinson Grimshaw is recognised for his mastery of the nocturnal scene. In this depiction of Knostrop Cut, Leeds, he captures the industrial atmosphere of the late nineteenth century. The composition focuses on the canal, which acts as a mirror for the fading light of the sky. Grimshaw employs a precise technique to render the silhouettes of buildings and the quiet water, creating a sense of stillness that defines his work.
The painting demonstrates his ability to balance the harsh realities of an industrial city with the atmospheric qualities of twilight. The sky transitions from a pale yellow near the horizon to a soft, hazy grey, suggesting the presence of smoke or fog common in the urban centres of the period. The reflection of the structures in the water adds a layer of depth to the scene, drawing the viewer into the quietude of a Sunday evening. Unlike many of his contemporaries who focused on grand historical or mythological subjects, Grimshaw found his inspiration in the streets, docks, and canals of his home city.
His method often involved the use of glazes to achieve the luminosity seen in the sky, contrasted against the darker, more opaque tones of the foreground and the architectural elements. This specific work exemplifies his interest in the interplay between artificial and natural light. The lack of human activity contributes to the melancholic tone, a recurring theme in his output. By focusing on the mundane aspects of the Leeds canal system, he elevates the industrial environment into a subject of contemplation. The print captures these subtle gradations of tone, preserving the atmospheric quality of the original oil painting.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Knostrop Cut, Leeds, Sunday Night - John Atkinson Grimshaw
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
John Atkinson Grimshaw
Grimshaw painted Victorian cities at night, in rain, by moonlight, and in autumn, which covers most of the conditions available in northern England. The lamp-lit streets of Leeds, Liverpool, Scarborough, and London glow with a wet, precise luminosity that makes you want to put on a coat and walk into the painting.
He was born in Leeds, the son of a retired policeman. His parents disapproved of his artistic ambitions. He married his cousin and settled in Knostrop Old Hall, a manor house outside Leeds that appears in several of his paintings. He was largely self-taught, influenced by the Pre-Raphaelites' attention to natural detail and by Whistler's tonal paintings, particularly the Nocturnes.
His technique is painstaking. The moonlit skies are built up in thin glazes. The reflections on wet pavements are precise. The bare trees, silhouetted against pale skies, are painted branch by branch. The figures are small and anonymous, walking through streets that are atmospheric rather than narrative. He rarely told stories. He painted moods.
Whistler reportedly said 'I considered myself the inventor of nocturnes until I saw Grimshaw's moonlit pictures.' Whether Whistler actually said this is uncertain (Whistler said many things), but the comparison is fair. Both painted the same subject, night, with the same seriousness, though Grimshaw's approach was more literal and Whistler's more abstract.
He worked prolifically, partly from financial necessity. He had many children and the manor house was expensive to maintain. He died in 1893, at fifty-seven, and fell out of critical favour for most of the twentieth century. His paintings now sell well at auction and are among the most popular Victorian images in print.
He was born in Leeds, the son of a retired policeman. His parents disapproved of his artistic ambitions. He married his cousin and settled in Knostrop Old Hall, a manor house outside Leeds that appears in several of his paintings. He was largely self-taught, influenced by the Pre-Raphaelites' attention to natural detail and by Whistler's tonal paintings, particularly the Nocturnes.
His technique is painstaking. The moonlit skies are built up in thin glazes. The reflections on wet pavements are precise. The bare trees, silhouetted against pale skies, are painted branch by branch. The figures are small and anonymous, walking through streets that are atmospheric rather than narrative. He rarely told stories. He painted moods.
Whistler reportedly said 'I considered myself the inventor of nocturnes until I saw Grimshaw's moonlit pictures.' Whether Whistler actually said this is uncertain (Whistler said many things), but the comparison is fair. Both painted the same subject, night, with the same seriousness, though Grimshaw's approach was more literal and Whistler's more abstract.
He worked prolifically, partly from financial necessity. He had many children and the manor house was expensive to maintain. He died in 1893, at fifty-seven, and fell out of critical favour for most of the twentieth century. His paintings now sell well at auction and are among the most popular Victorian images in print.
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Fine Art Framed
From $119
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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