Part 388: The Grieve Family
In 1889 W. J. Lawrence listed some prominent English scene painting families – the Greenwoods, Grieves, Stanfields, Callcotts, Dansons, Fentons, Gordons, and Telbins. This installment looks at the Grieves (The Theatre Magazine, July 13, 1889).
The Grieves were a family of scene painters who worked at various London theatres during the late-eighteenth through nineteenth century, producing theatre scenery, spectacles and pantomimes. The Grieves had long been famous for the “brilliancy of their style” and the “strong feeling of reality that they communicated to the spectator.” In 1866, the Era reported, “in the taste and artistic beauty of their landscape compositions, they have since had few rivals, and have never been excelled. The Covent Garden Pantomime of ‘Aladdin’ honored Thomas Grieve. The last scene of The ‘Master of Ravenswood,’ at the Lyceum, with the storm effects introduced, was cited as a credit to Grieve’s powers (Gossip About Scenery and Scene Painters from “The Era” 4 February 1866).
The Era Almanack, 1871, reported, “The Grieves had long been famous for their Pantomime scenery, and in the brilliancy of their style, the strong feeling of reality which they communicated to the spectator, and in the taste and artistic beauty of their landscape compositions, they have since had few rivals and never been excelled” (“Scenery and Scene-Painters” by E. L. Blanchard, page 37).
John Henderson Grieve (1770-1845) was the patriarch of the family whose scenic art was primarily associated with Covent Garden. Of Scottish origin, J. H. Grieve was both a painter and draughtsman, born in 1770. Early on in his career, he moved from Perth to work as a scene-painter in the smaller London theatres. By 1794, he was employed by Richard Brinsley Sheridan at Drury Lane. By 1817 he was the lead scenic artist working for the Covent Garden. He remained there throughout the duration of his career, with the exception of extended two absences from 1835-1839 and 1843-1845.
John’s two sons were Thomas (1799-1882) and William (1800-1844), each began their scenic art careers at the Covent Garden Theatre, both training and working for their father. The three remained painting together anformed the famous scenic triumvirate at Covent Garden. Thomas was later assisted by his own son, Thomas Walford Grieve (1841-1882), and together they were credited with contributing to the development of scenic art from romanticism to realism. In 1871, the Era Almanack reported, “To Mr. T. Grieve, and his son Mr. Walford Grieve, the modern stage has been largely indebted. Several drop scenes for the late Theatre known as Her Majesty’s, though coloured by the later William Grieve, were drawn by Pugin, the great restorer of ecclesiastical Gothic
Thomas was particularly known for his work on Shakespearean revivals. Born in 1799, he began working with his father at Covent Garden by the age of 18. When Mr. and Mrs. Charles Mathews became the lessees in 1839, Thomas Grieve was chosen as the principal scenic artist, painting the scenery that accompanied their Christmas pantomimes. After his father’s death, he continued working at Covent Garden, but also painted for the Drury Lane, and at Her Majesty’s Theatre. He was one of the leading artists who supplied Charles Keen with scenery during his time at the Princess’ Theatre, Oxford Street, from 1850 to 1859.
In addition to working for his father, Thomas Grieve worked with the artists who created exhibits for panorama halls. He worked in conjunction with William Telbin and John Absolon to create a panorama depicting the campaigns of Wellington, the Crimean War, Ocean Mail, and Arctic Regions. Like his father, Thomas’ style was known for its brilliancy and realism. His landscape compositions were considered to reign at the top of his profession, and he worked until his passing in 1862. He married Elizabeth, daughter of Robert Goatley of Newbury, by whom he had two children, Thomas Walford Grieve and Fanny Elizabeth “Bessie” Grieve. Thomas Walford, began working with his father in 1862. He also painted for the Covent Garden and the Lyceum, working, for many years under the title “Grieve and Son.”
John H. Grieve’s younger son, William, was born followed the same career course as brother, and made his debut as a scenic artist at the King’s Theatre (later known as Her Majesty’s Theatre). He remained in the venue as a scenic artist stayed until his early passing in 1844, leaving a large family. William was well respected and primarily known for his transformation scenes, especially his moonlight effects. He was reputed to be the first scenic artist called before the curtain to receive the applause of the audience for his contribution to Robert le Diable at the King’s Theatre in 1832.
The three generations of Grieves were credited with not only the introduction of the glazing technique, but also as leading the transition from romanticism to realism in painting for the stage.
To be continued…
There is the “Grieve Family Collection of Theatre Designs” at the Senate House Library Archives, University of London. It is comprised of 655 original scene designs and three folders of slides that include panoramas and watercolor ‘cut-outs’ (profile pieces) by members of the Grieve family. The compositions depict various revival productions of Shakespeare plays, along with works by Isaac Pocock, M.R.Lacy, Thomas Otway, Michael Costa, Samuel Beazley, Douglas Jerrold, G.Meyerbeer, Charles A.Somerset, Edward Fitzball, Rossini and others that were staged at the Theatre Royal (Drury Lane), the Theatre Royal (Covent Garden) and Her Majesty’s Theatre, 1813-1857). Here is the ink: https://archiveshub.jisc.ac.uk/search/archives/3b0cd6e4-22b9-3af4-aa6c-18adba974cc5
