Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of Atkinson Grimshaw 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
44675		A Lane by Moonlight with Twon Figures	mk174 1880 Oil on board 45.1x35.5cm
44610		A Mossy Glen	mk174 1864 Oil on board 54.7x65cm
44653		A Street in Old Scarborough	mk174 c.1877 Pencil 12.2x18.2cm
44659		A Street in Old Scarborough	mk174 1877 Oil on board laid on panel 42x26.7cm
44682		A Yorkshire Home	mk174 1878 Oil on canvas 81.3x122cm
44676		At Anchor	mk174 1893 Oil on board 23.5x47.6cm
1853		Autumn	Roy Miles Gallery, London, England
44624		Autumn Glory	mk174 1869 Oil on board 62.3x87.5cm
1864		Autumn Morning	Oil on canvas 20.00 x 30.00 in
44634		Autumn Regrets	mk174 1882 Oil on canvas 61x91.5cm
44665		Baiting the Lines,Whitby	mk174 1884 Oil on canvas 50.6x76cm
44616		Barden Tower,Yorkshire	mk174 1868 Watercolour and Bodycolour 39.4x54cm
44702		Barnes Terrace	mk174 1886 Pencil 11.4x18cm
44611		Blea Tarn at First Light,Langdale Pikes in the Distance	mk174 1865 Oil on canvas 35.5x45.7cm
92708		Boar Lane, Leeds, by lamplight. Signed and dated 'Atkinson Grimshaw 1881+' (lower right) signed and inscribed with title on reverse	Date 1881(1881) Source Bonhams TTD
44679		Boar Lane,Leeds by Lamplight	mk174 1881 Oil on canvas 48.9x76.8cm
44617		Bolton Woods	mk174 1870 Oil on board 76.2x63.5cm
32785		Bowder Ston	mk81 Borrowdale c.1863-8
32784		Bowder Ston,	mk81 Borrowdale c.1863-8
1859		Bowder Stone, Borrowdale	c1863-1888 157.48 x 211.02 in
44620		Burnsall Valley Wharfedale	mk174 c.1868 Watercolour with bodycolour and gum arabic 25.4x19.1cm
1854		Day Dreams
44640		Detail of Dulce Domum	mk174
44693		Detail of Nab Scar	mk174
44652		Detail of Scarborough Bay	mk174
44647		Detail of Two Thousand Year Ago	mk174
44633		Dulce Domum	mk174 1876-85 Oil on canvas 83x122cm
1855		Elaine
44656		Elaine	mk174 1877 Oil on canvas 82.5x122cm
1856		Elaine 2
1852		Endymion on Mount Latmus	1879 Oil on canvas 12.60 x 18.50 in
44677		Evening Glow	mk174 c.1884 Oil on canvas 28.5x43cm
44609		Fair Maids of February	mk174 1862 Oil on canvas 35.6x30.5cm
44643		Fiamella	mk174 1883 Oil on canvas 61x45.7cm
44660		Forge Valley,near Scarborough	mk174 1875 Oil on canvas
44612		From Nature near Adel	mk174 1861 Oil on board 37.5x28.9cm
44632		Full Moon Behind Cirrus Cloud From the Roundhay Park Castle Battlements	mk174 1872 Oil on board 43x54.5cm
44619		Ghyll Beck Barden Yorkshire Early Spring	mk174 1867 Oil on board 76.2x63.5cm
44683		Golden Light	mk174 1893 Oil on canvas 45.7x68.6cm
1847		Greenock Dock	Oil on canvas 11.50 x 17.52 in
44705		Half-Tide	mk174 1884 Oil on canvas 55.9x91.5cm
1860		Hampstead	1881 13.50 x 17.52 in
44646		Il Penseroso	mk174 1875 Oil on canvas 59.7x49.5cm
70392		In Peril	Medium Oil on canvas Dimensions 76.2 ?? 127 cm
44655		In Peril	mk174 c.1877-9 Pencil 12.2x36.4cm
44657		In Peril	mk174 Oil on canvas 81.3x119.4cm
44644		In the pleasure	mk174 1875 Oil on canvas 45.7x73.7cm
44623		Ingleborough from under White Scar	mk174 1868 72x91.5cm
1850		Iris	1886 Oil on canvas 31.89 x 48.03 in
44645		Iris	mk174 1886 Oil on canvas 81.5x122.2cm
44688		Knostrop Cut Leeds	mk174 1893 Oil on panel 15.9x36.2cm
44628		Knostrop Hall Early Morning	mk174 1870 59.7x90.2cm
44680		Knostrop Hall Leeds	mk174 1882 Oil on board 34.3x43.2cm
1861		Knostrop Hall, Early Morning	1870 Oil on canvas 24.02 x 36.26 in
44672		Leeds Bridge	mk174 1880 Oil on canvas 75x121.9cm
44697		Lights in the Harbour	mk174 1879 Oil on canvas 82.5x121.9cm
1848		Liverpool Custom House	Oil on board 7.01 x 15.00 in
44661		Liverpool Quary by Moonlight	mk174 1887 Oil on canvas 61x91.4cm
1843		Liverpool Quay by Moonlight	1887 240.16" x 359.84" Private collection
44664		Liverpoool from Wapping	mk174 c.1875 Oil on canvas 59.7x88.9cm
1846		London Bridge, Half Tide	1884 Oil on canvas 22.05 x 35.83 in
44635		Meditation	mk174 ca.1875 Oil on canvas
1851		Midsummer Night	1876 22.83" x 35.04"
44695		Mr Flowers Sketch	mk174 12.2x18.2cm
44639		My Wee White Rose	mk174 1882 Oil on canvas 76.5x48.2cm
44694		Nab Scar	mk174 1864 Oil on board 40.6x50.8cm
1844		Nightfall Down the Thames
1845		Nightfall Down the Thames	1880 Leeds City Art Gallery
44669		Nightfall down the Thames	mk174 1880 Oil on board 40.2x63.1cm
44699		Nightfall in the Harbour Scarborough	mk174 1881 Oil on canvas 58.4x91.4cm
44686		November Morning	mk174 1883 Oil on canvas 50.8x76.2cm
44696		November Morning on the River Wharfe	mk174 1866 Oil on canvas 69.8x90.2cm
1858		October Gold	1889 23.23 x 17.52 in
44703		On the Thames Barnes	mk174 1886 Oil on canvas 61x91.5cm
44673		Park Row,Leeds	mk174 1882 Oil on canvas 76.2x63.5cm
44662		Prince-s Dock Hull	mk174 1887 Oil on card 30.5x49.5cm
97662		Quai de Paris Rouen	oil on board; 17 x 36.5 cm Date 1893(1893) cyf
44674		Reflections on the Aire On Strike	mk174 1879 Oil on canvas 81.2x121.9cm
44671		Reflections on the Thames Westminster	mk174 1880 Oil on canvas 76.2x127cm
23308		rNightfall down the Thames (nn03)	1880 Oil on board 40.2 x 63.1 cm 15 7/8 x 24 7/8 in Leeds City Art Gallery Leeds
44638		Rouce at Night	mk174 1878 Oil on canvas 81.2x119.4cm
44687		Sand,Sea and Sky A Summer Fantasy	mk174 1892 Oil on board 30.5x45.7cm
44649		Scarborough Bay	mk174 1871 Oil on canvas 60.4x90.2cm
44651		Scarborough from Seats near the Grand Hotel	mk174 1878 Oil on canvas 50.8x76.2cm
44698		Scarborough Skyline	mk174 c.1877 Pencil 12.2x18.2cm
44637		Scene at the Theatre	mk174 c.1880-90 Pencil with ink 12.2x18.2cm
44663		Shipping on the Clyde	mk174 1881 Oil on board 30.5x50.8cm
92900		Shipping on the Clyde	Oil on board, 30.5 x 51 cm.1881 cjr
44650		Sic Transit Gloria Mundi The Burning of the Spa Saloon Scarborough	mk174 1876 Oil on canvas 82.5x122cm
44684		Sixty Years Ago	mk174 1879 Oil on canvas 81.3x122cm
44685		Sliver Moonlight	mk174 1886 Oil on cnavas 76.2x63.5cm
1857		Snowbound	1883 Oil on canvas 29.92 x 20.08 in
44629		Snowbound	mk174 1883-4 Oil on canvas 76.2x50.8cm
44654		Spa after the Fire	mk174 1876 Pencil 12.2x18.2cm
1849		Spirit of the Night	1879
44608		Spring	mk174 1875 Oil on canvas 61x91cm
44681		St Anne-s Lane,Headingley	mk174 c.1880-5 Oil on board 35.5x45.7cm
1862	$Stapleton Park near Pontefract Atkinson Grimshaw$	Stapleton Park near Pontefract	1882 Oil on canvas 20.08 x 29.92 in
44690		Study of Beeches	mk174 1872 Oil on card 42.5x54.6cm
44636		Summer	mk174 1875 Oil on canvas 63.5x76.2cm

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Atkinson Grimshaw

British 1836-1893 Atkinson Grimshaw Gallery Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he put forth landscapes of accurate color and lighting, and vivid detail. He often painted landscapes that typified seasons or a type of weather; city and suburban street scenes and moonlit views of the docks in London, Leeds, Liverpool, and Glasgow also figured largely in his art. By applying his skill in lighting effects, and unusually careful attention to detail, he was often capable of intricately describing a scene, while strongly conveying its mood. His "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene." Dulce Domum (1855), on whose reverse Grimshaw wrote, "mostly painted under great difficulties," captures the music portrayed in the piano player, entices the eye to meander through the richly decorated room, and to consider the still and silent young lady who is meanwhile listening. Grimshaw painted more interior scenes, especially in the 1870s, when he worked until the influence of James Tissot and the Aesthetic Movement. On Hampstead Hill is considered one of Grimshaw's finest, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into the onset of night. In his later career this use of twilight, and urban scenes under yellow light were highly popular, especially with his middle-class patrons. His later work included imagined scenes from the Greek and Roman empires, and he also painted literary subjects from Longfellow and Tennyson ?? pictures including Elaine and The Lady of Shalott. (Grimshaw named all of his children after characters in Tennyson's poems.) In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the comparable facility of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures."[9] Unlike Whistler's Impressionistic night scenes, however, Grimshaw worked in a realistic vein: "sharply focused, almost photographic," his pictures innovated in applying the tradition of rural moonlight images to the Victorian city, recording "the rain and mist, the puddles and smoky fog of late Victorian industrial England with great poetry." Some artists of Grimshaw's period, both famous and obscure, generated rich documentary records; Vincent Van Gogh and James Smetham are good examples. Others, like Edward Pritchett, left nothing. Grimshaw left behind him no letters, journals, or papers; scholars and critics have little material on which to base their understanding of his life and career. Grimshaw died 13 October 1893, and is buried in Woodhouse cemetery, Leeds. His reputation rested, and his legacy is probably based on, his townscapes. The second half of the twentieth century saw a major revival of interest in Grimshaw's work, with several important exhibits of his canon.

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