John Atkinson Grimshaw was an English Victorian-era artist now best known for his nocturnal scenes of urban landscapes. Today, he is considered one of the great painters of the Victorian era, as well as one of the best and most accomplished nightscape, townscape, artists of all time, he was called a "remarkable and imaginative painter" by the critic and historian Christopher Wood in Victorian Painting. Grimshaw's accuracy and attention to realism was criticised by some of his contemporaries, with one critic claiming that his paintings appeared to ‘showed no marks of handling or brushwork’, adding that ‘not a few artists were doubtful whether they could be accepted as paintings at all’. However, other contemporaries recognised his mastery of lighting and technique, James McNeill Whistler, whom Grimshaw worked with in his Chelsea studios, stated, “I considered myself the inventor of nocturnes until I saw Grimmy’s moonlit pictures”, his early paintings were signed "JAG", "J. A. Grimshaw", or "John Atkinson Grimshaw", though he settled on "Atkinson Grimshaw".
He was born 6 September 1836 in a back-to-back tenement in Park Street, Leeds to Mary and David Grimshaw. In 1856 he married his cousin Frances Hubbard. In 1861, at the age of 24, to the dismay of his parents, he left his job as a clerk for the Great Northern Railway to become a painter, he first exhibited in 1862 paintings of birds and blossom, under the patronage of the Leeds Philosophical and Literary Society. He and his wife moved in 1866 to a semi-detached villa, now numbered 56 Cliff Road in Headingley and has a Leeds Civic Trust blue plaque, in 1870 to Knostrop Hall, he became successful in the 1870s and rented a second home in Scarborough, which became a favourite subject. He is buried in Woodhouse Cemetery, Leeds. Several of his children, Arthur E. Grimshaw, Louis H. Grimshaw, Wilfred Grimshaw and Elaine Grimshaw became painters. Grimshaw's primary influence was the Pre-Raphaelites. True to the Pre-Raphaelite style, he created landscapes of accurate colour and lighting, vivid detail and realism typifying seasons or a type of weather.
Moonlit views of city and suburban streets and of the docks in London, Hull and Glasgow figured in his art. His careful painting and his skill in lighting effects meant that he captured both the appearance and the mood of a scene in minute detail, his "paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scene."Dulce Domum, 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, to consider the still and silent young lady, listening. Grimshaw painted more interior scenes in the 1870s, when he worked under the influence of James Tissot and the Aesthetic Movement. On Hampstead Hill is considered one of Grimshaw's finest works, exemplifying his skill with a variety of light sources, in capturing the mood of the passing of twilight into night. In his career his urban scenes under twilight or yellow streetlighting were popular with his middle-class patrons.
His work included imagined scenes from the Greek and Roman empires, he painted literary subjects from Longfellow and Tennyson—pictures including Elaine and The Lady of Shalott. In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the studio 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." Unlike Whistler's Impressionistic night scenes Grimshaw worked in a realistic vein: "sharply focused 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."Grimshaw's paintings depicted the contemporary world but eschewed the dirty and depressing aspects of industrial towns. Shipping on the Clyde, a depiction of Glasgow's Victorian docks, is a lyrically beautiful evocation of the industrial era. Grimshaw transcribed the fog and mist so as to capture the chill in the damp air, the moisture penetrating the heavy clothes of the few figures awake in the misty early morning.
Grimshaw left behind journals, or papers. His reputation rested on, his legacy is based on, his townscapes. There was a revival of interest in Grimshaw's work in the second half of the 20th century, with several important exhibitions devoted to it. A retrospective exhibition "Atkinson Grimshaw – Painter of Moonlight" ran from 16 April 2011 to 4 September 2011 at Mercer Art Gallery in Harrogate and subsequently in the Guildhall Art Gallery, London; the Enchanted World: Fairies and Elves Alexander Robertson, Atkinson Grimshaw, Phaidon Press, 1996 ISBN 0-7148-2525-5 Yorkshire Art Journal John Atkinson Grimshaw, York, 2014 - Historical Feature 64 paintings by or after John Atkinson Grimshaw at the Art UK site Artcyclopedia.com Phryne's list of paintings by Grimshaw in accessible collections in the UK at the Wayback Machine
Treasure Tales is an accessory for the 2nd edition of the Advanced Dungeons & Dragons fantasy role-playing game, published in 1996. Treasure Tales is a collection of 16 short adventure scenarios for AD&D; each adventure is split between player information, DM's notes, a picture for setting the scene. The player's page introduces the adventure's setting and its pertinent legends and characters, while the DM's page walks through each map and details the main enemies and what treasure can be found where. Trenton Webb reviewed Treasure Tales for Arcane magazine, he comments. Each scenario builds upon a single simple concept a horde of cash and what the party needs to do to get hold of it. There's no room for cosmetics, so each potential adventure stands or falls on the strength of its core idea." He identifies "Dragon And The Lady" as the best of the 16 adventures, as it "works because it is a great twist on the oldest of D&D premises" and points out "The Lair of the Pirate King" as it "packs a delightful kick-yourself-for-not-spotting-it- secret", noting that scenarios such as these "are just what burnt out referees need to rekindle their imagination.
Fast, to the point, fun to run as well as play." However, he considers these the exceptions, positing that "it's obvious why so many of the hordes in Treasure Tales lay peacefully undisturbed - it's not that they are too dangerous to recover, it's just that they're far too dull to bother with. Adventures should be about heroic victory against massive odds, not gradual attrition of yet another randomly placed Lizard Man tribe." Webb concludes the review by saying: "En masse, the Treasure Tales lack subtlety. The best adventures are restricted by their potent foes, while in the lower levels there are more mapping exercises than legends waiting to happen; the good ones may prove useful for one-nighters while your Paladin's on holiday in Benidorm, but that's about the limit of Treasure Tales' appeal." Dragon #232
Percy Brown was an English professional rugby league footballer who played in the 1920s. He played at representative level for Yorkshire, at club level for Dewsbury, as a forward hooker, i.e. number 9, during the era of contested scrums. Percy Brown was born in West Riding of Yorkshire, England. Percy Brown won cap for Yorkshire while at Dewsbury. Percy Brown played hooker in Dewsbury's 2–13 defeat by Wigan in the 1929 Challenge Cup Final during the 1928–29 season at Wembley Stadium, London on Saturday 4 May 1929, in front of a crowd of 41,000. "P. Brown' Dewsbury, Percy Brown was born at Normanton, can be regarded as a local discovery, he can play in any position forward, but he is in the front row, is regarded as one of the finest "stickers" in Yorkshire. He has had county honours, has been considered for International distinction. Brown is as prominent in the loose as in tight pack work and he is sure to claim further honours" Search for "Brown" at rugbyleagueproject.org