This fine and rare original landscape oil painting by 19th century English artist William Henry Crome (1806 - 1873) is an absolute treat for the eyes. Depicting a traditional English landscape this work features a wonderful cottage with watermill on a pond within a far greater scene. A characteristically large tree in the foreground is present to the left and acts to help balance the painting as a competing mountain in height lies to the right. In the far distance in the center of the work their is a mountain peak and just below it to the right rests a city with two small towers reaching above the rest. This work is beautifully painted most definitely showcasing the talent that Crome had obtained learning to paint from his accomplished father and brother. 

Executed in oil on canvas this painting has never been relined or restored having maintained excellent overall condition. This is a larger example with the canvas approximately 33 1/2 x 23 1/2 inches and is signed in the lower right corner "W.H. Crome". The canvas has a nice even craquelure and yellowing of the old varnish but once cleaned it would restore the paintings depth and color tremendously. No punctures, tears or repairs are present with just some minimal frame wear and stretcher imprint. Their are two pin head size pieces of flaked off paint near impossible to see unless under close scrutiny,  one present just below the peak of the far distant center mountain and in the tree grouping to the right.

If you have any questions regarding this work please feel free to email us below or call at (407)-739-3068.

-----------------------------------------------

ARTIST BIOGRAPHY

From Ancestry tree owned/managed by francespirie - May 2012

William Henry Crome was born in Norwich on 22nd October 1806, the son of the renowned painter John Crome, one of the founders of the Norwich School. When his father died in 1821, William’s tuition was probably taken over by his brother John Berney Crome. Indeed, many of William’s early works were moonlights and one can clearly see the influence of his elder brother.

In 1826 he exhibited his first painting entitled A View at Cotessy, Norfolk at the British Institution. At the age of 24, William was beginning to look towards the Old Master Claud Lorraine for influence. The evidence of a Claudian composition and palette, particularly in the use of blue, is manifest in his work from this time. These blues are notable in many of his Scottish views, such as Lochleven Castle and Pitleven Bridge. In his journal written about 1850, Henry Ladbrooke mentions William living in London. It was probably from here that he set out for the continent. His visit is recorded by an inscription on a painting belonging to Mr. E. Levine which reads: Near Aix La Chapelle, Brussels 1854. Crome’s work may be identified by his distances which have an emerald greeny blue appearance. Indeed, his palette often includes these greeny blues – one often finds it in the touches on tree boles and in the foliage of trees. Amongst the greens of the trees there is often a tree carrying a deep earth-colour which lends the painting a rich appeal. He learnt about balancing masses from his father, and one often finds a small mass alongside a larger one. His drawing of figures and animals, though not given prominence, are often meticulous and effective. The blue period was followed by a number of paintings of very balanced colour, most of them being Norfolk scenes. However, most of his paintings continue to exhibit his fondness for emerald green tones. Indeed, the use of green becomes increasingly apparent until he embarks upon his ‘green’ period which began about 1840. In watercolours he attained great delicacy; though not his usual working medium, several watercolours are recorded, the most interesting being Views of Windsor, executed at the mere age of 15. His late work suggests a further colour transition to sienna. It is also interesting to note that in 1867, a piece entitled Norwich from the Hellesdon Road was exhibited at Norwich by John and William Crome which either suggests that William Henry completed his father’s picture or that they executed a joint work. It is possible that other such works exist. He died in 1867.