This beautiful early 19th-century oil painting by British artist John Berney Crome (1794-1842) depicts a tranquil moonlit estuary with various sailboats and a partially obscured moon. It’s a fine example of his raison d''ętre. ‘Young’ Crome was an important member of the Norwich School of Painters and the son of John ‘Old’ Crome, one of its founders.
Sails jut prominently into the night sky, puncturing the clouds, while fishing nets stand dormant. The composition is framed by their presence. Further on, a distant silvery spire towers over a riverside town, which is peppered with buildings.
Hailing from Norwich, Crome was tutored by his father and undoubtedly learned to sketch from an early age amid the picturesque Norfolk countryside. However, it seems that ‘Old’ Crome was keen to furnish his son with a range of career opportunities, as, alongside his studies as an artist, he also undertook a formal education.
Astonishingly, at the age of 12, his work was shown at the Norwich
...Society of Artists, where he continued to exhibit for the next 24 years, becoming its Vice-President in 1818 and later its President on several occasions.
Formed in 1803, the Norwich Society of Artists was Britain’s first art movement outside of major cities, and sought to create an encouraging environment where artists could meet to discuss ideas. One of its key tenets was the ''enquiry into the rise, progress and present state of painting, architecture, and sculpture, with a view to point out the best methods of study to attain the greater perfection in these arts.''
‘Old’ Crome was one its founders and became a highly respected figure within the movement. His inspiration was derived from the Dutch landscape masters of the Golden Age, such as Meindert Hobbema (1638-1709), and Jacob van Ruisdael (1628/9-1682). Gnarled woods, dense forests, rutted winding tracks, and distant church spires breaking above the horizon. He essentially took the tried and tested compositions of the Dutch and applied them to the local scenery. Norfolk, like The Netherlands, was known for its mills, flat topography and broad skies.
Around 1815, ‘Young’ Crome, evidently now surrounded by self-taught artists of note, assisted his father with teaching and a few years later was appointed the landscape painter to the Duke of Sussex. Gaining aristocratic patronage at such a young age was a considerable advantage and paved the way for an ever-increasing circle of willing buyers.
Following his father’s death in 1821, he moved into the family house in Gildengate Street, where he established a studio and continued to elevate his career. He was particularly known for nocturnes, as we see here, and developed quite a reputation for them. His works were shown at the Royal Academy, British Institution and Society of British Artists in London, alongside numerous seasoned professionals who’d undertaken formal tuition.
It’s often difficult to ascertain the location of his views, but he painted both at home and abroad. His overseas sojourns included trips to France, Holland, Belgium and Italy. But he was equally adept at capturing the picturesque scenery of his home county.
Later in life, apparently due to his extravagant habits, he was forced to declare himself bankrupt, which resulted in the contents of his father’s house being sold off along with many of the works in his collection. Despite this, he remained a man of “genial character and jovial disposition”. He continued to teach.
He’s represented in numerous public collections, including at the Ashmolean Museum in Oxford, Government Art Collection, The Barber Institute of Fine Arts, and Norwich Castle Museum.
Held in a later frame.
Learn more about John Berney Crome in our directory.
Medium: Oil on panel
Overall size: 22” x 19” / 56cm x 49cm
Year of creation: c. 1830
Labels & Inscriptions: Gallery label on
Antique ID Number (AIDN): SA1156666
Dateline of this antique is 19th Century
Height is 49cm (19.3inches)Width is 56cm (22.0inches)Depth is 0cm (0.0inches)
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