William Bromley

19th Century genre landscape oil painting of three boys fishing on a river

C1870

Herbert ‘William’ Weekes British, (1841-1914) Admiring the Catch Oil on canvas, signed Image size: 30 inches x 21.5 inches Size including frame: 36.5 inches x 28 inches A wonderful...

David Bates British, (1840-1921) The Plough Team, Bredon’s Norton Oil on canvas, signed & dated 1908, further inscribed verso Image size: 15.5 inches x 23.5 inches Size including frame: 21.5 inches x 29.5 inches A lovely landscape painting of a plough team on a country track near Bredon’s Norton by David Bates. Bredon’s Norton is a village located in the Cotswolds, on the slopes of Bredon Hill in South Worcestershire. The America women’s rights activist Victoria Woodhull Martin moved to the village in 1901 and by 1908 had set up an agricultural school for women at her Norton’s Park estate. The Antarctic explore Raymond Priestley also lived there. Although Bates was living in Surrey at the time of this painting, he would have been familiar with the area after having lived and worked in Worcestershire for some considerable time. He would have also most likely been aware of Victoria Woodhull Martin and the school. David Bates was born in March, Cambridge in 1840 to Benjamin Bates a shoe maker and Sarah Bates. By 1851, the family had moved to Upton upon Severn in Worcestershire and from 1855 Bates became an apprentice at the Royal Worcester Porcelain Works in Worcester. There he developed his artistic talent, painting flower decorations onto vases and plates. At some point after 1861, he became a full time artist and made his debut at the Royal Academy in 1863, continuing to exhibit there until 1893. He also exhibited at the Royal Birmingham Society of Artists, Suffolk Street and the Grosvenor Gallery. He married Elizabeth Higgs from Worcester in 1867 and they lived at Cherry Orchard, Bath Road in Worcester where their children were later born. Their second child John Bates Noel (1870-1927) became a landscape artist and their younger son David Samuel...

Edward Henry Holder British, (1847-1922) The Port of Cannes Oil on canvas, signed & dated (18)95 Image size: 14 inches x 39.75 inches Size including frame: 21.5 inches x 47.25 inche...

Ludwig Hermann German, (1812-1881) A Bustling Harbour Town Oil on canvas, signed & dated 1863 Image size: 26 inches x 36.5 inches Size including frame: 35.25 inches x 45.75 inches A wonderful continental townscape scene of a bustling harbour by Ludwig Hermann. The Medieval architecture is reminiscent of North Germany and the Baltic sea area with its busy trading ports. Figures can be seen chatting to traders as ships sail around the harbour. Ludwig Hermann or Herman was born Elias Ludwig Julius Herrmann at Greifswald, Germany in 1812 to Wilhelm and Sophie Herrmann. Although little is recorded about his early life and education, he is known to have left his home in 1831 at the age of 19, to pursue an artistic career in Berlin. There he entered the Prussian Academy of Arts where he studied under Johann Gottfried Schadow (1764-1850). Hermann started exhibiting at the Berlin Academy exhibitions in 1836. A year later in 1837, he travelled to Paris to study under Eugène Isabey (1803-1886) and Eugène Lepoittevin (1806-1870). By 1841 he had returned to Berlin where he married Caroline Wilhelmine ‘Auguste’ Dupont on 16 October, 1841. From his base in Berlin he travelled around Europe painting views of France...

Karen Shahverdyan „Autumn balance“ 90 X 110cm, oil on canvas

Karen Shahverdyan „Mountains“ 80 X 100cm, oil on canvas

Karen Shahverdyan „Winter balance“ 90 X 110cm, oil on canvas

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...