Product Description
Bromley John Mallord 19th Century Stormy Sea English Marine Painting with Boats
3.500,00€
An English marine painting depicting a seascape by John Mallord Bromley (London 1858- Torquay 1939), late 19th century Victorian marine view, a stormy sea oil on canvas painting, with a broken boat mast in the foreground, three boats, a sail boat, a paddle steamer and a rowing boat with figures.
Member of the Royal Society of British Artist, he exposed a lot of works in London from 1876, especially at the Royal Academy, at Suffolk Street at the New Water-Colors Society and at the Grafton Gallery.
Some of his works are exhibited in the museums of Melbourne, Sidney and Reading.
Signed lower left with monogram. Set in giltwood frame of the period. The work comes from a private collection of Milan and is in good condition, ready to hang. Size 102 x 152 x 9 cm – canvas only measures 77 x 127 cm.
John Mallord Bromley’s byography from E. Benezit Dictionaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. Vol.2 page 836.
He was trained by his father, the artist William Bromley II, who was trained by his father, the engraver William Bromley I 1769-1842.
Bromley was known to have lived in London in 1880 and 1888, in Rochford, Essex in 1885 and St Ives, Cornwall in 1897. In St. Ives he joined the Arts Club.
His works show views of the town and harbor life of St Ives and neighboring fishing ports.
In 1899, Bromley married fellow artist Selena M. Wing. The couple lived in St Ives until 1901, when they moved on to Torquay, Devon. Bromley died in 1939.
ORGANIZATIONS
– St. Ives Arts Club (STIAC), 1898
– St. Ives Society of Artists (STISA), ca.1929-1939
EXHIBITIONS
1917 Plymouth Art Gallery, November.
1880-1904, etensively
Dowdeswell Galleries, 30 exhibitions
Royal Academy, 17 exhibitions
Royal Society of British Artists, 87 exhibitions
Royal Institute of Painters in Water Colours, 11 exhibitions
Royal Institute of Oil Painters, 4 exhibitions
Period: 1800
Article size:
height: 102 (77) cm
width: 152(127) cm
depth: 9 cm
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A large mountain landscape, an early 20th century oil on canvas painting depicting a mountain scenery, the Monte Rosa massif, in the Piedmont Alps, with snowy mountains on the background, a rural farm and some cows in valley in the foreground; signed lower left S. Poma (Trescore Balneario, 1840 – Turate, 1932), one of the most relevant landscape painters of late 19th century Lombard Verismo.
The Verismo (meaning "realism", from Italian vero, meaning "true") refers to a 19th-century Italian painting style. This Italian term implies extreme raw realism, without any interpretation.
This peaceful mountain and valley view comes from a private collection of a Milanese family, it showed a small canvas tear, as per detailed picture below, now restored. Set within a passe-partout and a giltwood frame, it is now in good age related condition, with some small canvas tears on the border, which could be restored relining an reinforcing the original canvas only. Anyway you do not see them since covered by the frame.
About the artist:
Silvio Poma, Trescore Balneario, Bergamo, 1840 - Turate , Como, 1932 Having served as a volunteer in the second war of independence, Poma embarked on a military career but retired from the army in 1866 after contracting malaria. On his return to Milan, he worked in the studios of the soldier-painters Giovan Battista Lelli and Gerolamo Induno, his comrades in the military campaign of 1859. He made his debut at the Esposizione di Belle Arti di Brera of 1869 but received no official recognition until halfway through the following decade. A painting of a historical subject in a broad natural setting of Romantic character won the Mylius Prize
of the Brera Academy of Fine Arts in 1876 and a landscape exhibited in Naples at the Esposizione Nazionale di Napoli was bought by Vittorio Emanuele II in 1877. Poma established his reputation as a landscape painter with a repertoire of lake views that are intimist in character while also displaying the influence of his contemporary Filippo Carcano in their realistic approach. The period from 1883 on saw an increase in activity with the systematic presentation of works at national exhibitions and lasting success on the art market.
