A Comprehensive History of Norwich

by A. D. Bayne

“View of the Italian Boulevards at Paris,” 1815; and “Fish Market at Boulogne,” 1820—R. H. Gurney, Esq.

A “Wood Scene” was the last picture painted by Old Crome, in April, 1821. He painted many others, and etched a number of plates of Norfolk scenery, some of which have been printed. His pictures have been lent for various exhibitions and always much admired.

J. B. Crome, son of the father of the Norwich School of Landscape Painting, was a landscape painter of moonlights, &c. The editor of the Examiner for March, 1828, speaking of this artist’s pictures, says:—

“Mr. Crome’s moonlight is good, and has the grey and brown hues of Vanderneer, whose moonlight scenes have been considered the best as to natural effects; but except the parts under the immediate light of the moon, no specific colour should be seen. The browns and yellows here mingle well into the black shades of night, and have nothing of that flat grey blue which justly made coloured moonlights to be compared to a shilling on a slate.”

Mr. J. B. Crome’s pictures were “Rouen,” in the possession of Mrs. Southwell, Wroxham; “Yarmouth Quay”—T. Cobbold, Esq., Catton; “Yarmouth Beach, Moonlight”—R. J. Turner, Esq., Catton; “View near Amsterdam, Moonlight”—J. Geldart, Esq., Norwich; “Norwich by Moonlight”—Hon. General Walpole; “Moonlight”—C. Turner, Esq., Norwich. Several others of this artist’s pictures were exhibited at the Norwich Industrial Exhibition in 1867, and were much admired.

Miss Crome, daughter of Old Crome, was a painter of fruit and flowers from nature, and painted successfully.

Joseph Clover was a native of this city, but he resided some time in London. His first efforts in art were directed to engraving, and by the advice of a gentleman named Stocks, he took an impression of one of his plates to the late Alderman Boydell, in Cheapside, whose remarks on this performance discouraged him from following the profession of an engraver, and he remained for some time undetermined as to his further pursuit in art, until the following autumn, when being introduced by his uncle to the late Mr. Opie, whilst painting a portrait of that relation, he was so astonished at the facility with which the artist painted, and so delighted with his conversation, that he resolved from that moment to be a painter. He took Mr. Opie’s advice and followed him to town, from which period, namely, April, 1807, being nearly four years, he enjoyed that artist’s friendship. In the year 1806, Mr. Clover was accidentally introduced to the late Richard Cumberland, the dramatic poet, who perceiving that the artist’s health was much impaired by a too close application to study, invited him to his house at Ramsgate, and by his introduction he painted several portraits, and to the hospitable residence of this gentleman he repeated his visits during the summer months for fourteen years. In Norwich, he painted three full-length portraits for St. Andrew’s Hall, besides a number of others, and a picture called “Divided Attention,” for his friend Mr. Turner, of Norwich. This first-rate picture excited much interest in London. Some of the early pictures of this artist were at Beau Port, the house of the late Sir James Bland Burgess, and at Battle Abbey in Sussex. Subsequently Mr. Clover had the honour of being patronised by the Marquis of Stafford and other noblemen.

William Robert Dixon was a native of this city. His etchings of views in Norfolk were in the possession of many persons in Norwich. Mr. Charles Turner had an interesting collection of his drawings. As a scene painter he was much admired. He had many tempting offers from the London and other managers of theatres; but being fondly and firmly attached to his native city and a choice circle of friends, no allurements could induce him to leave them. He was very popular as a teacher of drawing. He died October 1st, 1815.

Charles Hodgson, a native of this city, was a painter of interior architecture, particularly of the early English style, and of considerable reputation for his excellent drawing and correct perspective in water colours, which subjects he was afterwards induced to paint in oil, in which he excelled. He was a constant exhibitor in the London exhibitions. His pictures were in the possession of several gentlemen in the city and county.

David Hodgson, son of the above, a native also of this city, was a painter of exterior architecture, landscape, &c. Some of his pictures of interiors of churches were in the possession of William Herring, Esq., Norwich; Pair of Landscapes, W. Roberts, Esq., of Birmingham; Large Landscape, Rev. J. Hollingworth, Newcastle; Small Landscape, Wm. Gate, Esq., Carlisle; Market Scenes, T. Bignold, Esq., Norwich; Landscape, Mr. S. Coleman; Pair of Small Landscapes, Mr. Stone, Norwich; Tombland, Mr. Stone; Landscape, Mr. G. Cooke, engraver; Pair of Street Scenes, Mr. Yarington, Norwich; Market Scenes, sold at the Liverpool exhibition.