(1769 - 22 October 1842)
William Bromley was born at Carisbrooke, in the Isle of Wight, in 1769, and was apprenticed to an engraver named Wooding in London, and soon attracted favourable notice. Of his early works the most popular are the prints of 'Macklin's Bible,' and his engravings of Stothard's designs illustrating the 'History of England.' He engraved also two of Sir Thomas Lawrence's portraits of the Duke of Wellington, and one of the young Napoleon. He was elected an associate engraver of the Royal Academy in 1819, as was employed for many years by the trusteess of the British Museum in engraving the Elgin marbles after drawings by Corbould. He died in 1842. [Bryan's Dictionary of Painters and Engravers by Michael Bryan, edited by Robert Edmund Graves and Sir Walter Armstrong, 1886–1889]
BROMLEY, WILLIAM, line-engraver, was born at Carisbrooke in the Isle of Wight. He was apprenticed to an engraver named Wooding, in London, and among his early productions were some of the plates to Macklin's Bible, the 'Death of Nelson,' after A. W. Devis, and the 'Attack on Valenciennes,' after P. J. de Loutherbourg. Later works were two portraits of the Duke of Wellington, after Sir Thomas Lawrence; and Rubens's 'Woman taken in Adultery.' Bromley was elected an associate engraver of the Royal Academy in 1819, and in the same year also a member of the academy of St. Luke, Rome. He was employed for many years by the trustees of the British Museum in engraving the Elgin marbles, from drawings executed by G. J. Corbould. Between 1786 and 1842 he exhibited fifty plates at the Royal Academy. [Redgrave's Dictionary of Artists of the English School, London, 1878.]
WILLIAM BROMLEY, A.R.A.
His works best known and most popular are the plates for “Macklin’s Bible,” and fort the “History of England,” after Stothard; the ‘Duke of Wei lington,’ as he appeared on the day of public thanksgiving at St. Paul’s Cathedral, after Sir T. Lawrence; the ‘ Countess Lieven,’ from a drawing by the same great master; ‘Young Napoleon,’; the portrait of 'Dr. Abernethy,’; ‘the Woman taken in Adultery,’ after Rubens; the 'Duke of Wellington on Horseback,’ alter Sir T. Lawrence, etc. etc. etc. His fame was great not only among the members of his own profession, the painters universally appreciated his abilities, and coveted to have their works engraved by his hands. Sir Thomas Lawrence used to say, that “his engraving was like painting;” and Flaxman and Fuseli were fervent admirers of his talents. He was a kind and indulgent parent, of a generous good heart, and modest -- like all great men. He has died respected and beloved by all who knew him. His son, whom he survived, was also an eminent engraver; and his grandson is daily rising into high repute.The Art-Union, London, November 1, 1842