Object: The Menai Strait

Title:

The Menai Strait

Object name(s):

Oil painting

Brief description:

The Menai Straits, Oil on Canvas, 61 x 91.4 cm

Collection:

Victoria and Albert Museum

Associated concept:

Paintings

Content - place:

Wales

Credit line:

Bequeathed by A. R. D. Robson

Current reproduction location:

https://framemark.vam.ac.uk/collections/2007BP0711/full/!100,100/0/default.jpg

Location type:

Thumbnail

Dimension:

Height

Dimension measured part:

approx.

Dimension measurement unit:

in

Dimension value:

24

Dimension:

Width

Dimension measured part:

approx.

Dimension measurement unit:

in

Dimension value:

36

Inscription content:

signed 'J.B.Pyne'

Inscription interpretation:

The painting is signed 'J.B.Pyne' on the gunwale of the boat depicted on the shore in the bottom right hand corner of the painting.

Material:

oil paint

Material:

canvas

Object history note:

The painting was bequeathed to the V&A by A. R. D Robson in 2005. No other paintings were given to the museum at this date. When E.413-2007 was acquired the V&A had four other Oil Paintings by James Baker Pyne in the collection. Historical significance: Extract from Parkinson, Ronald, Catalogue of British Oil Paintings 1820-1860. Victoria & Albert Museum, HMSO, London, 1990. p. 234. “Born Bristol 5 December 1800. Articled to a legal attorney; taught himself painting. Exhibited seven works at the RA between 1836 and 1855, 28 at the BI 1828-63, and 194 at the SBA 1833-70 (elected Member 1842, and later Vice-President). Subjects principally landscapes, mainly river and lake scenes; his style was much influenced by J M W Turner. Travelled in Switzerland and Italy 1846, and Germany and Italy 1851. Published ‘Windsor, With Its Surrounding Scenery’ nd [1838-40], ‘The English Lake District (Manchester 1853), and ‘The Lake Scenery of England’ (1859). There are also several drawings and watercolours in the V&A collections. Died 29 July 1870; his studio sale was at Christie’s 25 February 1871.” Between 1839 and 1869 Pyne recorded his paintings in a series of account books which are now in the National Art Library (pressmarks 86.AA.15 and 86.AA.16). In a reply to a letter of enquiry from the previous owner of the painting from 3rd May 1984 Lionel Lambourne, Assistant Keeper, Department of Paintings wrote: “There are six or so paintings measuring 36 x 24 (inches) by Pyne, but the only two which seem to correspond in any way with your painting are in 1846. The others are Italian or German scenes. “162 The Ferry at Portmaddock” (but Pyne specifies a rainbow not present in your work) “179 The Menai Straits”. A letter to the previous owner from Mair Lees of the North Wales Tourism Council stated: “Having read your letter and studied the photo of your painting we think it is a view of Port Dinorwig (Y Felin Heli) opposite Moel y don and looking North East.” Port Dinorwig (Y Felin Heli) is situated in the county of Gwynedd opposite Moel y don, which is a flat coastal area of Anglesey. A paddle tug accompanies a boat into the distance. This peaceful scene is a very romanticised version of what the landscape would have looked like in 1846. Port Dinorwig was an industrial port through which the slate of the Dinorwig quarry at Llanberis was shihpped. In 1839-41 a stone quarry was built along the foreshore and a tramway constructed in 1824 running from the quarry, situated seven miles inland, was extended to run along the quay. This shows the artist making a conscious decision to include only elements to create a pleasant landscape that would appeal to the public. Wales is a recurring theme in Pyne’s work. Being based in Bristol, James Baker Pyne could easily travel to Wales to paint scenes such as the Menai Straits. This interest in Welsh scenery also follows the example of artists such as Richard Wilson (1752-1807) and Thomas Danby (1818-1886) who popularised Welsh landscapes through their paintings. This painting was not exhibited at the Royal Academy but Pyne showed a number of similar works depicting the British Landscape from 1836 including Morning – Windsor Castle from the Thames (no. 473, exhibited 1836); Nightingale Valley, Clifton (no. 239, exhibited 1838); A hostel at Castle Upnor, on the Medway and Sandwich, Kentish Coast (nos. 253 and 1163, both exhibited 1841). He exhibited almost exclusively at the Royal Society of British Artists, from 1841 when he became a member. He was later elected the society’s vice president. Pyne’s choice to exhibit the majority of his works at the Royal Society of British Artists reflects his commitments there as the Vice President. It is not clear whether this painting was exhibited at the Royal Society.

Object name:

Oil painting

Object number:

E.413-2007

Object production date:

1846

Date - association:

painted

Date - earliest / single:

1846-01-01

Date - latest:

1846-12-31

Object production person:

Pyne, James Baker

Person's association:

painter (artist)

Object production place:

Wales

Place association:

painted

Other number:

LOAN:ROBSON.1-2003

Other number type:

Previous loan number

Physical description:

The Menai Straits, Oil on Canvas, 61 x 91.4 cm

Reproduction number:

2007BP0711

Responsible department/section:

PDP

Style:

British School

Style:

Victorian

Technique:

oil painting

Technique:

Oil on canvas

Text:

https://collections.vam.ac.uk/item/O136216/

Text reason:

Collections online record

Text:

Having trained as an attorney, James Baker Pyne (1800-1870) taught himself painting and began working as a professional artist in his native Bristol. He exhibited seven works at the RA between 1836 and 1855, 28 at the BI 1828-63, and 194 at the Society of British Artists between 1833 and 1870. He painted mainly landscapes. Between 1839 and 1869 Pyne recorded his paintings in a series of account books, now kept at the National Art Library. This painting is probably number 179; "The Menai Straits". The location of the painting has been identified as a romanticised view of Port Dinorwig (Y Felin Heli), which is situated in the county of Gwynedd opposite the Moel y don in North Wales. This peaceful landscape is a very romanticised version of how the landscape would have looked in 1846 when this painting is dated. In this composition Pyne has left out a stone quarry that was built along the foreshore in 1839-41 and a tramway that ran between the quarry and the quay. This shows the artist making a conscious decision to include elements to create a composition that would appeal to a mid-nineteenth century audience.

Text reason:

Summary description

User's reference:

Reference:

MS Picture Memoranda 1840-1868 National Art Library collection, V&A

User's reference:

Reference:

Art Journal 1856, pp.205-8; 1870, p.276 (obit)

User's reference:

Reference:

Athenaeum 13 August 1970, pp.217-8 (obit)

Persistent shareable link for this record: https://museumdata.uk/objects/a19e2087-a0a2-3da1-a6e5-9b036aa86303

Use licence for this record: CC BY-NC

Attribution for this record: https://museumdata.uk/objects/a19e2087-a0a2-3da1-a6e5-9b036aa86303, Victoria and Albert Museum, CC BY-NC

Is there a problem with this record? Give feedback.