Terms and Conditions
The artist, title and date of the work must be listed anywhere the image is reproduced:
James Baker Pyne
Pandy Mills, Wales 1847
oil on canvas
98.5 × 93.3 cm
National Gallery of Victoria, Melbourne
Bequest of Alfred Felton, 1904
Photo: National Gallery of Victoria, Melbourne
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Pandy Mills, Wales
1847
Medium
oil on canvas
Measurements
98.5 × 93.3 cm
Credit Line
National Gallery of Victoria, Melbourne
Bequest of Alfred Felton, 1904
Gallery location
Not on display
Artwork Details
Inscription
inscribed (diagonally) in brown paint l.r.: J B PYNE 1847. No. 156 (o underlined)
Accession Number
143-2
Department
International Painting
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Dame Carol Colburn-Grigor CBE through Metal Manufactures Limited
Subjects (general)
Landscapes Nature
Subjects (specific)
rivers rocks (landforms) water mills waterfalls (natural bodies of water)
Provenance
Probably collection of Charles Holloway (d. c. 1892) (dealer), London and Melbourne, before 1892; Holloway estate sale, Fraser & Co. Ltd, Melbourne, 2 June 1892[1]; probably purchased at this sale by Alfred Felton (1831–1904), 1892; his collection, Melbourne, until 1904; by whom bequeathed to the NGV, 1904.
[1] Catalogue for this sale not located. Painting referred to as Pandy Mill (sold 33 guineas) in ‘Sale of Pictures’, The Argus, Melbourne, Friday 3 June 1892, p. 6, accessed http://nla.gov.au/nla.news-article8426278
Frame
Isaac Whitehead died in 1881 and his son continued the business with ongoing changes of address.1 Frames that are attributable to the son are often based on a strongly classical form, distinguishing them from the distinctive moulding and patternwork of Isaac Whitehead senior. This is one of three frames in the collection, which are labelled with the father’s name but an address which post-dates his death. The frame is almost certainly a copy of the W.A.Smith frame on Keeley Halsewelle’s The heart of the Coolins, Isle of Skye 1886 (p.312.3-1). As with the frame on Bunny’s Sea idyll (p.399.1-1), the Whitehead frame is distinguished by slight variations in the form and a less highly refined level of finish. A late rendering of this frame type, with an un-ornamented, inner section appears on The bailiff’s daughter of Islington by William Hatherell (4308-3), an undated work acquired as a gift in 1930.
The frame cannot be considered original. It is most likely a reframing of the work by the owner prior to acquisition by the Gallery.
Note
1 Hilary Maddocks, ‘Picture Framemakers in Melbourne c. 1860–1930’ in vol. 1, Frames, Melbourne Journal of Technical Studies in Art, University of Melbourne Conservation Service, 1999.
Frame Details
Framemaker
Isaac Whitehead (Jnr.)
Melbourne
Date
1889–93
Materials
The frame is built from a large timber profile with composition ornaments and large-scale slip. The slip is located with spacer blocks. The bead on the slip is burnished, as are the three cavetto sections of the main frame. The torus, of fine scale laurel and berry, along with the other composition sections appears to be oil gilded. The remainder of the surface is water gilded.
Frame Condition
The frame is in good, original condition with surface wear and deterioration of the size layers apparent.
Dimensions
139.5 x 134.5 x 13.0 cm; sight 97.3 x 92.0 cm