23 Items No items selected
1 3 4 5 6 7 8 9 10 11 23
Llyn Peris and Dolbadarn Castle
National Museum Wales, Cardiff
Richard Wilson (1713/14-1782)
Llyn Peris and Dolbadarn Castle
c.1764-65 (undated)
Oil on canvas
92.7 x 125.7 cm
36 1/2 x 49 1/2 in.
NMW A 72
The view is in Caernarvonshire, North Wales, looking south along the lake Llyn Peris towards the ancient British fortress of Dolbadarn Castle with Snowdon in the distance behind. In the foreground is a fallen tree stump, with two boys fishing.
Manchester 1857 (Modern Masters, 40 Landscape, lent by Edward Loyd); Venice 1938 (Sala 8, no. 1); Madrid and Lisbon 1949, Cien Anos de Pintura Britannica (53); London, Thomas Agnew & Sons 1956 (36); Montreal 1957 (77); Paris 1959 (206); Tokyo/Kyoto 1970-71 (51); Bordeaux 1977 (64); Madrid 1988-89 (10); Llanberis 1990 (S2); London Christie's 2005; Conwy 2009 (20); Tercentenary 2014 (127)
Edward Loyd; Lewis Loyd; Captain E.F. Loyd sale, Christie's London, 30 April 1937 (137 - Dolbaddaur Castle); bt by the National Museum of Wales
Unsigned; no inscription
[1] Stencil: 10
[2] British Council - Exhibition of English Furniture in the 18th Century, Paris 1959, cat. no. 206
[3] British Council Venice 1938, no.211
[4] British Council, 100 Years of British Painting, Lisbon & Madrid, 1949, no. 52
[5] Agnew's galleries, London 1956, no. 36
[6] British Council Ex. [the rest torn]
[1] Japanese label P51 47
[2] French label: Le Chateau de Dolbadern 64, vers 1765
The circular keep of the castle was built by the Welsh prince, Llewellyn the Great in the 13th century. According to Constable, the castle seems to have been built to defend the pass into the interior parts of Snowdonia and was used as a state prison (Tour in Wales, II, 1783, p.165). Overlooking Llyn Peris and commanding the route from Caernarvon to the upper Conwy Valley, the castle was popular with tourists in the late 18th century and became a central image in the history of Wales. It was later the subject of J.M.W. Turner's Diploma picture for the Royal Academy.
D343 Dolbadarn Castle and Llyn Peris, The British Museum
E78/2 Havell after Wilson, The Ruined Fortress, The British Museum
See 'Links' tab
[1] Gaspard Dughet, Ideal Landcape , c.1658-60, Glasgow Museums
[2] Paul Sandby, Llyn Peris and Dolbadarn Castle, watercolour, 1764, Birmingham Museum & Art Gallery
[3] George Barret, Llanberis Lake and Dolbadarn Castle in the Mountains of Wales, 1777, Nottingham Castle Art Gallery and Museum, Nottingham
Wilson has adapted the elements of the observed landscape so as to dignify the Welsh scene with classical associations and present it in the manner of his Italian precursor, Gaspard Dughet (1615-75). The hybridisation of Italy and Wales was reversed in other works such as P127 The Lake of Nemi or Speculum Dianae with Dolbadarn Castle (Diana and Callisto), Bristol City Museum & Gallery, which follows this composition.
Old accession number: 37.219
Old registration number: 474
Pennant 1784, p. 157; Bury 1947, pp.47, 65; WGC, p. 176 pl. 37b (version I (1); Cardiff 1961, pp. 20-21; Solkin 1981, p. 413, fig. 26; P. Joyner, ed., Dolbadarn: Studies on a Theme, Aberystwyth, 1990, pp. 29-40; Apollo, November 1990, p. 350; Lord 2009, p. 58, no. 20; E.A. Pergam, The Manchester Art Treasures Exhibition of 1857: Entrepeneurs, Connoisseurs and the Public, Farnham, 2011, p. 302, no. 40; Wilson and Europe 2014 (127)
The painting has a portrait beneath it which may confirm an early date, the artist having reused an unsuccessful portrait commission to repeat a winning landscape formula.
Kate Lowry has noted: Simple weave linen canvas, c. 13 threads per sq cm. Lined onto similar weight linen canvas with glue-paste adhesive. Original turnovers removed at time of relining. Pine stretcher dates from relining. Ground consists of a double layer of white priming containing lead white and chalk bound in oil. Opaquely painted throughout with some impasto in clouds and trees, though this has been flattened during lining. Underdrawing is visible in the IR image particularly in the boy fishing in the foreground and the house and hills in the distance. The X-radiograph shows that the canvas was previously used for a ¾ length portrait of a young woman. Paint cross-sections show the portrait was varnished before the canvas was reused for this landscape. Extensive drying cracks at lower right in middle ground and in trees at upper right are caused the artists painting over an earlier composition.