John Pye (1782-1874)
Pye was a talented and influential engraver from Birmingham. Initially self-taught, later, at around the age of eighteen, he moved to London and apprenticed himself to James Heath (1757-1834). Here, ‘he had an opportunity of making friends with many of those men who made English engraving famous in the early years of the [nineteenth] century.’ (Bryan’s Dictionary).
He is best-known for the numerous plates he engraved after the work of J M W Turner (1775-1851). Following the success of these, ‘Many important works were intrusted to him, and while still comparatively young, he had acquired means enough to take life easily, to help on less fortunate men, and to promote various causes he had at heart. Much of his life was passed in Paris, and he was elected a corresponding member of the French Institute (by which he was awarded a medal), as well as of the St Petersburg Academy. He took great interest in the history and condition of English art, was a founder of the Artists’ Benevolent Fund, opposed the Royal Academy with much energy and not a little acerbity, and wrote an important work on ‘The Patronage of British Art’.’ (ibid).
Pye’s opposition to the Royal Academy no doubt related to its attitude to printmakers. Engravers were ineligible for full membership, instead being classified as ‘Associate Engravers.’
Collections
British Museum, London
Metropolitan Museum, New York
National Portrait Gallery, London
Royal Academy, London
Royal Collection Trust
Tate Gallery, London
Victoria and Albert Museum, London
Literature
Gray, B (1937), The English Print, Adam and Charles Black
Hind, A M (1963 reprint), A History of Engraving and Etching, Dover Publications
Mackenzie, I (1988), British Prints, Antique Collectors’ Club
Redgrave, S (1970 reprint), A Dictionary of Artists of the English School, Kingsmead Reprints
Williamson, G C Ed. (1904), Bryan’s Dictionary of Painters and Engravers, George Bell and Sons
Pye was a talented and influential engraver from Birmingham. Initially self-taught, later, at around the age of eighteen, he moved to London and apprenticed himself to James Heath (1757-1834). Here, ‘he had an opportunity of making friends with many of those men who made English engraving famous in the early years of the [nineteenth] century.’ (Bryan’s Dictionary).
He is best-known for the numerous plates he engraved after the work of J M W Turner (1775-1851). Following the success of these, ‘Many important works were intrusted to him, and while still comparatively young, he had acquired means enough to take life easily, to help on less fortunate men, and to promote various causes he had at heart. Much of his life was passed in Paris, and he was elected a corresponding member of the French Institute (by which he was awarded a medal), as well as of the St Petersburg Academy. He took great interest in the history and condition of English art, was a founder of the Artists’ Benevolent Fund, opposed the Royal Academy with much energy and not a little acerbity, and wrote an important work on ‘The Patronage of British Art’.’ (ibid).
Pye’s opposition to the Royal Academy no doubt related to its attitude to printmakers. Engravers were ineligible for full membership, instead being classified as ‘Associate Engravers.’
Collections
British Museum, London
Metropolitan Museum, New York
National Portrait Gallery, London
Royal Academy, London
Royal Collection Trust
Tate Gallery, London
Victoria and Albert Museum, London
Literature
Gray, B (1937), The English Print, Adam and Charles Black
Hind, A M (1963 reprint), A History of Engraving and Etching, Dover Publications
Mackenzie, I (1988), British Prints, Antique Collectors’ Club
Redgrave, S (1970 reprint), A Dictionary of Artists of the English School, Kingsmead Reprints
Williamson, G C Ed. (1904), Bryan’s Dictionary of Painters and Engravers, George Bell and Sons
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