George Price Boyce - Overlooking Llyn Helsi, Caernarvonshire, after Sunset

signed and dated 'G BOYCE/'5' (the G and B in monogram). and inscribed, and dated 'Exhibited at the Winter/Exhibn. of the Society of Painters in/Water Colours-Nov. 1868/Overlooking Llyn Helsi-after Sunset/George P. Boyce.Oct. 29 1855/Moel Siabod-Glyder fawr-Glyder fach-Braich du-Carnedd Dafydd- /Carnedd Llewllvn/N.B. The banks of the Like were for some time reflected in half-tone blue, which was bluer than/the colour of the water could have been & much lighter in tone than the dark bank causing it/Neither could the one only streak of pale green blue in the sky have caused it on the reverse
pencil, watercolour and bodycolour
5 x 15 1/4in. (12.6 x 38.6cm.)

This watercolour is one of these made by Boyce in the mid-1850. in which he explored dark crepuscular effects, rich in atmosphere and realised with a much freer use of wash than usual. The Welsh subject, the coarse paper and the bold technique all betray the influence of David Cox, whom Boyce had met in 1849. Painting at Bettsys-y-Coed in August 1851, he encountered Cox again and recorded in h6 diary: 'While sketching, David Cox came and shook hands with me ... After dinner I made an evening sketch on grey wrapping-up paper. David Cox saw it and approved' (op.cit. p.2).

But others were not so happy. On 21 April 1854 Boyce showed a 'Welsh sunset study' to Ruskin and his father when they called at his studio, and noted: 'On my expressing my liking for after sunset and twilight efiects, Ruskin said I must not be led away by them, as on account of the little light requisite for them, they were easier realisation than sunlight effects'. Despite Ruskin's warning Boyce continued to make atmospheric evening studies when he visited Venice that summer, and, as our drawing shows, subsequent Visits to Wales: although the meticulous notes the back of the drawing show how aware he was of Ruskin's insistence on the need for close observation.

It is conceivable that the watercolour is In North Wales which Boyce contributed to the Pre-Raphaelite exhibition held in Russell Place in 1857 and was disconcerted to find re-mounted when he visited the show. 'I found my little 'Sunset' sketch in North Wales mounted in a prepostoursly wide gilt flat, whereas I had left it in my room mounted on white paper. A lot of the foreground is covered by the mount which completely spoils the sketch and looks ridiculously pretentious besides. Boyce's preference for white or cream mounts was very advanced for the day, and had evoked the indignation of one of the exhibition's organisers, Ford Madox Brown. In North Wales Brown wrote to him in explanation. 'was so badly mounted that I thought it necessary to order a gold mount for it which is a great improvement. If you not satisfied with it however. I must pay for it' (loc cit)