at the Royal Academy in 1780, sending a portrait of Garrick, perhaps the one painted at Bath for Sir Richard Sullivan, and now in the National Portrait Gallery (engraved in mezzotint by W. Dickinson), and for the last time in 1784, when he sent portraits of Lord Amherst and the Duke of Norfolk, and a large painting of ‘Admiral Rodney in Action on board the Formidable,’ which, after various wanderings, has found a home in the town-hall at Kingston, Jamaica (see the Daily Gleaner, 2 Aug. 1893, and the Columbian Magazine, Kingston, for November 1797). Pine displayed a considerable amount of sympathy with Wilkes and the so-called patriots. He painted more than one portrait of Wilkes, which remain the most satisfactory likenesses of that demagogue, were engraved in mezzotint by W. Dickinson and J. Watson, and have been frequently copied. When Brass Crosby [q. v.], the lord mayor, and Aldermen Wilkes and Oliver were committed to the Tower in 1771, Pine visited them, and painted their portraits while in captivity, those of Crosby and Oliver being also engraved by W. Dickinson. Pine is said to have painted four portraits of Garrick, and a large allegorical composition of ‘Garrick reciting an Ode to Shakespeare,’ by Pine, was engraved in stipple by Caroline Watson. Pine painted a series of pictures to illustrate Shakespeare, and in 1782 held an exhibition of them in the Great Room at Spring Gardens, which was, however, by no means successful; some of these Shakespearean pictures were engraved by Caroline Watson and others. Among the numerous portraits painted by Pine before this date were a full-length of George II, painted from memory in 1759 (now at Audley End), and a full-length of the Duke of Northumberland for the Middlesex Hospital.
In 1783, after the declaration of independence by the States of America, Pine, not meeting with sufficient support in London, determined to go to America, in the hope of painting the portraits of the principal heroes of the American revolution, as well as commemorative historical pictures. He settled with his wife and children in Philadelphia, where she kept a drawing-school. Pine was furnished with an introduction to Francis Hopkinson, whose portrait was the first which he painted in America, and who gave him a letter of recommendation to George Washington. Pine painted Washington's portrait in 1785, and also others of the family at Mount Vernon, where he resided for three weeks. His portrait of Washington was engraved as a frontispiece to Washington Irving's ‘Life of Washington,’ and passed eventually into the possession of Mr. Henry Brevoort of Brooklyn, U.S. Pine obtained considerable employment as a portrait-painter in America, and painted several family groups. Robert Morris, George Read, and Thomas Stone were among his sitters, and a fine portrait of Mrs. John Jay belongs to her grandson, John Jay, of New York, U.S.A. Among the paraphernalia of his art which he took from England was a plaster cast of the Venus de' Medici, which he was obliged to keep enclosed in a box, it being the first specimen of a nude statue which had been seen in America. Pine died suddenly of apoplexy at Philadelphia on 18 Nov. 1788. He is described as a very small man, morbidly irritable. After his death his widow obtained leave from the legislature of Pennsylvania to dispose of his pictures by lottery. A large selection of his historical works were preserved in the Columbian Museum at Boston, U.S., where they were seen and studied by the painter, Washington Allston, when young, who said that he was much influenced by Pine's colouring. They all, however, perished when that institution was burned.
[Redgrave's Dict. of Artists; Edwards's Anecd. of Painting; Dunlap's Hist. of the Arts of Design in the United States; Appleton's Cyclopædia of American Biogr.; Chaloner Smith's British Mezzotinto Portraits; Baker's Engraved Portraits of Washington; Catalogues of the Soc. of Artists and Royal Academy.]
PINGO, LEWIS (1743–1830), medallist, son of Thomas Pingo [q. v.], medallist, was born in 1743. In 1763 he was a member of the Free Society of Artists, and in 1776 was appointed to succeed his father as assistant-engraver at the mint. From 1779 till his superannuation in 1815 he was chief engraver. Pingo engraved the dies for the shillings and sixpences of George III in the issue of 1787 (Hawkins, Silver Coins, p. 411), and the second variety of the Maundy money of George III (ib. p. 416). He also engraved dies for the three-shilling Bank token and for the East India Company's copper coinage (Gent. Mag. 1818, pt. i. p. 180). He made patterns for the guinea, seven-shilling piece (Crowther, English Pattern Coins, p. 36), penny and halfpenny of George III (Montagu, Copper Coins, p. 105). Among Pingo's medals may be noticed: medal of Dr. Richard Mead, struck in 1773 (Hawkins, Medallic Illustr. ii. 675); the Royal Society Copley medal, with bust of Captain J. Cook, 1776; Freemasons' Hall medal, 1780; ‘Defence of Gibraltar,’ 1782 (Cochran-Patrick, Medals of Scotland, p. 108); Christ's Hospital medal, reverse, open bible; medal of William Penn
