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William Holman Hunt Auction Price Results

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WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT STUDY OF MISS ISABELLA WAUGH 55cm x 35cm (21.75in x 13.75in)

Lot 64: WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT STUDY OF MISS ISABELLA WAUGH 55cm x 35cm (21.75in x 13.75in)

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Description: WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT STUDY OF MISS ISABELLA WAUGH Oil on canvas, inscribed on torn label on stretcher at a later date by Edith Holman Hunt: '[Fo]r Slubby with [lo]ve from Edith H[olman Hunt] Study of […] by W H[olman Hunt] made […] Campden […]' 55cm x 35cm (21.75in x 13.75in)

Condition Report: Relined. One or two scattered areas of minor retouching. Retouching to stretcher-marks (visible in photo). Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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WILLIAM HOLMAN HUNT O.M., R.W.S. (BRITISH 1827-1910) STUDY OF THE ARTIST’S SISTER AND HER CHILD 33cm x 45cm (13in x 17.75in)

Lot 69: WILLIAM HOLMAN HUNT O.M., R.W.S. (BRITISH 1827-1910) STUDY OF THE ARTIST’S SISTER AND HER CHILD 33cm x 45cm (13in x 17.75in)

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Description: WILLIAM HOLMAN HUNT O.M., R.W.S. (BRITISH 1827-1910) STUDY OF THE ARTIST'S SISTER AND HER CHILD Oil on canvas 33cm x 45cm (13in x 17.75in)

Condition Report: Some cosmetic retouching to left of woman's face, and her right cheek and to outline of both figures' chins. Some repainting in baby's face. Otherwise cosmetic. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT OF FANNY HUNT 71cm x 53cm (28in x 30in)

Lot 291: WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT OF FANNY HUNT 71cm x 53cm (28in x 30in)

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Description: WILLIAM HOLMAN HUNT O.M. (BRITISH 1827-1910) PORTRAIT OF FANNY HUNT Signed with monogram and dated 1866, coloured chalk and wash on paper laid down on canvas 71cm x 53cm (28in x 30in)

Condition Report: Largely good condition, slight time-staining. 7/10 Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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FREDERICK STACKPOOLE (BRITISH, 1813-1907) The Shadow of Death 1878 (after William Holman Hunt, 1827-1910) mezzotint and etching, tin...

Lot 3104: FREDERICK STACKPOOLE (BRITISH, 1813-1907) The Shadow of Death 1878 (after William Holman Hunt, 1827-1910) mezzotint and etching, tin...

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Description: FREDERICK STACKPOOLE (BRITISH, 1813-1907) The Shadow of Death 1878 (after William Holman Hunt, 1827-1910) mezzotint and etching, tinted with watercolour 85 x 66cm Literature: Hilary Guise, 'Great Victorian Engravings: A Collector's Guide', Astragel Books, London: 1980 (illus.)

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WILLIAM HOLMAN HUNT, O.M., R.W.S.

Lot 1: WILLIAM HOLMAN HUNT, O.M., R.W.S.

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Description: WILLIAM HOLMAN HUNT, O.M., R.W.S. 1827-1910 HOMEWARD BOUND (THE PATHLESS WATERS) signed with monogram l.l. watercolour with traces of pencil and scratching out 25.5 by 17.5cm.; 10 by 7in.

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 1: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: Asparagus Island, Kynance, Cornwallpencil and watercolour heightened with white and with scratching out7 7/8 x 10 1/4 in. (20 x 26 cm.)

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WILLIAM HOLMAN HUNT O.M., R.W.S., A.R.S.A. 1827-1910

Lot 2: WILLIAM HOLMAN HUNT O.M., R.W.S., A.R.S.A. 1827-1910

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Description: PORTRAIT OF A YOUNG WOMAN, PERHAPS ISABELLA WAUGH55 by 35.5 cm., 21 ½ by 14 in.inscribed by Edith Holman Hunt on the remains of an old label attached to the stretcher: [Fo]r Slubby / [with lo]ve from / Edith H[olman Hunt] / [S]tudy of... / by W.H.[Holman Hunt] / ... / [ma]de... [Cam]pdenoil on canvas in its original frame designed by the artistPROVENANCEGiven by Edith Holman Hunt to Sir John Macdonell, KCB ('Slubby', in her inscription);To his wife, Dame Agnes Macdonell, 1921;To her daughter, Margaret Alder, 1925;To her niece, Imogen Pilch, by 1957;Christie's, London, 14 July 1972, lot 9;Christie's, London, 21 July 1978, lot 49;Sotheby's, London, 15 June 1982, lot 61;Christie's, London, 12 June 1992, lot 110;Christie's, London, 5 March 1993, lot 102;Private collectionLITERATURELynn Roberts, 'Nineteenth Century English Picture Frames II: The Victorian High Renaissance', International Journal of Museum Management and Curatorship, vol.V, 1986, p.275, reproduced in frame, p.280, fig.4;Judith Bronkhurst, William Holman Hunt: A Catalogue Raisonné (to be published by Yale University Press in June 2006), vol.I, cat. no.105, p.206, reproduced in colour; vol.II (in the section 'Frames designed by or partially designed by William Holman Hunt'), no.20, p.312NOTEThis painting appears to be the commencement of a portrait rather than a study for a head to be incorporated into a figurative composition. A woman's head is shown, with her hair drawn back and held by a gold band decorated with an anthemion pattern and stylised lotus flowers.The torn label in Edith Holman Hunt's hand indicates that it was painted at 1 Tor Villa, where Hunt lived for a period of months in the spring and summer of 1866. He was then working on The Festival of St Swithin (Ashmolean Museum, Oxford), and otherwise was attempting to get his affairs in order before setting out for the Holy Land. The portrait was presumably left unfinished because Hunt ran out of time before his departure for the East. There may have been plans to work on it again -- an extra strip of canvas was added to the lower edge at some stage, which would have allowed space for more of the figure's shoulders and arms to be shown -- perhaps in the late 1860s. That the painting was something of which Hunt was proud, despite its having been left unfinished, is demonstrated by its placing in a frame made to the artist's own design and which incorporated disks representing the phases of the moon. This decorative motif has lead to the suggestion that the figure was intended to represent Artemis, the virgin goddess of the hunt who also presided over the transition of girls into a state of womanhood (see Roberts, loc. cit.). The pattern of the frame is based on a drawn study that Hunt made in Palestine in 1876 and which is inscribed 'Arab ornamental frieze on doorway of Mosque Jerusalem' (Birmingham Museum and Art Gallery).The portrait is likely to show a member of the Waugh family. Holman Hunt was married first to Fanny Waugh, who died in 1866, and then in 1875 to her sister Edith. A distinct physical resemblance on the part of the sitter to each of them (as they are seen in portraits by Hunt in Toledo Museum of Art and private collection, respectively) suggests that this may be of Isabella, another of their siblings, who had been born in 1843. If this theory is correct, it may be that Hunt finally abandoned the portrait at the time when relations with the Waugh family deteriorated when Edith and he announced their intention to marry (the Waughs were opposed to the marriage because according to English law, it was illegal for someone to be wed to his deceased wife's sister). CSNWe are grateful to Dr Judith Bronkhurst for assistance in the preparation of this catalogue note. The possibly identification of the sitter has been suggested by Dr Bronkhurst.

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Lot 4: William Holman Hunt, A.R.S.A., R.W.S., O.M.

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Description: 1827-1910 recumbent porter - life study for figure in ''the flight of madeline and porphyro during the drunkenness attending the revelry'' inscribed by Gladys Holman Hunt l.l.: Eve of St Agnes red chalk heightened with white, unframed 37.5 by 54 cm., 14 3/4 by 21 1/4 in. Dating from 1848, the present drawing was made as a life study for the figure of the drunken porter in the centre foreground of the painting The Flight of Madeline and Porphyro (Guildhall Art Gallery). The painting takes its subject from Keats's poem 'The Eve of St Agnes', where the figure of the porter is described in verse XLI as lying 'in uneasy sprawl,/With a huge empty flaggon by his side.' Provenance: William Holman Hunt; by descent to Mrs Elisabeth Burt; Sotheby's, 10 October 1985, lot 10; private collection. Exhibited: Liverpool, Walker Art Gallery, and London, Victoria & Albert Museum, William Holman Hunt, 1969, no.93; Portsmouth, City Museum and Art Gallery, An Exhibition of Drawings by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, [and] Ford Madox Brown, 1976, no.10.

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 6: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: Pearlsigned with monogram (lower left)silverpoint heightened with white and with scratching out, brown prepared paper17 x 10 3/4 in. (43.2 x 27.5 cm.); and seven letters and a copy of Pearl: An English Poem of the Fourteenth Century, edited by Israel Gollancz and with his parallel version in modern English. London: David Nutt, 1891, 8vo, collotype frontispiece after William Homan Hunt, title in red and black, original boards, top edge gilt, contemporary purple velvet chemise trimmed with gold braid and glass beads in contrasting purple and pink. Presentation copy, front blank inscribed to Edith Holman Hunt 'With the Editor's/grateful regards/May 1891'. Number 50 of 50 copies. The chemise was undoubtedly intended to give the book a medieval appearance, suited to its text. (9)

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William Holman Hunt, O.M., R.W.S., (1827-1910)

Lot 7: William Holman Hunt, O.M., R.W.S., (1827-1910)

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Description: The Plain of Esdraelonsigned and inscribed 'Sketch by W Holman Hunt Plains of Esdraelon preparatory to "Over those pastures walked those blessed feet" in Ashmolean Oxford ' (on the reverse)oil on canvas12 1/4 x 28 in. (31 x 71.1 cm.)

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William Holman Hunt, R.W.S., O.M. (1827-1910)

Lot 7: William Holman Hunt, R.W.S., O.M. (1827-1910)

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Description: William Holman Hunt, R.W.S., O.M. (1827-1910) Study for the head of Christ in 'The Shadow of Death' pencil, red chalk and brown wash, heightened with white on paper incised along the left, right and lower margin11½ x 11¼ in. (29.2 x 28.3 cm.)

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 8: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: Daniel prayinginscribed by the artist from Daniel 6:10-11 'Now when Daniel knew that the writing was signed, he went into his house and his window being open towards Jerusalem, he kneeled upon/his knees three times a day and prayed and gave thanks before his God as he did aforetime. /Then these men assembled and found Daniel praying and making supplication before his God' (lower centre, in the margin) and with further inscription by Edith Holman Hunt 'Study for "Cyclographic" by W. Holman Hunt for history of the movement see PR itisim [sic] by WHH' and 'To dear "I.G." from his friend of 30 years M Edith Holman Hunt Xmas 1923' (on the backboard)pencil, pen and black and brown ink and grey wash, fragmentary watermark 'J W[HATMAN]/TURK[EY MILL]', within the artist's black-line border, unframed9 1/8 x 10 3/4 in. (23.2 x 27.5 cm.)

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William Holman Hunt (1827-1910)

Lot 8: William Holman Hunt (1827-1910)

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Description: The Desolation of Egyptetching, on chine appliqué, with wide margins, scattered foxing in the margins, moisture staining at the sheet edges, otherwise in good conditionP. 49 x 113mm., S. 270 x 365mm.

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                                        William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 10: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: William Holman Hunt, O.M., R.W.S. (1827-1910) Pearl signed with monogram (lower left) silverpoint heightened with white and yellow and with scratching out, on brown prepared paper17¼ x 11 in. (43.8 x 27.9 cm.); and a 1918 edition of Pearl: An English Poem of the Fourteenth Century, London, George W. Jones (2)

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Lot 11: HUNT, WILLIAM HolMAN (1827-1910)

Description: Egyptians playing Siga in a cafe at Seminood on the Nile, 1854 Pencil 7x6 inches (17.7x14.3 cm) signed & dated (Lower Left).

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 12: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: The Grand Piazza at Athens, with the two bronze statues known as 'The Runners', of the Fine Pericles signed with monogram and dated '92' (lower left), signed again and inscribed 'Piazza della Constituzione, by night/Athens W Holman Hunt' and with inscription '18 Melbury Rd W' (on the backboard) and with further inscription by another hand 'Athens,/the Square./by W Holman-Hunt/in 1893.' (on the artist's label attached to the backboard) tempera over watercolour heightened with white, on paper pasted on to millboard, varnished 141/8 x 20 in. (35.7 x 50.8 cm.) PROVENANCE By descent in the artist's family to his granddaughter Mrs Elisabeth Burt until 1993. LITERATURE Athenaeum, no. 3417, 22 April 1893, pp. 511, 513. Illustrated London News, CII, no. 2818, 22 April 1893, p. 492. C. Monkhouse, Academy, XLIII, no. 1096, 6 May 1893, p. 401. O. J. von Schleinitz, William Holman Hunt, (K쳌nstler-Monographien, no. LXXXVIII), Bielefeld and Leipzig, 1907, p. 127, repr. p. 125, pl. 124. W. Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2nd ed., 1913, II, illustrated p. 314 (as The Square, Athens ). EXHIBITION London, Royal Society of Painters in Water Colours, Summer Exhibition, 1893, no. 186. Birmingham, Royal Society of Artists, Autumn Exhibition, 1893, no. 881 (as The Grand Square before the King's Palace, Athens ). Liverpool, Walker Art Gallery, Autumn Exhibition, 1895, no. 1094 (as The Grand Piazza at Athens, with the two bronze statues known as 'The Runners', of the Time of Pericles ). London, Royal Society of British Artists, One Hundred & Eighteenth Exhibition, 1902-3, no. 272 (as Piazza della Constituzione, Athens, by night ). London, Leighton House, The First Exhibition of Works by Artists resident in Kensington, 1906, no. 21. London, Leicester Galleries, Exhibition of the Collected Works of W. Holman Hunt, O.M., D.C.L., 1906, no. 66. Manchester, City Art Gallery, The Collected Works of W. Holman Hunt, O.M., D.C.L., 1906-7, no. 36. Liverpool, Walker Art Gallery, Collective Exhibition of the Art of W. Holman Hunt, O.M., D.C.L., 1907, no. 32. Liverpool, Walker Art Gallery, and London, Victoria and Albert Museum, William Holman Hunt, 1969, no. 252, illustrated in cat. pl. 88, lent by Mrs Elisabeth Burt. NOTES We are grateful to Judith Bronkhurst for providing us with the following catalogue entry: This fine watercolour (referred to throughout the following text as Athens ) with its unusual compositional format and sensitive observation of a Mediterranean night scene, was begun in Athens in January 1892. The previous year was one of success and stress for Holman Hunt (fig. 1). In June he had the gratification of seeing The Finding of the Saviour in the Temple fetch 3,400 guineas in these Rooms, and two months later Liverpool Corporation bought his latest major religious painting, The Triumph of the Innocents, for a similar sum. Meanwhile, his first major subject picture for some years, May Morning on Magdalen Tower (Lady Lever Art Gallery, Port Sunlight), was being exhibited in a one-picture show in Old Bond Street. Finishing it had taken its toll on Hunt's health. His asthma became increasingly disabling, and on 13 November he wrote to his friend Vernon Lushington: 'I have been hindered more than once or twice from seeing you by this overworked body of mine failing me at critical junctures... Now you will have heard the doctor advises a holiday. And we are going shortly to make a tour more or less about the water which the gods made - it seems - to rear up, delight and strengthen willing men' (MS. private collection). This poetic reaction to the Mediterranean and classical mythology may seem slightly unexpected. But Hunt had been imbued with enthusiasm for Greek culture from the 1840s, when, like all art students in London at that period, he had carefully studied the Elgin Marbles in the British Museum. In 1848, when Hunt and Dante Gabriel Rossetti drew up their List of Immortals, Phidias was included, and in 1863, in his series of articles on Augustus Egg in the Reader, Hunt enthusiastically praised the sculptor's treatment of the goddesses in the Elgin Marbles. Homer was another of Hunt's heroes. He had been accorded two stars in the List of Immortals (only Shakespeare and the author of the book of Job got three, while Jesus Christ scored four), and was very much in the artist's mind when he had his first sight of the Greek Islands. This was on the final stages of his journey to the East of 1854-6, during a boat trip from Beirut to Constantinople. The vessel travelled close to the shore of Rhodes and the Island of Samos on 28 November 1855, inspiring Hunt to execute the watercolour In the Archipelago (private collection). Its calmness contrasts strongly with his excitement at passing a site he knew so well from Homer's Iliad : 'Yesterday I with my living eyes looked upon the plains of Troy - saw the tumuli of Ajax, Patroclus and Achilles - with Mount Ida standing up afar, clouded and dreaming away the day, as if remembering when the world was young...' This letter of 2 December to Michael Halliday (who in 1856 was to become Hunt's pupil and co-tenant) continues: 'a whole life time of my shadowy dreams on that head were made into realities thereby for ever' (MS. private collection). Despite Hunt's love of classical culture, he was not concerned to translate his 'shadowy dreams on that head' into artistic realities in terms of subject matter. His reaction to the classical revival in British art which gained currency from the 1860s was a modification of his hard-edged Pre-Raphaelite style and a heightened appreciation of the decorative qualities of two-dimensional art. But he wished to base his reputation on major paintings that broke new ground in attempting to embody complex ideas in pictorial form. Only in one instance did his reverence for classical culture spill over into his paintings in a direct way. In 1891, the year the Mediterranean trip was planned, we find him designing a bas-relief of Hercules (Manchester Art Gallery) for inclusion in the work that was to occupy him for nearly twenty years, The Lady of Shalott (Wadsworth Atheneum, Hartford). The features of the classical hero appear to be based on a representation of Herakles fighting the Amazons in the frieze from the temple of Apollo Epikourios at Bassae, which Hunt could have seen in the British Museum. At the end of 1891 Hunt and his wife Edith left London for their last trip to the East. After a fortnight's holiday in Alassio, the couple, newly refreshed, visited Genoa, Pisa, Lucca, Rome and Naples. On 14 January 1892 they travelled to Athens. According to the 1889 Baedeker, its population at the time, 'including the suburban villages', was about 85,000 (p. 36). All the better class hotels were in the Place de la Constitution, the centre then, as now, of the visitors' quarter. The Hunts may well have stayed at the luxurious Hotel Grande Bretagne, situated opposite what was then the Royal Palace (from 1935 the seat of the Greek Parliament). This huge edifice by the Bavarian architect Friedrich von G„rtner was erected in 1836-41 on rising ground east of Constitution (now Syndagma) Square. It is described in the Athens Blue Guide as 'a plain rectangle, built of broken limestone faced with cement, with numerous small windows' (1962, p. 13). Our watercolour was shown at the Birmingham Royal Society of Artists in 1893 with the title The Grand Square before the King's Palace, Athens, and Hunt must have been standing on the terrace directly in front of G„rtner's building. Light from its windows illuminates the gardens which are the principal focus of the composition. According to Baedeker, these were in the middle of the square and consisted of 'a velvety lawn, overhung by oranges, oleanders, and other southern trees' ( op. cit., p. 45). In 1895 Hunt exhibited his watercolour in Liverpool with the title The Grand Piazza at Athens, with the two bronze statues known as 'The Runners', of the time of Pericles . The athletes at the far right of the composition are copies of bronze statues from the Villa dei Papiri, Herculaneum. Hunt could have seen them in the Naples Archaeological Museum (inv. nos. 5626-7) just a few days before seeing the replicas in Athens (see R. Cantilena et. al., Le Collezioni del Museo Nazionale di Napoli, vol. II, Rome and Milan, 1989, nos. 158 and 159). These Roman statues were in turn copies of a Greek original dating from the end of the 4th century BC. The bronze figures positioned on the terrace in Hunt's watercolour look as though they are about to run out of the picture space, and are wittitly juxtaposed with the living figures in the left foreground gesticulating in the direction of the Acropolis. The man in red is based on a study in a sketchbook of 1892 (fig. 2), but Hunt has changed the colour of the jacket from blue to red to harmonize with the bright orange fruit on the trees in the garden. This flexibility shows how far the artist was concerned to synthesize what Ruskin called the prosaic and poetic aspects of Pre-Raphaelitism. Hunt had long outgrown his obsession with painting everything, 'even the pebbles of the foreground from the place itself'. But he would surely have argued that Athens was a landscape that fulfilled his aim, as set forth in this letter of 12 August 1855 to W.M. Rossetti, 'to give you a truer notion of the thing'. He considered this an idea that 'naturally suggests itself to a painter in travelling unless he be entirely thoughtless' (MS. Huntington Library, San Marino). Hunt was never a thoughtless painter, and in Athens the 'truer notion of the thing' resides in his treatment of light. The dark sky lit by the bright stars so typical of the Mediterranean is juxtaposed with the light shining from the palace illuminating the foreground, areas of which Hunt has heightened with bodycolour. This exploration of the counterpoint of real and artificial light is part of a continuing process for the artist. The earliest, and most famous, instance is, of course, The Light of the World, but it is also an important feature of the subject pictures London Bridge on the Night of the Marriage of the Prince and Princess of Wales, 1863-6 (Ashmolean Museum, Oxford), and The Triumph of the Innocents. (Incidentally, the dog in the foreground of Athens is not dissimilar to the dogs in the background of that painting.) In terms of pure landscape, after The Thames at Chelsea, Evening, 1853 (Fitzwilliam Museum, Cambridge), Hunt continued to explore such nocturnal light effects in watercolours executed in Egypt, Jerusalem (1854) and Florence (1867), and in The Terrace, Berne, by Moonlight (Rikjsprentenkabinet, Amsterdam). This was begun in 1875 from the Hunts' hotel bedroom window, and like Athens has a foreground illuminated from an unseen source. The Hunts left Greece in early February 1892, and on 9 February Hunt wrote from Egypt to his Fulham neighbour, the distinguished civil servant Henry Hardinge Cunynghame: 'We... were delighted with Athens and Corinth, and scarcely less so with Olympia' (MS. Getty Archives). From shipboard in the Mediterranean on the homeward leg he told the artist William Linnell: 'I have seen a boundless amount of beauty, the work both of Gods and man'. He wished he had more time left 'to employ my talents, such as they are in Art, better than ever before', and went on to reassure Linnell: 'When I speak of the limitation of age you will see that it is only in respect of the time left, not to the acuteness of perceptions and precision of hand which in truth I cannot regard as on the wane in any degree' (MS. private collection). A watercolour such as Athens endorses this assessment. It was to be the fortieth work Hunt exhibited with the Royal (formerly Old) Society of Painters in Water Colours, and he resigned as an active member in June 1893, while it was still on display at 5a Pall Mall East. According to Cosmo Monkhouse, writing in the Academy, 'The landscapes, as usual, constitute the chief strength of the exhibition', and he welcomed Hunt's contributions as 'examples of serious purpose and intense individuality'. (Hunt's other submission, Sunset in the Val d'Arno, now in Johannesburg, dates from 1868.) The Illustrated London News commended Albert Goodwin's Venice, but felt that 'he cannot compete with Mr. Holman Hunt for originality of impression, for few people, we venture to think, ever carried away such a vivid idea of the sunset over Florence (106) or of the cypresses which guard the royal gardens (186) as are presented to us here'. The important and elaborate gilt frame, almost certainly designed by the artist, is an indication of how highly he regarded Athens . It is characterized by a pattern of lotus-shaped leaves on the flat and a stencilled frieze of stylized dark grey leaves and white flowers on the cuff. The frieze appears to be based on Plate XVII, example no. 44, from that important source book for Hunt's frames, Owen Jones's The Grammar of Ornament (1856). This is entirely characteristic of Hunt's practice, since the plate, entitled 'Greek No. 3', is of 'Ornaments from Greek and Etruscan vases in the British Museum and the Louvre'. The glossy surface and depth of our picture is the result of a technical experiment Hunt carried out in August 1895, after seeking advice from the painter Evelyn de Morgan, and it achieved his aim of making the work 'look rich and lustrous' (MS. Rylands Library, University of Manchester). Indeed, shortly afterwards, the watercolour, now glazed with tempera, was hung at the Liverpool Autumn Exhibition in a gallery devoted to oil paintings. It is Hunt's only documented use of this technique, although in 1869 he told his great supporter the art critic F.G. Stephens that he had used oil over tempera in Bianca (Worthing Museum and Art Gallery). Such experiments were inspired by early Italian Renaissance practice, so it is entirely fitting that in Athens the flat gilt panel separating the outer flat from the cuff should be decorated with punching, a technique found in Florentine quattrocento frames. Athens was inherited by Hunt's only daughter Gladys (Mrs Michael Joseph), who with her mother Edith had drawn up an (undated) inventory of 'the Works of W Holman Hunt at 18 Melbury Road'. Misled by the appearance of the watercolour, they classified it as an oil painting and put a value on it of 700 guineas (MS. private collection). Mrs Elisabeth Burt, who owned the work until 1993, is Mrs Joseph's daughter. Athens will be included in Judith Bronkhurst's catalogue raisonn‚ of the works of William Holman Hunt. Dr Bronkhurst, who is responsible for this catalogue entry, would like to acknowledge the help of the following in its preparation: Dr I.D. Jenkins, Department of Greek and Roman Antiquities, British Museum, Miss Lynn Roberts and Dr P. Ward-Jackson, Conway Library, Courtauld Institute of Art.

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William Holman Hunt (British, 1827-1910) Three studies of and designs for frames 21 x 12.5cm (8 1/4 x 4 15/16 in.); 51.5 x 36 cm (20 1/4 x 14 3/16 in.); 51 x 35.5 cm (20 1/16 x 14 in.) unframed

Lot 13: William Holman Hunt (British, 1827-1910) Three studies of and designs for frames 21 x 12.5cm (8 1/4 x 4 15/16 in.); 51.5 x 36 cm (20 1/4 x 14 3/16 in.); 51 x 35.5 cm (20 1/16 x 14 in.) unframed

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Description: Three studies of and designs for frames the first signed with initials and enscribed 'designs for frames' (upper right); the second signed with initials (lower right); the third bears inscription 'study for a frame' (upper centre)pencil, pen and ink, red chalk and bodycolour21 x 12.5cm (8 1/4 x 4 15/16 in.); 51.5 x 36 cm (20 1/4 x 14 3/16 in.); 51 x 35.5 cm (20 1/16 x 14 in.)unframed(3)

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Lot 15: HUNT, WILLIAM HolMAN (1827-1910)

Description: Portrait of Fanny Hunt, 1866 Drawing 28x20 inches (71x52 cm) signed & dated (Lower Left).

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William Holman Hunt, R.W.S., O.M. (1827-1910)

Lot 17: William Holman Hunt, R.W.S., O.M. (1827-1910)

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Description: William Holman Hunt, R.W.S., O.M. (1827-1910) Scene at Sheen with inscription 'Scene at Sheen/Holman Hunt' (lower centre) pen and brown ink and brown wash on writing paper stamped 'The Planes, East Sheen', watermark '1862'8 x 6 3/8 in. (20.3 x 15.7 cm.)

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 William Holman Hunt, O.M., R.W.S., A.R.S.A. , 1827-1910 the Day in the Country

Lot 19: William Holman Hunt, O.M., R.W.S., A.R.S.A. , 1827-1910 the Day in the Country

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Description: Etching, 1865, published in A Selection of Etchings , by the Etching Club, on japan supported on wove, with full margins

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William Holman Hunt, O.M., R.W.S., A.R.S.A. 1827-1910 , portrait of william pink oil on canvas laid on panel

Lot 22: William Holman Hunt, O.M., R.W.S., A.R.S.A. 1827-1910 , portrait of william pink oil on canvas laid on panel

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Description: bears an inscription on an old label attached to the reverse: Portrait of Willm Pink Painted by W. Holman Hunt about 1842/ his cousin oil on canvas laid on panel

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Painting in England

Lot 25: Painting in England

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Description: William Holman Hunt, O.M., R.W.S. (1827-1910) Painting in England signed with initials, inscribed and dated 'WHH Painting in England. Hastings. 1852' (lower centre) and further inscribed 'What a delightful Hart!' (upper left) pen and brown ink and brown wash 7½ x 10¼ in. (19 x 26 cm.)

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 29: William Holman Hunt, O.M., R.W.S. (1827-1910)

Description: William Holman Hunt, O.M., R.W.S. (1827-1910) Portrait of Charles Allston Collins dated 'July 1852' (lower left) pencil, on paper 9¼ x 8¼ in. (23.5 x 21 cm.)

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[ Prints ]

Lot 37: [ Prints ]

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Description: * Hunt (William Holman, 1827-1910). The Lady of Shalott, pub. Arthur Tooth and Sons, 1909, mezzotint with hand colouring by J. D. Miller after Holman Hunt, image size 605x465mm, modern gilt frame, glazed (1) Illustrations Available

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Lot 40: HUNT, William Holman (after) (1827-1910, British)

Description: The Lady of Shalott by John D. Miller, photo s.i. photogravure on India applique Photograph (28x37in).

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Lot 40: AFTER WILLIAM HOLMAN HUNT

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Description: THE LADY OF SHALOTT, BY JOHN D. MILLER photogravure on india applique, signed in pencil "W. Holman Hunt" (lower left) and "John D. Miller" (lower right) and signed, inscribed and dated "To Cecil Dowson Esq with affectionate regards of long Friendship from Edith Holman-Hunt - March 5/29", published by Arthur Tooth & Sons of London, Paris & New York, 1909, with the blindstamp of the Printsellers Association (lower left) 37 x 28 1/4 in. (94 x 71.5 cm.) PROVENANCE Given to Cecil Dowson by Holman Hunt's widow, 5 March 1929. The oil on which this print is based, dating from 1886-1905, is in the Wadsworth Atheneum, Hartford, Connecticut. A smaller version can be seen in the Manchester City Art Gallery. PROPERTY FROM THE RESIDENCE OF MISS ISABEL GOLDSMITH Isabel Goldsmith has long been a committed and informed collector, not surprisingly since the instinct to surround herself with rare and remarkable objects is something she inherited from both parents. Her father, Sir James Goldsmith, has always been a connoisseur, and her mother was the beautiful Isabel Patino, whose father, Antenor Patino, formed a wide-ranging collection which included superb French furniture, works of art and magnificent silver. He made generous and important gifts to the Louvre and to Versailles. Some might have found this background intimidating, but Isabel Goldsmith, while sharing her family's passion for collecting, has always shown an original and independent taste. She was attracted to London, in 1985, by the Pre-Raphaelite paintings that after decades of neglect were returning to fashion and had become the subject of eager scholarly research. She was not alone in her ambition; during the last ten years the competition to create collections in this field has been intense. Nonetheless she has succeeded in forming one of the best, embracing not only the Pre-Raphaelites but their followers, their classical associates, and representatives of the wider European symbolist tradition. Some of the finest pictures were seen in the Last Romantics exhibition at the Barbican in 1989, and a particularly beautiful painting by Leighton graced the survey of his works shown at the Royal Academy earlier this year. Nor is the collection merely an accumulation of outstanding things. Like all the best collectors, she uses the activity creatively, expressing herself through the collection and making a work of art out of works of art made by others. Those who have been fortunate enough to see these treasures soon come to recognise the hallmarks of her collecting style, a feminine sensibility and fastidiousness, the cultivation of a refined and elegant romance. Isabel Goldsmith divides her time between various residences abroad and in the United Kingdom where she normally spends part of the year. The London residence is now being remodelled and she sees the need to reassess and focus the collection in the light of this development.

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 40: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: The Silver Lining signed and dated '18 Whh 65' (initials in monogram) (lower right), inscribed 'W Holman Hunt H.Haslam' (on the back-board) and 'Fairlight Down/by W. Holman Hunt' (on a label on the back of the frame) pencil and watercolour, heightened with bodycolour 5 x 6 7/8 in. (12.7 x 17.5 cm.) PROVENANCE The artist in 1884. Henry Haslam by 1894, and thence by descent to the vendor. LITERATURE To be published in Dr Judith Bronkhurst's forthcoming catalogue raisonn‚ of the artist's work (no. D240). EXHIBITION Liverpool, Walker Art Gallery, Fourteenth Autumn Exhibition of Modern Pictures, 1884, no. 456, priced at 35 gns. Whitechapel, St Jude's School-House, Fine Art Loan Exhibition, 1894, no. 189, as A View in Surrey [ sic ], lent by Henry Haslam. Liverpool, Walker Art Gallery, The Art of William Holman Hunt, O.M., D.C.L., 1907, no. 53, as The Silver Lining, lent by Henry Haslam. Glasgow, Kelvingrove Art Gallery, Pictures and Drawings by W. Holman Hunt, O.M, D.C.L, 1907, no. 21, as The Silver Lining, lent by Henry Haslam. NOTES According to the inscription on the back, this watercolour was painted at Fairlight, five miles north-east of Hastings on the Sussex coast. This was one of Hunt's favourite painting grounds. He had discovered it in 1852 through his pupil Robert Martineau, whose parents had a house in the area, Fairlight Lodge. In mid-August he joined his friend Edward Lear, who was painting at Clive Vale Farm, between Hastings and Fairlight, and who had recently asked Hunt, his junior by fifteen years, to give him instruction in landscape painting. Hunt's purpose was to paint a newly commissioned picture, Our English Coasts or Strayed Sheep (fig. 1), at a well-known beauty spot overlooking the sea called the Lovers' Seat. A spin-off from the earlier Hireling Shepherd (Manchester), the picture was, like its parent work, replete with religious symbolism. It was exhibited at the Royal Academy in 1853 and two years later at the Exposition Universelle in Paris, where it was admired by no less an authority than Delacroix. Before he had put the finishing touches to Strayed Sheep in November 1852, Hunt had embarked on another Fairlight subject, Fairlight Downs-Sunlight on the Sea (fig. 2). This hung fire, and was not completed when the artist went to the East in January 1954. It may have been worked on when he was next at Fairlight, in July 1856, recuperating from an attack of fever, but it was not finished until September 1858, when Hunt was once again on the Sussex coast. Hunt was to return periodically to Fairlight. He was there in 1861, painting The Road over the Downs-Sussex (Bronkhurst no. D212), and our watercolour is dated 1865. Both these later works are taken from high vantage points, a feature emphasised in our drawing by the miniscule figures and animals - a horse and cart, a man with a walking- stick, a flock of sheep - in the foreground. These have something of the 'snapshot' immediacy by which Hunt often sought to convey a heightened sense of reality. One of his favourite ruses was to place the figures or animals close to the edge, as here, or even, as in Strayed Sheep (fig. 1), cut them off partially by the frame. But he was incredibly inventive when it came to visual surprises. One of his cleverest ideas occurs in Fairlight Downs (fig. 2), where a walking-stick is seen hurtling through the air for retrieval by the Martineaus' Newfoundland dog, Caesar. The title The Silver Lining refers to the cloud formation, the most carefully realised part of the composition. Densely worked in bodycolour, unlike the downs themselves, which are comparatively freely handled in translucent washes, it is clearly the area that engaged Hunt most, and reflects his lifelong interest in meteorological conditions. Time and again he would use his landscapes to capture some quirkily dramatic effect of sunset or moonlight, attempting, as the Art Journal put it in 1870, 'to paint what is unpaintable', and by trying to represent 'a phenomenon in Nature', producing something 'strange and startling' in art. The results often reminded critics of Turner, and it is no accident that one of the most astonishing experiments of this kind, Sunset at Chimalditi (private collection), belonged to Ruskin. He described it to Charles Eliot Norton as 'so true that everybody disbelieves it being true at all', a comment that both echoes his defence of Turner and captures something of Hunt's wilfully eccentric approach. (For a fuller account, see the chapter on Hunt in Allen Staley's book The Pre-Raphaelite Landscape, 1973, re-issued 2001). The watercolour was still in Hunt's possession when he exhibited it at the Liverpool Autumn Exhibition in 1884, but a decade later, when it appeared at the annual exhibition at Whitechapel, it had been sold to Henry Haslam. Haslam had also lent Hunt's Bride of Bethleham, a painting of 1884 which was sold in these Rooms in 1994 (fig. 3), to the same exhibition. He had only just acquired it, and it is possible that he bought The Silver Lining at the same time. It also seems likely that he shared Hunt's interest in the Whitechapel exhibitions, a philanthropic venture designed to bring enlightenment to the poverty- stricken East End of London. Organised by Canon Samuel Barnett, the enterprising Warden of Toynbee Hall, the exhibitions were supported by many artists (Burne-Jones, G.F.Watts and Walter Crane were also regulars contributors), and led to the establishment of the Whitechapel Art Gallery, which still exists today. We are grateful to Dr Judith Bronkhurst for her help in preparing this entry.

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Lot 42: William Holman Hunt, R.S.W., O.M., D.C.L. (1827-1910)

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Description: Portrait of the artistÕs daughter, Gladys, aged four with inscription ÔGladysÕ by Edith Holman Hunt (lower right) pen and brown ink 7 x 4 ½ in. (17.8 x 11.5 cm.) Provenance: Edith Holman Hunt, the artistÕs widow, and thence by descent to her daughter, Gladys Holman Hunt, 1931. Given to Charles Pollitt, HuntÕs studio assistant; and thence by descent to his son S.A.F. Pollitt; ChristieÕs London, 16 June 1970, part of lot 38 (75 gns. to Powney). Footnotes:Gladys Millais Holman Hunt, the artistÕs only daughter, and the elder of the two children from his marriage to Edith Waugh, was born in Jersusalem on 20 September 1876. This is one of a series of four drawings executed circa 1881, and subsequently used as a basis for HuntÕs 1882 Grosvenor Gallery exhibit Miss Flamborough (private collection; illustrated in William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2nd ed., 1913, vol. II, p. 277). The wide-eyed gaze and angle of the head in the portrait sketch is very close to that adopted in Miss Flamborough, which was named after a character in GoldsmithÕs The Vicar of Wakefield. We are grateful to Dr Judith Bronkhurst for her help in preparing this catalogue entry. The drawing is to be included in her forthcoming catalogue raisonnŽ of the work of Holman Hunt (Yale University Press).

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Lot 42: William Holman Hunt, R.S.W., O.M., D.C.L. (1827-1910)

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Description: Portrait of the artist's daughter, Gladys, aged four with inscription 'Gladys' by Edith Holman Hunt (lower right) pen and brown ink 7 x 4 in. (17.8 x 11.5 cm.) PROVENANCE Edith Holman Hunt, the artist's widow, and thence by descent to her daughter, Gladys Holman Hunt, 1931. Given to Charles Pollitt, Hunt's studio assistant; and thence by descent to his son S.A.F. Pollitt; Christie's London, 16 June 1970, part of lot 38 (75 gns. to Powney). NOTES Gladys Millais Holman Hunt, the artist's only daughter, and the elder of the two children from his marriage to Edith Waugh, was born in Jersusalem on 20 September 1876. This is one of a series of four drawings executed circa 1881, and subsequently used as a basis for Hunt's 1882 Grosvenor Gallery exhibit Miss Flamborough (private collection; illustrated in William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2nd ed., 1913, vol. II, p. 277). The wide-eyed gaze and angle of the head in the portrait sketch is very close to that adopted in Miss Flamborough, which was named after a character in Goldsmith's The Vicar of Wakefield. We are grateful to Dr Judith Bronkhurst for her help in preparing this catalogue entry. The drawing is to be included in her forthcoming catalogue raisonn of the work of Holman Hunt (Yale University Press).

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William Holman Hunt, R.W.S., O.M. (1827-1910)

Lot 43: William Holman Hunt, R.W.S., O.M. (1827-1910)

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Description: William Holman Hunt, R.W.S., O.M. (1827-1910) Study for the cresent moon in 'The Ship' pencil, watercolour and bodycolour on paper 6¾ x 2½ in. (16 x 6.4 cm.)

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WILLIAM HOLMAN HUNT O.M., R.W.S., A.R.S.A.  1827-1910 THE GREAT PYRAMID

Lot 43: WILLIAM HOLMAN HUNT O.M., R.W.S., A.R.S.A. 1827-1910 THE GREAT PYRAMID

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Description: signed lower right with monogram, and dated 1854WatercolourPROVENANCESir John Pender, M.P., Manchester;Bought by Agnew on 10th February 1873 for £75;Bought by William Brockbank, Didsbury, Manchester on 12th February 1873 for £130, and sold by his executors, Christie's, 27th February 1897, lot 24, bt. Agnew for £63;E.B. Brockbank by 1906;Anon sale, Christie's, 11th June 1968, lot 155, bt. Leggatt for £3,360EXHIBITEDManchester, The Collected Works of W. Holman Hunt, 1906, no 60;Walker Art Gallery, The Art of William Holman Hunt, 1907, no. 19;Glasgow, Pictures and Drawings by William Holman Hunt, 1907, no. 25;Walker Art Gallery, Liverpool, William Holman Hunt, 1969, no. 134;Royal Academy, Impressionism, 1974, no. 16LITERATURE AND REFERENCESWilliam Holman Hunt, letter to Phythian, Manchester, in secretary's hand, 14th December 1906 (Manchester City Libraries);Allen Staley, The Pre-Raphaelite Landscape, 1973, p. 70;To be included in Judith Bronkhurst, William Holman Hunt, A Catalogue Raisonné, (New Haven and London, Yale University Press, 2005)CATALOGUE NOTEHolman Hunt's watercolour shows the Great Pyramid of Cheops, at Giza, viewed from the east. Immediately in front of the main structure are seen the two smaller shapes of the so-called Queens' Pyramids. The foreground consists of an expanse of water, through which figures wade, and with ducks swimming. The other Giza Pyramids, those of Chephren and Mycerinus, as well as the Sphinx, are out of view to the composition's left side.Hunt left London in January 1854, Palestine being his intended destination. His artist friend Thomas Seddon had departed a month or so earlier, with the plan that they should meet in Cairo before travelling on to the Holy Land. They were to camp at Giza, as Seddon explained to his fiancée Emmeline in a letter of 11 February: 'We intend, in seven or eight days, to take a tent and two camels, with their drivers, and a servant to cook, and camp out by the Pyramids... By this plan we shall economise our hotel bill' ([John Pollard Seddon], Memoir and Letters of the late Thomas Seddon, Artist. By his Brother., London, 1858, p.43). In 1857 Hunt produced an etching showing the encampment at Giza he had shared with Seddon in 1854 (fig.1). Hunt later spent some weeks working in Cairo, but returned to Giza in April. Of the drawings of Egypt that Hunt made in the course of these two desert sojourns in the early part of 1854, the best known is that entitled The Sphinx, Giza, looking towards the Pyramids of Saqqara (Harris Museum & Art Gallery, Preston; shown in the exhibition Pre-Raphaelite Vision - Truth to Nature, Tate Britain, 2004, catalogue no.58). In May 1854 Hunt, still accompanied by Seddon, moved on to Palestine, where Hunt painted The Scapegoat (Lady Lever Art Gallery, Port Sunlight).The difference of approach to the desert landscape and ancient monuments taken by Holman Hunt and Seddon is interesting. Of the two, Seddon's views are more topographically informative, but also more pictorially conventional. By contrast, Hunt looked for vantage points that allowed him to simplify and dramatise the extraordinary scenery.The landscape, the like of which he had never seen before, seems to have made a most curious impression upon him. In a letter to John Everett Millais of 16 March 1854, Hunt wrote somewhat disparagingly of it as a subject for art. Of the wider landscape, however, Hunt could bring himself to say that 'the desert is beautiful' (W. Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, two volumes, 1905, I, p.380). Hunt saw the landscape in aesthetic terms of shape and colour. The beauty and originality of the present watercolour, and of the other desert drawings that Hunt made in 1854, belies his apparent lack of enthusiasm for what he saw there.The picture was in two distinguished collections. Sir John Pender also owned Mercury and Herse by J.M.W Turner (lot 40), and information on him as a collector is contained in the catalogue entry for that lot. William Brockbank was on the council of the Royal Manchester Institution from 1874-1880, becoming Vice-President in 1881. He commissioned Ford Madox Brown to paint Cromwell on his Farm (National Galleries and Museums on Merseyside, Lady Lever Art Gallery, Port Sunlight), which was exhibited at the Manchester Academy of Art in 1874.

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Lot 48: William Holman Hunt (British, 1827-1910)

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Description: The father's-leave signed in pencil 'W. Holman Hunt' (lower right), etching plate 19 x 25cm (7 1/2 x 9 13/16in).

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AFTER WILLIAM HOLMAN HUNT (1827-1910) May Morning

Lot 50: AFTER WILLIAM HOLMAN HUNT (1827-1910) May Morning

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Description: AFTER WILLIAM HOLMAN HUNT (1827-1910) May Morning on Magdalen Tower, Oxford, signed in pencil in the margin, and inscribed to the top 'London, Published by W. Holman Hunt, Draycott Lodge, Fulham, S.W., June 18th 1892, Photogravure', 25" x 31"

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Lot 54: Circle of William Holman Hunt (British, 1827-1910)

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Description: High Priestess oil on canvas 50 x 37cm (19 11/16 x 14 9/16in).

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Lot 57: Emily Hunt (British, 1836-1922)

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Description: with assistance from William Holman Hunt (1827-1910)Jealous Jessiesigned and dated 'Emily Hunt/1861' (lower left); inscribed 'No 1. Jealous Jessie./Miss Emily Hunt/Tor Villa/Campden Hill/ Kensington - W.' on a label attached to the reversewatercolour over traces of pencil heightened with bodycolour and scratching out25.4 x 35.5cm (10 x 14in).

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William Holman Hunt

Lot 61: William Holman Hunt

Description: The Father's Leave-Taking Etching and drypoint, 1879, an unsigned proof of the first state of three, on japan type paper, with wide margins; slight rubbing along the plate mark, slightly grubby in the margins, 187 x 250mm (7 3/8 x 9 7/8in)(PL)

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Lot 65A: A. Brierley after William Holman Hunt 1827-1910.

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Description: A. Brierley after William Holman Hunt 1827-1910. 'Behold I stand at the door and knock'. Pen and ink. Signed lower right and dated 1874. 17 ¼ x 8 ¾ ins. In a carved wood frame, glazed.

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Lot 68: HUNT, William Holman (1827-1910)

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Description: A Syrian wife Coloured chalks & /linen 20,1 x 14,2 inches (51.0 x 36.0cm) Monog. left Illustrated.

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Lot 69: William Holman Hunt, A.R.S.A., R.W.S. (1827-1910)

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Description: Double cornice on the faƒde of the church of the sepulchre, Jerusalem inscribed and dated 'Double Cornice on the facade of the Church of the Sepulchre, Jerusalem/Oct 20.1876.' (lower centre) black and white chalks, on buff paper 14 x 191/2in. (35.5 x 49.5cm.) NOTES William Holman Hunt, a founding member of the Pre-Raphaelite brotherhood, was inspired by his strong Christian beliefs to embark on a journey to the Holy Land in January 1854. After a brief stay in Cairo and Jaffa he made his base in Jerusalem for over a year and a half, until October 1856. He made a second visit to Jerusalem (Aug 1869-June 1872) and his largest-scale work to that date, Shadow of Death, is a product of this visit. After his marriage to Edith Waugh in 1876 he made a third and final visit to Jerusalem and this architectural drawing of a church faƒde is an example of his work from this period. We are grateful to Dr Judith Bronkhurst for her help cataloguing this drawing.

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 75: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: The Grand Piazza at Athens, with the two bronze statues known as 'The Runners', of the time Pericles signed with monogram and dated '92' (lower left), signed again and inscribed 'Piazza della Constituzione, by night/Athens W Holman Hunt' and with inscription '18 Melbury Rd W' (on the backboard) and with further inscription by another hand 'Athens,/the Square./by W Holman-Hunt/in 1893.' (on the artist's label attached to the backboard) tempera over watercolour heightened with white, on paper pasted on to millboard, varnished 14 1/8 x 20 in. (35.7 x 50.8 cm.) PROVENANCE By descent in the artist's family to his granddaughter Mrs Elisabeth Burt until 1993. LITERATURE Athenaeum, no. 3417, 22 April 1893, pp. 511, 513. Illustrated London News, CII, no. 2818, 22 April 1893, p. 492. C. Monkhouse, Academy, XLIII, no. 1096, 6 May 1893, p. 401. O. J. von Schleinitz, William Holman Hunt, (K쳌nstler-Monographien, no. LXXXVIII), Bielefeld and Leipzig, 1907, p. 127, repr. p. 125, pl. 124. W. Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2nd ed., 1913, II, illustrated p. 314 (as The Square, Athens ). EXHIBITION London, Royal Society of Painters in Water Colours, Summer Exhibition, 1893, no. 186. Birmingham, Royal Society of Artists, Autumn Exhibition, 1893, no. 881 (as The Grand Square before the King's Palace, Athens ). Liverpool, Walker Art Gallery, Autumn Exhibition, 1895, no. 1094 (as The Grand Piazza at Athens, with the two bronze statues known as 'The Runners', of the Time of Pericles ). London, Royal Society of British Artists, One Hundred & Eighteenth Exhibition, 1902-3, no. 272 (as Piazza della Constituzione, Athens, by night ). London, Leighton House, The First Exhibition of Works by Artists resident in Kensington, 1906, no. 21. London, Leicester Galleries, Exhibition of the Collected Works of W. Holman Hunt, O.M., D.C.L., 1906, no. 66. Manchester, City Art Gallery, The Collected Works of W. Holman Hunt, O.M., D.C.L., 1906-7, no. 36. Liverpool, Walker Art Gallery, Collective Exhibition of the Art of W. Holman Hunt, O.M., D.C.L., 1907, no. 32. Liverpool, Walker Art Gallery, and London, Victoria and Albert Museum, William Holman Hunt, 1969, no. 252, illustrated in cat. pl. 88, lent by Mrs Elisabeth Burt. NOTES We are grateful to Judith Bronkhurst for providing us with the following catalogue entry: This fine watercolour (referred to throughout the following text as Athens ) with its unusual compositional format and sensitive observation of a Mediterranean night scene, was begun in Athens in January 1892. The previous year was one of success and stress for Holman Hunt (fig. 1). In June he had the gratification of seeing The Finding of the Saviour in the Temple fetch 3,400 guineas in these Rooms, and two months later Liverpool Corporation bought his latest major religious painting, The Triumph of the Innocents, for a similar sum. Meanwhile, his first major subject picture for some years, May Morning on Magdalen Tower (Lady Lever Art Gallery, Port Sunlight), was being exhibited in a one-picture show in Old Bond Street. Finishing it had taken its toll on Hunt's health. His asthma became increasingly disabling, and on 13 November he wrote to his friend Vernon Lushington: 'I have been hindered more than once or twice from seeing you by this overworked body of mine failing me at critical junctures... Now you will have heard the doctor advises a holiday. And we are going shortly to make a tour more or less about the water which the gods made - it seems - to rear up, delight and strengthen willing men' (MS. private collection). This poetic reaction to the Mediterranean and classical mythology may seem slightly unexpected. But Hunt had been imbued with enthusiasm for Greek culture from the 1840s, when, like all art students in London at that period, he had carefully studied the Elgin Marbles in the British Museum. In 1848, when Hunt and Dante Gabriel Rossetti drew up their List of Immortals, Phidias was included, and in 1863, in his series of articles on Augustus Egg in the Reader, Hunt enthusiastically praised the sculptor's treatment of the goddesses in the Elgin Marbles. Homer was another of Hunt's heroes. He had been accorded two stars in the List of Immortals (only Shakespeare and the author of the book of Job got three, while Jesus Christ scored four), and was very much in the artist's mind when he had his first sight of the Greek Islands. This was on the final stages of his journey to the East of 1854-6, during a boat trip from Beirut to Constantinople. The vessel travelled close to the shore of Rhodes and the Island of Samos on 28 November 1855, inspiring Hunt to execute the watercolour In the Archipelago (private collection). Its calmness contrasts strongly with his excitement at passing a site he knew so well from Homer's Iliad : 'Yesterday I with my living eyes looked upon the plains of Troy - saw the tumuli of Ajax, Patroclus and Achilles - with Mount Ida standing up afar, clouded and dreaming away the day, as if remembering when the world was young...' This letter of 2 December to Michael Halliday (who in 1856 was to become Hunt's pupil and co-tenant) continues: 'a whole life time of my shadowy dreams on that head were made into realities thereby for ever' (MS. private collection). Despite Hunt's love of classical culture, he was not concerned to translate his 'shadowy dreams on that head' into artistic realities in terms of subject matter. His reaction to the classical revival in British art which gained currency from the 1860s was a modification of his hard-edged Pre-Raphaelite style and a heightened appreciation of the decorative qualities of two-dimensional art. But he wished to base his reputation on major paintings that broke new ground in attempting to embody complex ideas in pictorial form. Only in one instance did his reverence for classical culture spill over into his paintings in a direct way. In 1891, the year the Mediterranean trip was planned, we find him designing a bas-relief of Hercules (Manchester Art Gallery) for inclusion in the work that was to occupy him for nearly twenty years, The Lady of Shalott (Wadsworth Atheneum, Hartford). The features of the classical hero appear to be based on a representation of Herakles fighting the Amazons in the frieze from the temple of Apollo Epikourios at Bassae, which Hunt could have seen in the British Museum. At the end of 1891 Hunt and his wife Edith left London for their last trip to the East. After a fortnight's holiday in Alassio, the couple, newly refreshed, visited Genoa, Pisa, Lucca, Rome and Naples. On 14 January 1892 they travelled to Athens. According to the 1889 Baedeker, its population at the time, 'including the suburban villages', was about 85,000 (p. 36). All the better class hotels were in the Place de la Constitution, the centre then, as now, of the visitors' quarter. The Hunts may well have stayed at the luxurious Hotel Grande Bretagne, situated opposite what was then the Royal Palace (from 1935 the seat of the Greek Parliament). This huge edifice by the Bavarian architect Friedrich von G„rtner was erected in 1836-41 on rising ground east of Constitution (now Syndagma) Square. It is described in the Athens Blue Guide as 'a plain rectangle, built of broken limestone faced with cement, with numerous small windows' (1962, p. 13). Our watercolour was shown at the Birmingham Royal Society of Artists in 1893 with the title The Grand Square before the King's Palace, Athens, and Hunt must have been standing on the terrace directly in front of G„rtner's building. Light from its windows illuminates the gardens which are the principal focus of the composition. According to Baedeker, these were in the middle of the square and consisted of 'a velvety lawn, overhung by oranges, oleanders, and other southern trees' ( op. cit., p. 45). In 1895 Hunt exhibited his watercolour in Liverpool with the title The Grand Piazza at Athens, with the two bronze statues known as 'The Runners', of the time of Pericles . The athletes at the far right of the composition are copies of bronze statues from the Villa dei Papiri, Herculaneum. Hunt could have seen them in the Naples Archaeological Museum (inv. nos. 5626-7) just a few days before seeing the replicas in Athens (see R. Cantilena et. al., Le Collezioni del Museo Nazionale di Napoli, vol. II, Rome and Milan, 1989, nos. 158 and 159). These Roman statues were in turn copies of a Greek original dating from the end of the 4th century BC. The bronze figures positioned on the terrace in Hunt's watercolour look as though they are about to run out of the picture space, and are wittitly juxtaposed with the living figures in the left foreground gesticulating in the direction of the Acropolis. The man in red is based on a study in a sketchbook of 1892, but Hunt has changed the colour of the jacket from blue to red to harmonize with the bright orange fruit on the trees in the garden. This flexibility shows how far the artist was concerned to synthesize what Ruskin called the prosaic and poetic aspects of Pre-Raphaelitism. Hunt had long outgrown his obsession with painting everything, 'even the pebbles of the foreground from the place itself'. But he would surely have argued that Athens was a landscape that fulfilled his aim, as set forth in this letter of 12 August 1855 to W.M. Rossetti, 'to give you a truer notion of the thing'. He considered this an idea that 'naturally suggests itself to a painter in travelling unless he be entirely thoughtless' (MS. Huntington Library, San Marino). Hunt was never a thoughtless painter, and in Athens the 'truer notion of the thing' resides in his treatment of light. The dark sky lit by the bright stars so typical of the Mediterranean is juxtaposed with the light shining from the palace illuminating the foreground, areas of which Hunt has heightened with bodycolour. This exploration of the counterpoint of real and artificial light is part of a continuing process for the artist. The earliest, and most famous, instance is, of course, The Light of the World, but it is also an important feature of the subject pictures London Bridge on the Night of the Marriage of the Prince and Princess of Wales, 1863-6 (Ashmolean Museum, Oxford), and The Triumph of the Innocents. (Incidentally, the dog in the foreground of Athens is not dissimilar to the dogs in the background of that painting.) In terms of pure landscape, after The Thames at Chelsea, Evening, 1853 (Fitzwilliam Museum, Cambridge), Hunt continued to explore such nocturnal light effects in watercolours executed in Egypt, Jerusalem (1854) and Florence (1867), and in The Terrace, Berne, by Moonlight (Rikjsprentenkabinet, Amsterdam). This was begun in 1875 from the Hunts' hotel bedroom window, and like Athens has a foreground illuminated from an unseen source. The Hunts left Greece in early February 1892, and on 9 February Hunt wrote from Egypt to his Fulham neighbour, the distinguished civil servant Henry Hardinge Cunynghame: 'We... were delighted with Athens and Corinth, and scarcely less so with Olympia' (MS. Getty Archives). From shipboard in the Mediterranean on the homeward leg he told the artist William Linnell: 'I have seen a boundless amount of beauty, the work both of Gods and man'. He wished he had more time left 'to employ my talents, such as they are in Art, better than ever before', and went on to reassure Linnell: 'When I speak of the limitation of age you will see that it is only in respect of the time left, not to the acuteness of perceptions and precision of hand which in truth I cannot regard as on the wane in any degree' (MS. private collection). A watercolour such as Athens endorses this assessment. It was to be the fortieth work Hunt exhibited with the Royal (formerly Old) Society of Painters in Water Colours, and he resigned as an active member in June 1893, while it was still on display at 5a Pall Mall East. According to Cosmo Monkhouse, writing in the Academy, 'The landscapes, as usual, constitute the chief strength of the exhibition', and he welcomed Hunt's contributions as 'examples of serious purpose and intense individuality'. (Hunt's other submission, Sunset in the Val d'Arno, now in Johannesburg, dates from 1868.) The Illustrated London News commended Albert Goodwin's Venice, but felt that 'he cannot compete with Mr. Holman Hunt for originality of impression, for few people, we venture to think, ever carried away such a vivid idea of the sunset over Florence (106) or of the cypresses which guard the royal gardens (186) as are presented to us here'. The important and elaborate gilt frame, almost certainly designed by the artist, is an indication of how highly he regarded Athens . It is characterized by a pattern of lotus-shaped leaves on the flat and a stencilled frieze of stylized dark grey leaves and white flowers on the cuff. The frieze appears to be based on Plate XVII, example no. 44, from that important source book for Hunt's frames, Owen Jones's The Grammar of Ornament (1856). This is entirely characteristic of Hunt's practice, since the plate, entitled 'Greek No. 3', is of 'Ornaments from Greek and Etruscan vases in the British Museum and the Louvre'. The glossy surface and depth of our picture is the result of a technical experiment Hunt carried out in August 1895, after seeking advice from the painter Evelyn de Morgan, and it achieved his aim of making the work 'look rich and lustrous' (MS. Rylands Library, University of Manchester). Indeed, shortly afterwards, the watercolour, now glazed with tempera, was hung at the Liverpool Autumn Exhibition in a gallery devoted to oil paintings. It is Hunt's only documented use of this technique, although in 1869 he told his great supporter the art critic F.G. Stephens that he had used oil over tempera in Bianca (Worthing Museum and Art Gallery). Such experiments were inspired by early Italian Renaissance practice, so it is entirely fitting that in Athens the flat gilt panel separating the outer flat from the cuff should be decorated with punching, a technique found in Florentine quattrocento frames. Athens was inherited by Hunt's only daughter Gladys (Mrs Michael Joseph), who with her mother Edith had drawn up an (undated) inventory of 'the Works of W Holman Hunt at 18 Melbury Road'. Misled by the appearance of the watercolour, they classified it as an oil painting and put a value on it of 700 guineas (MS. private collection). Mrs Elisabeth Burt, who owned the work until 1993, is Mrs Joseph's daughter. Athens will be included in Judith Bronkhurst's catalogue raisonn‚ of the works of William Holman Hunt. Dr Bronkhurst, who is responsible for this catalogue entry, would like to acknowledge the help of the following in its preparation: Dr I.D. Jenkins, Department of Greek and Roman Antiquities, British Museum, Miss Lynn Roberts and Dr P. Ward-Jackson, Conway Library, Courtauld Institute of Art. SALESROOM NOTICE Please note that the title of this lot should read: The Grand Piazza, with the two bronze statues known as 'The Runners', of the time of Pericles and not as stated in the catalogue.

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William Holman Hunt (British, 1827-1910)

Lot 76: William Holman Hunt (British, 1827-1910)

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Description: A study of angelspen and ink15.5 x 11 cm. (6 x 4 1/2 in.)

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Lot 76: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: Group portrait of Mrs Davies, of Wormbridge Court, Hereford with four of her Clark grandchildren, in the drawing-room of Henry Clark's house in the High Street, Homerton oil on canvas 30 x 243/4 in. (76.2 x 62.9 cm.) PROVENANCE By descent in the family of Henry Clark to the present owner. LITERATURE Jeremy Maas, Holman Hunt and the Light of the World, 1984, pp.38-42 (reference to Henry Clark). NOTES The present work is one of the fruits of Holman Hunt's relationship with his first serious patron, Henry Clark (c.1812-1879). Clark, the proprietor of a "button and trimming warehouse" at 60 Aldermanbury, in the City of London ( Post Office London Directory, 1843: Street Directory, p.102) was a business associate of Hunt's father, a near neighbour at 4 Dyer's Court. According to a typescript account by a descendant, Henry Clark "took kindly to the young Holman Hunt and helped him. He had the use of one of the rooms at my grandfather's and grandfather furnished him from time to time with brushes, paints and other materials" (Maas, op.cit., p.40). From about 1843, Henry Clark and his growing family lived at High Street, Homerton (listed in the 1851 Census at No. 186: ref.107/1505 fol.473). Holman Hunt almost certainly stayed with them there in August 1849 when he was working on A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids (Ashmolean Museum, Oxford). About 1844-5, when Hunt was attempting to forge a career as an independent artist, Clark commissioned an oil portrait of himself fishing on the banks of the River Lea (private collection). This was followed by our group portrait of almost identical dimensions, depicting Clark's mother-in-law, Mrs Davies of Wormbridge Court, Hereford (identified by Louis van Clark in his undated ' Family History of Clark and Abbott ', MS. private collection), with some of his children. In a letter to his early patron of 15 November 1876 (MS. private collection), Hunt dates the group portrait to "about the year 1846", which suggests that the two children on the right of the composition are Mary Clark, born in November 1839, and her brother John Adolphus, born 1842. The elder of the babies on the left is almost certainly Francis William, born in 1845 at Homerton. The sofa on which Mrs Davies sits appears again on a second portrait that Hunt painted of Henry Clark, dated 1846 (private collection), while the portrait of him fishing is partially visible in the top left-hand corner of our picture. This is Hunt's earliest original depiction of a group in an interior, although he had by this date copied Wilkie's The Blind Fiddler and Theodore Lane's The Enthusiast (originals in the Tate Gallery; copies untraced). The Enthusiast includes, in the right foreground, a fireplace with an elaborate fender and patterned rug, and may have had some bearing on Hunt's composition. Intimations of the artist's later development can be seen here in the exploration of the play of sunlight and shadow and in the strong characterisation of the face of the old lady. We are grateful to Dr. Judith Bronkhurst for her help in preparing this entry. The picture will be included in her catalogue raisonn‚.

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 77: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: William Holman Hunt, O.M., R.W.S. (1827-1910) Two studies for 'One Step to the Deathbed' and for 'The Flight of Madeline and Porphyro'one with inscription '1846' (lower right) pencil, one with pen and black ink over a photograph by Frederick Hollyer10¾ x 15 in. (27.3 x 38.1 cm.); and 6 7/8 x 11¼ in. (17.5 x 28.6 cm.) (2)

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Lot 90: William Holman Hunt, A. R. S. A., R. S. W.

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Description: The Shadow of Death, by Frederick Stackpoole, A. R. A. mezzotint, with pencil inscription W. Holman Hunt, embossed with oval device Printsellers/IOW/Association lower left, wove paper, with margins S. 29 x 223/4in (733/4 x 573/4cm).

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William Holman Hunt (British, 1827-1910)

Lot 91: William Holman Hunt (British, 1827-1910)

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Description: View of the Taurus Mountains from Mersin, Turkey ('Tarsus') 1855 inscribed lower left (the initials at a later date): Whh 55 watercolour heightened with bodycolour 13.5 x 26 (5 1/4 x 10 1/4)

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HUNT (WILLIAM HOLMAN)

Lot 91: HUNT (WILLIAM HOLMAN)

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Description: Six long apparently unpublished autograph letters signed ('W. Holman Hunt' and 'W.H.H.'), ABOUT HIS MAJOR PAINTING THE SHADOW OF DEATH, to the painter, art historian and critic [Frederic] Stephens, a fellow founding-member of the Pre-Raphaelite Brotherhood, writing from Jerusalem and relating his struggles with the painting, 42 pages closely written, the last sheet in two halves as sent, 8vo, Jerusalem, January 1871 to January 1872

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 93: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: Study of the Artist's Sister and her Child oil on canvas 13 7/8 x 18 in. (35.2 x 45.2 cm.) PROVENANCE Sarah Wilson and by descent to her grand-daughter, Miss E.A. Lyne; Bequeathed to Mrs Irene Claridge; Christie's, London, 15 December 1961, lot 134 (50 gns to Maas Gallery). Lady Antonia Fraser; Sotheby's, London, 19 June 1984, lot 24 (unsold). with The Fine Art Society, London, from whom acquired by the present owner in 1984. LITERATURE A. Clark Amor, William Holman Hunt: The True Pre-Raphaelite, London, 1989, illus. between pp. 64 and 65. EXHIBITION London, Maas Gallery, The Pre-Raphaelites and their Contemporaries, 1962, no. 27. Liverpool, Walker Art Gallery, and London, Victoria and Albert Museum, William Holman Hunt, 1969, no. 16. Victorian Childhood, 1986, cat. pl. 27. Kindred Spirits, 1993, no. 3. La Era Victoriana, 1997, no. 37. NOTES Born on 29 April 1829, Sarah Wilson was the younger sister of Holman Hunt, to whom she bore a distinct resemblance. On 1 February 1849 she married John Wilson, who worked in the furniture warehouse of Downing & Muckalt at 108-9 High Holborn, underneath the Hunt family home. Hunt painted another likeness of Sarah Wilson, now in the Minneapolis Institute of Arts. It is comparable to the present study in handling and style, and they must be of about the same date, c. 1850. The child in the Forbes picture is almost certainly Mary, the Wilsons' first child, who was born on 10 November 1849. Eleven more children followed, of whom only six survived into adolescence. Hunt himself came from a large family, having five sisters and two brothers. A later and more finished portrait of another sister, Emily, entitled Honest Labour has a Comely Face (private collection), was on the London art market a few years ago. There is also a drawing of her in the National Gallery of Victoria, Melbourne (Hunt Exhibition, 1969, no. 193, illus. in cat., pl. 69). We are grateful to Dr Judith Bronkhurst for her help in preparing this entry. The picture will be included in her forthcoming catalogue raisonn‚ of the works of Holman Hunt.

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Lot 94: HUNT, William Holman (1827-1910, British)

Description: Dead mallard, bears copy of original i.linen Oil Painting (24x20in).

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William Holman Hunt, O.M., R.W.S. (1827-1910)

Lot 94: William Holman Hunt, O.M., R.W.S. (1827-1910)

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Description: Portrait of Fanny Hunt, the artist's first wife, bust-length signed with monogram and dated '1866' (lower left) black, red and blue chalk 27 7/8 x 23/4 in. (70.9 x 51.8 cm.) PROVENANCE The artist in 1907. Anon. sale, Christie's, London, 28 November 1990, lot 15, when acquired by the present owner. EXHIBITION London, Leicester Galleries, The Collected Works of W. Holman Hunt OM, DCL, 1906, no. 45. Manchester, Manchester City Art Gallery, Collected Works of W. Holman Hunt OM, DCL, 1906, no. 80. Liverpool, Walker Art Gallery, The Art of William Holman Hunt, OM, DCL, 1907, no. 98. Glasgow, Art Gallery and Museum, Pictures and Drawings by William Holman Hunt, OM, DCL, 1907, no. 55. NOTES Holman Hunt married Fanny Waugh (1833-1866), the daughter of George Waugh, a prosperous London chemist, on 28 December 1865. In August 1866, when Fanny was seven months pregnant, they set out for the Holy Land where Hunt intended to pursue his policy of painting biblical subjects on site. However, they were detained at Florence when travel was restricted by a cholera epidemic, and Fanny died on 20 December after giving birth to a son. He was christened Cyril Benoni-Hebrew for 'child of sorrow'. The appearance of the sitter in the present drawing, with shadows under her eyes and lines of strain at the corners of her mouth, suggests that it was executed after Hunt's arrival in Florence in late September 1866. It could date from the last stages of Fanny's pregnancy, or even from after the birth of Cyril on 26 October. Hunt had already drawn Fanny before the couple left England in August 1866, creating a confident, full face image which reflects the happier circumstances of the time (Ashmolean Museum, Oxford). But it was the present drawing that he chose to include in his travelling retrospective exhibition of 1906-7, perhaps an indication that it was of greater personal significance. Hunt also painted an oil of Fanny (Toledo Museum of Art, Ohio), but whether it was started in Florence and completed after his return to London, or is an entirely posthumous likeness, based on a carte-de-viste photograph, is a matter of debate. In 1875 Hunt married Fanny's much younger sister, Edith (1846-1931), the wedding taking place at Neuchƒtel because it was still illegal to marry a deceased wife's sister in England. We are grateful to Dr Judith Bronkhurst for her help in preparing this entry. The drawing will be included in her forthcoming catalogue raisonn‚ of the works of Holman Hunt.

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