• The Flower Girl -
    Price on request

    Signed lower left: W. Hunt

    Watercolour over pencil heightened with bodycolour

    27 by 18.4 cm., 10 ¾ by 7 ¼ in.


    The cool colouring of the present watercolour indicates this is a late work by Hunt and it has been suggested that this is the work exhibited at the Society of Painters in Water-colours in 1864, no.275 as `A Flower Girl’, a few months after he died. This work was described in The Athenaeum, No. 1905, 30th April 1864, p. 618:

     

    `....he [Hunt] is worthily represented by thirteen of his latest works, -- especially by the glowing and almost odorous basket of wallflowers, etc., which the country damsel bears , and to which he gives the title A Flower Girl (No. 275)....`

     

    and in The Spectator, 7th May 1864, p. 536:  

    `...the "Flower-girl (275) is an admirable example.  The bountiful load of flowers is a blaze of color, and the homely girl who owns it gives an interest to the picture which not all the perfect imitations in colour, form, and texture of peach, rose, or birds'-nest (sic) can win for other drawings by the same master, dependent as they must be solely on their technical merits.`

  • Portrait of a Peasant Girl -
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    watercolour heightened with bodycolour, gum arabic and scratching out

    17.7 by 13.7cm., 6 3/4 by 51/4 inches

    .

    Hunt often used members of his family as sitters and the present watercolour may show his daughter Emma, which would date it to circa 1845. He is often described as the link between the early watercolourists and the Victorian artists of the second half of the nineteenth century due to his use of strong colour and bodycolour

     

    Provenance:

    Simon Carter Gallery, Woodbridge;

    Private Collection until 2008

  • Cottages near St Albans, Hertfordshire -
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    inscribed on old label: Cottages/near St Albans/by/Wm Hy Hunt

    watercolour heightened with bodycolour, gum arabic and scratching out

    17.9 x 25.9cm., 7 x 10 inches

     

    Provenance:

    With Spink-Leger, London, 2000

     

    Exhibited:

    London, Spink-Leger, Feeling through the Eye ? the New Landscape in Britain 1800-1830, 2000, no. 38

     

    This is an early work dating from between 1808 and 1820 when Hunt?s early patron Dr Thomas Monro took a cottage at Bushey, Hertfordshire where Hunt was a frequent visitor. He produced a number of similar drawings of cottages and farm buildings during this period. A view of St Albans Cathedral by Hunt is in the Victoria and Albert Museum and a view of a street in St Albans is in the Yale Center for British Art, New Haven (see John Witt, William Henry Hunt, 1982, nos. 168 and 247).

  • 'The Book of Omens' -
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    Indistinctly signed lower right

    Watercolour heightened with bodycolour, gum arabic, stopping out and scratching out

     

    26.2 by 28.2 cm., 10 1/2 by 11 inches

     

    Hunt depicts an impressionable young woman who has been reading a book of omens and is consequently startled by a real or imaginary noise she has heard in a dark corner of the room. He often used members of his family as sitters and the present watercolour may show his daughter Emma, which would date it to circa 1845.

  • Portrait of a Girl -
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    Full length, seated

    watercolour over pencil

    32.3 by 20.4 cm., 12 ? by 8 inches

     

    Provenance:

    Julius Held (1905-2002)

  • A Lady asleep in a Chair -
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    Watercolour over pencil heightened with touches of bodycolour on laid paper

    With a pencil study of an easel verso

    13.7 by 11 cm., 5 ? x 4 ? inches

     

    Provenance:

    The artist?s daughter, Emma, Mrs Thomas Robinson;

    Her son William Hunt Robinson;

    His eldest daughter Maud Marie Ennis, n?e Robinson (1886-1963);

    Her son Desmond Wilfred Ennis (d. 2000);

    By descent until 2010

  • Study of a Cow being milked -
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    Signed lower right: W. HUNT

    pencil

    9.1 by 12.6 cm., 3 1/2 by 5 inches

  • A Dog resting its head -
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    Signed lower right: W. HUNT

    pencil

    5.1 by 6.5 cm., 2 by 2 1/2 inches

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