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, 30^th 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, 7^th 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.`

Sold

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

Sold

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).

Sold

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.

Sold

Full length, seated

watercolour over pencil

32.3 by 20.4 cm., 12 ? by 8 inches

 

Provenance:

Julius Held (1905-2002)

Sold

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

Sold

Signed lower right: W. HUNT

pencil

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

Sold

Signed lower right: W. HUNT

pencil

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