Later Victorian Portraits Catalogue

William Holman Hunt (1827-1910), Pre-Raphaelite painter

Self-portraits
By other artists
Doubtful portraits
Posthumous portraits
Photographs
Doubtful photograph

Self-portraitsback to top


c.1841–2
Oil on canvas, 457 x 356mm, half-length at easel, ‘aged 14’; Ashmolean M., Oxford, WA947. Exh. Birmingham MAG, 1947 (ex-cat.); and British Portraits, RA, London, 1956–7 (446); repr. Hunt 1913, vol.1, p.17; and Bronkhurst 2006, vol.1, no.2.

c.1842–5
Oil on canvas, half-length, holding brush and palette, aged 15 or 17; untraced. Ref. Bronkhurst 2006, vol.1, no.3.
A later (?1888–93) copy by the artist, oil on canvas, 635 x 489mm; priv. coll. Exh. Birmingham MAG, 1947 (ex-cat.); and British Portraits, RA, London, 1956–7 (ex-cat); repr. Coleridge 1908, frontispiece; and Bronkhurst 2006, vol.1, no.150.

1845
Oil on canvas, 457 x 394mm, signed and dated, head-and-shoulders, aged 17–18; Birmingham MAG, 1961P32. Exh. FAS, London, 1886 (1); Manchester, Liverpool & Glasgow 1906–7; British Portraits, RA, London, 1956–7 (449); British Self-Portraits from Sickert to the present day, Arts Council touring exh., 1962 (84); and elsewhere; repr. Meynell & Farrar 1893, p.1; Hunt 1905, vol.1, p.55; Bronkhurst 2006, vol.1, no.27; and Jacobi 2006, pl.10. Engr., 153 x 126mm, by P. Jonnard-Pacel repr. MA, 1891, p.117 (BM, London, 1891,0213.21).

1850
Pen and ink caricature drawing in letter, head-and-shoulders, profile to left, with F.G. Stephens; Huntington L., San Marino, CA, HM 54531, f.2. Repr. Coombs et al. 1986, pl.3; and Bronkhurst 2006, vol.2, App.A3, p.261.

Pen and ink caricature drawing in letter, whole-length, painting under umbrella; Huntington L., San Marino, CA, HM54530, f.2. Repr. Bronkhurst 2006, vol.2, App.A4, p.262.

1852
Companion sketches:
(a) pen, brown ink and wash caricature drawing, 114 x 178mm, inscr. ‘Painting in England. Hastings, 1852’, signed and dated, whole-length, profile to right, seated on cliff-top in high wind; NT, Wightwick Manor. Exh. Victorian Paintings Drawings and Watercolours, Maas G., London, 1971 (83); repr. Bennett 1970, fig.8; and Bronkhurst 2006, vol.2, no.D65, p.41.
(b) pen, brown ink and wash drawing, 114 x 178mm, inscr. ‘Painting in the East. Grand Cairo 185-’, whole-length, back view, seated painting cross-legged; priv. coll. Exh. Victorian Paintings Drawings and Watercolours, Maas G., London, 1971 (84); and Inspiration of Egypt, Brighton M. and Manchester CAG, 1983 (330); repr. Bennett 1970, fig.9; and Bronkhurst 2006, vol.2, no.D66, p.41.

1853
Pen and ink caricature drawing in letter, juggling with knives; Research L., Getty Research Inst., Los Angeles, 860667. Ref. Bronkhurst 2006, vol.2, App.A11; repr. Jacobi 2006, p.608.

Pen and ink caricature drawing in letter, half-length, profile to left, juggling with knives; John Rylands UL, U. of Manchester, Eng MS.1214/6. Repr. Bronkhurst 2006, vol.2, App.A12, p.263.

Pen and ink sketch in letter, whole-length, seated on ground, painting; Bodleian L., Oxford, MS. Eng.lett.c.296 f.7. Repr. Bronkhurst 2006, vol.2, App. A13, p.263.

Pen and ink sketch in letter, whole-length, profile to right, wearing top hat and carrying rifle over shoulder; Research L., Getty Research Inst., Los Angeles, 860667. Repr. Bronkhurst 2006, vol.2, App.A15, p.263.

1854
Pen and ink sketch, 76 x 113mm, in letter dated 21 Feb. 1854, confronting donkey-boys; Bodleian L., Oxford, MS Eng.lett.c.296 f.26v. Ref. Bronkhurst 2006, vol.2, App.A17.

Pen and ink drawing, 93 x 215mm, in letter dated 16 Mar. 1854, whole-length, seated in tent with Thomas Seddon and attendant; Arizona State U., Tempe, MS. Special Colls. Repr. Bronkhurst 2006, vol.2, App.A19, p.264.

Pen and ink drawing, 124 x 197mm, in letter dated 26–27 Apr. 1854, whole-length, profile perdu to left, seated on rock painting at Giza, pyramids in background; Arizona State U., Tempe, MS. Special Colls. Repr. Sotheby’s, 15 Dec. 1970 (887); and Bronkhurst 2006, vol.2, App.A20, p.264.

Pen and ink sketch, 89 x 197mm, in letter dated 17 June 1854, whole-length with other figures, climbing tunnel inside pyramid; John Rylands UL, U. of Manchester, Eng MS 1216/9. Repr. Hunt 1905, vol.1, p.384; and Bronkhurst 2006, vol.2, App.A22, p.265.

1855
Pen and ink caricature, 95 x 149mm, in letter dated 26 Mar. 1855, whole-length, kneeling grappling with crocodile; Princeton UL, MS Division. Repr. Bronkhurst 2006, vol.2, App.A26, p.265.

Pen and ink sketch in letter, whole-length, seated in dishevelled state; untraced. Ref. Bronkhurst 2006, vol.2, App.A 27; repr. Liberty cat. 1979, no.22.

1858
Pen and ink sketch, 127 x 86mm, in letter, whole-length, standing, arms outstretched to infant; Kansas UL, Lawrence, MS.208A:2. Repr. Bronkhurst 2006, vol.2, App.A31, p.266.

c.1858
Pen and ink sketch, 102 x 147mm from album, inscr. ‘Harriet & Holman’, whole-length standing with ‘black mammy’ figure; coll. Mr & Mrs P.A.J. Abbott, UK. Repr. Bronkhurst 2006, vol.2, L78 f.7v, p.220.

1859
Pen and ink sketches in letter dated 7 Nov. 1859:
(a) 35 x 102mm, whole-length, prostrate on floor;
(b) 133 x 102mm, with female figure.
John Rylands UL, U. of Manchester., Eng.MS 121428 ff.1v and 2. Repr. Bronkhurst 2006, vol.2, App.A32, p.266.

Pen and ink sketch, 178 x 108mm from album, ‘Mr Hunt Turns Up’, whole-length, doffing top hat; coll. Mr & Mrs P.A.J. Abbott, UK. Repr. The Times, 18 Feb. 2002; Bonhams, 5 Mar., 2002 (56); and Bronkhurst 2006, vol.1, p.5 (ref. L.78 f.2).

c.1860
Pen and ink and wash sketch, 154 x 97mm in album, whole-length, standing, palms outstretched; coll. Mr & Mrs P.A.J. Abbott, UK. Repr. Bonhams, 5 Mar. 2002 (56). Ref. Bronkhurst 2006, L.78 f.3.

1863
Oil on canvas, 651 x 981mm, London Bridge on the night of the marriage of the Prince and Princess of Wales, half-head only visible among multiple figures; Ashmolean M., Oxford, WA268. Exh. New G., London, 1864; The Pre-Raphaelites, Tate, 1984 (124); and elsewhere; repr. Bronkhurst 2006, vol.1, no.101, p.199. A MS note on p.13 of the Ashmolean catalogue of the Combe Bequest, ‘Pictures and Drawings of the English Pre-Raphaelite School’, 1909, states ‘…“half of whose face only shews [sic]” – W.H.H’.

1867–75
Oil on canvas, 1035 x 730mm, signed and dated 1875, half-length, seated wearing Syrian robe tied with cashmere scarf, right hand holding palette, left hand on table with brushes; Uffizi, Florence, 1890.n.3377. Exh. Liverpool, 1875 (763); London, Manchester, Liverpool and Glasgow, 1906–7; Firenze e l’Inghilterra, Florence, 1971 (82); The Orientalists, RA, London, 1984 (79); and I Giardini delle Regine, Uffizi, Florence, 2004 (9); repr. Hunt 1913, vol.1, frontispiece; Country Life, 1 Feb. 1962, p.223; Marsh 1996, p.87; Caneva 2002, no.57, p.222; Bronkhurst 2006, vol.1, no.109, p.213; Jacobi 2006, pl.9.1; and elsewhere.
The premier portrait of Hunt in middle life.
Full-size replica by Edward Robert Hughes, done under the sitter’s supervision, probably before 1907; Athenaeum Club, London, 439. Repr. Tait & Walker 2000, pl.iii.

1869–71
Various sketches from letters to artist’s son in scrapbook; untraced; Sotheby’s, 28 July 1965 (5). Repr. Hunt 1905, vol.2 passim; and other examples repr. Bronkhurst 2006, vol.2, App.A38, p.267 (one sketch dated 17–18 Feb. 1870, showing Hunt painting at night); and Jacobi 2006, pls 3.1, 3.2.

c.1874
Pen and ink sketch, 49 x 60mm, in letter, whole-length, seated on horse, with drawn sword; Princeton UL, MS Division. Repr. Bronkhurst 2006, vol.2, App.A39, p.268.

?1886–99
Pen and ink over pencil drawing, as child watching from staircase; untraced. Ref. Bronkhurst 2006, vol.2, L138; repr. Schleinitz 1907, pl.1.


Possible self-portrait

1867–8
Pen and sepia sketch, 110 x 180mm, whole-length, seated embracing son; priv. coll. Ref. Bronkhurst 2006, vol.2, L88; repr. Sotheby’s, 10 Oct. 1985 (49).


By other artistsback to top


1851
Pen and ink sketch by Dante Gabriel Rossetti in letter to Walter Howell Deverell, Aug. 1851, inscr. ‘Down behind the hidden village’, reclining with pipe; untraced. Repr. Fredeman 2002–10, vol.1, letter 51:18, p.180; and Marsh 1999, pl.13.

c.1851–3
Pen and ink sketch by Dante Gabriel Rossetti, three-quarter-length, profile to right, standing with left hand to his pipe, right hand in trouser pocket, exclaiming ‘of course’ to John Everett Millais; Birmingham MAG, 1904P436. Repr. Newman & Watkinson 1991, pl.48; and Cruise 2011, p.25, fig.17.

c.1852
Pen and ink sketch, 111 x 113mm, by William Michael Rossetti, faint profile to left; untraced. Repr. Fredeman 1991, pl.50a.

1853
Pencil drawing, 275 x 207mm, by Dante Gabriel Rossetti, dated 12 Apr. 1853, head-and-shoulders in oval; Birmingham MAG, 1904P392. Exh. Russell-Cotes AGM, Bournemouth, 1951 (101); Dante Gabriel Rossetti: Painter and Poet, RA, 1973 (40); Dante Gabriel Rossetti, Bunkamura MA, Tokyo, Aichi Prefectural AG, Nagoya and Ishibashi MA, Kurume, 1990–91 (124); Christina Rossetti 1830–1894, NPG, London, 1994 (no cat.); Dante Gabriel Rossetti, Walker AG, Liverpool and Van Gogh M., Amsterdam, 2003–4 (17); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (99); ref. Surtees 1971, no.341; repr. Bookman, June 1911; Apollo, Jan. 1967, p.26, no.5; Rose 1981, p.91; Treuherz et al. 2003, p.150; and Cruise 2011, p.103, fig.128.

Pencil sketch, 190 x 270mm, by William Michael Rossetti, probably 12 Apr. 1853, head-and-shoulders, profile to left, with sidewhiskers; coll. Mrs N. Murray Smith, Australia. Repr. Thirlwell 2003, p.109.

Pen and ink sketch, 178 x 114mm, by Dante Gabriel Rossetti, three-quarter-length, profile to left, holding pipe; untraced. Ref. Surtees 1971, no.342.

Pencil drawing by John Everett Millais; see NPG 5834.

1854
Pencil and watercolour drawing, 203 x 180mm, by John Everett Millais, signed and dated, head-and-shoulders to left, with left parting, whiskers and moustache, striped tie; Ashmolean M., Oxford, WA506. Exh. Millais, Walker AG, Liverpool, 1967 (339); and Millais: Portraits, NPG, London, 1999 (27); repr. Hubbard 1944, pl.51; Funnell & Warner 1999, no.27; and elsewhere.

Pen and brown ink drawing, 213 x 162mm, by William Michael Rossetti, inscr. ‘Hunt / by WMR / c.1854’, head-and-shoulders, profile to left, looking down; untraced. Repr. Christie’s, 15 Dec. 2010 (11).

?mid-1850s
Pen and ink sketch, 110 x 90mm, by Dante Gabriel Rossetti, head-and-shoulders, profile to left, with bushy beard, hand to mouth holding short pipe; untraced. Repr. Fredeman 1991, pl.50b (where dated c.1850, when sitter did not have full beard).
Another, near-identical version; exh. Spink-Leger 1999 (44).

1857
Medallion by John Lucas Tupper; untraced. Exh. RA 1857 (1301).

publ. 1857
Zincotype caricature, 446 x 490mm, by (Anthony) Frederick Augustus Sandys, A Nightmare, based on Millais’s painting Sir Isumbras (A Dream of the Past), 1857, whole-length but child-size, riding an oversized donkey standing for Ruskin; publ. by Smith & Elder, 4 May 1857; colls V&A, London, E.907-1887; BM, London, 1859,0709.848; Athenaeum Club, London, 1009; Walker AG, Liverpool, 5620; and Lady Lever AG, Port Sunlight, LL3453 and LL3452; for location of other impressions see Elzea 2001, pp.130–33. Exh. South Kensington M., 1898–9 (554); International Society Exhibition, 1905 (160a); and MFA, Boston, 1985; repr. Millais 1899, vol.1, p.321; Graphic, 27 Jan. 1900, p.114; Bookman, Mar. 1900, p.179; Dearden 1999, p.53, no.46; Hewison, Warrell & Wildman 2000, fig.12; Elzea 2001, p.131, no.1B28; and Fredeman 2002–10, vol.2, p.164; see photograph by Emery Walker, neg. no.452/12, NPG Archive. An untraced original drawing for this was recorded in 1892: see Elzea 2001, p.106, no.1.A.94.
See also Millais, Rossetti, Ruskin.

c.1859
Oil study, 483 x 381mm, by George Frederic Watts, head only, profile to right, for head of King Ina of Wessex for mural painting at Lincoln’s Inn; untraced; Christie’s, 25 Mar. 1966 (152).

1862
Pen and ink caricature by George Du Maurier, in letter to Ellen Du Maurier, July 1862, head, profile to left, evening at Little Holland House; untraced. Repr. Du Maurier 1951, facing p.224.
See also Du Maurier, Millais, Prinsep, Sandys, Walker, Watts, Whistler.

1863
Pencil study in sketchbook, 134 x 178mm, by George Howard, 9th Earl of Carlisle, signed and dated 2 July 1863, beard and profile to right; untraced; album formerly with William Roberts, offered to NPG 1981. Exh. George Howard, Carlisle, 1968 (10); and Pre-Raphaelites, Painters and Patrons, Laing AG, Newcastle, 1989 (49, ex. cat).

1865
Oil on canvas by John Ballantyne; see NPG 2555.

1866
Pen and ink caricature sketch, 135 x 117mm, by Dante Gabriel Rossetti, in letter dated 14 June 1866, whole-length, profile to left, standing at evening party with others; untraced. Repr. Fredeman 1991, no.67.

1876
Pen and ink caricature sketch, 260 x 90mm, by ‘TD’, whole-length, half-profile to left, standing holding brush and palette; untraced. Engr. by Laurent, Petit & Co. repr. Hornet, 30 Aug. 1876, p.92.

1879
Watercolour caricature on blue paper, 306 x 184mm, by Leslie Ward (‘Spy’), inscr. on old mount ‘Mr W.Holman Hunt. July 19 1879’, whole-length, standing, turned to left, wearing top hat and overcoat; BM, London, 1837,0410.9.
Chromolithograph, 305 x 183mm, by Vincent Brooks Day & Son repr. Vanity Fair, 19 July 1879 (as ‘The Pre-Raphaelite of the World’). Louise Jopling (Jopling 1925, p.256) erroneously states that her husband Joseph drew Hunt for Vanity Fair.

1879–80
Oil on canvas by William Blake Richmond; see NPG 1901.
Copy or study after Richmond made at the NPG by H. Allan, 1935. Ref. Register of applications to copy portraits, NPG 77/5.

publ. 1888
Drawing by unidentified artist, possibly ‘J.H.’ for The National Association for the Advancement of Art and its Application to Industry, half-length, standing to left, looking down at notes in hand (no.11 on key), addressing a meeting at the Liverpool Congress, Dec. 1888; untraced. Repr. Graphic, 15 Dec. 1888, cover; and Dorment 1985, p.94, fig.51.
See also Alma-Tadema, Crane, Ford, Gilbert, Leighton, W. Morris.

1889
Oil on canvas by Henry Jamyn Brooks: see NPG 1833.

Oil mural by Phoebe Traquair, head-and-shoulders, full-face in frieze; South Wall, Song School, St Mary’s Cathedral, Edinburgh. Repr. Cumming 2005, fig.19.

1891
Portrait by C.H. Sephton; untraced. Exh. RSPP 1891 (161).

1895
Pencil drawing, 178 x 127mm, by Frederic James Shields, inscr. ‘W.H.Hunt’ and dated 9 Aug. 1895, nearly whole-length, profile to left, seated at easel, wearing spectacles, holding brush and palette; untraced. Exh. Moore-Gwyn Fine Art, London, 2010 (29); ref. Phillips, 17 Mar. 1998 (64); and Harry Moore-Gwyn, British Pictures, 2010, n.p.; repr. Sotheby’s, Belgravia, 16 Nov. 1976 (223).

1900
Oil on canvas by William Blake Richmond; see NPG 2803.

1902
Oil on canvas, 1375 x 840mm, by Ralph Peacock, possibly after a photograph, three-quarter-length, nearly full-face, standing, hands behind back; NM Liverpool, WAG2126. Exh. RA 1902 (258); and Liverpool, Autumn Exh. 1902 (898); repr. Studio, June 1902, p.41; and The Year’s Art 1903, p.166.

1903–4
Oil on canvas, 635 x 480mm, by George Reid, signed and inscr., quarter-length to left, grey coat, red background; untraced. Exh. New G., London, 1904 (153); repr. ‘The Pictures of 1904’, Pall Mall Magazine, p.98; Christie’s, 17 Mar. 1961 (71); and Sotheby’s, 16 Dec. 1987 (209).
Sketch for above item, oil on canvas 315 x 210mm; Aberdeen AG, ABDAG008237;
Another oil sketch for the finished picture repr. Studio, Apr. 1912, p.175.

c.1904
Pen, ink and watercolour caricature drawing, 201 x 303mm, by Max Beerbohm, Dante Gabriel Rossetti in his Back Garden, head only, at far right, behind John Ruskin, with others incl. A.C. Swinburne; Birmingham MAG, 1981P2. Exh. Carfax G., London, 1904; Artists and Writers, Parkin G., London, 1976 (36); Piccadilly G., London, 1980 (25); British Watercolours from Birmingham, Tokyo, 1992 (7); Visions of Love and Life, New York and Birmingham, 1995 (118); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (102); ref. Gallatin 1913a, p.46, no.168; Gallatin 1918, p.70, no.254; Hart-Davis 1972, no.1268, p.119 and Denker 1995, pp.157–8; repr. Beerbohm 1904 and 1943 (no number); Beerbohm 1922 (1987, supplementary pl.3); The Times, 1 Jan. 1972; Dunn 1984, pl.15; Walkley 1994, p.191, fig.154; Denker 1995, p.158; Hall 1997, p.209, fig.198; Dearden 1999, p.202, no.300; and Cruise 2011, p.111, fig.140.
See also Burne-Jones, W. Morris, Rossetti, Ruskin, Scott, Whistler.

1905
Coloured chalks drawing, 216 x 336mm, by Arthur Hughes, whole-length, seated on windsor chair in garden at Sonning, with daughter; untraced. Repr. Sotheby’s, 29 Apr. 1971 (90).

1907
Reddish brown and black chalk drawing, 359 x 299mm, by Elinor J.M. Hallé, signed and dated, head-and-shoulders, looking right; Royal Coll., RL13654. Commissioned by Edward VII for OM portrait sequence.

1909
Oil on canvas, 895 x 978mm, by Harold Speed, half-length, half-profile to left, seated, wearing academic gown (Hon. DCL, Oxford); Birmingham MAG, 1932P338. Exh. RSPP 1910.

Two watercolour on ivory miniatures, oval, by Edward Robert Hughes, head-and-shoulders, copied from photograph by Kingsbury & Notcutt. One exh. RA 1909 (1357, as ‘W.Holman Hunt Esq., O.M.’):
(a) 42mm high, in silver frame set with gemstones; untraced. Exh. and repr. Secret Passion to Noble Fashion, Holburne M., Bath, 1999 (103); and Bonhams, 27 Apr. 2004 (164).
(b) priv. coll.

Cast taken by Frederick William Pomeroy, possibly after death, Hunt’s right hand; Walker AG, Liverpool.


Doubtful portraitsback to top


1860
Oil on panel, 229 x 388mm, by Florence Claxton, The Choice of Paris: An Idyll, a satire on the PRB, head-and-shoulders, with centre parting, bent to the floor in centre of composition, holding magnifying glass; untraced. Exh. Portland G., London, 1860; Victorian Paintings, Agnews, London, 1961 (54); repr. Fredeman 1960, p.527, fig.26.
Wood-engr. by unidentified engraver, loosely based on the original, repr. ILN, 2 June 1860, p.541.
There are four known watercolours after the original:
(a) V&A, London, E.1224-1989. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (106); repr. Cruise 2011, p.90, fig.105. In this version, the features of Hunt are transformed into those of a much older man.
(b) untraced. Ref. Christie's, London, 17 Jun. 2014 (68, ill.)
(c) untraced. Ref. Bonham's, 21 Nov. 2007 (80).
(d) untraced. Repr. Fredeman 1960, p.527, fig.27.
See also F. Madox Brown, Millais, Ruskin.

c.1860
Pen and sepia sketch, 187 x 127mm, by Charles Keene, working by lamplight with another artist; Tate, T03840. Repr. Christie’s, 19 June 1979 (193); and Houfe 1995 p.26. The drawing is inscr. on verso as representing Hunt with Dante Gabriel Rossetti, but these identifications are very doubtful.

1870
Oil on canvas, 762 x 635mm, allegedly by John Everett Millais (said to be signed and dated); untraced; Bonhams, 21 Oct. 1971 (228). Either the identification or the date is mistaken; Hunt was in Palestine during the whole of 1870.


Posthumous portraitsback to top


1912–13
Oil study, 654 x 914mm, by Frank Salisbury for The Great Artists of Chelsea, whole-length, wearing red gown, with likenesses of Holbein, Turner, Wren, and others; untraced; Christie’s, 25 Sept. 1985 (46). Repr. Christie’s, 4 Nov. 1994 (78).
The subsequent mural by Salisbury, The Great Artists of Chelsea (1913); Chelsea Town Hall, London.
See also Keene, Lawson, Rossetti, Scott, Whistler.

1917
Pencil and watercolour caricature on paper, 362 x 379mm, by Max Beerbohm, Ford Madox Brown being patronized by Holman Hunt, whole-length, profile to left, standing holding top hat, with Ford Madox Brown; Tate, A01043. Exh. Leicester G., London, 1921; repr. Beerbohm 1922, pl.10; and Hart-Davis 1972, no.776.

Pencil and watercolour caricature on paper, 298 x 419mm (support), by Max Beerbohm, British Stock and Alien Inspiration – 1849, looking right, standing in background to right in group with Disraeli and others; Tate, A01039. Exh. Leicester G., London, 1921 (2); and Tate, 1923 (2); ref. Hart-Davis 1972, no.776, p.80; repr. Beerbohm 1922, pl.1.
See also Millais, Rossetti.


Photographsback to top



1860
Photograph by unidentified photographer, whole-length, seated with rifle, wearing boots and plus fours in uniformed group with George Frederic Watts; repr. from The Artists’ Rifles Journal in Gould 2004, p.56.

Albumen print, 169 x 129mm arched top, by Charles Lutwidge Dodgson (Lewis Carroll), taken in Oxford, dated and inscr. by photographer 30 June 1860, whole-length, standing in makeshift garden studio holding brushes, left foot on rung of easel; Princeton UL, A(II): 23 and duplicate P(3):4. Repr. Collingwood 1898, p.103; Taylor & Wakeling 2002, pl.28; and Getty Images, 50673612.

c.1863–4
Sepia albumen print by David Wilkie Wynfield; see NPG P75.

Albumen cartes-de-visite by Elliott & Fry, two known poses:
(a) 91 x 59mm, quarter-length, full-face looking right, wearing light-coloured overcoat with velvet collar; reg. for copyright 1865 Dec. 4: National Archives (COPY 1/9); colls NPG Ax18329; The Rob Dickins Coll., Watts G., Compton, COMWG2008.133; and Maas Gallery website.
(b) 92 x 59mm, head-and-shoulders vignette, profile to left, right hand to head (taken from half-length image, see Getty Images #2672839); reg. for copyright 1865 Dec. 4: National Archives (COPY 1/9); NPG Ax28966 and NPG Ax131892 (in Portraits of Members of the Society of Painters in Water Colours 1864, issued by Cundall, Downes & Co.). Repr. Maas 1984, no.195.

1864
Studio portrait by Frederick Gass; reg. for copyright 1864 Feb. 18: National Archives (COPY 1/6).

Albumen prints by Julia Margaret Cameron, taken in Hendon, May 1864, six known poses:
(a) bust profile; reg. for copyright 1864 May 30: National Archives (COPY 1/6).
(b) 263 x 213mm, some prints with arched top, half-length, full-face, arms crossed over chest; reg. for copyright 1864 May 30: National Archives (COPY 1/6); Birmingham MAG, 1973P83. Repr. Cox & Ford 2003, no.685.
(c) nearly full-face, wearing striped coat and cloak over shoulders; reg. for copyright 1864 June 30: National Archives (COPY 1/6).
(d) three-quarter profile, wearing ‘loosed robe’, hands ‘close to each other on chest’; reg. for copyright 1864 May 30: National Archives (COPY 1/6).
(e) 254 x 178mm, half-length, three-quarter profile, ‘in eastern dress’; reg. for copyright 1864 June 30: National Archives (COPY 1/6); Getty M., Los Angeles, 84.xz.186.72; and elsewhere. Repr. Gernsheim 1975, p.146; and Cox & Ford 2003, no.687.
(f) 229 x 178mm, three-quarter-length, seated sideways to camera, wearing eastern robe and fez; Getty M., Los Angeles, 84.xz.186.10. Repr. Weaver 1986, no.JMC10; and Cox & Ford 2003, no.686.
Cameron registered five photographs of Hunt, with descriptions but no images; no prints are currently known of poses (a), (c) and (d) above. Cox and Ford (2003, no.687) state that (f) was registered, and although the image does not accord with the registration description, it may well be the same item as (c) [1].

?Albumen print by Charles Lutwidge Dodgson (Lewis Carroll), in Oxford, 16 June 1864; several poses indexed by photographer as nos 1238–67; ref. Taylor & Wakeling 2002, p.257.

Two poses by Nottage & Kennard, summer 1864, standing and seated; reg. for copyright 1864 Aug. 10: National Archives (COPY 1/7, where erroneously described as ‘Holman Hunt R.A.’).

Photographs by William Jeffrey, summer/autumn 1864 (the dates of copyright registration suggest two separate sittings), eight recorded poses:
(a) reg. for copyright 1864 Aug. 22: National Archives (COPY 1/7), ‘nearly profile, half-length’; probably the same image as albumen carte-de-visite, 88 x 54mm, half-length, half-profile to right, seated, NPG Ax7549.
(b) reg. for copyright 1864 Aug. 22: National Archives (COPY 1/7), ‘full face half-length’; probably the same image as albumen carte-de-visite, 154 x 98mm, half-length to front, seated, invisible hands clasped on lap, The Rob Dickins Coll., Watts G., Compton, COMWG2008.3762; publ. as cabinet card on mount, 395 x 330mm, by Messrs Marion & Co., Soho Sq., London, stamped ‘crown copyright’ and with printed title ‘Photographed from life by W. Jeffrey, 114 Gt. Russell St, W.C.’, signed on mount ‘Yours ever / W Holman Hunt’; repr. Bills & Webb 2007, no.90.
(c) reg. for copyright 1864 Nov. 3, ‘half-length, full face’; alternative image to (b).
(d) reg. for copyright 1864 Nov. 3: National Archives (COPY 1/7), ‘whole-length, full-face, standing’.
(e) reg. for copyright 1864 Nov. 3: National Archives (COPY 1/7), ‘whole-length, profile, seated’.
(f) reg. for copyright 1864 Nov. 3: National Archives (COPY 1/7), ‘whole-length, profile, standing’; must be same image as albumen carte-de-visite, 88 x 54mm, whole-length, profile to right, standing, hands clasped below waist, inscr. with sitter’s name in album, NPG Ax17266.
(g) reg. for copyright 1864 Nov. 3: National Archives (COPY 1/7), ‘half-length, profile’.
(h) reg. for copyright 1864 Nov. 3: National Archives (COPY 1/7), ‘half-length, three-quarter profile’; this could be the same or alternative image to (a).

c.1865
Carte-de-visite, 92 x 55mm, by Adolphe Naudin, three-quarter-length, half-profile to right, seated, looking down at carte-de-visite in left hand, wearing dark coat and waistcoat, pale trousers; repr. Naudin’s Portfolio, edited by Hamilton Hume, March 1865, part 5, BL, 1758.a.19 (listed as no.25); and Getty Images, 2672501.

Albumen cartes-de-visite by John & Charles Watkins, two known poses:
(a) 76 x 51mm, three-quarter-length, half-profile, seated to left in photographic studio, holding drawing board; The Rob Dickins Coll., Watts G., Compton, COMWG2008.548 and COMWG2008.1392. Repr. Maas 1975, facing p.128.
(b) 102 x 63mm, head-and-shoulders vignette, looking left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.137 and COMWG2008.4410.



Albumen cartes-de-visite by London Stereoscopic and Photographic Co., three known poses:
(a) 90 x 59mm, whole-length, standing in photographer’s studio by balustrade, right hand holding top hat; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.132; and NPG Ax14942.
(b) whole-length, standing in photographer’s studio opening portfolio of drawings; colls NPG Ax14899; Princeton UL, coll.C1071; and Album I, Bristol CMAG, MB7227.
(c) 89 x 57mm, head-and-shoulders, looking right, with small kisscurl, wearing dark jacket; colls COMWG2008.127-129 and The Rob Dickins Coll., Watts G., Compton, COMWG2008.534; and NPG Ax39942; vignette version NPG x6423 (88 x 60mm), NPG x11985 (90 x 59mm) and NPG Ax17858. Tinted engr. with facsimile signature repr. Cassell’s Modern Portrait Gallery, c.1890.

1860s
Photograph, 92 x 63mm, by unidentified photographer, three-quarter-length, full-face with long beard, left arm raised and positioned across the bottom of the frame, possibly resting on unseen arm of a chair, wearing dark coat; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3485; }.

late 1860s?
Albumen cartes-de-visite by Elliott & Fry, four known poses:
(a) 91 x 58mm, head-and-shoulders vignette, full-face towards left; NPG x11987; carte-de-visite cut into oval, 88 x 59mm; NPG x9482; repr. against dark background as photogravure, 273 x 208mm, by Maclure, Macdonald & Co., Glasgow; NPG x11988; and as woodcut engr. by Butterworth & Heath, Leisure Hour, 1893; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3697; }. Possibly used (pose reversed) as basis for woodcut engr. by R. & E. Taylor repr. Illustrated Review, 20 Dec. 1873, p.477.
(b) 107 x 63mm, half-length, full-face, wearing dark jacket, no overcoat; The Rob Dickins Coll., Watts G., Compton, COMWG2008.134.
(c) 102 x 63mm, half-length, profile to right, left hand across body, wearing dark jacket, no overcoat; The Rob Dickins Coll., Watts G., Compton, COMWG2008.136.
(d) head-and-shoulders vignett, full-face; The Rob Dickins Coll., Watts G., Compton, COMWG2008.135.

reg. 1870
Photograph by Henry Cox, near-profile; reg. for copyright 1870 Dec. 2: National Archive (COPY 1/16).

1872
Prints by Charles Lutwidge Dodgson (Lewis Carroll), at Christ Church, Oxford, 24 July 1872, several poses with son Cyril; NMM, Bradford. Ref. Taylor & Wakeling 2002, p.267; one repr. Coombes et al. 1986, pl.14; Jacobi 2006, pl.5.1; and Bronkhurst 2006, vol.1, p.4.

reg. 1876
Albumen print, 222 x 159mm, by Hughes & Edmonds after untraced composite drawing by unidentified artist (probably executed after a photograph), facing front to right-hand side, holding palette, with five other figures (including J.M.W. Turner, D. Wilkie and W.H. Landseer); reg. for copyright 1876 Aug. 16: National Archive (COPY 1/34); prints colls NPG Ax132902; The Rob Dickins Coll., Watts G., Compton, COMWG2008.1118; and Getty Images, 3069828. Repr. Hughes & Edmonds 1876 (as ‘Artists’). Although the composite was evidently assembled from individual images, the portrait of Hunt does not correspond exactly with any other known photograph.
See also Frith, Millais.

before 1880
Photograph by J.G. Hemery, head-and-shoulders, looking right, dark beard and hair; engr. by ‘MX’ repr. MA, 1880, p.384.

late 1880s
Photograph by Alexander Bassano, head-and-shoulders vignette, near-profile to right; repr. Review of Reviews 1894, p.266.

Photographs by Kingsbury & Notcutt, two known poses:
(a) sepia albumen cabinet print, 145 x 5mm quarter-length, looking left, with lank hair, wearing overcoat with fur collar; NPG x4179. Repr. The Year’s Art 1890, p.150; and Hunt 1913, vol.2, p.279.
(b) full-face, shoulders draped in striped fabric; The Rob Dickins Coll., Watts G., Compton, COMWG2008.320.

1890
Woodburytype, 250 x 178mm, by Herbert Rose Barraud, half-length, nearly full-face, seated, wearing tweed suit, left hand to watch chain; repr. MWD, 1890, p.97; other prints colls Getty Images, 2669570; MEPL, London, 10061881; NPG Ax5500; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.3693.
Two other images credited to Barraud:
(a) three-quarter-length, profile to left, seated in Morris & Co. chair, holding hat; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3690; also head-and-shoulders vignette; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3691.
(b) three-quarter-length to front, standing, right hand holding hat; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3692.

1891
Platinum prints by Walery [Stanislas Julian, Count Ostrorog], 4 Aug. 1891, four known poses:
(a) 294 x 177mm, half-length, full-face, wearing dark suit; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3696 and The Rob Dickins Coll., Watts G., Compton, COMWG2008.4311. Repr. Walery 1888–96, vol.4, issue no.39 (Sept. 1891); The Temple, 1897–8, p.534 (halftone); Maas 1984, no.199; and Christie’s, 26 Nov. 2003, fig.1.
(b) half-length, looking left; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3763. Repr. as photogravure, 455 x 315mm; Bills & Webb 2007, no.89.
(c) three-quarter-length, standing before carved cabinet; The Rob Dickins Coll., Watts G., Compton, COMWG2008.3760.
(d) three-quarter-length, standing, arms akimbo; The Rob Dickins Coll., Watts G., COMWG2008.3761.

1893
Albumen prints, 175 x 225mm, by unidentified photographer, ‘in his costume when painting “The Scapegoat” [near the Dead Sea]’, two known poses:
(a) whole-length, standing in garden with portable easel, brushes and rifle; repr. Meynell & Farrar 1893, p.3; Maas 1984, no.197; and Jacobi 2006, pl.2.1.
(b) whole-length, kneeling with same accessories; known from NPG ref. neg. RN36625.

1894
Silver bromide print, 245 x 275mm, by Frederick Hollyer taken at Brantwood, Cumbria, Sept. 1894, three-quarter-length, profile to left, seated with John Ruskin; reg. for copyright twice 1894 Oct. 25: National Archives (COPY 1/148/226) and 1907 Aug. 29: National Archives (COPY 1/512/339); colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.4326; and V&A, London, 7720-1938 (as platinum print, 138 x 124mm). Repr. Sphere, July 1901; Gissing 1936, facing p.210; Maas 1984, no.198; and Bills & Webb 2007, no.91.

reg. 1894
Photographs by Alfred J. Philpott for Elliott & Fry, both reg. for copyright twice in 1894 and 1896 (Elliott & Fry was commercially transferred in 1894, and this probably represents the re-registration of existing images):
(a) half-length, looking right, hands invisible, dark hair, grizzled beard, wearing dark velvet coat and waistcoat; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.3695; and albumen cabinet card, 145 x 10mm, NPG x11986; reg. for copyright 1894 July 16: National Archives (COPY 1/417/98) and 1896 June 4: National Archives (COPY 1/425/331); repr. as vignette Graphic, 17 Sept. 1910.
(b) head-and-shoulders, looking left; reg. for copyright 1894 July 16: National Archives (COPY 1/417/98) and 1896 June 4: National Archives (COPY 1/425/330); The Rob Dickins Coll., Watts G., Compton, COMWG2008.3694.

before June 1899
Cabinet carte-de-visite, 165 x 108mm, by W. & D. Downey, inscr. with a date, head-and-shoulders, profile to right, white beard; The Rob Dickins Coll., Watts G., Compton, COMWG2008.321.

c.1900?
Photograph by unidentified photographer, half-length profile, with long beard; repr. Hunt 1913, vol.2, p.91.

Photograph by unidentified photographer, whole-length in studio, looking blind, with painting Bianca and portrait of Dante Gabriel Rossetti; repr. Schleinitz 1907, p.126.

after 1901
Photographs by unidentified photographer, possibly Gladys Holman Hunt, two known poses (both from a family album):
(a) 52 x 80mm, whole-length, seated in sitting-room at Sonning-on-Thames; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4288. Repr. Maas 1984, no.200.
(b) with wife Edith; The Rob Dickins Coll., Watts G., Compton, COMWG2008.4287.

1902
Photographs by unidentified photographer, summer 1902, two known poses:
(a) whole-length, seated in studio at Draycott Lodge with The Light of the World; repr. Schleinitz 1907, pl.132.
(b) half-length, profile to right, with plaster cast of head of Christ; repr. Schleinitz 1907, pl.133.

c.1902
Photograph by unidentified photographer, three-quarter-length, leaning on cabinet; repr. Hunt 1913, vol.2, p.320.
Another image of around the same date shows Hunt with his wife Edith, seated outdoors below a window between two tall garden pots; coll. Colin Cohen.

1903
Photograph by unidentified photographer, at Sonning, summer 1903, with Flinders Petrie; repr. Hunt 1913, vol.2, p.382; and Drower 1985, pl.64 (where dated to c.1905).

1905
Cabinet prints by Russell & Sons, marking award of OM, two known poses:
(a) 165 x 108mm, three-quarter-length, seated, looking left but blind, wearing Court dress; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.322 and The Rob Dickins Coll., Watts G., Compton, COMWG2008.1024; and Scott Thomas Buckle Coll., 2008. Repr. Schleinitz 1907, frontispiece.
(b) with son Hilary; repr. Holman-Hunt 1960, facing p.164.

Platinum prints by Frederick Hollyer, two known poses:
(a) half-length, profile to right, wearing academic gown; colls The Rob Dickins Coll., Watts G., Compton, COMWG2008.974}; and V&A, London, 7718-1938. Repr. Hunt 1913, vol.2, p.328.
(b) half-length, profile to right, wearing academic gown and cap; V&A, London, 7719-1938. Repr. The Year 1910 Illustrated, publ. by the Daily News, December 1910, p.173 (cropped).

?1906–7
Photograph by unidentified photographer, whole-length, standing with wife Edith, en route to or from Royal Garden Party; repr. Holman-Hunt 1960, frontispiece.

1910
Photograph by unidentified photographer, insc. with names of sitters and ‘The last day in the Garden! / August 1910 / Sept.7th William Holman Hunt passed over’; whole-length, seated to right wearing straw hat in garden at Sonning, with Johnston Forbes Robertson and others holding parasols; Forbes Robertson Archive, Mander & Mitcheson Collection, University of Bristol Theatre Collection.


Doubtful photographback to top


?c.1870
Albumen print, 212 x 165mm, by David Wilkie Wynfield, head-and-shoulders, full-face, dark jacket and background; RA, 03/6575 (where the sitter is identified as Hunt although the likeness is not fully convincing). Repr. Hacking 2000, no.29. See NPG collection P70–P100.

Footnote
1) On 1 June 1864, Hunt replied to criticism of one (possibly (c)) of Cameron’s portraits on display (presumably at Colnaghi’s), writing: 'I can’t feel that it is a matter of the slightest importance to me to get the unhappy portrait removed. I am sorry if it is not satisfactory principally on account of Mrs Cameron whose purse I hoped it might help to fill – and who now it seems can’t be expected to gain a profit by it seeing I do not feel rich enough to buy it from her and she would not allow me to so if I wished - I really regarded it as a very flattering representation of myself - I can’t say I took interest enough in my own face to look at the portrait very closely - but my impression certainly was that it made my face less ugly than I was accustomed to see it in the glass[.] I am glad however to know your impression of the portrait for I will now write and offer her another sitting[.] Perhaps after all the one you speak of is no[t] the one I mean for she did several but of these she declared herself satisfied only with one and I conclude it is this she has sent – it is nearly a full faced view.
You known I shall now have to sit to every photographer in London so if one is an unjust representation of me the others will correct the unfavorable[sic] idea established in the public mind’. (William Holman Hunt to Frederic George Stephens, Bodleian L., Oxford, MS.Don.e.66, ff.88-9)

Dr Jan Marsh