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John Hunter

(1728-1793), Surgeon and anatomist

Mid-Georgian Portraits Catalogue Entry

Sitter in 13 portraits
John Hunter moved to London from his native Scotland in 1748. He established a successful surgical practice, and made numerous discoveries in medical science and anatomy. He became Fellow of the Royal Society in 1767, and Surgeon-General in 1790. After his death, Hunter quickly gained a reputation as having been the founding father of his profession. His collection of nearly 14,000 natural history specimens became the basis of the Hunterian Museum at the Royal College of Surgeons, London.

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John Hunter, by Unknown artist - NPG 1712

John Hunter

by Unknown artist
plaster cast of life mask, 1913 or before, based on a work of circa 1785
NPG 1712

John Hunter, by Unknown artist - NPG 4288

John Hunter

by Unknown artist
bronze cast of life-mask, 1962, based on a work of circa 1785
NPG 4288

John Hunter, by John Jackson, after  Sir Joshua Reynolds - NPG 77

John Hunter

by John Jackson, after Sir Joshua Reynolds
oil on canvas, 1813, based on a work of 1786
NPG 77

John Hunter, after Sir Joshua Reynolds - NPG D18821

John Hunter

after Sir Joshua Reynolds
stipple engraving, (1786)
NPG D18821

John Hunter, by and published by William Sharp, and published by  Benjamin Beale Evans, and published by  William Skelton, after  Sir Joshua Reynolds - NPG D9006

John Hunter

by and published by William Sharp, and published by Benjamin Beale Evans, and published by William Skelton, after Sir Joshua Reynolds
line engraving, published 1 January 1788 (1786)
NPG D9006

John Hunter, by and published by William Sharp, published by  Benjamin Beale Evans, published by  William Skelton, after  Sir Joshua Reynolds - NPG D36394

John Hunter

by and published by William Sharp, published by Benjamin Beale Evans, published by William Skelton, after Sir Joshua Reynolds
line engraving, published 1 January 1788 (1786)
NPG D36394

John Hunter, by and published by William Sharp, published by  Benjamin Beale Evans, published by  William Skelton, after  Sir Joshua Reynolds - NPG D36395

John Hunter

by and published by William Sharp, published by Benjamin Beale Evans, published by William Skelton, after Sir Joshua Reynolds
line engraving, published 1 January 1788 (1786)
NPG D36395

John Hunter, published by Henry Palser, after  Sir Joshua Reynolds - NPG D14236

John Hunter

published by Henry Palser, after Sir Joshua Reynolds
mezzotint, published 1788 (1786)
NPG D14236

John Hunter, by Henry Bone, after  Sir Joshua Reynolds - NPG D17261

John Hunter

by Henry Bone, after Sir Joshua Reynolds
pencil drawing squared in ink for transfer, 1798 (1786)
NPG D17261

John Hunter, by William Overend Geller, printed by  S.H. Hawkins, published by  Henry Benham, after  Sir Joshua Reynolds - NPG D36396

John Hunter

by William Overend Geller, printed by S.H. Hawkins, published by Henry Benham, after Sir Joshua Reynolds
mezzotint, published 21 April 1836 (1786)
NPG D36396

John Hunter, by William Overend Geller, after  Sir Joshua Reynolds - NPG D19254

John Hunter

by William Overend Geller, after Sir Joshua Reynolds
mezzotint, published 1836 (1786)
NPG D19254

John Hunter, by Thomas Herbert Maguire, printed by  M & N Hanhart, after  Nathaniel Dance (later Sir Nathaniel Holland, Bt) - NPG D36393

John Hunter

by Thomas Herbert Maguire, printed by M & N Hanhart, after Nathaniel Dance (later Sir Nathaniel Holland, Bt)
lithograph, 1849 (1793)
NPG D36393

Web image not currently available

John Hunter

by John Shury, after Sir Joshua Reynolds
stipple and line engraving, circa 1812 (1786)
NPG D20215

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Nicole Karam

12 February 2019, 20:47

This portrait of John Hunter has thematic similarities with Walter Sickert's portrait, "Ennui," and may have inspired the latter work. Hunter was the real-life inspiration for Stevenson's Dr. Jekyll/ Mr. Hyde. According to forensic scientist and best-selling author Patricia Cornwell, Sickert was possibly Jack the Ripper. Sickert was obsessed with the fictitious Dr. Jekyll; he might've also been drawn to Hunter and his collection of organs from his midnight grave-robbing activities, removing women's organs as an homage to his 18th c predecessor.

In "Ennui," Sickert shows a woman gazing at a "murder" of crows (murder=flock of crows); a female subject stares at this "murder" contained in a bell jar without recognizing it. Cornwell points out that the painting-within-a-painting in "Ennui" shows a dark figure swooping down on an unsuspecting female victim.

In the Hunter portrait, evidence of his nefarious body snatching activities are also "Hyde"-n in plain view. The body of the disinterred Irish giant and a fetus, cowering in a bell jar with her hands over her eyes, are also juxtaposed against the face of a respectable public personae.