A Graduate of Pomona
Fig. 4a (Fig. 8 in catalogue) William Henry Hunt, The Faggot Gatherer's Meal, c. 1832-1834
The Faggot Gatherer's Meal; The Woodcutter's Breakfast
New York, N.Y., The Metropolitan Museum of Art, No. 2000.114
Watercolor, bodycolor, and gum arabic with scratching out
13 X 17 in., 33 X 43.2 cm.
Provenance:
The estate of Ralph Bernal (S) Christie's London, 21 April 21 1852, Lot 148;
P. & D. Colnaghi & Co ;
(S) Phillips London, 23 April 1990, Lot 51 [as The Faggot Gatherer's Meal] (P) £5,000*, $8,178 David Daniels,
(S) Christie's London, 9 Nov 1999, Lot 129 (P) £13,000*, $21,079 Colnaghi (?);
Katrin Bellinger Kunsthandel , Munich, by whom sold to the Metropolitan Museum of Art
This watercolor is significantly larger than No. 4, which allowed the artist some leeway in the level of detail in the painting, but the impression of both works is very similar, and the fact that the same details of the structure and its furnishings are virtually identical in both clearly leads to the conclusion that Hunt painted two versions of the same basic subject at approximately the same time. This was very typical of Hunt, who seems to have produced related works in various sizes so that buyers of differing means could afford examples of a particular type of composition -- the artist's original prices were closely based on the sizes of his watercolors.
Fig. 4a (Fig. 8 in catalogue) William Henry Hunt, The Faggot Gatherer's Meal, c. 1832-1834
The Faggot Gatherer's Meal; The Woodcutter's Breakfast
New York, N.Y., The Metropolitan Museum of Art, No. 2000.114
Watercolor, bodycolor, and gum arabic with scratching out
13 X 17 in., 33 X 43.2 cm.
Provenance:
The estate of Ralph Bernal (S) Christie's London, 21 April 21 1852, Lot 148;
P. & D. Colnaghi & Co ;
(S) Phillips London, 23 April 1990, Lot 51 [as The Faggot Gatherer's Meal] (P) £5,000*, $8,178 David Daniels,
(S) Christie's London, 9 Nov 1999, Lot 129 (P) £13,000*, $21,079 Colnaghi (?);
Katrin Bellinger Kunsthandel , Munich, by whom sold to the Metropolitan Museum of Art
This watercolor is significantly larger than No. 4, which allowed the artist some leeway in the level of detail in the painting, but the impression of both works is very similar, and the fact that the same details of the structure and its furnishings are virtually identical in both clearly leads to the conclusion that Hunt painted two versions of the same basic subject at approximately the same time. This was very typical of Hunt, who seems to have produced related works in various sizes so that buyers of differing means could afford examples of a particular type of composition -- the artist's original prices were closely based on the sizes of his watercolors.