Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 102 verk av William Henry Hunt i vår katalog
Kort fortalt
Still Life Of A Dead Goose With A Basket, (1835) er maleriet av William Henry Hunt som vekker mest oppmerksomhet. Deretter går blikket til The gardener (1825) og A Sportsman with a Boy, a Pony and a Dog (1827). Blant de 102 verkene til William Henry Hunt i vår katalog, er disse 100 de mest kjente – hver og en et unikt originalverk presentert med sitt årstall, sitt museum og årsaken til at det består.
A single goose rests within a basket, its form settled deeply into a bed of hay. The bird appears motionless, its presence defined by a quietude that borders on sleep. This composition focuses on the textures of the natural world: the coarse weave of the basket, the dry, scattered stalks of hay, and the soft, organic contours of the bird. The scene captures a moment of profound stillness, stripping away…
A man stands in profile, his weight settled against the steady rhythm of rural labor. He is a gardener, captured in the soft, diffused light of a day that feels neither bright nor dark, but merely present. His silhouette is defined by a simple waistcoat and a tall hat, the attire of a man whose life is measured by the seasons and the soil. Across his shoulders, two heavy baskets…
In A Sportsman with a Boy, a Pony and a Dog, William Henry Hunt captures a quiet moment from 19th-century rural life. The scene unfolds with a sportsman walking alongside a young boy, accompanied by a sturdy pony and a loyal dog. They move through a landscape that feels lived-in and breathing, a world where the pace of life follows the rhythms of the countryside. This gathering of figures suggests…
In "Sunday morning" by William Henry Hunt, the composition centers on a single female figure. Positioned slightly off-center, she anchors the domestic scene. A large window dominates the background, establishing the primary architectural boundary of the room. Around the woman, various furniture elements—including a chair, a table, and a dresser—are arranged to define the intimate interior space.
The farmers daughter, painted by William Henry Hunt about 1837, presents a quiet study of youth and rural life. The subject is a young girl, likely from an agricultural background, as suggested by the title. She is positioned centrally, seated in a chair and facing the viewer directly. Her expression is marked by a sense of quiet introspection or a slight melancholy, lending a wistful quality to the portrait.
In Mrs Gurney Hoare, William Henry Hunt positions the subject slightly off-center to the right, creating a balanced tension with the fireplace situated on the left. The woman is seated within an interior setting, her attention entirely absorbed by a book. This quiet, domestic arrangement focuses the viewer's eye on her contemplative posture. The composition relies on a series of intersecting lines, where the verticality of the architectural elements and…
In the artwork Slumber by William Henry Hunt, a young girl is shown asleep within the confines of a rustic barn or shed. The subject matter focuses on a quiet moment of rural life, centered on the figure of the child resting amidst hay. This scene, painted about 1840, captures a period of stillness and innocence through its depiction of a child in a simple, agricultural setting.
William Henry Hunt's “Boy and Goat,” painted in 1836, isn’t merely a depiction of rural life; it’s a carefully constructed tableau brimming with quiet observation and a subtle yearning for simpler times. The watercolor captures a young boy, seemingly lost in contemplation, standing beside a sturdy black goat within a sun-drenched field. The scene unfolds with an immediacy that draws the viewer into its gentle embrace – a feeling of…
A quiet corner of the English countryside is distilled into a concentrated study of life and fragility. In this composition, a bird's nest containing three eggs rests within a lush, mossy embankment, tucked away from the wider landscape. Nearby, a cluster of primula flowers provides a soft counterpoint to the structural complexity of the nest. The scene focuses on the minute details of the natural world, where the texture of…
We are looking at Lobster, Crab and Cucumber, a quiet still life painting by William Henry Hunt. This particular work dates to about 1827, a period when the artist was establishing his presence within the London art scene. The composition focuses on a simple, horizontal arrangement of seafood and vegetables resting upon a wooden surface.
An Oysterman,1827
12
Barn Interior,1836
13
Boy And Goat,1836
14
The Turnip Lantern,1838
15
Still Life of a dead goose with a Basket1835
16
Old Mill and Lock Gates (St.Catherine's)1840
17
A Young Woman Sewing
18
Study Of A Young Girl
19
Astonishment, Lithograph
20
A Woman Sewing In A Cottage Garden, Edgware
21
Head Of A Bearded Man
22
A Study Of A Boy With A Dog
23
Christmas Pie
24
Interior Of A Barn With Chickens
25
A Boy With A Begging Dog
26
Mother and child
27
Morris river landscape
28
Fancy DressNasjonalmuseet i Warszawa
29
Cottages At St. Albans
30
Study From Nature At Twickenham
31
A Young Lady, Seated On A Chair, Seen From The Back
32
Still Life
33
Still Life_2
34
A Mulatto Boy
35
Grapes And Peaches, 19th Century
36
Roses And Bird's Nest
37
The Frugal Meal
38
Primulas And A Bird's Nest On A Mossy Bank
39
Bubbles
40
Wild Roses And Birds' Nests
41
Long Tailed Tits' Nest
42
Still Life With Fruit In A Basket And A Peony
43
The Broken Pitcher
44
A Field On The Outskirts Of Bushey, Hertfordshire
45
Schoolboys With A Stolen Nest
46
The butcher's boy
47
The Eavesdropper
48
Hearing Lessons
49
Still Life Of A Shell And Berries On A Mossy Bank
50
The silver lining
51
Still Life With Bird's Nest
52
Magnum Bonum And Orleans Plums
53
Head Of A Gypsy Boy
54
Portrait Of One Of The Swain Brothers Holding A Pitcher
55
Still Life With Fruit
56
Still-life With White And Black Grapes And Redcurrents
57
A Young Boy Viewing A Picture By Candlelight
58
Study Of A Young Girl Reclining On A Sofa
59
Still-life Of Rosehips, Blackberries And Plums, On A Mossy Bank
60
The Faithful Old Servant
61
Still-life With Basket, Nest, Egg, Red Currants And Ladybird
62
The Barber
63
The Finishing Touches
64
Still Life With Plums And Hazelnuts On A Mossy Bank
65
Plumsplums
66
Still Life Of Grapes, A Tankard And A Sprig Of Holly
67
Three Grapes And An Apple
68
The Faggot-gatherers Meal
69
Still-life With Birds Nest And Hawthorne On A Mossy Bank
70
Still Life With Birds' Nests
71
Still Life With Two Apples And A Snail Shell
72
Landscape With Elm Trees And A Farm, Near Bayswater
73
New Court
74
Asking For Trouble
75
Grapes And A Pineapple
76
Chaffinch Nest And May Blossom
77
The Young Connoisseur
78
The Musical Conversation -
79
Still Life Of Flowers And Nest
80
Girl in Candlelight
81
A Lady Reading, called Mrs William Hunt, c.1835
82
The Musical Conversation
83
A Gardener In His Potting Shed
84
Farmyard With Pond
85
A Lady At Her Toilette
86
Portrait of a boy, bust-length, wearing a hat
87
Branch Of Apple Blossom And Bird's Nest
88
A Distant View Of Windsor CastleAnglesey Abbey
89
Still Life Of A Dead Bird; And Still Life Of Two Shells On A Mossy Bank
90
Still Life With A Pineapple And Three Plums
91
Still Life Of Fruit
92
Self Portrait -National Portrait Gallery
93
Glass Vase And Flowers
94
Self Portrait
95
Head Study Of A Gentleman, Traditionally Identified As The Artist's Uncle
96
The Green Drawing Room Of The Earl Of Essex At Cassiobury
97
Plucking The Fowl
98
Still life with greengages and plums on a mossy bank
99
Still Life With roses In A vase And A Birds Nest
100
Still life with sea shells on a mossy bank
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 5 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av William Henry Hunt | Malerier fra denne listen |
|---|---|---|---|
 Birmingham Museum and Art Gallery |
Birmingham | 2 | Slumber, Lobster, Crab and Cucumber |
 Victoria and Albert Museum |
London | 1 | Boy and goat |
 Nasjonalmuseet i Warszawa |
Warszawa | 1 | Fancy Dress |
 Anglesey Abbey |
1 | A Distant View Of Windsor Castle | |
 National Portrait Gallery |
London | 1 | Self Portrait - |
Mellom 1835 og 1840, totalt 6 år, skapte William Henry Hunt hvert daterte originalverk som vises her: et kort tidsrom, år for år.
Velg et år for å se originalverkene.
A single goose rests within a basket, its form settled deeply into a bed of hay. The bird appears motionless, its presence defined by a quietude that borders on sleep. This composition focuses on the textures of the natural world: the coarse weave of the basket, the dry, scattered stalks of hay, and the soft, organic contours of the bird. The scene captures a moment of profound stillness, stripping away…
Mer fra 1835
William Henry Hunt's “Boy and Goat,” painted in 1836, isn’t merely a depiction of rural life; it’s a carefully constructed tableau brimming with quiet observation and a subtle yearning for simpler times. The watercolor captures a young boy, seemingly lost in contemplation, standing beside a sturdy black goat within a sun-drenched field. The scene unfolds with an immediacy that draws the viewer into its gentle embrace – a feeling of…
Mer fra 1836
The farmers daughter, painted by William Henry Hunt about 1837, presents a quiet study of youth and rural life. The subject is a young girl, likely from an agricultural background, as suggested by the title. She is positioned centrally, seated in a chair and facing the viewer directly. Her expression is marked by a sense of quiet introspection or a slight melancholy, lending a wistful quality to the portrait.
Mer fra 1837
The painting depicts a young girl positioned as the central subject, her face illuminated by the glow of a lantern held in her hands. She wears a dress that extends to cover the majority of her form. Her expression is one of a smile. To the left of the girl, a single figure is partially visible, while another person appears on the right side of the composition. The background contains…
In the artwork Slumber by William Henry Hunt, a young girl is shown asleep within the confines of a rustic barn or shed. The subject matter focuses on a quiet moment of rural life, centered on the figure of the child resting amidst hay. This scene, painted about 1840, captures a period of stillness and innocence through its depiction of a child in a simple, agricultural setting.
Mer fra 1840
Still Life Of A Dead Goose With A Basket, (1835). Deretter følger The gardener (1825) og A Sportsman with a Boy, a Pony and a Dog (1827).
8 år gammel: Still Life Of A Dead Goose With A Basket, er fra 1835, og William Henry Hunt ble født i 1827.
Still Life Of A Dead Goose With A Basket,, The gardener, A Sportsman with a Boy, a Pony and a Dog, Sunday morning, The farmers daughter, Mrs Gurney Hoare, Slumber, Boy and goat, A Primula And A Bird's Nest On A Mossy Bank og Lobster, Crab and Cucumber. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 102 verk av William Henry Hunt, datert fra 1835 til 1840.
Hovedsakelig i Birmingham Museum and Art Gallery (Birmingham), Victoria and Albert Museum (London) og Nasjonalmuseet i Warszawa (Warszawa). Museumslisten ovenfor viser alle.
I 1836: 3 av de 100 verkene på denne siden ble laget da, Boy and goat av dem.
På denne siden er det eldste Still Life Of A Dead Goose With A Basket, (1835) og det nyeste Slumber (1840).
Life (19), Animals (7) og Still life (6), fordelt på 100 verk på denne siden.
Watercolor, for 11 av de 100 verkene på denne siden.
Naturalism, basert på originalene på denne siden.
Slumber og Lobster, Crab and Cucumber: Birmingham Museum and Art Gallery, Birmingham har 2 av verkene på denne siden.
I den britiske akvarellmaleriets gullalder var det få hender som besatt den samme delikate presisjonen og sjelfulle observasjonsevnen som William Henry Hunt. Født i det yrende hjertet av Cheapside i London, trådte Hunt frem som en sentral skikkelse i den viktorianske æraen – en periode der naturens intimitet ofte ble fanget gjennom en linse av dyp åndelig og estetisk følsomhet. Hans reise mot mestring av lys og pigment begynte under veiledning av den anerkjente John Varley, et forhold som var langt mer enn bare et læreforhold. Gjennom Varley ble Hunt introdusert for en tradisjon av visjonær tenkning, dypt knyttet til de mystiske og symbolske tradisjonene til kunstnere som William Blake. Denne tidlige eksponeringen ga ham en livslang evne til å se forbi motivets overflate, og finne den stille, pustende essensen i et enkelt fuglereir eller en klynge med markblomster.
Etter hvert som hans tekniske ferdigheter modnet, ble Hunt en integrert del av den voksende kunstscenen i London, spesielt gjennom sitt berømte engasjement i Society of Painters in Watercolors. Hans oppstigning innen denne prestisjetunge institusjonen – fra assosiert til fullt medlem innen 1827 – markerte ham som en ledende stemme blant sine samtidige. I motsetning til de rigide akademiske stilene som dominerte mye av epoken, omfavnet Hunts arbeid de flytende og emosjonelle mulighetene i mediet. Han mestret kunsten å legge lag på lag med transparente lasurer for å skape en følelse av indre lysstyrke, og utnyttet ofte papirets grove tekstur for å antyde den organiske kompleksiteten i naturen. Hans komposisjoner var aldri bare dekorative; de var nøye orkestrerte studier i tekstur og atmosfære.
Den sanne magien i Hunts verk ligger i hans evne til å heve det hverdagslige til det storslåtte. Han besatt et unikt talent for stilleben, særlig når han fokuserte på det botaniske og det ornitologiske. Hans verker, som det pustende vakre Primulas And A Bird's Nest On A Mossy Bank, demonstrerer en nesten vitenskapelig oppmerksomhet på detaljer parret med en romantisk, drømmeaktig atmosfære. I disse verkene kan man spore de delikate nervene i et kronblad eller det skjøre rammeverket i et reir, alt gjengitt med en mykhet som antyder livets forgjengelighet. Denne fascinasjonen for jordens små, ofte oversette underverker gjorde det mulig for ham å skape en intimitet som resonnerte dypt med den viktorianske besettelsen av naturhistorie og hjemlig skjønnhet.
Utover sine botaniske studier strakte Hunts repertoar seg til sjarmerende narrative scener som fanget de pastorale rytmene i 1800-tallets liv. Enten han skildret det stille samværet i Boy and Goat eller den flittige, jordnære virkeligheten i A Gardener In His Potting Shed, opprettholdt hans arbeid alltid en følelse av varme og tilgjengelighet. Teknikken hans gjorde det mulig for ham å skifte sømløst mellom:
William Henry Hunts historiske betydning strekker seg langt utover hans tekniske bragder. Han sto i veikrysset mellom romantikken og den fremvoksende realismen i midten av det 19. århundre. Ved å forkaste de tunge, opake konvensjonene i tradisjonelt oljemaleri til fordel for akvarellens transparens og lys, bidro han til å redefinere grensene for hva mediet kunne oppnå. Hans arbeid fungerte som en bro mellom de visjonære, symbolske tradisjonene fra hans mentorer og de mer observante, naturalistiske bevegelsene som fulgte.
I dag er Hunts ettermæle bevart i den stille skjønnheten i hans gjenværende verk, som fortsetter å trollbinde både samlere og kunsthistorikere. Han forblir en hjørnestein i den engelske skolen, husket ikke bare som en dyktig håndverker, men som en miniatyrens poet – en kunstner som kunne finne et helt univers i en enkelt dråpe pigment eller i kurven på en mosegrodd skråning. Hans evne til å fylle den naturlige verden med en følelse av varighet og ynde sikrer at hans bidrag til britisk kunst forblir like lysende som akvarellene han så mesterlig skapte.
