{
"data": {
"id": 151969,
"accession_number": "1984.41",
"share_license_status": "CC0",
"tombstone": "Mary Walker Waugh, 1868. William Holman Hunt (British, 1827\u20131910). Oil on fabric; framed: 115.5 x 95.5 x 6 cm (45 1/2 x 37 5/8 x 2 3/8 in.); unframed: 86.2 x 66.1 cm (33 15/16 x 26 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1984.41",
"current_location": "220 19th Century European",
"title": "Mary Walker Waugh",
"creation_date": "1868",
"creation_date_earliest": 1868,
"creation_date_latest": 1868,
"artists_tags": [
"male"
],
"culture": [
"England, 19th century"
],
"technique": "oil on fabric",
"support_materials": [],
"department": "Modern European Painting and Sculpture",
"collection": "Mod Euro - Painting 1800-1960",
"type": "Painting",
"measurements": "Framed: 115.5 x 95.5 x 6 cm (45 1/2 x 37 5/8 x 2 3/8 in.); Unframed: 86.2 x 66.1 cm (33 15/16 x 26 in.)",
"dimensions": {
"framed": {
"height": 1.155,
"width": 0.955,
"depth": 0.06
},
"unframed": {
"height": 0.862,
"width": 0.661
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed and dated lower left: 18whh68 [initials in monogram]; and signed again lower left: whh [monogram]\r\n\r\n\r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 309849,
"title": "Year in Review for 1984",
"description": "Year in Review for 1984. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).",
"opening_date": "1985-04-03T05:00:00"
},
{
"id": 220486,
"title": "Holman Hunt and the Pre-Raphaelite Vision",
"description": "Holman Hunt and the Pre-Raphaelite Vision. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (February 14-May 10, 2009); Minneapolis Institute of Art, Minneapolis, MN (June 13-September 6, 2009).",
"opening_date": "2009-02-14T00:00:00"
}
],
"legacy": [
{
"description": "Portrait of a Lady. Annual Exhibition Royal Academy, London, United Kingdom (1869).",
"opening_date": null
},
{
"description": "Paintings and Drawings by the Pre-Raphaelites and their Followers. Russell-Coates Gallery. Bournemouth, United Kingdom (1951).",
"opening_date": "1951-01-01T00:00:00"
},
{
"description": "William Holman Hunt. Walker Art Gallery, Liverpool, United Kingdom; Victoria and Albert Museum, London, United Kingdom (1969)",
"opening_date": "1969-01-01T00:00:00"
}
]
},
"provenance": [
{
"description": "Mrs. Michael Joseph, the artist's daughter, [1876-1951], London, United Kingdom, by inheritance to her daughter, Mrs. Elizabeth Burt",
"citations": [],
"footnotes": [],
"date": null,
"sortorder": null
},
{
"description": "Mrs. Elizabeth Burt, London, United Kingdom consigned to Christie's for sale",
"citations": [],
"footnotes": null,
"date": "1951-1961",
"sortorder": 2
},
{
"description": "(Christie's, London, United Kingdom, March 17, 1961, lot 70, sold to Evelyn Waugh)",
"citations": [],
"footnotes": null,
"date": "1961",
"sortorder": 3
},
{
"description": "Auberon Evelyn Waugh [1903-1966], London. United Kingdom",
"citations": [],
"footnotes": null,
"date": "1961",
"sortorder": 4
},
{
"description": "(Christie's, London, United Kingdom, March 18,1983, lot 73, sold to Julian Hartnoll)",
"citations": [],
"footnotes": null,
"date": "1983",
"sortorder": 5
},
{
"description": "(Julian Hartnoll Gallery, London, United Kingdom, sold to the Cleveland Museum of Art)",
"citations": [],
"footnotes": null,
"date": "1983-1984",
"sortorder": 6
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": null,
"date": "1984-",
"sortorder": 7
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": "British novelist Evelyn Waugh (1903\u20131966) once owned this portrait, which depicts his great aunt.",
"description": "William Holman Hunt painted this portrait of Mary Walker Waugh (1805\u20131886)\u2014his mother-in-law\u2014during a time of personal tragedy. Waugh\u2019s daughter Fanny Waugh Hunt (1832\u20131866), the wife of the artist, had recently died following childbirth. References to loss of life infiltrate the composition: the sitter wears black mourning attire, and behind her is a screen decorated with red poppies, a traditional symbol of unconsciousness and lifelessness because of its pharmaceutical use as a source for opiates. In Victorian society, the red poppy also signified consolation.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60475313"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1984.41-mrs-george-waugh",
"https://archive.org/details/clevelandart-1984.41-mary-walker-waugh"
]
},
"citations": [
{
"citation": "\"Royal Academy 101st Exhibition.\" The Art-Journal 8 (July 1, 1869): 197-204.",
"page_number": "Mentioned: P. 202",
"url": null
},
{
"citation": "Graves, Algernon. The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904. London, United Kingdom: H. Graves and Co, 1905.",
"page_number": "Reproduced: p. 200, vol. 4",
"url": null
},
{
"citation": "Rossetti, William Michael, Dante Gabriel Rossetti, and Christina Georgina Rossetti. Rossetti Papers 1862 to 1870. New York, NY: AMS Press, 1970.",
"page_number": "Mentioned: P. 304-305",
"url": null
},
{
"citation": "The Pre-Raphaelites. London, United Kingdom, Tate Gallery, 1984.",
"page_number": null,
"url": null
},
{
"citation": "Turner, Evan H., \"The Year in Review for 1984.\" The Bulletin of The Cleveland Museum of Art LXXII no. no. 2 (April, 1985):163-207.",
"page_number": "Reproduced: p. 186, no. 18; Mentioned: p. 200, no. 18",
"url": null
},
{
"citation": "Holman-Hunt, Diana. My Grandfather, His Wives and Loves. London, United Kingdom: Columbus, 1987.",
"page_number": "Reproduced: p. 261",
"url": null
},
{
"citation": "Waugh, Auberon. \"Evelyn Waugh's Collection.\" Antique 5 (Summer 1987): 29.",
"page_number": "Mentioned: P. 10",
"url": null
},
{
"citation": "Amor, Anne Clark. William Holman Hunt: The True Pre-Raphaelite. London: Constable, 1989.",
"page_number": "Reproduced: [plate 22]; mentioned: p. 199",
"url": null
},
{
"citation": "Cole, Mark. \"A Haunting Portrait of by William Holman Hunt.\" The Bulletin of The Cleveland Museum of Art LXXVII, no. 10 (December, 1990): 354-365.",
"page_number": "Reproduced: on cover",
"url": null
},
{
"citation": "Chong, Alan. European & American Painting in the Cleveland Museum of Art: A Summary Catalogue. Cleveland, Ohio: Cleveland Museum of Art, 1993.",
"page_number": "Reproduced: P. 109",
"url": null
},
{
"citation": "Christie, Manson & Woods. Fine Victorian Pictures, Drawings and Watercolours. 1995.",
"page_number": "Mentioned: P. 108",
"url": null
},
{
"citation": "D'Argencourt, Louise and Roger Diederen. The Cleveland Museum of Art: Catalogue of Paintings, Part Four: European Paintings of the 19th Century. Cleveland, OH: The Cleveland Museum of Art, 1999.",
"page_number": "Reproduced: p. 126",
"url": null
},
{
"citation": "Bronkhurst, Judith. William Holman Hunt: A Catalogue Raisonne\u0301. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2006.",
"page_number": "Reproduced: p. 110",
"url": null
},
{
"citation": "Christie, Manson & Woods. Victorian, Pre-Raphaelite & British Impressionist Art. London: Christie's, 2015.",
"page_number": "Reproduced: p. 94, fig. 1",
"url": null
}
],
"url": "https://clevelandart.org/art/1984.41",
"images": {
"annotation": null,
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"print": {
"url": "https://openaccess-cdn.clevelandart.org/1984.41/1984.41_print.jpg",
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"alternate_images": [],
"creditline": "Mr. and Mrs. William H. Marlatt Fund",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery",
"athena_id": 151969,
"creators": [
{
"id": 1483,
"description": "William Holman Hunt (British, 1827\u20131910)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "Holman Hunt exhibited an early aptitude for art, which his father, a warehouse manager, initially opposed but later tolerated. Between 1839 and 1843 he practiced drawing and studied with the portrait painter Henry Rogers while sustaining himself as an office clerk. Hunt met John Everett Millais (1829-1896) the same year that he entered the Royal Academy Schools, 1844. A decisive conversion in his attitude toward art came with the reading of John Ruskin's Modern Painters in 1847, immediately after which he embarked on a new style of conscientious naturalism in The Flight of Madeline and Porphyro During the Drunkenness Attending the Revelry (Guildhall, London), a picture inspired by John Keats's The Eve of St. Agnes. Hunt, Millais, and Dante Gabriel Rossetti (1828-1882), who were sharing studios, organized the Pre-Raphaelite Brotherhood in 1848. Rienzi Vowing to Obtain Justice for the Death of His Younger Brother (private collection), Hunt's only picture to be shown publicly with the inscription \"P.R.B.\" was exhibited at the Royal Academy the following summer. With its landscape painted directly from nature, its stylistic allusions to Quattrocento painting, and its medieval subject, Rienzi epitomized the Brotherhood's objectives of reinstating the moral and descriptive honesty of earlier Italian and Flemish painting. The brilliant coloring and crisp light of plein-air painting and an increasing deployment of symbolic details characterize Hunt's other early masterworks, A Converted British Family Sheltering a Christian Priest from the Persecution of the Druids (1850, Ashmolean Museum, Oxford), Valentine Rescuing Sylvia from Proteus (1851, Birmingham Museum and Art Gallery), and the abstrusely moralizing Hireling Shepherd (1851, Manchester City Art Galleries). In 1854, after having finished what would ultimately be his most popular image, The Light of the World (Kebble College, Oxford), Hunt voyaged to the Holy Land where he spent two years traveling from Cairo to Beirut. His intent was to paint religious subjects with archaeological precision. The typology of The Scapegoat (Lady Lever Art Gallery, Port Sunlight), much of which was painted on-site near the Dead Sea, proved too unintelligible for the general public when it was shown at the Royal Academy in 1856, but it remains a work of poignant genius. Subsequent trips to the Holy Land in 1869-72 and 1875-78 resulted in two of his finest late works, The Shadow of Death (1870-73, Manchester City Art Gallery) and The Triumph of the Innocents (1876-87, Walker Art Gallery, Liverpool). Much of Hunt's final years were devoted to writing, especially after his eyesight began to fail in the 1890s, although he managed to finish in 1905, after nearly two decades of labor, his last great picture, The Lady of Shalott (Wadsworth Atheneum, Hartford).",
"name_in_original_language": null,
"birth_year": "1827",
"death_year": "1910",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1984-05-21T00:00:00",
"sortable_date": 1868,
"date_added_to_oa": null,
"date_text": "1868",
"collapse_artists": false,
"on_loan": false,
"recently_acquired": false,
"record_type": "object",
"conservation_statement": null,
"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-03-27 00:02:19.756000"
}
}