75 - AN EARLY 19TH CENTURY BLUE PASTE AND ENAMEL NECKLACEComposed of three graduated oval filigree panels set with oval cut blue pastes, the smaller panels with blue and white enamel flowerhead accents, connected with fancy link chains and pressed flowerhead and facetted bead links, to circlet ends, later back chain and claspSize/dimensions: 45.5cm longGross weight: 14.7 gramsProvenance:Bonhams, Jewellery, 9 October 2013, lot 156, from the family of William Holman Hunt, it was noted as being in Gladys's inventory.Illustrated in Jewellery, Smith, H Clifford, opposite page 330, published 1908William Holman Hunt (1827-1910) showed artistic promise andpassion from a young age, despite his father's objections to him pursuing acareer in the arts. In spite of this, and financial struggles, his unrelentingdrive to become an artist enabled him to realise his ambitions, joining theRoyal Academy Schools in 1844. During this time he met hislifelong friend John Everett Millais, and together they helped formulate thefoundations of the Pre-Raphaelite Brotherhood in 1848. Hunt also introducedDante Gabriel Rossetti to the Brotherhood during its founding, an alliance uponwhich he would later reflect less favourably.With a focus on realism and vibrant colour, Hunt's principalthemes were inspired by religious symbolism and morality. Works such as TheScapegoat, painted following time spent in the Holy Land studying itslandscape, light and topography, and The Awakening Conscience hisartistic dispositions.His personal life was, at times, tumultuous. With a failedengagement the prolific Pre-Raphaelite model Annie Miller, due in part to herflirtation and possible relationship with Rossetti, he also endured the death of his first wife, Fanny Waugh,just over a month after the birth of their son, Cyril Benoni. He later marriedFanny's younger sister, Edith, with their nuptials taking place in Switzerland,as marriage to a deceased wife's sister was then considered incestuous andtherefore illegal in England. The marriage alienated them from their families,but they remained devoted to one another. Together they had two children, adaughter, Gladys, and a son, Hilary.Art historian Judith Bronkhurst notes the existence of an undated,brown-covered notebook, written by Gladys and inscribed 'Jewellery SilverCatalogue of the Works of W. Holman-Hunt at 18 Melbury Road'. Lots 75, 76and 78 are specifically mentioned in the inventory, which records the contentsof the residence where Hunt died in 1910 and where Edith continued to liveuntil her death in 1931.Hilary's daughter, Diana Holman-Hunt, later wrote in her memoir, MyGrandmothers and I, that Edith was known to say, 'Dear Holman simplyshowered me with gifts.' Diana also described a room at 18 Melbury Road,the Hunt family home, writing: 'The room was like Aladdin's cave with allthe jewels about and the bag of gold under the bed.'

AN EARLY 19TH CENTURY BLUE PASTE AND ENAMEL NECKLACEComposed of three graduated oval filigree panels set with oval cut blue pastes, the smaller panels with blue and white enamel flowerhead accents, connected with fancy link chains and pressed flowerhead and facetted bead links, to circlet ends, later back chain and claspSize/dimensions: 45.5cm longGross weight: 14.7 gramsProvenance:Bonhams, Jewellery, 9 October 2013, lot 156, from the family of William Holman Hunt, it was noted as being in Gladys's inventory.Illustrated in Jewellery, Smith, H Clifford, opposite page 330, published 1908William Holman Hunt (1827-1910) showed artistic promise andpassion from a young age, despite his father's objections to him pursuing acareer in the arts. In spite of this, and financial struggles, his unrelentingdrive to become an artist enabled him to realise his ambitions, joining theRoyal Academy Schools in 1844. During this time he met hislifelong friend John Everett Millais, and together they helped formulate thefoundations of the Pre-Raphaelite Brotherhood in 1848. Hunt also introducedDante Gabriel Rossetti to the Brotherhood during its founding, an alliance uponwhich he would later reflect less favourably.With a focus on realism and vibrant colour, Hunt's principalthemes were inspired by religious symbolism and morality. Works such as TheScapegoat, painted following time spent in the Holy Land studying itslandscape, light and topography, and The Awakening Conscience hisartistic dispositions.His personal life was, at times, tumultuous. With a failedengagement the prolific Pre-Raphaelite model Annie Miller, due in part to herflirtation and possible relationship with Rossetti, he also endured the death of his first wife, Fanny Waugh,just over a month after the birth of their son, Cyril Benoni. He later marriedFanny's younger sister, Edith, with their nuptials taking place in Switzerland,as marriage to a deceased wife's sister was then considered incestuous andtherefore illegal in England. The marriage alienated them from their families,but they remained devoted to one another. Together they had two children, adaughter, Gladys, and a son, Hilary.Art historian Judith Bronkhurst notes the existence of an undated,brown-covered notebook, written by Gladys and inscribed 'Jewellery SilverCatalogue of the Works of W. Holman-Hunt at 18 Melbury Road'. Lots 75, 76and 78 are specifically mentioned in the inventory, which records the contentsof the residence where Hunt died in 1910 and where Edith continued to liveuntil her death in 1931.Hilary's daughter, Diana Holman-Hunt, later wrote in her memoir, MyGrandmothers and I, that Edith was known to say, 'Dear Holman simplyshowered me with gifts.' Diana also described a room at 18 Melbury Road,the Hunt family home, writing: 'The room was like Aladdin's cave with allthe jewels about and the bag of gold under the bed.' Condition Report: possible Dutch Deventer control marks 1807-1812