19thC; Hawarden C, D 587, 5 Princes Gardens, Clementina, c. 1862-63

Sepia photograph, mounted on gren card, of a young woman in a dark dress looking upwards

Given by Lady Clementina Tottenham

From departmental notes

'Clementina, Lady Hawarden (Untitled) Photographic Study (or) Study from Life (D.587) c.1862-c.1863 5 Princes Gardens, interior: Clementina (three-quarter length), eyes up, standing before hanging patterned fabric, right hand holding dice cup. Vignetted. (copied as written on hard copy)Inscription (verso): ~4; Inscription (verso of mount): (X614-)25 234 x 182 mm PH 286-1947 Series 113 Literature: Microfilm: 3.18.58 Pre-Raphaelite Photography (travelling exhibition), Manchester City Art Gallery, 1986- This photograph has recently been termed 'Pre-Raphaelite' because of the similarities between Clementina's pose and that of the woman in William Holman Hunt's The Awakening Conscience (1853-54) [Tate Gallery]. There is no record of Lady Hawarden having seen or admired this painting, but perhaps both works share the same subject: a moment of revelation. In the painting, many clues are provided to help the viewer understand the complicated message. As in most of her photographs, however, Lady Hawarden gives few clues to her meaning and, as always, the photograph is untitled. The photograph was vignetted during printing, hence the softened edges. The vignetting obscures the object in Clementina's hands, which appears to be a die-throwing cup, an allegorical attribute of Fate. Another sign of a fateful female is the snake clasped round her throat, bringing its reminders of temptation before the Fall. In the painting, many clues are provided to help the viewer understand the complicated message. As in most of her photographs, however, Lady Hawarden gives few clues to her meaning and, as always, the photograph is untitled. The photograph was vignetted during printing, hence the softened edges. The vignetting obscures the object in Clementina's hands, which appears to be a die-throwing cup, an allegorical attribute of Fate. Another sign of a fateful female is the snake clasped round her throat, bringing its reminders of temptation before the Fall.'

Reason For Production: Exhibition
Reason For Production: Retail

Virginia Dodier has compared this photograph to William Holman Hunt’s painting The Awakening Conscience (1853-4), which is now in Tate Britain, London:

'Clearly both works share the same subject: a moment of revelation. In the painting, Holman Hunt provides many clues to help the viewer understand a complicated story that carries a simple moral of redemption. As in most of her photographs, however, Hawarden gives few clues to her meaning and, as always, the photograph is untitled. The vignetting [isolating a portrait from its background] of the photograph during printing softened the edges and obscured the object in Clementina’s hands, which appears to be a die-throwing cup, an allegorical attribute of fate. The snake - a reminder of temptation before the fall [of Adam and Eve] - clasped round her throat further suggests her role as a fateful female.'

286-1947