William J. Webbe

Agnews & Sons, London; 
Private collection;
Sotheby's, Billingshurst, 18 September 1990, lot 671;
Peter Nahum, London;
The Robertson Collection, Orkney;
Fine Art Society, London, June 2005

British Institution, London, 1861, no.467

The board appears sound. Some minor flecks of gilt paint by lower right edge, otherwise the work appears in very good overall condition. Under ultraviolet light there appear to be one or two minor spots behind the head of the standing lamb. Held under glass in a gilt plaster frame; unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Trained in Dusseldorf, William James Webbe was exposed to the art of the Nazarene school, a German movement in the first part of the 19th Century whose aim was to revive honesty and spirituality in Christian art. He was a natural convert to Pre-Raphaelitism and in particular identified himself with William Holman Hunt who was ultimately the most spiritual member of the movement.

Not much is known about the artist's life, such as when he was born or whether he knew Hunt personally, but it is likely that their paths would have crossed at some point and Hunt's influence on Webbe's work is manifest. Hunt travelled to Jerusalem for the first time in 1854 and Webbe followed in his footsteps in 1862. From this point onwards many of his pictures take biblical or eastern subjects as their theme. This charming study of lambs was painted in 1861 and depicts a subject which was a favourite with Webbe, just as it had been with Hunt who famously painted The Hireling Shepherd and Strayed Sheep. In the same way that Hunt used lambs to represent Christ's congregation or the Lamb of God, it is most probable that Webbe intended this painting to have a spiritual dimension.