Thursday, July 19, 2012

Mural Design - The Wedding Procession of Sir Degrevaunt

Mural Design - The Wedding Procession of Sir Degrevaunt
By Sir Edward Burne-Jones

This study, squared for transfer, is for one of three mural paintings (wedding procession, ceremony and feast) illustrating the romance of Sir Degrevaunt, executed by Burne-Jones in the drawing-room at Red House in the summer of 1860, soon after William and Jane Morris moved in. The Morrises were depicted as Degrevaunt and his bride. The paintings, part of an incomplete series, are still in situ. The story had been published in the Camden Society's volume of Thornton Romances in 1844, and was a favourite with Morris and Burne-Jones.

Detail from The Tale of Sir Degrevaunt

Detail from The Tale of Sir Degrevaunt: The Wedding Ceremony by Burne Jones, 1860, paint on plaster

Wedding Feast by Burne Jones

Detail from the Wedding Feast by Burne Jones (in the Drawing Room at Red House) - King and Queen modelled by William and Janey

Thursday, July 12, 2012

The Panelled Room - Kelmscott Manor

Thanks Dinah

Small watercolour after DGR's Water Willow

This small watercolour after DGR's Water Willow is presumably by Alfred Darbyshire. It is painted in a letter written by Darbyshire to his cousin Samuel Bancroft, who acquired the picture. Water Willow was the first Pre-Raphaelite work purchased by Bancroft, who came to possess a formidable collection of Pre-Raphaelite pictures.


The Death of Lady Macbeth (sic)

'The Death of Lady Macbeth' by Dante Gabriel Rossetti [sic]

From an article "Pictorial Types of Female Beauty in the Nineteenth Century" in Burr McIntosh Magazine, February 1909. An example of how you shouldn't always believe what you read because the picture's caption is wrong:) It is Beatrice who lies dying, not Lady Macbeth...

"Rossetti had a life-long interest in the Italian poet Dante. This painting shows an episode from the 'Vita Nuova'. In it Dante dreams that he is led by Love to the death-bed of Beatrice Portinari, the object of his unrequited passion.

This is Rossetti's largest ever painting.

Kelmscott House

Grade II* listed. Substantial house. Circa 1785. Brown brick. 3 storeys, basement and dormers. 5 windows wide. Central entrance. Timber doorcase with Ionic pilasters, entablature with pulvinated frieze and bracketed cornice. Square headed sashed windows; glazing bars. Parapet. Dormers. Addition to left of 2 storeys. 1 window wide. Interesting interior features. Commemorative tablets to 1. Construction of first electric telegraph here by Sir Francis Ronalds, 1816; 
2. William Morris who lived here 1878-96;
3. George MacDonald, Poet and Novelist, who lived here 1867-1877

Malchik and Yuste

Malchik and Yuste

Yuste's head is perched on Eugenie's body, which models my latest commission from Kellyhime - a gown like that worn by Pre-Raphaelite muse Jane Morris, but worked in a delicate silk fabric.

May Morris

May Morris
by Robert Faulkner & Co
albumen carte-de-visite, early 1870s

May Morris

May Morris
by Unknown photographer
snapshot print

May Morris in Iceland

May Morris
by Unknown photographer
bromide print, 1924
3 1/8 in. x 5 in. (79 mm x 126 mm) image size
Given by Wilfrid Jasper Walter Blunt, 1972

On her trip to Iceland ?

Tuesday, July 10, 2012

May Morris; Lady Ottoline Morrell

May Morris; Lady Ottoline Morrell
by Philip Edward Morrell
vintage snapshot print, circa 1919

at Kelmscott I presume

Saturday, July 7, 2012

Jenny at about 40

Jenny at about 40 (c. 1901)
Unknown photographer
albumen cabinet card, 1901?

Thursday, July 5, 2012

Tapestry panel by May Morris

Tapestry panel by May Morris
about 1880 for Morris & Co.

Rosa Triplex by Dante Gabriel Rossetti

Versions of the great Rosa Triplex by Dante Gabriel Rossetti

This is a sketch from one of the artist's notebooks for the watercolour of 1874. Hard to say who this is - Alexa ?

Alexa Wilding done in 1867

May Morris triplex

By the watercolour (of which there seems to be no colour reproduction - I thought it was in Delaware ?), the face is May Morris

1865 sketch

Jillian Tamaki, Goblin Market

La Donna Della Fiamma

La Donna Della Fiamma - Dante Gabriel Rossetti 1870

Chalk on paper

Tuesday, July 3, 2012

La Bella Mano

La Bella Mano
Dante Gabriel Rossetti

Alexa Wilding sat for the principal figure
It is likely that May Morris sat for the angel holding the tray.

[Unidentified Portrait]

[Unidentified Portrait]
Dante Gabriel Rossetti

red and black chalk (predominantly black) on green paper

Birmingham City Museum and Art Gallery

Surtees conjectures that it might be a portrait of May Morris.

Bruna Brunelleschi

Bruna Brunelleschi
Dante Gabriel Rossetti

The monogram and date are inscribed at upper right

Presumably a study for the oil portrait of Mrs Morris (Surtees no. 372), begun in 1878. The head and shoulders of Mrs. Morris. Rossetti wrote concerning this work: "27 Feb 1878. I have finished an old watercolour for the head of your portrait and it comes well - it is for Valpy. I did not want it to be talked about, among strangers by your name so have christened it "Bruna Brunelleschi" of course bearing on the dark complexion. I did think of calling it "Vittora Colonna" who I find was certainly the original of those heads by M.A. which are portraits of you but I thought it would not do to tackle Mike" (from 'Unpublished Letters to Jane Morris', British Museum).

Fitzwilliam Museum, Cambridge

Sunday, July 1, 2012

Rossetti and the death of the Wombat

Wombats ( Rossetti's pet name for Janey).
Rossetti lamenting the death of his wombat, 1869. Dante Gabriel Rossetti loved exotic animals and began to collect them with a passion after the tragic death of his wife Elizabeth Siddal in 1862. 
He had moved to 16 Cheyne Walk in Chelsea, a house with a large garden that soon became a miniature zoo. The wombats had a special place in Rossetti's heart. In a letter to his brother he described the arrival of the first one as 'a Joy, a Triumph, a Delight, a Madness'. This drawing commemorates the short-lived second wombat. Instead of being laid to rest in the tomb depicted in the background, the marsupial was stuffed and placed in Rossetti's entrance hall.

Jane Morris by Parson

Parsons, John R. (photographer)

Still rather a puzzle. Taken by Parsons (directed by Rossetti) in the same session as the other famous prints; it seems to be taken in Rossetti's house but was never used for any painting that has been identified. The V&A has black and white and sepia copies. The vase and bust seem carefully placed but what it meant, no one seems to know. Some incident in the life of Beatrice ? of which Rossetti was an expert. Intriguing.

Garden at No16

From 'Max Beerbohm, Rossetti and His Circle, London: William Heinemann, 1922'