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a revery annie miller arthur hughes aspecta medusa baron von gloeden beata beatrix bluebird burne-jones carlisle wall christina georgina rossetti christina rossetti clark cristina rossetti dante gabriel rossetti dr john polidori dudley gallery edward poynter eleanor fortescue-brickdale elizabeth eleanor siddal elizabeth siddal english version eugene onegin fanny co feet fetish fiammetta first anniversary ford madox brown found francois-joseph navez frederic william burton gabriel charles dante gabriel charls dante rossetti george price boyce girls goblin market hans suren he story of st. george and the dragon holy grail jacques-louis david john byam shaw john everett millais john roddam spencer stanhope karl truppe kelmscort manor kent la pia de' tolomei lady lawrence lempica liberty list of pre-raphaelite paintings louis de taeye magdalene maria francesca mariana mary magdalene at the door of simon the pharisee mary nazarene moore morris naked nude orient goods oxfordshire painting pallas pansy patricia peasant venus pre-raphaelite raphaelite brotherhood rayskin reich rossett rossetti self portrait sevenoaks sir john everett millais soviet study the third reich the blessed damozel the raven vampyre vanitas vision of fiammetta w b scott william holman hunt women working men's college àä äàíòå / dante's inferno 1967 àðòóð õüþç áàëåðèíû áàëåò áåëûå ðîçû áåñïëàòíî áëàæåííàÿ áåàòðè÷å âîðîí ãåòåðà ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äâåíàäöàòàÿ íî÷ü äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí óèëüÿì ïîëèäîðè åâãåíèé îíåãèí æèâîïèñü æèâîòíûå èíòåðíåò èñêàòåëü èñêóññòâî êåííåò êèíî êëàðê êîëåãîâà êîðîëåâà êðèñòèíà ðîññåòòè ëàðåö êîðîëÿ ðåíå? ëåìïèöêà ëåìïèöêàÿ ëåðìîíòîâ ìàðèèíñêèé ìàðèÿ ôðàí÷åñêà ìåíàäû ìåíäåëååâ ìîððèñ ìóçåè ìýäîêñ áðàóí íàãîòà íàéäåíà íàéäåííàÿ íàñèëèå íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ îíëàéí ïèÿ äå òîëîìåè ïîýçèÿ ðîññåòòè ïîýçèÿ ðîññåòòè ïðåðàôàýëèòû ïðîçåðïèíà ðîìàí ðîññåòòè ñàìîõâàëîâ ñåêñ ñèääàë ñêîòò ôèòöæåðàëüä ñìîòðåòü ñîìîâà ñîöðåàëèçì ñòàñîâ ñòèõè òàìàðà ëåìïèöêà òðåòèé ðåéõ óèëüÿì ìîððèñ óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôèàìåòòà ôîòî ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ øàðëîò ñòðèò ý ë á å ð ò ã ð ý ì ýâåëèí äå ìîðãàí ýêçèñòåíöèÿ ýëèçàáåò ñèääàë ýïèãðàô ýññå

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ÏÎËÍÛÉ ÑÏÈÑÎÊ ÐÀÁÎÒ ÐÎÑÑÅÒÒÈ. THE FULL LIST OF ROSSETTI'S CREATIONS.

Ïîíåäåëüíèê, 11 Ôåâðàëÿ 2013 ã. 23:19 + â öèòàòíèê

 

ÏÎËÍÛÉ  ÑÏÈÑÎÊ  ÐÀÁÎÒ  ÐÎÑÑÅÒÒÈ. THE FULL  LIST OF ROSSETTI'S  CREATIONS.

     Íàïèñàë ÿ ïîëíûé, àí íåò, â ïðîöåññå íàõîæó ìíîãèå êàðòèíû, êîòîðûõ â ñïèñêå íåò, ïîýòîìó ñïèñîê îêîí÷àòåëüíûì ñ÷èòàòü íåëüçÿ, áóäó ðàáîòàòü äàëåå.

** îòìå÷åíû êàðòèíû, êîòîðûå åñòü íà ñàéòå.

 àðõèâå Ðîññåòòè âñå åãî ðàáîòû ïî àëôàâèòó, òàê ÷òî íå çàìîðà÷èâàéòåñü, èäèòå òóäà.

http://www.rossettiarchive.org/racs/pictures.rac.html#G

ÑÏÈÑÎÊ ÊÀÐÒÈÍ ÐÎÑÑÅÒÒÈ

https://en.wikipedia.org/wiki/List_of_paintings_by_Dante_Gabriel_Rossetti

 

 

 ÐÀÍÍÈÅ  ÐÀÁÎÒÛ  ÏÐÅ-ÐÀÔÀÝËÈÒÈÇÌÀ.

Early work to Pre-Paphaelitism

  • **'Àâòîïîðòðåò', êàðàíäàø, 1847, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí
  • 'Self-portrait', pencil, 1847, National Portrait Gallery, London
  • **'Âîðîí', òóøü, 1846, Wightwick Manor, Munro Collection.  
  • 'The Raven', ink, 1846, Wightwick Manor, the Munro Collection (on loan from National Trust)
  • **'Âîðîí', òóøü, c1848, Ìóçåé Âèêòîðèè è Àëüáåðòà, Ëîíäîí
  • 'The Raven', ink, c1848, Victoria and Albert Museum, London
  • 'The Raven', ink, c1848 Wightwick Manor, the Munro Collection (on loan from National Trust)
  • 'Ñïÿùàÿ', òóøü, c1848, Áðèòàíñêèé ìóçåé, Ëîíäîí
  • **'Ulalume', òóøü, c1848, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. 
  • 'Ulalume', ink, c1848, Birmingham Museums and Art Gallery. Presented by subscribers. 
  • **"Retro me Sathana ', "Îòûäè, ñàòàíà" òóøü, èþëü 1848 ã. Áîëòîí õóäîæåñòâåííàÿ ãàëåðåÿ.
  • 'Retro me Sathana', ink, July 1848, Bolton Art Gallery and Aquarium Bolton MBC
  • **'Ôàóñò: Ãðåòõåí â öåðêâè ", òóøü, èþëü 1848 ãîäîâ. ×àñòíàÿ êîëëåêöèÿ.
  • 'Faust: Gretchen in Church', ink, July 1848. Private collection
  • **'Æåíåâüåâà', òóøü, 1848,  Fitzwilliam Museum, Êåìáðèäæ .
  • 'Genevieve', ink, 1848, Lent by the syndics of the Fitzwilliam Museum, Cambridge.
  • **' Òàóðåëî óçíà¸ò î ñâîåé óäà÷å", òóøü, 1849, Òåéò. Çàâåùàí HF Stephens 1932
  • 'Taurello's First Sight of Fortune', ink, 1849, Tate. Bequeathed by HF Stephens 1932
  • **'Ãîäîâùèíà äíÿ ñìåðòè Áåàòðè÷å', òóøü, 1849, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ.
  • 'The First Anniversary of the Death of Beatrice', ink, 1849, Birmingham Museums and Art Gallery. Presented by subscribers.
  • **'Þíîñòü Äåâû Ìàðèè', ìàñëî, 1849, Òåéò. Çàâåùàëà Ëåäè Äæåêèë 1937.
  • 'The Girlhood of Mary Virgin', oil, 1849, Tate. Bequeathed by Lady Jekyll 1937
  • **'Ecce Ancilla Domini!, Ìàñëî, 1850, Òåéò. Ïðèîáðåòåíèå 1886
  • 'Ecce Ancilla Domini!', oil, 1850, Tate. Purchased 1886

 

 

                     Êðóã Ðàííèõ ïðåðàôàýëèòîâ  1848-60

                                                                                              The early Pre-Raphaelite circle 1848-60

 

   **'Óèëüÿì Ìàéêë Ðîññåòòè', 1853, êàðàíäàø, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí.'William Michael Rossetti', 1853, pencil, National Portrait Gallery, London

 **'Òîìàñ Âóëíåð', êàðàíäàø, èþëü 1852, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí 'Thomas Woolner', pencil, July 1852, National Portrait Gallery, London

 

**'Êðèñòèíà Ðîññåòòè', êàðàíäàø, c1850, ÷àñòíàÿ  êîëëåêöèÿ.'Christina Rossetti', pencil, c1850, Private collection

 

'Óèëüÿì Õîëìàí Õàíò', êàðàíäàø, 1853, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ.  'William Holman Hunt', pencil, 1853, Birmingham Museums and Art Gallery. Presented by subscribers

 

**'Ôîðä Ìàäîõ Áðàóí ", êàðàíäàø, 1852, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí.'Ford Madox Brown', pencil, 1852, National Portrait Gallery, London

 

**'Ìàäîõ Ýììà Áðàóí Áðàóí ", òóøü, 1853, Áèðìèíãåì ìóçåé è õóäîæåñòâåííàÿ ãàëåðåÿ. 'Emma Madox Brown', ink, 1853, Birmingham Museums and Art Gallery. Presented by subscribers

 **"Ðîáåðò Áðàóíèíã ', àêâàðåëü, 1855, Fitzwilliam Museum, Êåìáðèäæ.'. Robert Browning', watercolour, 1855, lent by the syndics of the Fitzwilliam Museum, Cambridge

 

                  Ïîðòðåòû Ýëèçàáåò  Ñèääàë

 

**Ýëèçàáåò Ñèääàë íà êîëåíÿõ, èãðàåò íà äâîéíîé ôëåéòå, Ashmolean Museum, Oxford. Çàâåùàííî Äæîí Áðàéñîí, 1977.'Elizabeth Siddal kneeling, playing a double pipe', Ashmolean Museum, Oxford. Bequeathed by John N Bryson, 1977

 **'Ýëèçàáåò Ñèääàë ñòîÿùàÿ ó îêíà ", êàðàíäàø, 1854, Victoria & Albert Museum, Ëîíäîí. 'Elizabeth Siddal standing at window', pencil, 1854, Victoria & Albert Museum, London.

**'Ýëèçàáåò Ñèääàë,÷èòàþùàÿ êíèãó ", êàðàíäàø, 1854, èç Fitzwilliam Museum, Êåìáðèäæ .  'Elizabeth Siddal reading', pencil, 1854, lent by the syndics of the Fitzwilliam Museum, Cambridge.

'Ýëèçàáåò Ñèääàë, ñèäÿùàÿ â êðåñëå', êàðàíäàø, Áðèòàíñêèé ìóçåé, Ëîíäîí 'Elizabeth Siddal seated in an armchair', pencil, British Museum, London.

'Ýëèçàáåò Ñèääàë, ñèäÿùàÿ ó îêíà', êàðàíäàø, 1854,  Fitzwilliam Museum, Êåìáðèäæ

" Ãîëîâà Ýëèçàáåò Ñèääàë àíôàñ, ãëÿäÿùàÿ  âíèç ', òóøü, 1855, Ashmolean Museum, Oxford

"Ãîëîâà Ýëèçàáåò Ñèääàë, ãëÿäÿùåé âïðàâî ', êàðàíäàø, Victoria & Albert Museum, Ëîíäîí

"Ýñêèç Ýëèçàáåò Ñèääàë êàê Ðýé÷åë ', êàðàíäàø, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ.  'Study of Elizabeth Siddal as Rachel', pencil, Birmingham Museums and Art Gallery. Presented by subscribers

"Ýñêèç Ýëèçàáåò Ñèääàë êàê Äåëèÿ ', êàðàíäàø, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. 

    • Ïðèñòîéíî ïåðåâåäó ïîçæå
    • 'Ýëèçàáåò Ñèääàë æèâîïèñè ñòàíêîâîé', êàðàíäàøîì è òóøüþ. ×àñòíàÿ êîëëåêöèÿ
    • **'Ýëèçàáåò Ñèääàë ñèäÿùèõ â êîðçèíå ñòóë', êîðè÷íåâûé ìûòü, ÷àñòíàÿ êîëëåêöèÿ
    • 'Ýëèçàáåò Ñèääàë ðåçêè ñ "íîæíèö", êàðàíäàø, Áðèòàíñêèé ìóçåé, Ëîíäîí
    • 'Ýëèçàáåò Ñèääàë ñèäåòü, ïîëîæèâ ãîëîâó íà ðóêó', êàðàíäàø, 1850. ×àñòíàÿ êîëëåêöèÿ
    • 'Ýëèçàáåò Ñèääàë ïîëîâèíû äëèíû', êàðàíäàøîì è òóøüþ. ×àñòíàÿ êîëëåêöèÿ
    • "Íà÷àëüíèê Ýëèçàáåò Ñèääàë ëåæà íà ïîäóøêå ', 1850, ññóäû ïî ñèíäèêè èç Fitzwilliam, ìóçåé, Êåìáðèäæ
    • Èññëåäîâàíèÿ Ýëèçàáåò Ñèääàë äëÿ "Áåàòà Áåàòðèêñ ', êàðàíäàø, Óèëüÿì Ìîððèñ ãàëåðåÿ, Ëîíäîí (Walker Art Gallery òîëüêî).

                         Äàíòå 1851-56

  • **' Áåàòðè÷å, âñòðåòèâÄàíòå íà áðà÷íîì ïèðó, îòêàçûâàåò åìó â ïðèâåòñòâèè', àêâàðåëü, 1855, Ashmolean Museum, Oxford.  'Beatrice meeting Dante at a marriage feast denies him her salutation', watercolour, 1855, Ashmolean Museum, Oxford
  • **'Äæîòòî ïèøóùèé ïîðòðåò Äàíòå', àêâàðåëü, Ëîðä Ëëîéä-Óýááåðà Private Collection (Ìóçåé Âàí Ãîãà ).'Giotto painting the portrait of Dante', watercolour, Lord Lloyd-Webber Private Collection (Van Gogh Museum only).
  • Äàíòå â ìåäèòàöèè ïðîâåäåíèå ãðàíàòà ', c1852, ÷åðíèëà, êàðàíäàø, Éåëüñêîãî öåíòðà áðèòàíñêîãî èñêóññòâà, Íüþ-Õåéâåí, Ïîëà Ìåëëîíà ôîíä
  • "Ïåðâàÿ ãîäîâùèíà ñìåðòè Áåàòðè÷å ', àêâàðåëü, 1853, Ashmolean Museum, Oxford, çàâåùàííûå ìèññèñ Òîìàñ Êîìá, 1894 (Walker Art Gallery òîëüêî)
  • **'Âñòðå÷à Äàíòå è Áåàòðè÷å â ðàþ', àêâàðåëü, 1853-4, Fitzwilliam Museum, Êåìáðèäæ.  'The Meeting of Dante and Beatrice in Paradise', watercolour, 1853-4, lent by the syndics of the Fitzwilliam Museum, Cambridge
  • 'Ïàîëî è Ôðàí÷åñêà äà Ðèìèíè', àêâàðåëü, 1862, ïîïå÷èòåëåé Ñåñèë Õèããèíñ Art Gallery, Áåäôîðä
  • Äàíòå âèäåíèå Ðàõèëü è Ëèÿ ', àêâàðåëü, 1855, Òåéò. Çàâåùàííûå Áåðåñôîðä Rimington Õèòîí 1940
  • 'Dantis Amor', òóøü, 1860, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî Ïîäïèñ÷èêè

                        Ëþáîâü è íðàâñòâåííîñòü 1850-60

  • **'Ëàáîðàòîðèè', àêâàðåëü, 1849, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ. 'The Laboratory', watercolour, 1849, Birmingham Museums and Art Gallery. Presented by subscribers.
  •  
  • 'Äóýíüÿ', òóøü, c1850-2, ññóäû ïî ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
  • 'Çåðêàëî', Love's ÷åðíèëà, c1849-50, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • 'Äëÿ êàïåðñîâ ïðîâîðíî â êàìåðå ëåäè', òóøü, 1850, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • 'Áîðäæèà', àêâàðåëü, 1851, Äîì-ìóçåé Tullie & Art Gallery, Êàðëàéë
  • 'Hesterna Ðîçà', òóøü, 1853, Òåéò. Çàâåùàííûå HF Stephens 1932
  • 'Áóðëàêè è ñèðåíà', òóøü, 1853, "Ìàí÷åñòåð Ñèòè Ãàëåðåÿ
  • 'Ôðà Àíäæåëèêî Æèâîïèñü ", òóøü, c1853, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • 'Äæîðäæîíå Æèâîïèñü ", ÷åðíèëà c1853, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • Íàéäåíî ', èçó÷åíèÿ äëÿ' òóøü, 1853 Áðèòàíñêèé ìóçåé, Ëîíäîí
  • 'Íàéäåíî', ìàñëî, 1854, Äåëàâýð õóäîæåñòâåííûé ìóçåé, Ñàìóèë è Ìàðèÿ R Áàíêðîôò Memorial, 1935
  • 'Äàòü íà ïåñêå ", àêâàðåëü, 1859, Áðèòàíñêèé ìóçåé, Ëîíäîí
  • Èññëåäîâàíèå äëÿ "Bonifazio's Õîçÿéêè, àêâàðåëü, c1856, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • 'Êàññàíäðà', òóøü, 1861, Áðèòàíñêèé ìóçåé, Ëîíäîí

                 Ðåëèãèîçíûå ñþæåòû 1855-60

  • 'Ïàñõà íà Ñâÿòîé Ñåìüè ", àêâàðåëü, 1855-6, Òåéò. Ïðåäñòàâëåíî ×àðëüç Ðèêåòòñ â ïàìÿòü î Ãåíðè Ìàéêë Ïîëåâîé 1916
  • 'Áëàãîâåùåíñê', àêâàðåëü, 1855. ×àñòíàÿ êîëëåêöèÿ
  • 'Äàâèäà', àêâàðåëü, c1856, (3 îòäåëüíûå êàäðû: 1. 'Äàâèäà'; 2. 'Öàðü Äàâèä'; 3. 'Ïîêëîíåíèå') Òýéò. Ïðèîáðåòåííûå 1924
  • 'Äàâèäà', ìàñëî, 1858-64, Llandaff ñîáîðà, Êàðäèôô
  • Èññëåäîâàíèå Äæåéí Ìîððèñ äëÿ Áîãîðîäèöû â 'Äàâèä', êàðàíäàø, îáùåñòâà àíòèêâàðîâ Ëîíäîíà Kelmscott Ìàíîð (Walker Art Gallery òîëüêî)
  • Èññëåäîâàíèå Óèëüÿìà Ìîððèñà êàê Äàâèä áûë öàðåì â "Äàâèäà ', êàðàíäàø, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • Èññëåäîâàíèå äëÿ "Ìàðèÿ Ìàãäàëèíà â äâåðü Ñèìîí ôàðèñåé ', òóøü, c1853, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • 'Ìàðèè Ìàãäàëèíû â äâåðü Ñèìîí ôàðèñåé', ÷åðíèëà 1858-9, ññóäû ïî ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
  • "Ìýðè Nazarene ', àêâàðåëü, 1857, Òåéò. Ïðèîáðåòåííûå 1911
  • 'Ìàðèè Ìàãäàëèíû ", àêâàðåëü, 1857, Òåéò. Ïðèîáðåòåííûå 1911

               Ðîìàíòè÷åñêîå Ñðåäíåâåêîâüå 1853-60

  • 'Carlisle Wall', àêâàðåëü, 1853, Òåéò, ïî êðåäèòó íà Ashmolean Museum, Oxford
  • 'Áàëëàäà î ÿðìàðêå Annie', òóøü, c1855. ×àñòíàÿ êîëëåêöèÿ
  • "Àðòóð Ìîãèëà ', àêâàðåëü, 1854-5, Áðèòàíñêèé ìóçåé, Ëîíäîí
  • 'Áàðûøíè èç Elfen-ïðîñòîãî ", òóøü, 1854, Éåëüñêîãî öåíòðà áðèòàíñêîãî èñêóññòâà, Íüþ-Õåéâåí, Ïîëà Ìåëëîíà ôîíä
  • 'Áàðûøíè èç Elfen-ïðîñòîãî ", êíèãà (' The Music Master") îòêðûòèå â èëëþñòðàöèåé ñòàëêèâàþòñÿ, 1855 Áðèòàíñêàÿ áèáëèîòåêà, Ëîíäîí
  • 'Ëåäè Shalott', ãðàâþðà, 1857, ñ Moxon Òåííèñîí, Ñòèâåí Êýëëîóýé
  • 'Ìàðèàíà â Þãà ", òóøü, 1856-7, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • 'Ìàðèàíà â Þã ", ãðàâþðà, 1857, ñ Moxon Òåííèñîí, Ñòèâåí Êýëëîóýé
  • "St Ñåñèëèÿ ', òóøü, 1856-7, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • "St Ñåñèëèÿ ', ãðàâþðà, 1857, ñ Moxon Òåííèñîí, Ñòèâåí Êýëëîóýé
  • "Êîðîëü Àðòóð è ïëà÷ Queens ', òóøü, 1856-7, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • "Êîðîëü Àðòóð è ïëà÷ Queens ', êíèãà (' Ðàáîòà Òåííèñîí ') îòêðûòà íà ðèñóíêå P119, Ñòèâåí Êýëëîóýé
  • "Ñýð Ãàëàõàä â ðàçðóøåííîé ÷àñîâíè ', êíèãà (' Ðàáîòà Òåííèñîí ') îòêðûòèå â p305 èëëþñòðàöèè, Ñòèâåí Êýëëîóýé
  • "Ñýð Ãàëàõàä â ðàçðóøåííîé ÷àñîâíè ', àêâàðåëü, 1859, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ.
  • "St Åêàòåðèíà ', ìàñëî, 1857, Òåéò. Çàâåùàëà ãîñïîæè Ýìèëè Òîìñ â ïàìÿòü ñâîåãî îòöà, Èîñèô Êåðøîó, 1931
  • 'The Blue Øêàô', 1857, àêâàðåëü, Òýéò. Ïðèîáðåòåííûå ïðè ïîìîùè ÷åðåç Íàöèîíàëüíûé ôîíä èñêóññòâ èç êîëëåêöèè ñýðà Àðòóðà äþ Êðî Bt è ñýð Îòòî Áåéò-1916
  • 'Íà ñóììó ñåìüþ áàøíÿìè', 1857, àêâàðåëü, Òýéò. Ïðèîáðåòåííûå ïðè ïîìîùè ÷åðåç Íàöèîíàëüíûé ôîíä èñêóññòâ èç êîëëåêöèè ñýðà Àðòóðà Äþ Cros Bt è ñýð Îòòî Áåéò-1916
  • '**Ãàìëåò è Îôåëèÿ.  òóøü, 1858, Áðèòàíñêèé ìóçåé, Ëîíäîí
  • 'Hamlet & Ophelia', ink, 1858, British Museum, London
  •  
  • ', Êàê îíè âñòðåòèëèñü ñåáÿ ", òóøü, 1860, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
  • 'Rose Garden', êíèãà ( 'ðàííåãî èòàëüÿíñêîãî ïîýòà' 1861) îòêðûòèå â òèòóëüíîì ëèñòå, Ñòèâåí Êýëëîóýé
  • "Ïåðâûå Áåçóìèå Îôåëèÿ", àêâàðåëü, 1864, Ãàëåðåÿ Oldham, ×àðëüç Ëè êîëëåêöèè
  • Ñýð Ëàíñåëîò's Study äëÿ "âèäåíèÿ Sánc Ãðàýëü ', 1857, Fitzwilliam Museum Êåìáðèäæå
  • "Ñýð Ëàíñåëîò â êàìåðå ', ÷åðíèëà êîðîëåâû, 1857, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ

                            Êðàñîòêè 1860-õ

  • 'ÁÎÊÊÀ Baciata', 1859, ìàñëî, Ìóçåé èçîáðàçèòåëüíûõ èñêóññòâ, Áîñòîí, äàð Äæåéìñ Ëîóðåíñ 1980,261
  • 'Ðåãèíà Cordium', êðàñíûì ìåëîì, 1860, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • 'ßðìàðêà Ðîçàìóíäà', ìàñëî, 1861, Íàöèîíàëüíàÿ ãàëåðåÿ Ìóçåè & Óýëüñà, Êàðäèôôà
  • 'Äåâî÷êà íà ðåøåòêè ", 1862, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
  • 'Áåàòà Áåàòðèêñ', ìàñëî, 1863-70, Òåéò. Ïðåäñòàâëåíî Äæîðäæèàíà, áàðîíåññû ãîðå-õðàì â ïàìÿòü î åå ìóæå, Ôðýíñèñ, áàðîí Ãîðà Õðàìà 1889
  • 'Åëåíà Òðîÿíñêàÿ', ìàñëî, 1863, Ãàìáóðãåð Êóíñòõàëëå, Ãåðìàíèÿ
  • 'Ôàöèî's Mistress' ( ') Aurelia' ìàñëî, 1863, Òåéò. Ïðèîáðåòåííûå ïðè ïîìîùè ÷åðåç Íàöèîíàëüíûé ôîíä èñêóññòâ èç êîëëåêöèè ñýðà Àðòóðà Äþ Cros Bt è ñýð Îòòî Áåéò-1916
  • 'Morning Music', àêâàðåëü, 1864, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
  • "Æåíùèíà ïðè÷åñûâàëàñü ', àêâàðåëü, 1864. ×àñòíàÿ êîëëåêöèÿ (Walker Art Gallery òîëüêî)
  • "Æåíùèíà ïðè÷åñûâàëàñü ', êàðàíäàø, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ (Ìóçåé Âàí Ãîãà òîëüêî)
  • "Âåíåðà Verticordia ', ìàñëî, 1863-8, Ðàññåë-Êîòñ Õóäîæåñòâåííàÿ ãàëåðåÿ & ìóçåå, Áîðíìóò
  • 'The Blue Áàóýð', ìàñëî, 1865, ïîïå÷èòåëåé Ïàðèêìàõåðñêàÿ èíñòèòóò èçÿùíûõ èñêóññòâ. Óíèâåðñèòåò Áèðìèíãåìà.
  • **'The Beloved', ìàñëî, 1865-6, Òåéò. Ïðèîáðåòåííûå ïðè ïîìîùè  Íàöèîíàëüíîãî ôîíäà èñêóññòâ îò ñýðà Àðòóðà Äþ Cros Bt è ñýð Îòòî Áåéò. 1916
    • "Ëåäè Ëèëèò ', ìàñëî, 1868, Äåëàâýð õóäîæåñòâåííûé ìóçåé, Ñàìóèë è Ìàðèÿ R Áàíêðîôò ìåìîðèàëüíûé 1935
    • 'Ñèáèëëà Palmifera', ìàñëî, 1866-70, íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Art Gallery, Port Sunlight
    • 'A Christmas Carol', ìàñëî, 1867, èñïîëíèòåëè ïîêîéíîãî ëîðäà Leverhulme
    • "Êóïèòå ó íàñ ñ çîëîòîé ëîêîí" è "Çîëîòîé ãîëîâû çîëîòûå ãîëîâû", êíèãà ( 'Ãîáëèíà ðûíîê,' 1862) îòêðûòèå â òèòóëüíîì ëèñòå, Áðèòàíñêàÿ áèáëèîòåêà, Ëîíäîí
    • 'Âû äîëæíû èìåòü ïëàêàëà â÷åðà è äîëãèìè ÷àñàìè èäòè è ïðèõîäèòü è óõîäèòü', êíèãà ( "Ïðîãðåññ", 1866), ïðèíö îòêðûòà íà òèòóëüíîì ëèñòå. ×àñòíàÿ êîëëåêöèÿ

                  Êðóã ïîçäíèõ ïðåðàôàýëèòîâ  1857-80

  • "Ôàííè Êîðíôîðò è ÃÏ Áîéñ" â Chatham Place, òóøü, 1858, Äîì-ìóçåé Tullie & Art Gallery, Êàðëàéë
  • "Ôàííè Êîðíôîðò ', òóøü, 1860, Ashmolean Museum, Oxford. Çàâåùàëà Äæîí Áðàéñîí N 1977
  • 'Ýííè Ìèëëåð, òóøü, 1860, Ë. Ñ. Ëîóðè íåäâèæèìîñòè â àðåíäó â "Ìàí÷åñòåð Ñèòè Ãàëåðåÿ
  • 'Äæîðäæèàíà Áåðí-Äæîíñà, c1860, êàðàíäàø, ×àñòíàÿ êîëëåêöèÿ (Walker Art Gallery òîëüêî)
  • 'Ñóèíáåðí', àêâàðåëü, 1861, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
  • 'Àâòîïîðòðåò', êàðàíäàø, 1861, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
  • "Ìàðè Zambaco ', öâåòíûå ìåëêè, 1870. ×àñòíàÿ êîëëåêöèÿ
  • 'Alexa Óèëäèíã', öâåòíûå ìåëêè, 1873. ×àñòíàÿ êîëëåêöèÿ
  • 'Êðèñòèíà è Ôðàí÷åñêè Ëàâèíèÿ Ðîññåòòè', 1877, öâåòíûå ìåëêè, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí
  • 'Êðèñòèíû Ðîññåòòè', 1877, öâåòíûå ìåëêè. ×àñòíûå êîëëåêöèè ëþáåçíî Ïåòðà Íàóìà
  • "Äæåéí áðåìåíè", êàðàíäàø, 1857, Îáùåñòâà àíòèêâàðîâ, Kelmscott óñàäüáå, (Walker Art Gallery òîëüêî)
  • "Äæåéí Ìîððèñ", 1858, Íàöèîíàëüíàÿ ãàëåðåÿ Èðëàíäèè, Äóáëèí
  • "Äæåéí Ìîððèñ", ÷åðíûé ìåë, 1865. ×àñòíàÿ êîëëåêöèÿ
  • "Äæåéí Ìîððèñ" ( 'The Blue øåëêîâîå ïëàòüå'), ìàñëî 1868, Îáùåñòâà àíòèêâàðîâ, Ëîíäîí (Kelmscott óñàäüáû), (Walker Art Gallery òîëüêî)
  • "Äæåéí Ìîððèñ", êàðàíäàø, 1870, Îáùåñòâà àíòèêâàðîâ, Kelmscott óñàäüáå, (Walker Art Gallery òîëüêî)
  • "Äæåéí Ìîððèñ ëåæàùàÿ ', êàðàíäàø, c1870, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, Walker Art Gallery
  • "Äæåéí Ìîððèñ ñïàëà íà äèâàíå ', òóøü, c1870, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Çàâåùàëà Äæåéìñîì Ðè÷àðäñîíîì Õîëëèäåé
  • 'Waterwillow', ìàñëî, 1871, Äåëàâýð õóäîæåñòâåííûé ìóçåé, Ñàìóèë è Ìàðèÿ R Áàíêðîôò ìåìîðèàëüíûé 1935
  • "Äæåéí Ìîððèñ â èñëàíäñêîì ïëàòüå", êàðàíäàø, c1873, Fitzwilliam Museum, Êåìáðèäæ
  • "Äæåéí Ìîððèñ", ôîòî Ïàðñîíñà, àëüáîì, îòêðûòûé íà ñòðàíèöå 4, Victoria & Albert Museum, Ëîíäîí
  • "Äæåéí Ìîððèñ ñèäåòü, ïîëíàÿ äëèíà ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
  • "Äæåéí Ìîððèñ ñèäåòü, òðè ÷åòâåðòè äëèíû ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
  • "Äæåéí Ìîððèñ ëåæà íà äèâàíå ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
  • "Äæåéí Ìîððèñ ñèäåòü, ïîëîâèíà äëèíû ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
  • "Äæåéí Ìîððèñ ñèäåòü, íàêëîíèâøèñü âïåðåä ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
  • "Äæåéí Ìîððèñ ñèäèò íà äèâàíå, òðè ÷åòâåðòè äëèíû ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
  • "Äæåéí Ìîððèñ ñòîÿ â øàòåð ', ôîòî Ïàðñîíñ, Áèðìèíãåì Ìóçåè è ãàëåðåè.

 

Ðóáðèêè:  ÐÎÑÑÅÒÒÈ. ROSSETTI./ÐÎÑÑÅÒÒÈ ÆÈÇÍÜ ROSSETTI LIFE
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