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
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**'Àâòîïîðòðåò', êàðàíäàø, 1847, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí
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'Self-portrait', pencil, 1847, National Portrait Gallery, London
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**'Âîðîí', òóøü, 1846, Wightwick Manor, Munro Collection.
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'The Raven', ink, 1846, Wightwick Manor, the Munro Collection (on loan from National Trust)
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**'Âîðîí', òóøü, c1848, Ìóçåé Âèêòîðèè è Àëüáåðòà, Ëîíäîí
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'The Raven', ink, c1848, Victoria and Albert Museum, London
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'The Raven', ink, c1848 Wightwick Manor, the Munro Collection (on loan from National Trust)
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'Ñïÿùàÿ', òóøü, c1848, Áðèòàíñêèé ìóçåé, Ëîíäîí
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**'Ulalume', òóøü, c1848, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ.
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'Ulalume', ink, c1848, Birmingham Museums and Art Gallery. Presented by subscribers.
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**"Retro me Sathana ', "Îòûäè, ñàòàíà" òóøü, èþëü 1848 ã. Áîëòîí õóäîæåñòâåííàÿ ãàëåðåÿ.
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'Retro me Sathana', ink, July 1848, Bolton Art Gallery and Aquarium Bolton MBC
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**'Ôàóñò: Ãðåòõåí â öåðêâè ", òóøü, èþëü 1848 ãîäîâ. ×àñòíàÿ êîëëåêöèÿ.
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'Faust: Gretchen in Church', ink, July 1848. Private collection
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**'Æåíåâüåâà', òóøü, 1848, Fitzwilliam Museum, Êåìáðèäæ .
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'Genevieve', ink, 1848, Lent by the syndics of the Fitzwilliam Museum, Cambridge.
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**' Òàóðåëî óçíà¸ò î ñâîåé óäà÷å", òóøü, 1849, Òåéò. Çàâåùàí HF Stephens 1932
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'Taurello's First Sight of Fortune', ink, 1849, Tate. Bequeathed by HF Stephens 1932
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**'Ãîäîâùèíà äíÿ ñìåðòè Áåàòðè÷å', òóøü, 1849, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ.
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'The First Anniversary of the Death of Beatrice', ink, 1849, Birmingham Museums and Art Gallery. Presented by subscribers.
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**'Þíîñòü Äåâû Ìàðèè', ìàñëî, 1849, Òåéò. Çàâåùàëà Ëåäè Äæåêèë 1937.
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'The Girlhood of Mary Virgin', oil, 1849, Tate. Bequeathed by Lady Jekyll 1937
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**'Ecce Ancilla Domini!, Ìàñëî, 1850, Òåéò. Ïðèîáðåòåíèå 1886
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'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.
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Ïðèñòîéíî ïåðåâåäó ïîçæå
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'Ýëèçàáåò Ñèääàë æèâîïèñè ñòàíêîâîé', êàðàíäàøîì è òóøüþ. ×àñòíàÿ êîëëåêöèÿ
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**'Ýëèçàáåò Ñèääàë ñèäÿùèõ â êîðçèíå ñòóë', êîðè÷íåâûé ìûòü, ÷àñòíàÿ êîëëåêöèÿ
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'Ýëèçàáåò Ñèääàë ðåçêè ñ "íîæíèö", êàðàíäàø, Áðèòàíñêèé ìóçåé, Ëîíäîí
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'Ýëèçàáåò Ñèääàë ñèäåòü, ïîëîæèâ ãîëîâó íà ðóêó', êàðàíäàø, 1850. ×àñòíàÿ êîëëåêöèÿ
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'Ýëèçàáåò Ñèääàë ïîëîâèíû äëèíû', êàðàíäàøîì è òóøüþ. ×àñòíàÿ êîëëåêöèÿ
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"Íà÷àëüíèê Ýëèçàáåò Ñèääàë ëåæà íà ïîäóøêå ', 1850, ññóäû ïî ñèíäèêè èç Fitzwilliam, ìóçåé, Êåìáðèäæ
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Èññëåäîâàíèÿ Ýëèçàáåò Ñèääàë äëÿ "Áåàòà Áåàòðèêñ ', êàðàíäàø, Óèëüÿì Ìîððèñ ãàëåðåÿ, Ëîíäîí (Walker Art Gallery òîëüêî).
Äàíòå 1851-56
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**' 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
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**'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).
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Äàíòå â ìåäèòàöèè ïðîâåäåíèå ãðàíàòà ', c1852, ÷åðíèëà, êàðàíäàø, Éåëüñêîãî öåíòðà áðèòàíñêîãî èñêóññòâà, Íüþ-Õåéâåí, Ïîëà Ìåëëîíà ôîíä
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"Ïåðâàÿ ãîäîâùèíà ñìåðòè Áåàòðè÷å ', àêâàðåëü, 1853, Ashmolean Museum, Oxford, çàâåùàííûå ìèññèñ Òîìàñ Êîìá, 1894 (Walker Art Gallery òîëüêî)
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**'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
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'Ïàîëî è Ôðàí÷åñêà äà Ðèìèíè', àêâàðåëü, 1862, ïîïå÷èòåëåé Ñåñèë Õèããèíñ Art Gallery, Áåäôîðä
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Äàíòå âèäåíèå Ðàõèëü è Ëèÿ ', àêâàðåëü, 1855, Òåéò. Çàâåùàííûå Áåðåñôîðä Rimington Õèòîí 1940
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'Dantis Amor', òóøü, 1860, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî Ïîäïèñ÷èêè
Ëþáîâü è íðàâñòâåííîñòü 1850-60
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**'Ëàáîðàòîðèè', àêâàðåëü, 1849, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ. 'The Laboratory', watercolour, 1849, Birmingham Museums and Art Gallery. Presented by subscribers.
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'Äóýíüÿ', òóøü, c1850-2, ññóäû ïî ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
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'Çåðêàëî', Love's ÷åðíèëà, c1849-50, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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'Äëÿ êàïåðñîâ ïðîâîðíî â êàìåðå ëåäè', òóøü, 1850, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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'Áîðäæèà', àêâàðåëü, 1851, Äîì-ìóçåé Tullie & Art Gallery, Êàðëàéë
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'Hesterna Ðîçà', òóøü, 1853, Òåéò. Çàâåùàííûå HF Stephens 1932
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'Áóðëàêè è ñèðåíà', òóøü, 1853, "Ìàí÷åñòåð Ñèòè Ãàëåðåÿ
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'Ôðà Àíäæåëèêî Æèâîïèñü ", òóøü, c1853, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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'Äæîðäæîíå Æèâîïèñü ", ÷åðíèëà c1853, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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Íàéäåíî ', èçó÷åíèÿ äëÿ' òóøü, 1853 Áðèòàíñêèé ìóçåé, Ëîíäîí
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'Íàéäåíî', ìàñëî, 1854, Äåëàâýð õóäîæåñòâåííûé ìóçåé, Ñàìóèë è Ìàðèÿ R Áàíêðîôò Memorial, 1935
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'Äàòü íà ïåñêå ", àêâàðåëü, 1859, Áðèòàíñêèé ìóçåé, Ëîíäîí
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Èññëåäîâàíèå äëÿ "Bonifazio's Õîçÿéêè, àêâàðåëü, c1856, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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'Êàññàíäðà', òóøü, 1861, Áðèòàíñêèé ìóçåé, Ëîíäîí
Ðåëèãèîçíûå ñþæåòû 1855-60
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'Ïàñõà íà Ñâÿòîé Ñåìüè ", àêâàðåëü, 1855-6, Òåéò. Ïðåäñòàâëåíî ×àðëüç Ðèêåòòñ â ïàìÿòü î Ãåíðè Ìàéêë Ïîëåâîé 1916
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'Áëàãîâåùåíñê', àêâàðåëü, 1855. ×àñòíàÿ êîëëåêöèÿ
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'Äàâèäà', àêâàðåëü, c1856, (3 îòäåëüíûå êàäðû: 1. 'Äàâèäà'; 2. 'Öàðü Äàâèä'; 3. 'Ïîêëîíåíèå') Òýéò. Ïðèîáðåòåííûå 1924
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'Äàâèäà', ìàñëî, 1858-64, Llandaff ñîáîðà, Êàðäèôô
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Èññëåäîâàíèå Äæåéí Ìîððèñ äëÿ Áîãîðîäèöû â 'Äàâèä', êàðàíäàø, îáùåñòâà àíòèêâàðîâ Ëîíäîíà Kelmscott Ìàíîð (Walker Art Gallery òîëüêî)
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Èññëåäîâàíèå Óèëüÿìà Ìîððèñà êàê Äàâèä áûë öàðåì â "Äàâèäà ', êàðàíäàø, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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Èññëåäîâàíèå äëÿ "Ìàðèÿ Ìàãäàëèíà â äâåðü Ñèìîí ôàðèñåé ', òóøü, c1853, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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'Ìàðèè Ìàãäàëèíû â äâåðü Ñèìîí ôàðèñåé', ÷åðíèëà 1858-9, ññóäû ïî ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
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"Ìýðè Nazarene ', àêâàðåëü, 1857, Òåéò. Ïðèîáðåòåííûå 1911
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'Ìàðèè Ìàãäàëèíû ", àêâàðåëü, 1857, Òåéò. Ïðèîáðåòåííûå 1911
Ðîìàíòè÷åñêîå Ñðåäíåâåêîâüå 1853-60
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'Carlisle Wall', àêâàðåëü, 1853, Òåéò, ïî êðåäèòó íà Ashmolean Museum, Oxford
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'Áàëëàäà î ÿðìàðêå Annie', òóøü, c1855. ×àñòíàÿ êîëëåêöèÿ
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"Àðòóð Ìîãèëà ', àêâàðåëü, 1854-5, Áðèòàíñêèé ìóçåé, Ëîíäîí
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'Áàðûøíè èç Elfen-ïðîñòîãî ", òóøü, 1854, Éåëüñêîãî öåíòðà áðèòàíñêîãî èñêóññòâà, Íüþ-Õåéâåí, Ïîëà Ìåëëîíà ôîíä
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'Áàðûøíè èç Elfen-ïðîñòîãî ", êíèãà (' The Music Master") îòêðûòèå â èëëþñòðàöèåé ñòàëêèâàþòñÿ, 1855 Áðèòàíñêàÿ áèáëèîòåêà, Ëîíäîí
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'Ëåäè Shalott', ãðàâþðà, 1857, ñ Moxon Òåííèñîí, Ñòèâåí Êýëëîóýé
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'Ìàðèàíà â Þãà ", òóøü, 1856-7, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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'Ìàðèàíà â Þã ", ãðàâþðà, 1857, ñ Moxon Òåííèñîí, Ñòèâåí Êýëëîóýé
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"St Ñåñèëèÿ ', òóøü, 1856-7, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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"St Ñåñèëèÿ ', ãðàâþðà, 1857, ñ Moxon Òåííèñîí, Ñòèâåí Êýëëîóýé
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"Êîðîëü Àðòóð è ïëà÷ Queens ', òóøü, 1856-7, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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"Êîðîëü Àðòóð è ïëà÷ Queens ', êíèãà (' Ðàáîòà Òåííèñîí ') îòêðûòà íà ðèñóíêå P119, Ñòèâåí Êýëëîóýé
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"Ñýð Ãàëàõàä â ðàçðóøåííîé ÷àñîâíè ', êíèãà (' Ðàáîòà Òåííèñîí ') îòêðûòèå â p305 èëëþñòðàöèè, Ñòèâåí Êýëëîóýé
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"Ñýð Ãàëàõàä â ðàçðóøåííîé ÷àñîâíè ', àêâàðåëü, 1859, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ.
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"St Åêàòåðèíà ', ìàñëî, 1857, Òåéò. Çàâåùàëà ãîñïîæè Ýìèëè Òîìñ â ïàìÿòü ñâîåãî îòöà, Èîñèô Êåðøîó, 1931
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'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
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'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
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'**Ãàìëåò è Îôåëèÿ. òóøü, 1858, Áðèòàíñêèé ìóçåé, Ëîíäîí
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'Hamlet & Ophelia', ink, 1858, British Museum, London
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', Êàê îíè âñòðåòèëèñü ñåáÿ ", òóøü, 1860, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
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'Rose Garden', êíèãà ( 'ðàííåãî èòàëüÿíñêîãî ïîýòà' 1861) îòêðûòèå â òèòóëüíîì ëèñòå, Ñòèâåí Êýëëîóýé
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"Ïåðâûå Áåçóìèå Îôåëèÿ", àêâàðåëü, 1864, Ãàëåðåÿ Oldham, ×àðëüç Ëè êîëëåêöèè
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Ñýð Ëàíñåëîò's Study äëÿ "âèäåíèÿ Sánc Ãðàýëü ', 1857, Fitzwilliam Museum Êåìáðèäæå
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"Ñýð Ëàíñåëîò â êàìåðå ', ÷åðíèëà êîðîëåâû, 1857, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
Êðàñîòêè 1860-õ
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'ÁÎÊÊÀ Baciata', 1859, ìàñëî, Ìóçåé èçîáðàçèòåëüíûõ èñêóññòâ, Áîñòîí, äàð Äæåéìñ Ëîóðåíñ 1980,261
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'Ðåãèíà Cordium', êðàñíûì ìåëîì, 1860, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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'ßðìàðêà Ðîçàìóíäà', ìàñëî, 1861, Íàöèîíàëüíàÿ ãàëåðåÿ Ìóçåè & Óýëüñà, Êàðäèôôà
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'Äåâî÷êà íà ðåøåòêè ", 1862, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
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'Áåàòà Áåàòðèêñ', ìàñëî, 1863-70, Òåéò. Ïðåäñòàâëåíî Äæîðäæèàíà, áàðîíåññû ãîðå-õðàì â ïàìÿòü î åå ìóæå, Ôðýíñèñ, áàðîí Ãîðà Õðàìà 1889
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'Åëåíà Òðîÿíñêàÿ', ìàñëî, 1863, Ãàìáóðãåð Êóíñòõàëëå, Ãåðìàíèÿ
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'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
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'Morning Music', àêâàðåëü, 1864, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
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"Æåíùèíà ïðè÷åñûâàëàñü ', àêâàðåëü, 1864. ×àñòíàÿ êîëëåêöèÿ (Walker Art Gallery òîëüêî)
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"Æåíùèíà ïðè÷åñûâàëàñü ', êàðàíäàø, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ (Ìóçåé Âàí Ãîãà òîëüêî)
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"Âåíåðà Verticordia ', ìàñëî, 1863-8, Ðàññåë-Êîòñ Õóäîæåñòâåííàÿ ãàëåðåÿ & ìóçåå, Áîðíìóò
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'The Blue Áàóýð', ìàñëî, 1865, ïîïå÷èòåëåé Ïàðèêìàõåðñêàÿ èíñòèòóò èçÿùíûõ èñêóññòâ. Óíèâåðñèòåò Áèðìèíãåìà.
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**'The Beloved', ìàñëî, 1865-6, Òåéò. Ïðèîáðåòåííûå ïðè ïîìîùè Íàöèîíàëüíîãî ôîíäà èñêóññòâ îò ñýðà Àðòóðà Äþ Cros Bt è ñýð Îòòî Áåéò. 1916
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"Ëåäè Ëèëèò ', ìàñëî, 1868, Äåëàâýð õóäîæåñòâåííûé ìóçåé, Ñàìóèë è Ìàðèÿ R Áàíêðîôò ìåìîðèàëüíûé 1935
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'Ñèáèëëà Palmifera', ìàñëî, 1866-70, íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Art Gallery, Port Sunlight
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'A Christmas Carol', ìàñëî, 1867, èñïîëíèòåëè ïîêîéíîãî ëîðäà Leverhulme
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"Êóïèòå ó íàñ ñ çîëîòîé ëîêîí" è "Çîëîòîé ãîëîâû çîëîòûå ãîëîâû", êíèãà ( 'Ãîáëèíà ðûíîê,' 1862) îòêðûòèå â òèòóëüíîì ëèñòå, Áðèòàíñêàÿ áèáëèîòåêà, Ëîíäîí
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'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
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"Ôàííè Êîðíôîðò è ÃÏ Áîéñ" â Chatham Place, òóøü, 1858, Äîì-ìóçåé Tullie & Art Gallery, Êàðëàéë
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"Ôàííè Êîðíôîðò ', òóøü, 1860, Ashmolean Museum, Oxford. Çàâåùàëà Äæîí Áðàéñîí N 1977
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'Ýííè Ìèëëåð, òóøü, 1860, Ë. Ñ. Ëîóðè íåäâèæèìîñòè â àðåíäó â "Ìàí÷åñòåð Ñèòè Ãàëåðåÿ
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'Äæîðäæèàíà Áåðí-Äæîíñà, c1860, êàðàíäàø, ×àñòíàÿ êîëëåêöèÿ (Walker Art Gallery òîëüêî)
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'Ñóèíáåðí', àêâàðåëü, 1861, ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
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'Àâòîïîðòðåò', êàðàíäàø, 1861, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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"Ìàðè Zambaco ', öâåòíûå ìåëêè, 1870. ×àñòíàÿ êîëëåêöèÿ
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'Alexa Óèëäèíã', öâåòíûå ìåëêè, 1873. ×àñòíàÿ êîëëåêöèÿ
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'Êðèñòèíà è Ôðàí÷åñêè Ëàâèíèÿ Ðîññåòòè', 1877, öâåòíûå ìåëêè, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí
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'Êðèñòèíû Ðîññåòòè', 1877, öâåòíûå ìåëêè. ×àñòíûå êîëëåêöèè ëþáåçíî Ïåòðà Íàóìà
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"Äæåéí áðåìåíè", êàðàíäàø, 1857, Îáùåñòâà àíòèêâàðîâ, Kelmscott óñàäüáå, (Walker Art Gallery òîëüêî)
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"Äæåéí Ìîððèñ", 1858, Íàöèîíàëüíàÿ ãàëåðåÿ Èðëàíäèè, Äóáëèí
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"Äæåéí Ìîððèñ", ÷åðíûé ìåë, 1865. ×àñòíàÿ êîëëåêöèÿ
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"Äæåéí Ìîððèñ" ( 'The Blue øåëêîâîå ïëàòüå'), ìàñëî 1868, Îáùåñòâà àíòèêâàðîâ, Ëîíäîí (Kelmscott óñàäüáû), (Walker Art Gallery òîëüêî)
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"Äæåéí Ìîððèñ", êàðàíäàø, 1870, Îáùåñòâà àíòèêâàðîâ, Kelmscott óñàäüáå, (Walker Art Gallery òîëüêî)
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"Äæåéí Ìîððèñ ëåæàùàÿ ', êàðàíäàø, c1870, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, Walker Art Gallery
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"Äæåéí Ìîððèñ ñïàëà íà äèâàíå ', òóøü, c1870, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Çàâåùàëà Äæåéìñîì Ðè÷àðäñîíîì Õîëëèäåé
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'Waterwillow', ìàñëî, 1871, Äåëàâýð õóäîæåñòâåííûé ìóçåé, Ñàìóèë è Ìàðèÿ R Áàíêðîôò ìåìîðèàëüíûé 1935
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"Äæåéí Ìîððèñ â èñëàíäñêîì ïëàòüå", êàðàíäàø, c1873, Fitzwilliam Museum, Êåìáðèäæ
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"Äæåéí Ìîððèñ", ôîòî Ïàðñîíñà, àëüáîì, îòêðûòûé íà ñòðàíèöå 4, Victoria & Albert Museum, Ëîíäîí
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"Äæåéí Ìîððèñ ñèäåòü, ïîëíàÿ äëèíà ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
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"Äæåéí Ìîððèñ ñèäåòü, òðè ÷åòâåðòè äëèíû ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
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"Äæåéí Ìîððèñ ëåæà íà äèâàíå ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
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"Äæåéí Ìîððèñ ñèäåòü, ïîëîâèíà äëèíû ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
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"Äæåéí Ìîððèñ ñèäåòü, íàêëîíèâøèñü âïåðåä ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
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"Äæåéí Ìîððèñ ñèäèò íà äèâàíå, òðè ÷åòâåðòè äëèíû ', ôîòî Ïàðñîíñ, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ
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"Äæåéí Ìîððèñ ñòîÿ â øàòåð ', ôîòî Ïàðñîíñ, Áèðìèíãåì Ìóçåè è ãàëåðåè.