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Çàïèñü ïîíðàâèëàñü
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8
Ïðîöèòèðîâàëè
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0
Ñîõðàíèëè
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×åòâåðã, 24 Ñåíòÿáðÿ 2009 ã. 19:54
+ â öèòàòíèê
Ïîçäíèå ðàáîòû.
**'La Donna Della Finestra', Äàìà â îêíå. ïàñòåëü, 1870 ? Áðýäôîðä õóäîæåñòâåííàÿ ãàëåðåÿ è ìóçåé. 'La Donna della Finestra', coloured chalks, 1870, Bradford Art Galleries and Museums.
**'La Donna Della Finestra', ìàñëî (íå îêîí÷åí), 1881, Áèðìèíãåì ìóçåé è õóäîæåñòâåííàÿ ãàëåðåÿ 'La Donna della Finestra', oil (unfinished), 1881, Birmingham Museums and Art Gallery
**'La Donna Della Finestra' ìàñëî 1880. 'La Donna della Finestra', oil 1880
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'Reverie', öâåòíûå ìåëêè, 1868. ×àñòíàÿ êîëëåêöèÿ
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"Ëà Ïèà äå Tolomei ', öâåòíûå ìåëêè, 1868. ×àñòíàÿ êîëëåêöèÿ
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'Ìàðèàíà', ìàñëî, 1870, Àáåðäèí õóäîæåñòâåííîé ãàëåðåè è ìóçåè êîëëåêöèè
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'Silence', ìåë, 1870, Áðóêëèíñêèé ìóçåé èñêóññòâ, Íüþ-Éîðê, äàð ã-í Âèíñåíò Ëóêè Ëîêâóä 46,188
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'Pandora', ìàñëî, 1871 ãîä. ×àñòíûå êîëëåêöèè ëþáåçíî Ïåòðà Íàóìà
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'Pandora', öâåòíûå ìåëêè, 1874-5, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Art Gallery, Port Sunlight
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Äàíòå's Dream ', ìàñëî 1871, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, Walker Art Gallery
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'Áàóýð ëóã', ìàñëî, 1872, "Ìàí÷åñòåð Ñèòè Ãàëåðåÿ
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"Ðèìñêàÿ âäîâà '(' Äèñ Manibus '), ìàñëî, 1874, Ìóçåé-äå-äå Àðòå Ïîíñå, Ïóýðòî-Ðèêî
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**"Ñìåðòü" Ëåäè Ìàêáåò ', òóøü, c1875 Ashmolean Museum, Oxford
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'& Ýâðèäèêà Îðôåé', êàðàíäàø, 1875, Áðèòàíñêèé ìóçåé, Ëîíäîí
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'Áëàæåííàÿ Damozel', íåôòü 1875-8, Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Õóäîæåñòâåííàÿ ãàëåðåÿ
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'Àñòàðòà Syriaca', ìàñëî, 1877, "Ìàí÷åñòåð Ñèòè Ãàëåðåè, (Walker Art Gallery òîëüêî)
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'Daydream', ìàñëî, 1880, Victoria & Albert Museum, London, (Walker Art Gallery òîëüêî)
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'Ïðîçåðïèíà', ìàñëî, 1881-2, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Çàêóïëåíî îáùåñòâåííîé êàðòèííîé ãàëåðåå.
Äåêîðàòèâíîå èñêóññòâî
Ïåðåïëåòû
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Äàíòå è åãî îêðóæåíèÿ ', 1874, êíèãè, Stephen Calloway
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(2 êíèãè) 'Ãîáëèíà áóìàã ", 1862 êíèã, Áðèòàíñêèé ìóçåé, Ëîíäîí, Ãîáëèí ðûíîê, 1865 êíèã, Ñòèâåí Êýëëîóýé
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'Êîìåäèè Äàíòå Allighieri, ÷àñòü 1, Hell', êíèãà, 1865, Áðèòàíñêàÿ áèáëèîòåêà, Ëîíäîí
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'Àòàëàíòà â Êàëèäîí', àâòîð AC Ñóèíáåðíà, êíèãè, Stephen Calloway
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'Ïðèíö Ïðîãðåññ "Êðèñòèíà Ðîññåòòè, 1866, Áðèòàíñêèé ìóçåé, Ëîíäîí
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(3 êíèãàõ) âñå Ïîñòà Ñòèâåí Êýëëîóýé: "Ñòèõè Ä. Ðîññåòòè ', 1870, 1-å èçäàíèå, (îáëîæêà);' Ñòèõè '1870 Ä. Ã. Ðîññåòòè, 4-å èçäàíèå, (çàäíÿÿ ïàíåëü);' Ñòèõè '1881 Ä. Ã. Ðîññåòòè, íîâîå èçäàíèå 1881, (îòêðûòà â Endpapers)
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'Ïåñíè äî ðàññâåòà', àâòîð AC Ñóèíáåðíà, 1871, Stephen Calloway
Öâåòíîå ñòåêëî è âèòðàæè
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'Íàãîðíîé ïðîïîâåäè', òóøü, c1861, Óèëüÿì Ìîððèñ ãàëåðåÿ (Ëîíäîí ìåñòå÷êî Waltham Forest)
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"Êîðîëü Ðåíå ìåäîâûé ìåñÿö", ìóçûêà, òóøü, 1862, Óèëüÿìñîí Art Gallery, Áèðêåíõåä
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'Áîé ìåæäó ñýð Òðèñòðàì è ñýð Ìàðõàóç', òîíèðîâàííûé ñòåêëÿííîé ïàíåëè, 1862-3, Áðýäôîðä õóäîæåñòâåííûõ ãàëåðåé è ìóçååâ
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"Ñýð Òðèñòðàì è La Belle Yseult ïèòüåâîé Ëþáîâíûé íàïèòîê ', òîíèðîâàííûé ñòåêëÿííîé ïàíåëè, 1862-3, Áðýäôîðä õóäîæåñòâåííûõ ãàëåðåé è ìóçååâ
Ìåáåëü è äèçàéí ìåáåëè
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Èîñèô îáâèíÿåìîãî äî Ïîòèôàð ', òóøü, 1860, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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Äâóõ èñïîëíåíèÿõ äëÿ äèâàíà, òóøü, Áèðìèíãåì ìóçåè è õóäîæåñòâåííàÿ ãàëåðåÿ. Ïðåäñòàâëåíî àáîíåíòîâ
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Jewel Ëàðåö, îêðàøåííîãî äåðåâà ñ æåëåçíîé ðàìû, ïåòëè, çàñòåæêè, 1862, Îáùåñòâà àíòèêâàðîâ (Kelmscott óñàäüáû), (Walker Art Gallery òîëüêî)
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(Äâà ñòóëà) Ðîññåòòè êðåñëî, ÷àñòíàÿ êîëëåêöèÿ
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) ×àñòíàÿ êîëëåêöèÿ (ñ êðàñíîé ðîñïèñüþ ëèíèé)
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á) Ðîáåðò Óèëñîí (áåç êðàñíîé ñòðîêè)
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'Ñàäîâîäñòâà', àêâàðåëü, 1864, ÷àñòíîå ñîáðàíèå
Ðîññåòòè Studio
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Ãåíðè Òðåôðè Äàíí, 'Ä. Ã. Ðîññåòòè è Òåîäîð Âàòò-Dunton â ãîñòèíîé íà ×åéí õîäèòü', 1882, àêâàðåëü, Íàöèîíàëüíàÿ ïîðòðåòíàÿ ãàëåðåÿ, Ëîíäîí
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Ãåíðè Òðåôðè Äàíí, 'Ðîññåòòè ñòîëîâîé ×åéí õîäèòü', àêâàðåëü, 1882, ÷àñòíîå ñîáðàíèå
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Ãåíðè Òðåôðè Äàíí, ñïàëüíè Ðîññåòòè íà ×åéí õîäèòü ', àêâàðåëü, c1882, Wightwick Manor (National Trust)
Þâåëèðíûå èçäåëèÿ
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Ñâàäüáà Äæåéí Ìîððèñ êîëüöà íà çîëîòîé öåïî÷êå, Victoria & Albert Museum, Ëîíäîí
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Áðàñëåò, Victoria & Albert Museum, Ëîíäîí
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 ôîðìå ñåðäöà áðîøü, Victoria & Albert Museum, Ëîíäîí
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Ïîÿñà è âåøàëêà, Victoria & Albert Museum, Ëîíäîí
Êèòàéñêîå è ÿïîíñêîå èñêóññòâî
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Ïàðû ñòàêàí ôîðìó âàçû, óêðàøåííûå äàì, öâåòû è äåòåé (äâà ïóíêòà), Victoria & Albert Museum, Ëîíäîí
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Ïàðû êðûøêîé âàç áàëÿñèíû ñ ñîáàêîé ôîðìå ðó÷êè (äâà ïóíêòà), Wightwick Manor, Ìàíäåð Collection, (National Trust)
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Óçêèé ñêëÿíêè, Wightwick Manor, Ìàíäåð Collection (National Trust)
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Ïàðû Ýâåðñ (äâà ïóíêòà), Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Õóäîæåñòâåííàÿ ãàëåðåÿ
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Áàíêó è êðûøêó (äâà ïóíêòà), Íàöèîíàëüíûõ ìóçååâ Ëèâåðïóëÿ, ëåäè Ëåâåð Õóäîæåñòâåííàÿ ãàëåðåÿ
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Ïàðà áàíîê (äâà ïóíêòà), ñèíäèêè èç Fitzwilliam Museum, Êåìáðèäæ
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Öâåòóùàÿ âèøíÿ â òóìàíå, ÿïîíñêàÿ æèâîïèñü, Áðèòàíñêèé ìóçåé, Ëîíäîí
'The Sleeper', ink, c1848, British Museum, London
Portraits of Elizabeth Siddal
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'Rossetti sitting to Elizabeth Siddal', ink, 1853, Birmingham Museums and Art Gallery. Presented by subscribers
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'Elizabeth Siddal seated by a window', pencil, 1854, lent by the syndics of the Fitzwilliam Museum, Cambridge
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'Head of Elizabeth Siddal full face looking down', ink, 1855, the Ashmolean Museum, Oxford
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'Head of Elizabeth Siddal looking down to right', pencil, Victoria & Albert Museum, London
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'Study of Elizabeth Siddal as Delia', pencil, Birmingham Museums and Art Gallery. Presented by subscribers.
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'Elizabeth Siddal painting at an easel', pencil and ink. Private collection
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'Elizabeth Siddal seated in a basket chair', brown wash, Private collection
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'Elizabeth Siddal cutting with scissors', pencil, British Museum, London
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'Elizabeth Siddal seated, resting her head on one arm', pencil, 1850s. Private collection
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'Elizabeth Siddal half length', pencil and ink. Private collection
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'Head of Elizabeth Siddal reclining on pillow', 1850s, lent by the syndics of the Fitzwilliam, Museum, Cambridge
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Study of Elizabeth Siddal for 'Beata Beatrix', pencil, William Morris Gallery, London (Walker Art Gallery only)
Dante 1851-56
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'Dante in meditation holding a pomegranate', c1852, ink and pencil, Yale Center for British Art, New Haven, Paul Mellon Fund
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'The first anniversary of the death of Beatrice', watercolour, 1853, Ashmolean Museum, Oxford, bequeathed by Mrs Thomas Combe, 1894 (Walker Art Gallery only)
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'Paolo and Francesca da Rimini', watercolour, 1862, Trustees of the Cecil Higgins Art Gallery, Bedford
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'Dante's vision of Rachel and Leah', watercolour, 1855, Tate. Bequeathed by Beresford Rimington Heaton 1940
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'Dantis Amor', ink, 1860, Birmingham Museums and Art Gallery. Presented by Subscribers
Love and Morality 1850-60
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'The Duenna', ink, c1850-2, Lent by the syndics of the Fitzwilliam Museum, Cambridge
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'Love's Mirror', ink, c1849-50, Birmingham Museums and Art Gallery. Presented by subscribers
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'To caper nimbly in a lady's chamber', ink, 1850, Birmingham Museums and Art Gallery. Presented by subscribers
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'Borgia', watercolour, 1851, Tullie House Museum & Art Gallery, Carlisle
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'Hesterna Rosa', ink, 1853, Tate. Bequeathed by HF Stephens 1932
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'Boatmen and Siren', ink, 1853, Manchester City Galleries
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'Fra Angelico painting', ink, c1853, Birmingham Museums and Art Gallery. Presented by subscribers
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'Giorgione painting', ink c1853, Birmingham Museums and Art Gallery. Presented by subscribers
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Study for 'Found', ink, 1853 British Museum, London
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'Found', oil, 1854, Delaware Art Museum, Samuel and Mary R Bancroft Memorial, 1935
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'Writing on the Sand', watercolour, 1859, British Museum, London
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Study for 'Bonifazio's Mistress', watercolour, c1856, Birmingham Museums and Art Gallery. Presented by subscribers
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'Cassandra', ink, 1861, British Museum, London
Religious Subjects 1855-60
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'The Passover in the Holy Family', watercolour, 1855-6, Tate. Presented by Charles Ricketts in memory of Henry Michael Field 1916
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'The Annunciation', watercolour, 1855. Private collection
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'The Seed of David', watercolour, c1856, (3 separate frames: 1.'David'; 2. 'King David'; 3. 'The Adoration') Tate. Purchased 1924.