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The Review of the Pre‑Raphaelite Society, Volumes XVI–present

First issued in the Spring of 1993, The Review has appeared three times a year (except in 1998, 2000, 2003 and 2008), when special issues on Burne-Jones, Ruskin, Millais and the Pre‑Raphaeilte Brotherhood each represented two numbers.

An annotated list of the main contents of each issue follows. Many of the issues are available for sale. Please contact us for an order form.

Information for Contributors to The Review:

Contributions to The Review on all subjects relating to the Pre‑Raphaelite Brotherhood and their successors are welcomed and encouraged. Please read the Contributors’ Guidelines.

Browse past issues

<< go back to volumes XIII–XV | Start with volumes I–III >>

Volumes XVI–present


Autumn 2009 cover

Vol. XVII, No. 3, Autumn 2009:

  1. “Works and Days” by Jorge L. Contreras – an occasional survey of Pre‑Raphaelite and Victorian works recently bought, sold and displayed. Swinburne Among the Pre-Raphaelites
  2. “Friend or Foe? George du Maurier and the Pre-Raphaelites” by Stell-Louise Halliwell
  3. “Book Review Desperate Romantics by Franny Moyle ” by Amelia Yeates
  4. “Pre-Raphaelite tendencies in the painting of The Hon. John Collier” by Katja Robinson
  5. “Exhibition Review Endless Forms: Charles Darwin, Natural Science and the Visual Arts ” by Nic Peeters


Summer 2009 cover

Vol. XVII, No. 2, Summer 2009:

  1. “Vernon Lushington The Embodiment of Pre-Raphaelitism” by David Taylor
  2. “Exhibition Review Rossetti’s China: the origins of ‘Blue Mania’ in the 1860s (includes appendix) ” by Anne Anderson
  3. Runner-up essay in the John Pickard Essay Prize by Philip Rowson.
  4. “Catastrophism” by Alexis Drahos.
  5. “James Collinson’s For Sale and To Let: The Vulnerable Woman” by Nancy Langham.
  6. John Pickard Essay Prize Announcement.

Spring 2009 cover

Vol. XVII, No. 1, Spring 2009:

  1. “Works and Days” by Jorge L. Contreras – an occasional survey of Pre‑Raphaelite and Victorian works recently bought, sold and displayed. Love and Ruins – Victorian Views of Pompeii
  2. “Thomas Buchanan Read: The First American Pre-Raphaelite?” by Chloe Nicholls.
  3. “Robert Braithwaite Martineau: Pre-Raphaelite Associate” by Amelia Yeates – the winner of the John Pickard Essay Prize for 2008.
  4. “The Pre-Raphaelites as Illustrators: Rossetti, Millais, Holman Hunt and the ‘Moxon Tennyson’” by Simon Cooke.
  5. “Pictures of Men at Work” by Margaret English.

Autumn 2008 cover, special edition, full colour

Vol. XVI, No. 2, Autumn 2008 – “The Pre‑Raphaelite Brotherhood”:

  1. “Neo-Ancients, Neo-Victorians, Neo-Pre-Raphaelites: Graham Ovenden and the Brotherhood of Ruralists” by Anne Anderson.
  2. “Dante Gabriel Rossetti by George Frederick Watts” by Jan Marsh.
  3. “William Michael Rossetti and the Italian Connection” by Angela Thirlwell.
  4. “Druids and Sphinxes: Hunt’s visual worlds of threats and delights” by Paul Barlow.
  5. ““Two to make a Brotherhood”: F.G. Stephens, art criticism and the Pre-Raphaelite Brotherhood” by Patricia de Montfort.
  6. “A Consummate Illustrator – John Everett Millais” by Paul Goldman.
  7. “James Collinson, 1825-1881” by Helen Newman
  8. “Thomas Woolner” by Benedict Read

Spring 2008 cover

Vol. XVI, No. 1, Spring 2008:

  1. “Works and Days” by Jorge L. Contreras – an occasional survey of Pre‑Raphaelite and Victorian works recently bought, sold and displayed. William Morris’s Kelmscott Masterpieces
  2. “Works and Days” by Jorge L. Contreras – an occasional survey of Pre‑Raphaelite and Victorian works recently bought, sold and displayed.
  3. “Representations of Dante Gabriel Rossetti in the 1950s and 1960s” by Lisa Dallape Matson – this article discusses how Rossetti was portrayed as a character in three works of fiction, two novels and one made‑for‑television film which appeared in the 1950s and 1960s.
  4. The Winning Essay for the John Pickard Prize – “Hearing Millais” by Martin Dubois.
  5. “Elizabeth Siddall: Creator and Created” by Adele Uphaus – this article allows us to see how Lizzie was the product of a modern artistic vision and how she was “written” by her lover and his compatriots.

<< go back to volumes X–XII

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