PRS Review - Archive Index
1993 - 2001: Vols I - IX
Volume IX, Number 3, Winter 2001/2
CONTENTS
”Barbara Leigh Smith Bodichon – Was She… or Wasn’t She A Pre-Raphaelite?” by Kath Fryer.
“Simeon Solomon: Androgynous Mystic” by Nic Peeters. Deals particularly with three paintings: Heliogabalus, High Priest of the Sun (1866); Carrying the Scroll of the Law (1867; illustrated here); and Bacchus (1867).
“Sir Edward Burne-Jones, Bt.” by his son, Philip Burne-Jones. First published in 1917, this brief memoir is divided into two parts: “The Man” and “The Artist.”
“The Oxford Circle: Rossetti, Burne-Jones and William Morris” by Val C. Prinsep. Prinsep’s reminiscences originally appeared in five parts, in The Magazine of Art, during the year of his death, 1904. What appears here is the second part only (which occupies pp. 167-72 of Vol. II, New Series, of theMagazine); but it is prefaced by Prinsep’s entry inthe Dictionary of National Biography.
”Barbara Leigh Smith Bodichon – Was She… or Wasn’t She A Pre-Raphaelite?” by Kath Fryer.
“Simeon Solomon: Androgynous Mystic” by Nic Peeters. Deals particularly with three paintings: Heliogabalus, High Priest of the Sun (1866); Carrying the Scroll of the Law (1867; illustrated here); and Bacchus (1867).
“Sir Edward Burne-Jones, Bt.” by his son, Philip Burne-Jones. First published in 1917, this brief memoir is divided into two parts: “The Man” and “The Artist.”
“The Oxford Circle: Rossetti, Burne-Jones and William Morris” by Val C. Prinsep. Prinsep’s reminiscences originally appeared in five parts, in The Magazine of Art, during the year of his death, 1904. What appears here is the second part only (which occupies pp. 167-72 of Vol. II, New Series, of theMagazine); but it is prefaced by Prinsep’s entry inthe Dictionary of National Biography.
Volume IX, Number 2, Summer 2001
CONTENTS
“Tennyson and the Pre-Raphaelites” by Marie-Therese H. Russell. The author examines in particular Millais’s painting, Mariana (1851); Rossetti’s painting of the same name (1870) illustrated here; and Hunt’s The Lady of Shalott (1886–1905).
“La Belle Dame – Pitiless or Pitiful?” by Emily Bernhard-Jackson. A study of J.W. Waterhouse’s La Belle Dame Sans Merci (1893), illustrated here.
“Religious and Cultural Challenges from Early Pre-Raphaelite Paintings” by Thomas J. Tobin.
“Tennyson and the Pre-Raphaelites” by Marie-Therese H. Russell. The author examines in particular Millais’s painting, Mariana (1851); Rossetti’s painting of the same name (1870) illustrated here; and Hunt’s The Lady of Shalott (1886–1905).
“La Belle Dame – Pitiless or Pitiful?” by Emily Bernhard-Jackson. A study of J.W. Waterhouse’s La Belle Dame Sans Merci (1893), illustrated here.
“Religious and Cultural Challenges from Early Pre-Raphaelite Paintings” by Thomas J. Tobin.
Volume IX, Number 1, Spring 2001
CONTENTS
“John Brett’s The Glacier of Rosenlaui – a Victorian Doubt Picture?” by Mike Hickox. The author argues that this picture of 1865 should be seen as “a symbolic religious landscape… and also as a mid-Victorian Doubt picture attempting to reconcile the truths of science and revealed religion.”
“William Blackmore, Patron of Dante Gabriel Rossetti” by Philip McEvansoneya. Blackmore was a British businessman with strong interests in the American West and its Indians. This paper brings out his little-known role as an art collector.
“Critical Responses to Two Kinds of Pre-Raphaelite Poetry” by Thomas J. Tobin. The types of poetry examined here are described as “Didactic” and “Nostalgic”, with four poems considered in each category. The criticisms are largely contemporary.
“Pre-Raphaelite Dreamers at Oxford” by Bridget Duckenfield. The “dreamers” were looking ahead, from the 1850s, to changes at Oxford and Cambridge colleges, especially to the rule that Fellows had to remain unmarried.
“John Brett’s The Glacier of Rosenlaui – a Victorian Doubt Picture?” by Mike Hickox. The author argues that this picture of 1865 should be seen as “a symbolic religious landscape… and also as a mid-Victorian Doubt picture attempting to reconcile the truths of science and revealed religion.”
“William Blackmore, Patron of Dante Gabriel Rossetti” by Philip McEvansoneya. Blackmore was a British businessman with strong interests in the American West and its Indians. This paper brings out his little-known role as an art collector.
“Critical Responses to Two Kinds of Pre-Raphaelite Poetry” by Thomas J. Tobin. The types of poetry examined here are described as “Didactic” and “Nostalgic”, with four poems considered in each category. The criticisms are largely contemporary.
“Pre-Raphaelite Dreamers at Oxford” by Bridget Duckenfield. The “dreamers” were looking ahead, from the 1850s, to changes at Oxford and Cambridge colleges, especially to the rule that Fellows had to remain unmarried.
Volume VIII, Number 3, Autumn 2000
CONTENTS
“A History of Ideals: The PRB and The Germ” by Serena Trowbridge.
“James Collinson and the Little Sisters of the Poor” by Helen D. Newman. The Little Sisters are a charitable order and two of Collinson’s paintings depict scenes in their homes.
“‘For Sale’ and ‘To Let’: Symbolism in James Collinson’s Paintings” by Valerie A. Cox. Both paintings are illustrated.
“Pre-Raphaelite Posthumous Portraits” by Kirsty Stonell. Examines Hunt’s Isabella and the Pot of Basil and Rossetti’s Beata Beatrix, in relation to the death of Fanny Hunt and Elizabeth Siddal.
“Obituary “ Anthony Hobson.” By his daughter, Sarah Hobson.
“A History of Ideals: The PRB and The Germ” by Serena Trowbridge.
“James Collinson and the Little Sisters of the Poor” by Helen D. Newman. The Little Sisters are a charitable order and two of Collinson’s paintings depict scenes in their homes.
“‘For Sale’ and ‘To Let’: Symbolism in James Collinson’s Paintings” by Valerie A. Cox. Both paintings are illustrated.
“Pre-Raphaelite Posthumous Portraits” by Kirsty Stonell. Examines Hunt’s Isabella and the Pot of Basil and Rossetti’s Beata Beatrix, in relation to the death of Fanny Hunt and Elizabeth Siddal.
“Obituary “ Anthony Hobson.” By his daughter, Sarah Hobson.
Volume VIII, Number 1 & 2, Spring/ Summer 2000
[Special John Ruskin Edition]
[Special John Ruskin Edition]
CONTENTS
This publication has 10 illustrations, 7 (including the covers) in full colour.
“John Ruskin: A Brief Summary of his Life” by P.A. Fisher.
“The Symbiotic Relationship between Ruskin and Turner” by Mathew Potter.
“John Ruskin’s Defence of Pre-Raphaelitism in the London Times” by Thomas Tobin.
“Ruskin’s Influence on Burne-Jones” by David N. Cule.
“Mr Ruskin Came to Tea: The Founding of the Guild of St. George” by Roy Hartnell.
“Essential Ruskin.” Some passages from his work compiled by P.A. Fisher.
“The John Ruskin Memorial Celebration at Coniston on 20th. January 2000” by Lyle Eveille.
“A Short Ruskin Book List” by Celia Potts.
“Turner, Ruskin and the Pre-Raphaelites.” A Review of the Tate Britain Exhibition by Donato Esposito.
“A Painting Lesson by Ruskin” by Moira Garland. A letter from Ruskin to the contributor’s mother, with a facsimile reproduction.
This publication has 10 illustrations, 7 (including the covers) in full colour.
“John Ruskin: A Brief Summary of his Life” by P.A. Fisher.
“The Symbiotic Relationship between Ruskin and Turner” by Mathew Potter.
“John Ruskin’s Defence of Pre-Raphaelitism in the London Times” by Thomas Tobin.
“Ruskin’s Influence on Burne-Jones” by David N. Cule.
“Mr Ruskin Came to Tea: The Founding of the Guild of St. George” by Roy Hartnell.
“Essential Ruskin.” Some passages from his work compiled by P.A. Fisher.
“The John Ruskin Memorial Celebration at Coniston on 20th. January 2000” by Lyle Eveille.
“A Short Ruskin Book List” by Celia Potts.
“Turner, Ruskin and the Pre-Raphaelites.” A Review of the Tate Britain Exhibition by Donato Esposito.
“A Painting Lesson by Ruskin” by Moira Garland. A letter from Ruskin to the contributor’s mother, with a facsimile reproduction.
Volume VII, Number 3, Autumn 1999
CONTENTS
“Fanny and the Paradox of Found” by Kirsty Stonell. Concerns Rossetti’s unfinished painting, Found, and Fanny Cornforth.
“Sir Philip Burne-Jones: A Life in a Tall Shadow” by Tim McGee. A biographical sketch and consideration of his art (the “tall shadow” being, of course, his father).
“Fanny and the Paradox of Found” by Kirsty Stonell. Concerns Rossetti’s unfinished painting, Found, and Fanny Cornforth.
“Sir Philip Burne-Jones: A Life in a Tall Shadow” by Tim McGee. A biographical sketch and consideration of his art (the “tall shadow” being, of course, his father).
Volume VII, Number 2, Summer 1999
CONTENTS
“Edward Burne-Jones’s The Golden Stairs and His Master’s Voice by Bridget Duckenfield. Contains considerable information about the life of Sir Landon Ronald, musical advisor to the Gramophone Company.
“Exceedingly Mischevious Women” by Sally Hoban. A study of the “Femme Fatale” in Art, the title being a quotation from Burne-Jones.
“Edward Burne-Jones’s The Golden Stairs and His Master’s Voice by Bridget Duckenfield. Contains considerable information about the life of Sir Landon Ronald, musical advisor to the Gramophone Company.
“Exceedingly Mischevious Women” by Sally Hoban. A study of the “Femme Fatale” in Art, the title being a quotation from Burne-Jones.
Volume VII, Number 1, Spring 1999
CONTENTS
“Arthur Hughes: A Brief Summary of his Life and Work” by Iris Graham.
“Christina Rossetti’s Coast Nightmare: A Note” by Jan Marsh. The poem examined here was written in 1857 but was not published in full until 1990.
“Millais’s Later Work: The Decline or Evolution of an Artist?” by Paul Barlow. The author concludes that the “frequently repeated condemnation” of Millais’s later work is “deeply unfair”.
“Arthur Hughes: A Brief Summary of his Life and Work” by Iris Graham.
“Christina Rossetti’s Coast Nightmare: A Note” by Jan Marsh. The poem examined here was written in 1857 but was not published in full until 1990.
“Millais’s Later Work: The Decline or Evolution of an Artist?” by Paul Barlow. The author concludes that the “frequently repeated condemnation” of Millais’s later work is “deeply unfair”.
Volume VI, Number 2&3, Spring & Summer 1998
[Special Edward Burne-Jones Issue]
[Special Edward Burne-Jones Issue]
CONTENTS
“Edward Burne-Jones: An Address given at the Service of Commemoration in Birmingham Cathedral, 19th June 1998” by John Christian.
“Obituaries of Edward Burne-Jones”. From The Times for 22 & 23 June 1898. Accompanied by Swinburne’s Memorial Poem.
“The vision of Woman in The Golden Stairs” by Mary Gilhooly.
“Burne-Jones and the Design of the Holy Grail Tapestry Series” by Donato Esposito.
“Miss Wilkes’ Windows” by Joe Hunt. Emma Chadwick Villiers Wilkes was the wealthy Birmingham lady who in 1886 commissioned the Burne-Jones windows for the Cathedral. This paper prints correspondence (in private hands) and is essentially a history of the design and construction of the windows.
“Living with the Burne-Jones Glass in Birmingham Cathedral” by the Provost, The Very Revd. Peter Berry.
“A Reader’s Guide to Burne-Jones” by Ann S. Dean. A descriptive bibliography.
“Edward Burne-Jones: A Chronology” by Roy Hartnell.
“Edward Burne-Jones: An Address given at the Service of Commemoration in Birmingham Cathedral, 19th June 1998” by John Christian.
“Obituaries of Edward Burne-Jones”. From The Times for 22 & 23 June 1898. Accompanied by Swinburne’s Memorial Poem.
“The vision of Woman in The Golden Stairs” by Mary Gilhooly.
“Burne-Jones and the Design of the Holy Grail Tapestry Series” by Donato Esposito.
“Miss Wilkes’ Windows” by Joe Hunt. Emma Chadwick Villiers Wilkes was the wealthy Birmingham lady who in 1886 commissioned the Burne-Jones windows for the Cathedral. This paper prints correspondence (in private hands) and is essentially a history of the design and construction of the windows.
“Living with the Burne-Jones Glass in Birmingham Cathedral” by the Provost, The Very Revd. Peter Berry.
“A Reader’s Guide to Burne-Jones” by Ann S. Dean. A descriptive bibliography.
“Edward Burne-Jones: A Chronology” by Roy Hartnell.
Volume VI, Number 1, Spring 1998
CONTENTS
“Sexual Taboos, Catholic Views and Critical Reviews: The Unspoken Words about two Pre-Raphaelite Paintings” by Thomas J. Tobin. This paper considers contemporary critical reaction to Rossetti’s Girlhood of Mary Virgin and Hunt’s Awakening Conscience.”
“John Brett’s Lady with a Dove” by Mike Hickox. The writer says that this painting of 1864 “is the most enigmatic of all John Brett’s pictures.”
“Cliffe Castle Museum, Keighley” by Paul Hardwick.
“Restoration at Buscot Park” by June E. Taylor. Based on a report in The Times for 13 April 1998. Buscot houses Burne-Jones’s Briar Rose series.
“Sexual Taboos, Catholic Views and Critical Reviews: The Unspoken Words about two Pre-Raphaelite Paintings” by Thomas J. Tobin. This paper considers contemporary critical reaction to Rossetti’s Girlhood of Mary Virgin and Hunt’s Awakening Conscience.”
“John Brett’s Lady with a Dove” by Mike Hickox. The writer says that this painting of 1864 “is the most enigmatic of all John Brett’s pictures.”
“Cliffe Castle Museum, Keighley” by Paul Hardwick.
“Restoration at Buscot Park” by June E. Taylor. Based on a report in The Times for 13 April 1998. Buscot houses Burne-Jones’s Briar Rose series.
Volume V, Number 3, Autumn 1997
CONTENTS
“William Holman Hunt: From Art to Literature” by Gill Stoker. Deals mainly with the influence of Hunt’s reading on his work as an artist.
“Note of a Swinburne Biographer on the Algernon Crusade” by Ricky Rooksby. A survey of previous biographies of Swinburne, with remarks by Rooksby about his own approach to Swinburne’s life.
“William Holman Hunt: From Art to Literature” by Gill Stoker. Deals mainly with the influence of Hunt’s reading on his work as an artist.
“Note of a Swinburne Biographer on the Algernon Crusade” by Ricky Rooksby. A survey of previous biographies of Swinburne, with remarks by Rooksby about his own approach to Swinburne’s life.
Volume V, Number 2, Summer 1997
CONTENTS
“The Mystery of the Three Stonebreakers” by Mike Hickox. Supplements the paper which appears in the issue for Spring 1995.
“The Pre-Raphaelites in Ireland” by Philip McEvansoneya. Concerns both Pre-Raphaelite work and artists in Ireland.
“In search of the Background to Millais’ Ophelia” by Barbara C.L. Webb. “Background”, in this sense, means the actual scene of the painting.
“The Mystery of the Three Stonebreakers” by Mike Hickox. Supplements the paper which appears in the issue for Spring 1995.
“The Pre-Raphaelites in Ireland” by Philip McEvansoneya. Concerns both Pre-Raphaelite work and artists in Ireland.
“In search of the Background to Millais’ Ophelia” by Barbara C.L. Webb. “Background”, in this sense, means the actual scene of the painting.
Volume V, Number 1, Spring 1997
CONTENTS
“The Perseus’ Cartoons” by Dean Horton. This concerns the unfinished work which A.J. Balfour commissioned from Burne-Jones in 1875.
“William Fulford Revisited” by Roger Simpson. This supplements the paper which appears in The Review for Autumn 1993.
“Christina Rossetti and Blackwoods by Jan Marsh.
“The Perseus’ Cartoons” by Dean Horton. This concerns the unfinished work which A.J. Balfour commissioned from Burne-Jones in 1875.
“William Fulford Revisited” by Roger Simpson. This supplements the paper which appears in The Review for Autumn 1993.
“Christina Rossetti and Blackwoods by Jan Marsh.
Volume IV, Number 3, Autumn 1996
CONTENTS
“The Works of James Collinson (1825–1881)” by Valerie A. Cox. A companion paper to the one which appears in the issue for Autumn 1995.
“William Morris Revisited: Questioning the Legacy” The author, Jennifer Harris, was Curator of the exhibition with this title.
“The Russell-Cotes Art Gallery and Museum, Bournemouth” by Mark Bills.
“The Works of James Collinson (1825–1881)” by Valerie A. Cox. A companion paper to the one which appears in the issue for Autumn 1995.
“William Morris Revisited: Questioning the Legacy” The author, Jennifer Harris, was Curator of the exhibition with this title.
“The Russell-Cotes Art Gallery and Museum, Bournemouth” by Mark Bills.
Volume IV, Number 2, Summer 1996
CONTENTS
“Leighton and the Pre-Raphaelites” by Leonee Ormond.
“From Word to Icon: The Advent of Visuality” by Thomas J. Tobin. Deals largely with the contemporary critical reaction to the P.R.B.’s work.
“Tullie House Art Gallery, Carlisle” by Judith Stevenson.
“Leighton and the Pre-Raphaelites” by Leonee Ormond.
“From Word to Icon: The Advent of Visuality” by Thomas J. Tobin. Deals largely with the contemporary critical reaction to the P.R.B.’s work.
“Tullie House Art Gallery, Carlisle” by Judith Stevenson.
Volume IV, Number 1, Spring 1996
CONTENTS
“Re-thinking the Legend: Georgiana Burne-Jones and William Morris” by Isabelle Williams.
“John Brett’s Portraits” by Mike Hickox.
“More Light on the Royal Academy’s Rejection of Brett’s Florence” by Philip McEvansoneya.
“Re-thinking the Legend: Georgiana Burne-Jones and William Morris” by Isabelle Williams.
“John Brett’s Portraits” by Mike Hickox.
“More Light on the Royal Academy’s Rejection of Brett’s Florence” by Philip McEvansoneya.
Volume III, Number 3, Autumn 1995
CONTENTS
“The Life of James Collinson (1825–1881)” by Valerie A. Cox.
“John Brett and Christina Rossetti: An Assessment” by Mike Hickox.
“Christina and Gabriele Rossetti.” A letter from Henry Campbell.
“The Life of James Collinson (1825–1881)” by Valerie A. Cox.
“John Brett and Christina Rossetti: An Assessment” by Mike Hickox.
“Christina and Gabriele Rossetti.” A letter from Henry Campbell.
Volume III, Number 2, Summer 1995
CONTENTS
“Sir John Tenniel and the Pre-Raphaelites” by Gill Stoker.
“Called at the Rossetti’s”, ed. by Barry C. Johnson. Part II: September 1903–February 1919. Concluded.
“Sir John Tenniel and the Pre-Raphaelites” by Gill Stoker.
“Called at the Rossetti’s”, ed. by Barry C. Johnson. Part II: September 1903–February 1919. Concluded.
Volume III, Number 1, Spring 1995
CONTENTS
“John Brett’s The Stonebreaker” by Mike Hickox.
“The Royal Academy’s Rejection of Brett’s Florence” by Mike Hickox.
“The Rossetti Ladies: Mrs. Imogen Dennis, 1904–1993” by Helen Guglielmini and Barry C. Johnson; and “Lucy Margaret O’Conor (nee Rossetti), 1906–1994” by Roderic O’Conor. Obituaries.
“A Visit to Stuttgart’s Staatsgalerie” by Joyce Lambert.
“John Brett’s The Stonebreaker” by Mike Hickox.
“The Royal Academy’s Rejection of Brett’s Florence” by Mike Hickox.
“The Rossetti Ladies: Mrs. Imogen Dennis, 1904–1993” by Helen Guglielmini and Barry C. Johnson; and “Lucy Margaret O’Conor (nee Rossetti), 1906–1994” by Roderic O’Conor. Obituaries.
“A Visit to Stuttgart’s Staatsgalerie” by Joyce Lambert.
Volume II, Number 3, Autumn 1994
CONTENTS
“Christina Rossetti: A Personal Choice (of her poetry)” by June E. Taylor.
“A Pre-Raphaelite Book List” compiled by Patricia A. O’Connor.
“Windycroft: An Arts and Crafts House”. History by Victoria Williams; Description by Barry C. Johnson. Windycroft is in Hastings.
“A Vision rather than a Dream” by Paul Hardwick. Part 2. Concludes this paper.
“Christina Rossetti: A Personal Choice (of her poetry)” by June E. Taylor.
“A Pre-Raphaelite Book List” compiled by Patricia A. O’Connor.
“Windycroft: An Arts and Crafts House”. History by Victoria Williams; Description by Barry C. Johnson. Windycroft is in Hastings.
“A Vision rather than a Dream” by Paul Hardwick. Part 2. Concludes this paper.
Volume II, Number 2, Summer 1994
CONTENTS
“Vision rather than a Dream: The Progressive Medievalism of William Morris” by Paul Hardwick. Part 1.
“A Debt to Discipline” by June E. Taylor. On Ruskin’s youth.
“Her Obedient Bapapa” by June E. Taylor. On Burne-Jones and his granddaughter, Angela Thirkell.
“Vision rather than a Dream: The Progressive Medievalism of William Morris” by Paul Hardwick. Part 1.
“A Debt to Discipline” by June E. Taylor. On Ruskin’s youth.
“Her Obedient Bapapa” by June E. Taylor. On Burne-Jones and his granddaughter, Angela Thirkell.
Volume II, Number 1, Spring 1994
CONTENTS
“Pre-Raphaelite Pleasures: The Search for the Real Rossetti” by Alicia Craig Faxon.
“The Craft of a Painter-Poet: A Critical Survey of Rossetti’s Form and Technique” by Isabelle Williams. On “the correspondence between Rossetti’s painting and poetry.”
“Called at the Rossettis’: Unpublished passages from the Diary of their friend, Olive Garnett, 1899–1919.” With notes and an introduction by Barry C. Johnson. Part 1: July 1899–June 1903.
“Pre-Raphaelite Pleasures: The Search for the Real Rossetti” by Alicia Craig Faxon.
“The Craft of a Painter-Poet: A Critical Survey of Rossetti’s Form and Technique” by Isabelle Williams. On “the correspondence between Rossetti’s painting and poetry.”
“Called at the Rossettis’: Unpublished passages from the Diary of their friend, Olive Garnett, 1899–1919.” With notes and an introduction by Barry C. Johnson. Part 1: July 1899–June 1903.
Volume I, Number 3, Autumn 1993
CONTENTS
“William Fulford: A Biographical Sketch” by Roger Simpson. Believed to be the fullest account of this Pre-Raphaelite poet.
“Ruskin and Art Education: 1836–1992” by Stephen Farthing. This paper deals mainly with the Ruskin School of Drawing at Oxford, of which its author was Master.
“Diana Holman Hunt: 1913–1993”. An obituary, with a survey of her writings, by Barry C. Johnson.
“William Fulford: A Biographical Sketch” by Roger Simpson. Believed to be the fullest account of this Pre-Raphaelite poet.
“Ruskin and Art Education: 1836–1992” by Stephen Farthing. This paper deals mainly with the Ruskin School of Drawing at Oxford, of which its author was Master.
“Diana Holman Hunt: 1913–1993”. An obituary, with a survey of her writings, by Barry C. Johnson.
Volume I, Number 2, Summer 1993
CONTENTS
“The Pre-Raphaelite Connection with Penkill” by Audrey Hickey. Contains considerable information about William Bell Scott and Alice Boyd.
“Thomas and Martha Combe: Patrons of the Pre-Raphaelites” by John Whiteley. Mainly biographical.
“The Pre-Raphaelite Connection with Penkill” by Audrey Hickey. Contains considerable information about William Bell Scott and Alice Boyd.
“Thomas and Martha Combe: Patrons of the Pre-Raphaelites” by John Whiteley. Mainly biographical.
Volume I, Number 1, Spring 1993
CONTENTS
“Day Dream” by Julia Ionides. This paper recounts the history of “one of Rossetti’s last major oil paintings”.
“Pre-Raphaelites and Associates in Canadian Public Collections” by Dennis T. Lanigan. Twelve galleries and museums are listed in this article.
“Day Dream” by Julia Ionides. This paper recounts the history of “one of Rossetti’s last major oil paintings”.
“Pre-Raphaelites and Associates in Canadian Public Collections” by Dennis T. Lanigan. Twelve galleries and museums are listed in this article.
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