...with pieces from Sarah Hardy, Kirsty Walker, Dr. Dennis Lanigan and much more!

Edited by Margaretta Frederick

Contributions by Judy Oberhausen, Nic Peeters, Jan Marsh, Diana Maltz, William Waters, Alastair Carew-Cox, Sarah Hardy, Oliver Watson, Sally Woodcock, Christopher Jordan, Emma Merkling, Richenda Roberts and Lucy Ella Rose
Imprint: Yale University Press

The fully illustrated publication features numerous contributions which explore the reach of the De Morgans’ partnership, their political and spiritual interests, and their immersion within several influential cultural circles of the day, including Pre-Raphaelite, Arts and Crafts, and Aesthetic Movement groups. The book presents a lively and multifaceted account of the De Morgans and their creative partnership.

The William Morris Gallery is pleased to announce our next special exhibition 'The Legend of King Arthur: A Pre-Raphaelite Love Story' opening at the William Morris Gallery on Friday 14 October and running until Sunday 22 January 2023.
It will explore the legend of King Arthur within the Victorian imagination, presenting the story through the eyes of Pre-Raphaelite artists including Dante Gabriel Rossetti, Arthur Hughes, John William Waterhouse and William Morris alongside lesser known female Pre-Raphaelite artists Eleanor Fortescue-Brickdale and Emma Sandys. Curated by Natalie Rigby, Collections Manager at Falmouth Art Gallery, this is the exhibition’s first stop on a nationwide tour of locations associated with King Arthur.
Following its debut at the William Morris Gallery, the exhibition will tour to Tullie House, Carlisle in February 2023 before before finishing its run at Falmouth Art Gallery in Cornwall in June 2023.

The Princeton University Art Museum has acquired a significant work by the Pre-Raphaelite painter Rebecca Solomon. The work, A Young Teacher (1861), shows a domestic scene in which a young girl is teaching her family’s servant how to read. It was most recently seen publicly in the exhibition Pre-Raphaelite Sisters at the National Portrait Gallery in 2019. The model who sat for the servant figure was Fanny Eaton, a young Jamaican-born woman who modeled for a number of significant painters of the period. The painting was bought by the museum in March at Sotheby’s, where it sold for £302,400 (with fees) - or ten times its high estimate.

The William Morris Society in the United States (WMS-US) invites session proposals for the CAA 2023 conference, which is scheduled for February 15–18 in New York.
We welcome proposals for sessions that are open to a range of time periods, geographic regions, and media. We invite submissions on topics that are related in any way to the ideas and art forms associated with William Morris, including but not limited to: the history of craft, design, and ornament; interiors; architectural history; heritage preservation; medievalism; nineteenth-century art; the Pre-Raphaelites, the Aesthetic movement, and the Arts and Crafts movement; book history; word and image; labor; and social justice.
Proposals focused on historiographic and theoretical questions are encouraged.
To propose a session, please submit a title, a 250-word abstract, and a shortened CV for the chair(s) to imogenhart@berkeley.edu by April 15, 2022.
Submissions will be reviewed by a committee of WMS-US board members. The selected proposal will be announced by April 22. The WMS-US will work with the session chair(s) to submit the final proposal to CAA by the deadline of April 26. Once approved by CAA, the session will be included in CAA’s open call for papers.
Please be aware that if the proposal is selected, the chair(s) will be required to be members in good standing of CAA. The chair(s) will have the responsibility of selecting session contributors and coordinating the presentations for the conference. As a sponsor of the session, the WMS-US will work with the chair(s) to advertise the event.

In 1894 Edward Burne-Jones designed the seal of the University of Wales.
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Returning from Hampshire at the latter part of 1943, British painter Francis Bacon (1909 - 1992) took the ground floor of 7 Cromwell Place, South Kensington, John Everett Millais’ old house and studio.
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In 1978, when Cornell University planned to add a Learning Center to the Rose Memorial Library, a dismantled window designed by Henry Holiday was unexpectedly rediscovered in a crate in the attic of the Hall of Sciences.
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Up to and during the nineteenth century there was a pigment called “mummy,”which made a lovely clear glowing brown. Now, as the story goes, it was really made out of, well, mummies. Ground up mummies. One day in 1881, Lawrence Alma-Tadema came upon his colorman at work, cheerfully grinding up Egyptian mummies for paint. Horrified and appalled, he rushed to tell his friend Edward Burne-Jones. Burne-Jones, too, was stunned. After a moment’s thought, he hurried off to his studio and returned with a tube of mummy in hand. He wanted to give it a decent burial. “So a hole was bored into the grass at our feet,” noted Georgiana Burne-Jones later, “and we all watched it put safely in, and the spot was marked by one of the girls planting a daisy root above it.”
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Pop star Kylie Minogue’s music video for “Where the Wild Roses Grow” (1995) was inspired by John Everett Millais’ Ophelia.