Lately, the Arts and Crafts movement and Pre-Raphaelite movement seem to be having a moment. IKEA recently released a collection of William Morris-inspired prints for some of their home textiles, and apparently

While Pre-Raphaelite Sisters does write the female characters of the Pre-Raphaelite era into art history, it falls short by relegating these talented artists to the roles of lover and muse.

Are you a fan of the Pre-Raphaelite artists visiting London? This is the ultimate guide to famous Pre-Raphaelite paintings in London. The Pre-Raphaelites were a group of Victorian radicals who were inspired by medieval art, literature, and nature.

Evelyn De Morgan (1855 – 1919) emerged as a painter who transcended the societal norms of her era. Born into privilege, she challenged the status quo, using her richly colored canvases to advocate for feminism, spirituality, and pacifism—a message still resonant today.

It's almost impossible not to be moved by Ford Madox Brown's 1855 painting, 'The Last of England'. Painted in an era when emigration from Europe was at it's...

Sidney Harold Meteyard (Stourbridge, November 2, 1868 - Cookhill, April 4, 1947) was an English art teacher, painter and stained-glass designer. A member of the Birmingham Group, he worked in a late Pre-Raphaelite style heavily influenced by Edward Burne-Jones and the Arts and Crafts Movement. [Christie’s, London - Oil on canvas, 99 x 66 cm]

On 12 July 2018, Sotheby’s will be offering a number of Simeon Solomon’s major paintings and drawings at the Victorian, Pre-Raphaelite & British Impressionist sale.

THE BONSKEID CABINET, DECORATED WITH PANELS DEPICTING SCENES FROM EDMUND SPENSER'S FAIREE QUEENE, BOOK I 'THE LEGEND OF THE KNIGHT OF THE RED CROSS, OR HOLINESS' oak cabinet, comprising a carved scroll pediment above a central recess containing three arched niches and with four ring-turned columns flanked by a pair of panels on sliding doors. The breakfront base with a central hinged panel door enclosing a pair of hinged pigeon holes before open horizontal shelving, above three graduated drawers with carved scallop handles and cast foliate escutheons. These are flanked by a pair of arched doors with rose and oak leaf carved spandrels above turned pillars with foliate capitals each enclosing two fixed shelves and two pull-out shelves. The patent lever locks are stamped G. Harley & Co W. Hampton. The moulded base on shaped bracket supports with recessed trefoil medallions. The panels comprise: 1. The Red-Cross Knight, Una with her Lamb and the Dwarf, canto I, verses 1 to 6 (top left), 13.75 by 44 cm., 53 3/4 by 17 3/4 in. 2. They Meet the Sorcerer, Archimago, who Points to a Chapel Beside his Hermitage, canto I, verses 29 and 34 (top centre, left), 20.5 by 16.75 cm., 8 by 6 5/8 in., ogivate top 3. Archimago, by Deceit, Separates the Red-Cross Knight and Una, canto II, verse 9 (top centre, centre), 20.5 by 16.75 cm., 8 by 6 5/8 in., ogivate top 4. Una, Still Seeking the Red-Cross Knight, is Worshipped by a Group of Fauns and Satyres, canto VI, verse 30 (top centre, right), 20.5 by 16.75 cm., 8 by 6 5/8 in., ogivate top 5. The Procession of Lucifera and her Councillors, canto IV, verses 17 to 36 (top right),13.75 by 44 cm., 53 3/4 by 17 3/4 in. 6. The Red-Cross Knight Slays the Dragon on the Third Day of Combat, canto XI, verses 54 and 55 (bottom left), 69.5 by 38 cm., 27 1/2 by 15 in., arched top 7. Una, Still Seeking the Red-Cross Knight, is Pitied by a Lion, canto III, verse 9 (bottom right), 69.5 by 38 cm., 27 1/2 by 15 in., arched top 8. The Betrothal of the Red-Cross Knight and Una, canto XII, verses 4 and 6 (bottom centre), 32.5 by 52 cm., 12 3/4 by 20 1/2 in. signed with monogram and dated 1893 all oil on panel overall 157 by 188 by 69 cm., 62 by 74 by 27 in. ESTIMATE 70,000-100,000 GBP PROVENANCE Commissioned by Margaret Barbour for her younger brother Dr Hugh Freeland Barbour of Bonskeid, Pitlochry and thence by descent to Professor R. Barbour; Edinburgh, Shapes, 1 July 2000, lot 349; Private collection EXHIBITED Edinburgh, Scottish National Portrait Gallery, Phoebe Anna Traquair, 1993, no. 34 LITERATURE Elizabeth Cumming, Phoebe Anna Traquair, 1993, illus. p. 64 Traquair was commissioned to decorate a cabinet by Margaret Barbour in the early 1890s. A letter dated 16 May 1890 from Traquair to her friend Willie Moss mentions 'a cabinet keeping me busy just now. Seven panels in which I am trying to get in Spenser story of he Red Cross Knight' (she eventually painted eight panels rather than seven). On 9 January 1893 she mentioned that she had begun to paint panels for a second cabinet, but unfortunately did not describe these panels. In the catalogue for the Traquair exhibition in 1993, Elizabeth Cummings suggested that the present cabinet relates to the second commission, although the whereabouts of the first cabinet are not known. Traquair had known the Barbour family as early as 1889 when Robert William and Charlotte Rachel Barbour (brother and sister-in-law of Margaret and Hugh Barbour) joined her on a visit to Florence. Traquair had met the Barbours through her friendship with Dr Alexander Whyte who patronised her work. The first of the two large arched panels on the doors of the cabinet, depicts the Red Cross Knight slaying the dragon. Robert Barbour was the model for the armoured knight whilst the landscape background was painted in the Perthshire countryside close to the Barbour's home. The pose of the knight recalls the various versions of a celebrated composition by Edward Burne-Jones entitled St George Slaying the Dragon. The subjects of St George or the Red Cross Knight were particularly popular with nineteenth century artists as it symbolised heroism and gallantry. The other arched panel depicts Una the virginal heroine of the Fairee Queen, accompanied by her devoted pet lamb and lion, paying in the garden of Bonskeid with the house in the background. The model for Una was Margaret Barbour. The central panel depicts the marriage of the Red Cross Knight and Una accompanied by the knight's heralds and squire and Una's handmaidens. The body of the dragon is laid out in the foreground amongst the spring flowers of the meadow and above the happy group is a radiant rainbow, an element often found in Traquair's work. This panel is also reminiscent of Burne-Jones' series of paintings on the subject of St George.

"Lilith" by John Collier About the artist : John Maler Collier OBE RP ROI was a British painter and writer. He painted in the Pre-Raphaelite style, and was one of the most prominent portrait painters of his generation. He studied painting in Paris with Jean-Paul Laurens and at the Munich Academy starting in 1875. This image has been digitally restored in order to have a larger resolution and smoother texture to get the best quality print. This is a copy of an original work. The original painting had to be cropped in order to fit the dimension of the papers and canvas. Oak frame might change color based on your locations, if your shipping address is from outside Europe the frame will be Red Oak. About the products : - Prints : Museum-quality posters made on thick and durable matte paper. Each poster is giclée-printed on archival, acid-free paper that yields brilliant prints to brighten up any room. Blank product sourced from Japan, Latvia and US. - Framed prints : Acrylite front protector and hanging hardware included with framed products. Ayous and Oak .75″ (1.9 cm) thick frame from renewable forests. - Canvas : PH-neutral, and fade-resistant canvas. Put the artistry on your wall without a worry—this 1.5″ (3.81 cm) deep canvas comes with mounting brackets. Depending on the original dimension of the image, your print might have part of the artwork on the side of the canvas About shippings : Your order will be fulfilled within 3 days, but may take up to 5 during high traffic seasons (e.g. December). Your print will be sent from a different location depending on where you live, there's currently 5 fulfillment centers : - Toronto, Canada - Charlotte, NC - Barcelona, Spain - Riga, Latvia - Dallas, TX Your order will be delivered in the span of a week or two, but might take up to a month during high traffic seasons. Note : Your order might be sent from another centers depending on the product type and available stock. Don't hesitate to contact us if you have a question !

A Mermaid by John William Waterhouse, 1900.  John William Waterhouse RA was an English painter known for working first in the Academic style and for then embracing the Pre-Raphaelite Brotherhood's style and subject matter.

Morris and Burne-Jones families. ca. 1874. Pre-Raphaelite dress generally took two forms: modified contemporary fashion, or historically-inspired styles. If choosing modified contemporary fashion, gowns would be styled according to the dictates of Reform Dress or "Rational Costume," which advocated comfort and freedom of movement, fabric breathability, and natural fibers and colors in an effort to promote greater health. Mrs. Mary Haweis, an American reformer, wrote that dress is an art object in itself; she argued that no “imbecile ornament” should be worn, because it is artificial, and came up with Seven Dress Rules: 1. retain the human form under all circumstances. 2. allow the human form to determine the folds and trimmings. 3. see that the proportions of the dress obey the proportions of the body. 4. allow the dress to reasonably express the character of the wearer. 5. consider the fitness of times and seasons. 6. avoid discomfort, and weight sufficient to cramp and disable either really or apparently. 7. avoid colors too pure, or brilliant enough to overpower the features of the face. In following these dictates, Pre-Raphaelite dresses had high jewel necklines, loose Bishop style sleeves that were set into the bodice at the shoulder line (instead of dropped on to the top of the arm as in contemporary fashion), loosely-fitted or un-fitted waistlines (because the dress was worn without a corset underneath), with long, full skirts worn without hoops, bustle, or multiple petticoats so that they fell in heavy folds and swept the ground. They were untrimmed except with “Medieval” embroidery, large free-form embroidered sunflowers, daffodils or other organic forms, or smocking, functional buttons or belts, or perhaps a single ruffle near the hem, in contrast to the ruffled, ribboned, lace-covered, fringed, and otherwise heavily-decorated mainstream fashion. "The Blue Silk Dress" by D.G. Rossetti. 1868. Pre-Raphaelite women's gowns were made of wool, Liberty silks, or velvet fabrics in old-fashioned (because they came from the old natural dyes instead of the new chemical dyes), faded, earthy, “antique” colors like sage green, indigo and soft blues, salmon and muted reds, terracotta, soft browns and amber-gold. Fabrics could be hand-painted or hand-printed, as well as solid color, but lacked the elaborate multi-color patterns popular at the time. These fabrics gave an impression of quaintness and luxury, but not garish opulence. Shoes appear to be almost entirely flat or with low heels, but the length of the gowns' hems makes it almost impossible to see what the rest of the shoes or slippers looked like! Instead of multiple pieces of jewelry, the Pre-Raphaelite women confined themselves to a single strand of beads, especially natural amber, or Oriental-inspired pieces. Single pendants, or maybe a pair of plain gold bracelets, or a single "artistic" brooch were worn in many period photographs. Pre-Raphaelite women also were not shown in the fashionable bonnets and caps of the day, although certain "antique" forms -- like the Conquistador helmet -- were adapted for bonnets and hats, as shown in some contemporary illustrations. They appear most often with only flowers in their hair, or perhaps a delicate metal circlet over the forehead, decorated with natural forms like a wreath. "Picking Apple Blossoms" by Millais. 1856. Instead of glossy curls, waves and braids pinned into elaborate hairdos, Pre-Raphaelite women often wore their hair down, crimped, frizzed or curled into thick waves with lots of volume, or loosely pinned back into a simple bun at the back of the head, preserving the volume around the face. Detractors often described their look as “windswept” and “untidy” but it was meant to be “wild” and “natural.” We can understand Anne of Green Gables’ affinity for the Pre-Raphaelites when we realize that many of the “ideal beauties” who appeared in their artworks had red hair, which was yet another diversion from mainstream fashion. To be continued ... "La Ghirlandata" by D. G. Rossetti. For more information: “The Aesthetic Dress Movement: Fashion History of Aesthetics” by Pauline Weston Thomas for Fashion-Era.com “Morgan Le Fay” The Pre-Raphaelite Online Resource “Pre-Raphaelite Ideals and Artistic Dress” by Consuelo Marie Rockliff-Stein “Artistic Flair – Aesthetic Dress of the 1880s” “Aesthetic Dress” Clothing and Fashion Encyclopedia Reforming Women’s Fashion, 1850 – 1920: Politics, Health, and Art by Patricia A. Cunningham.

Item specificsConditionNew: A new, unread, unused book in perfect condition with no missing or damaged pages. See the ... Read moreabout the conditionNew: A new, unread, unused book in perfect condition with no missing or damaged pages. See the seller's listing for full details. See all condition definitionsopens in a new window or tab ISBN 102867701198InterestArt, Fine Art, Pre-Raphaelite, Aesthetic, GlassISBN 139782867701191Subject 2ArtNon-Fiction SubjectArtsArt StylePre-Raphaelite, Aesthetic MovementSpecial AttributesIllustratedCover ImagePortrait of Maria Zambaco 1870Modified ItemNoPublisher StatusOut of PrintISBN9782867701191EAN9782867701191Publication Year1999FormatPaperbackLanguageFrenchBook TitleEdward Burne-JonesItem Height190mmAuthorIsabelle LechienPublisherACR EditionItem Width120mmNumber of Pages192 Pages