Wednesday, 28 June 2017

John Everett Millais - part 6

1862 Sir John Everett Millais as Dante
albumen print by David Wilkie Wynfield

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part1, and for earlier works, see parts 1 - 5 also.

This is part 6 of a 10-part post on the works of Millais:



1862 Anna Receives Instruction ( Sister Anna's Probation )
wood engraving by Joseph Swain after Millais from Once a Week
The Fitzwilliam Museum, Cambridge, UK

1862 ( attributed to ) Study of a Girl
graphite and white gouache on moderately thick, slightly textured, brown wove paper 191 x 13.7 cm
Yale Centre for British Art, New Haven, CT

before 1862 Illustration to "The Border Witch" published 1862
engraving by Dalziel Brothers after Millais

1862 Maid Avoraine
wood engraving by Joseph Swain after Millais for "Once a Week" July 1862
The Fitzwilliam Museum, Cambridge, UK

1862 Mistress and Maid
wood engraving by Dalziel family after Millais from "Good Words" January 1862 frontispiece
The Fitzwilliam Museum, Cambridge, UK

1862 Olaf the Sinner and Olaf the Saint from "Good Words"
wood engraving by Dalziel family after Millais from Good Words
The Fitzwilliam Museum, Cambridge, UK

1862 Polly in Reverie ( The Anglers of the Dove )
wood engraving by Joseph Swain after Millais from Once a Week
The Fitzwilliam Museum, Cambridge, UK

1862 The Battle of the Thirty
wood engraving by Joseph Swain after Millais for Once a Week February 1862
The Fitzwilliam Museum, Cambridge, UK

1862 The Drowning of Kaer-is - I'll win the Key from my Father's Side
wood engraving on paper 11.9 x 13.3 cm
© Birmingham Museums and Art Gallery, UK

1862 The Parting of Ulysses
wood engraving by Joseph Swain after Millais for Once a Week December 1862
The Fitzwilliam Museum, Cambridge, UK

1862c Love
pen and ink and watercolour wash 13.3 x 10.7 cm
© Victoria and Albert Museum, London

1862c The Parting Ulysses
11.8 x 10.3 cm
© The Samuel Courtauld Trust, The Courtauld Gallery, London

1863 Endymion on Latmos
wood engraving by Joseph Swain after Millais for Once a Week January 1863
The Fitzwilliam Museum, Cambridge, UK

1863 Hacho, the Dane: or The Bishop's Ransom
wood engraving by Joseph Swain  after Millais for Once a Week October 1863
The Fitzwilliam Museum, Cambridge, UK

1863 My First Sermon
oil on canvas 92 x 77 cm
Guildhall Art Gallery, London


1863 The Baby House
etching on cream chine, laid down on ivory wove paper 14.5 x 18.4 cm ( image )
Art Institute of Chicago, IL

1863 The Eve of St Agnes
watercolour on paper 20.8 x 27.5 cm
© Victoria and Albert Museum, London

1863 The Eve of St Agnes
oil on canvas 117.8 x 154.3 cm

1863 Two Men Seated by the Fireside
wood engraving by Joseph Swain after Millais for Once a Week October 1863
The Fitzwilliam Museum, Cambridge, UK

1864 Charlie is my Darling
oil on panel 42.5 x 26 cm
Private Collection

1864 Leisure Hours
oil on canvas 88.9 x 118.1 cm
Detroit Institute of Arts, MI

1864 Little Red Riding Hood
oil on panel 35.5 x 25 cm
Private Collection

1864 Macleid of Dare
wood engraving by Joseph Swain after Millais from Good Words
The Fitzwilliam Museum, Cambridge, Uk


1864 My Second Sermon
oil on canvas 97 x 72 cm
Guildhall Art Gallery, London

1864 My Second Sermon
oil on wood 27.3 x 21 cm
Birmingham Museums Trust, UK

1864 My Second Sermon
watercolour 40 x 25 cm
© Victoria and Albert Museum, London


1864 Polly
wood engraving by Joseph Swain after Millais for Good Words
The Fitzwilliam Museum, Cambridge, UK

1864 Prince Albert
wood engraving by Joseph Swain after Millais for Good Words
The Fitzwilliam Museum, Cambridge, UK

1864 Sepia photograph of Teresa Furtado as Robin in The Lion and the Unicorn at Her Majesty's Theatre
sepia photograph by Millais 9.2 x 5.6 cm
© Victoria and Albert Museum, London

1864 Sepia photograph of Teresa Furtado as Robin in The Lion and the Unicorn at Her Majesty's Theatre
sepia photograph by Millais 9.3 x 5.6 cm
© Victoria and Albert Museum, London

1864 Swallow, Swallow
oil on canvas 102 x 76 cm
Private Collection

1864 The Bride of Dandelot
wood engraving by Joseph Swain after Millais from Good Words
The Fitzwilliam Museum, Cambridge, UK

1864 The Proscribed Royalist
watercolour and white gouache on off-white wove paper 15.3 x 10.4 cm
Harvard Art Museums / Fogg Museum, MA
© President and Fellows of Harvard College

1864 Waiting
oil on panel 32.4 x 25 cm
Birmingham Museums Trust, UK

1864c Girl's Head
oil on canvas laid down on panel 15.2 x 12.1 cm
Walker Art Gallery, Liverpool, UK

1865 Esther
oil on canvas
 Private Collection

1865 Joan of Arc
oil on canvas 82 x 62 cm
Private Collection

1865-67 Waking
oil on canvas 90.8 x 70.5 cm
Perth and Kinross Council, UK

1866 Miss Davidson
oil on canvas 95 x 71 cm
 Private Collection

Monday, 26 June 2017

John Everett Millais - part 5

1860s Sir John Everett Millais
albumen silver print
The Metropolitan Museum of Art, New York

John Everett Millais was  an English painter and book illustrator (1829 - 1896). A child prodigy who was hard-working as well as naturally gifted, he became the youngest ever student at the Royal Academy Schools when he was 11, and although he suffered some temporary setbacks in his twenties, his career was essentially one of the great Victorian success stories. In 1848, with Rossetti and Holman Hunt, he founded the Pre-Raphaelite Brotherhood and had his share of the abuse heaped against the members until Ruskin stepped in as their champion.

For full biographical notes see part1, and for earlier works, see parts 1 - 4 also.

This is part 5 of a 10-part post on the works of Millais:



1860 The Black Brunswicker
oil on canvas 104 x 68.5 cm
 Lady Lever Art Gallery, Port Sunlight, Merseyside, UK

1860c Study for The Black Brunswicker
graphite on paper 8.6 x 6.4 cm x 11.7 cm
Tate, London

1860c Study for The Black Brunswicker
graphite on paper 19.9 x 11.7 cm
 Tate, London

1860c Study for The Black Brunswicker
graphite on paper 8.6 x 6.4 cm x 11.7 cm
Tate, London

1863 or 1867 The Black Brunswicker
watercolour heightened with white 15.6 x 9.9 cm
The British Museum, London


1860c The Ransom
watercolour and white gouache on cream card 21.6 x 19.5 cm
Harvard Art Museums / Fogg Museum, MA
© President and Fellows of Harvard College

1861 Framley Parsonage; 6 illustrations by Millais:


1860-61 Lord Lufton and Lucy Robarts
illustration to Framley Parsonage by Anthony Trollope

1860-61 "Was it not a lie?"
illustration to Framley Parsonage by Anthony Trollope

1860-61 The Vrawley Family
 illustration to Framley Parsonage by Anthony Trollope

1860-61 Lady Lufton and the Duke of Omnium
illustration to Framley Parsonage by Anthony Trollope

1860-61 Mrs Gresham and Miss Dunstable
illustration to Framley Parsonage by Anthony Trollope

1861 Mrs Gresham and Miss Dunstable Trollope's 'Framley Parsonage' in The Cornhill Magazine
wood engraving by Dalziel family after Millais
The Fitzwilliam Museum, Cambridge, UK

1860-61 "Mark," she said, "the men are here."
illustration to Framley Parsonage by Anthony Trollope

*          *          *          *          *

1861 Iphis and Anaxarete
wood engraving by Joseph Swain after Millais for Once a Week
The Fitzwilliam Museum, Cambridge, Uk

1861 Summer Indolence
ink on paper 16 x 11.1 cm
© The Samuel Courtauld Trust, The Courtauld Gallery, London

1861 Summer Indolence
etching 17.6 x 25.3 cm ( plate )
Philadelphia Museum od Art, PA

1861 Swing Song Once a Week
wood engraving by Joseph Swain after Millais
The Fitzwilliam Museum, Cambridge, UK

1861 Tannhaüser
wood engraving by Joseph Swain after Millais for "Once a Week" August 1861
The Fitzwilliam Museum, Cambridge, UK

1861 The Temptation
wood engraving by Dalziel family after Millais for The Cornhill Magazine February 1861
The Fitzwilliam Museum, Cambridge, UK

1861-62c Orley Farm:


1861-62c "Why Should I Not?"
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c Bread Sauce is so Ticklish
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c Farewell!
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c Felix Graham in Trouble
wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c Guilty
engraving by Dalziel Brothers after Millais illustration for Anthony Trollope's Orley Farm 17.1 x 10.8 cm
© Victoria and Albert Museum, London

1861-62c John Kenneby and Miriam Dockwrath
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Lady Mason Going Before the Magistrates
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Lady Mason Leaving the Court
 wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Moncton Grange
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Mr Chaffanbrass and Mr Solomon Aram
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Mr Furnival's Welcome Home
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Never is a Very Long Word
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Orley Farm
wood engraving by Dalziel family after Millais illustration to  Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c Over Their Wine
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Sir Peregrine and His Heir
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c Sir Peregrine at Mr Round's Office
wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c Sir Peregrine Orme's Great Love
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c The Angel of Light
wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c The Court
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
 The Fitzwilliam Museum, Cambridge, UK

1861-62c The Drawing-Room
wood engraving by Dalziel family after Millais illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK

1861-62c Van Bauhr's Drean
wood engraving by Dalziel family after Millais, illustration to Anthony Trollope's Orley Farm
The Fitzwilliam Museum, Cambridge, UK