Portrait, perhaps of Elizabeth Siddal (1850) by Dante Gabriel Rossetti.
Photo by Birmingham Museums Trust, licensed under CC0
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It’s Fine Press Friday!
Today we’re leaning into the drama with a 1910 edition of Poems from notorious bohemian and (unofficial) Pre-Raphaelite Brotherhood (PRB) member Christina Rossetti (1830-1894). This vellum covered, gilt stamped, 369-page tome was printed on Unbleached Arnold paper by the Villafield Press in Glasgow and published in limited run of 350 copies in London by Blackie & Son under the art direction of Talwin Morris. It features a praiseful yet cutting introduction from fellow poet, critic, and suffragist Alice Meynell (1847-1922) along with a wealth of illustrations (70 plates) by Florence Harrison (1877–1955) , an Australian illustrator of poetry and children’s books who worked extensively with Blackie & Son. Harrison’s style was inspired by the Romantic Era and the nature-worshipping, hedonistic values of the Art Nouveau and Pre-Raphaelite movements of the time. Fittingly, she also illustrated the works of fellow PRB poets William Morris (1834-1896) and Alfred Tennyson (1809-1892).
While many of the poems included are overtly devotional and express themes of purity, motifs of romantic love, limerence, melancholy, and death permeate the mood of the text as a whole. The Rossetti family, particularly Christina’s brother Dante Gabriel Rossetti (1828-1882) (poet, illustrator, painter, translator, and co-founder of the PRB) and Elizabeth Siddal (1829-1862) (artist, iconic art model, poet, and Dante’s longtime partner, muse, and eventual wife), are known for their exploits, excesses, creative legacy and influence on the culture of the era. Christina published her first poem at only 16, and Siddal posed for Millais's Ophelia at 19. The radical, passionate nature of the philosophies and lifestyle they embodied was as much a product of the intensity and privilege of their youth as of the Renaissance ideals and Victorian mores they rebelled against.
For a deeper dive on the Rossettis and their generation, check out this recent exhibition at the Tate Modern.
View another Christina Rossetti post
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--Ana, Special Collections Graduate Intern
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All changes pass me like a dream,
I neither sing nor pray;
And thou art like the poisonous tree
That stole my life away. –
Elizabeth Siddal, "Love and Hate"
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Me too, Lizzie
(A woman and a spectre by Elizabeth Siddall)
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The hope I dreamed of was a dream,
Was but a dream; and now I wake
Exceeding comfortless, and worn, and old,
For a dream's sake.
I hang my harp upon a tree,
A weeping willow in a lake;
I hang my silenced harp there, wrung and snapt
For a dream's sake.
Lie still, lie still, my breaking heart;
My silent heart, lie still and break:
Life, and the world, and mine own self, are changed
For a dream's sake
- Mirage by Christina Rossetti
Elizabeth Siddal, 1855, Dante Gabriel Rossetti
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A portrait of Jane Morris with the red hair of Elizabeth Siddal, found unfinished in Dante Gabriel Rossetti's studio at the time of this death.
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Dante Gabriel Rossetti - Elizabeth Siddall en una silla
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