Angeli, Helen Rossetti, Collector Angeli-Dennis Collection Ca.1803-1964 4 M of Textual Records

Total Page：16

File Type：pdf, Size：1020Kb

Angeli, Helen Rossetti, Collector Angeli-Dennis Collection Ca.1803-1964 4 M of Textual Records

Helen (Rossetti) Angeli - Imogene Dennis Collection An inventory of the papers of the Rossetti family including Christina G. Rossetti, Dante Gabriel Rossetti, and William Michael Rossetti, as well as other persons who had a literary or personal connection with the Rossetti family In The Library of the University of British Columbia Special Collections Division Prepared by : George Brandak, September 1975 Jenn Roberts, June 2001 GENEOLOGICAL cw_T__O- THE ROssFTTl FAMILY Gaetano Polidori Dr . John Charlotte Frances Eliza Gabriele Rossetti Polidori Mary Lavinia Gabriele Charles Dante Rossetti Christina G. William M . Rossetti Maria Francesca (Dante Gabriel Rossetti) Rossetti Rossetti (did not marry) (did not marry) tr Elizabeth Bissal Lucy Madox Brown - Father. - Ford Madox Brown) i Brother - Oliver Madox Brown) Olive (Agresti) Helen (Angeli) Mary Arthur O l., v o-. Imogene Dennis Edward Dennis Table of Contents Collection Description . 1 Series Descriptions . .2 William Michael Rossetti . 2 Diaries . ...5 Manuscripts . .6 Financial Records . .7 Subject Files . ..7 Letters . 9 Miscellany . .15 Printed Material . 1 6 Christina Rossetti . .2 Manuscripts . .16 Letters . 16 Financial Records . .17 Interviews . ..17 Memorabilia . .17 Printed Material . 1 7 Dante Gabriel Rossetti . 2 Manuscripts . .17 Letters . 17 Notes . 24 Subject Files . .24 Documents . 25 Printed Material . 25 Miscellany . 25 Maria Francesca Rossetti . .. 2 Manuscripts . ...25 Letters . ... 26 Documents . 26 Miscellany . .... .26 Frances Mary Lavinia Rossetti . 2 Diaries . .26 Manuscripts . .26 Letters . 26 Financial Records . ..27 Memorabilia . .. 27 Miscellany . .27 Rossetti, Lucy Madox (Brown) . .2 Letters . 27 Notes . 28 Documents . 28 Rossetti, Antonio . .. 2 Letters . .. 28 Rossetti, Isabella Pietrocola (Cole) . ... 3 Letters . ... 28 Rossetti, Mary . .. 3 Letters . .. 29 Agresti, Olivia (Rossetti) . 3 Letters . 29 Rossetti, Teodorico Pietrocola . 3 Letters . 29 Angeli, Helen (Rossetti) . 3 Manuscripts . ...29 Letters . ... 30 Polidori, Charlotte . .3 Letters . .... 30 Siddal, Elizabeth . ... 3 Letters . .. .. 30 Brown, Elizabeth . ..

101

Copy Link

Recommended publications

Simeon Solomon and the Hypnerotomachia Poliphili
VISIONS OF LOVE: SIMEON SOLOMON AND THE HYPNEROTOMACHIA POLIPHILI D.M.R. Bentley When Simeon Solomon met his “idol” Dante Gabriel Rossetti “early in 1858” and began working in Rossetti’s studio (Reynolds 7), he entered an artistic circle whose influence on his work was marked enough for it to be considered Pre-Raphaelite. Prior to meeting Rossetti, Solomon had made only a few drawings that show the influence of Pre-Raphaelitism, most notably Faust and Marguerite (1856) and Eight Scenes from the Story of David and Jonathan (1856), but he would soon become in all things Pre-Raphaelite. 1 Love (1858) and The Death of Sir Galahad While Taking a Portion of the Holy Grail Administered by Joseph of Arimathea (1857-59) are Pre- Raphaelite in manner and subject-matter, while Nathan Reproving Daniel (1859), Babylon Hath Been a Golden Cup (1859), Erinna Taken from Sappho (1865), The Bride, Bridegroom and Sad Love (1865), and other works of the late 1850s and early 1860s are Pre-Raphaelite in manner but bespeak, by turns, Solomon’s Jewish heritage and his increasingly forthright homo- sexuality . Portrait of Edward Burne-Jones (1859) is an idealized portrait of the artist as a clear-eyed visionary, and Dante’s First Meeting with Beatrice (1859-63) is an homage to Rossetti that is so extreme in its imitativeness as to verge on parody. But did Solomon’s admiration of Rossetti and Burne- Jones include knowledge of the Hypnerotomachia Poliphili (1499), the book that was arguably as important to the “New Renaissance ” phase (Allingham 140) of Pre-Raphaelitism as was the Morte D’Arthur to its Oxford phase – and, moreover, identified by Rossetti as “the old Italian book ..
[Show full text]
The New Woman Criminal in British Culture at the Fin De Siècle
FRAMED DIGITALCULTUREBOOKS is a collaborative imprint of the University of Michigan Press and the University of Michigan Library. FRAMED The New Woman Criminal in British Culture at the Fin de Siècle ELIZABETH CAROLYN MILLER The University of Michigan Press AND The University of Michigan Library ANN ARBOR Copyright © 2008 by Elizabeth Carolyn Miller All rights reserved Published in the United States of America by The University of Michigan Press and the University of Michigan Library Manufactured in the United States of America c Printed on acid-free paper 2011 2010 2009 2008 4321 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Miller, Elizabeth Carolyn, 1974– Framed : the new woman criminal in British culture at the fin de siècle / Elizabeth Carolyn Miller. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-472-07044-2 (acid-free paper) ISBN-10: 0-472-07044-4 (acid-free paper) ISBN-13: 978-0-472-05044-4 (pbk. : acid-free paper) ISBN-10: 0-472-05044-3 (pbk. : acid-free paper) 1. Detective and mystery stories, English—History and criticism. 2. English fiction—19th century—History and criticism. 3. Female offenders in literature. 4. Terrorism in literature. 5. Consumption (Economics) in literature. 6. Feminism and literature— Great Britain—History—19th century. 7. Literature and society— Great Britain—History—19th century.
[Show full text]
Victorian Paintings Anne-Florence Gillard-Estrada
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects.
[Show full text]
Christina Rossetti
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ChristinaRossetti MackenzieBell,HellenaTeresaMurray,JohnParkerAnderson,AgnesMilne the g1ft of Fred Newton Scott l'hl'lll'l'l'llllftlill MMM1IIIH1I Il'l'l lulling TVr-K^vr^ lit 34-3 y s ( CHRISTINA ROSSETTI J" by thtie s-ajmis atjthoe. SPRING'S IMMORTALITY: AND OTHER POEMS. Th1rd Ed1t1on, completing 1,500 copies. Cloth gilt, 3J. W. The Athen-cum.— ' Has an unquestionable charm of its own.' The Da1ly News.— 'Throughout a model of finished workmanship.' The Bookman.—' His verse leaves on us the impression that we have been in company with a poet.' CHARLES WHITEHEAD : A FORGOTTEN GENIUS. A MONOGRAPH, WITH EXTRACTS FROM WHITEHEAD'S WORKS. New Ed1t1on. With an Appreciation of Whitehead by Mr, Hall Ca1ne. Cloth, 3*. f»d. The T1mes. — * It is grange how men with a true touch of genius in them can sink out of recognition ; and this occurs very rapidly sometimes, as in the case of Charles Whitehead. Several works by this wr1ter ought not to be allowed to drop out of English literature. Mr. Mackenzie Bell's sketch may consequently be welcomed for reviving the interest in Whitehead.' The Globe.—' His monograph is carefully, neatly, and sympathetically built up.' The Pall Mall Magaz1ne.—' Mr. Mackenzie Bell's fascinating monograph.' — Mr. /. ZangwiU. PICTURES OF TRAVEL: AND OTHER POEMS. Second Thousand. Cloth, gilt top, 3*. 6d. The Queen has been graciously pleased to accept a copy of this work, and has, through her Secretary, Sir Arthur Bigge, conveyed her thanks to the Author.
[Show full text]
Dante's Dream: Rossetti's Reading of the Vita Nuova Through the Lens Of
Dante’s Dream: Rossetti’s Reading of the Vita Nuova Through the Lens of a Double Translation Chiara Moriconi, La Sapienza Università di Roma Abstract Dante Gabriel Rossetti’s work as an interlinguistic and intersemiotic translator of the Vita Nuova reveals much about his characteristic adaptation of Dante to the new sensibility of Victorian poetry and art. After translating the episode of the dream of Beatrice’s death into English, Rossetti goes on to illustrate it in an early watercolor version (1865), and then in a final monumental oil (1871) which will be closely examined in this article. By focusing on both phases of Rossettian translation this article means to show how Rossetti derives from the Florentine a distinctively Dantesque iconographic repertoire which he then develops into a post-Romantic set of poetics. It is precisely in the distance between Dante’s poetry and Rossetti’s double works of art that the latter’s understanding of and autonomy from Dante has to be traced. Keywords: Dante Gabriel Rossetti; Dante Alighieri; Vita Nuova; intersemiotic translation; interlinguistic translation; Victorian literature and art; Pathetic Fallacy One of the most crucial episodes of the Vita Nuova is Beatrice’s death as dreamt by Dante. Dante Gabriel Rossetti’s deep love of Dante Alighieri, inherited from his father Gabriele,1 led him to an early reading and translation into English of this chapter of the Florentine’s ‘rubrica ’. He set to illustrate the passage in 1848. The project, however, was soon laid aside and resumed between 1855 and 1857, when the artist made a watercolor of the same episode, Dante’s Dream at the Time of the Death of Beatrice .
[Show full text]
Mundella Papers Scope
University of Sheffield Library. Special Collections and Archives Ref: MS 6 - 9, MS 22 Title: Mundella Papers Scope: The correspondence and other papers of Anthony John Mundella, Liberal M.P. for Sheffield, including other related correspondence, 1861 to 1932. Dates: 1861-1932 (also Leader Family correspondence 1848-1890) Level: Fonds Extent: 23 boxes Name of creator: Anthony John Mundella Administrative / biographical history: The content of the papers is mainly political, and consists largely of the correspondence of Mundella, a prominent Liberal M.P. of the later 19th century who attained Cabinet rank. Also included in the collection are letters, not involving Mundella, of the family of Robert Leader, acquired by Mundella’s daughter Maria Theresa who intended to write a biography of her father, and transcriptions by Maria Theresa of correspondence between Mundella and Robert Leader, John Daniel Leader and another Sheffield Liberal M.P., Henry Joseph Wilson. The collection does not include any of the business archives of Hine and Mundella. Anthony John Mundella (1825-1897) was born in Leicester of an Italian father and an English mother. After education at a National School he entered the hosiery trade, ultimately becoming a partner in the firm of Hine and Mundella of Nottingham. He became active in the political life of Nottingham, and after giving a series of public lectures in Sheffield was invited to contest the seat in the General Election of 1868. Mundella was Liberal M.P. for Sheffield from 1868 to 1885, and for the Brightside division of the Borough from November 1885 to his death in 1897.
[Show full text]
Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
[Show full text]
Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
[Show full text]
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Ofﬁce 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.
[Show full text]
John Buchan's Uncollected Journalism a Critical and Bibliographic Investigation
JOHN BUCHAN’S UNCOLLECTED JOURNALISM A CRITICAL AND BIBLIOGRAPHIC INVESTIGATION PART II CATALOGUE OF BUCHAN’S UNCOLLECTED JOURNALISM PART II CATALOGUE OF BUCHAN’S UNCOLLECTED JOURNALISM Volume One INTRODUCTION............................................................................................. 1 A: LITERATURE AND BOOKS…………………………………………………………………….. 11 B: POETRY AND VERSE…………………………………………………………………………….. 30 C: BIOGRAPHY, MEMOIRS, AND LETTERS………………………………………………… 62 D: HISTORY………………………………………………………………………………………………. 99 E: RELIGION……………………………………………………………………………………………. 126 F: PHILOSOPHY AND SCIENCE………………………………………………………………… 130 G: POLITICS AND SOCIETY……………………………………………………………………… 146 Volume Two H: IMPERIAL AND FOREIGN AFFAIRS……………………………………………………… 178 I: WAR, MILITARY, AND NAVAL AFFAIRS……………………………………………….. 229 J: ECONOMICS, BUSINESS, AND TRADE UNIONS…………………………………… 262 K: EDUCATION……………………………………………………………………………………….. 272 L: THE LAW AND LEGAL CASES………………………………………………………………. 278 M: TRAVEL AND EXPLORATION……………………………………………………………… 283 N: FISHING, HUNTING, MOUNTAINEERING, AND OTHER SPORTS………….. 304 PART II CATALOGUE OF BUCHAN’S UNCOLLECTED JOURNALISM INTRODUCTION This catalogue has been prepared to assist Buchan specialists and other scholars of all levels and interests who are seeking to research his uncollected journalism. It is based on the standard reference work for Buchan scholars, Robert G Blanchard’s The First Editions of John Buchan: A Collector’s Bibliography (1981), which is generally referred to as Blanchard. The catalogue builds on this work
[Show full text]
Movimiento Prerrafaelista
06/02/2007 1845 MOVIMIENTO PRERRAFAELISTA: ORÍGENES, DESARROLLO 1870 Y CONSECUENCIAS 1894 Sir John Everett Millais. John Ruskin. 1854 jamp'07 1 jamp'07 2 ALGUNAS OBRAS: Modern Painters (1843) Modern Painters II (1846) The Seven Lamps of Architecture (1849) Pre-Raphaelitism (1851) The Stones of Venice I (1851) The Stones of Venice II and III (1853) Architecture and Painting (1854) Modern Painters III (1856) The Harbours of England (1856) Political Economy of Art (1857) The Two Paths (1859) The Elements of Perspective (1859) Modern Painters IV (1860) RAFAEL (1483-1520): La Unto This Last (1862) Transfiguración 1518-20 jamp'07 3 jamp'07 4 The Pre-Raphaelite Brotherhood was created in 1848 by seven artists: Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, John Everett Millais, Frederic George Stephens, Thomas Woolner and William Holman Hunt. Their goal was to develop a naturalistic style of art, throwing The Pre-Pre-RaphaeliteRaphaelite away the rules and conventions that were drilled into students' BrotherhoodBrotherhood:: heads at the Academies. Raphael was the artist they considered to have achieved the highest degree of perfection, PRB so muchthttdth so that students were encourage dtdfd to draw from his examples rather than from nature itself; thus they became the "Pre-Raphaelites". The movement itself did not last past the 1850s, but the style remained popular for decades, influencing the Arts and Crafts Movement, the Symbolist painters and the Art Nouveau jamp'07 5 jamp'07 6 1 06/02/2007 El planteamiento inicial de
[Show full text]
Vol. VI, No. 4 (1945, Oct.)
THE SHAKESPEARE FELLOWSHIP JAN 29 1946 SEATTLE, WASH INC.TON The Shakespeare Fellowship was founded i,, London in 1922 under the presidency of Sir George Greenwo94~. VOL. VI OCTOBER, 194.5 NO. 4 Oxford-Shakespeare Case Loses Brilliant Advocate Bernard Mordaunt Ward (1893-1945), Author of The Seventeenth Earl oJ Oxjord Friends and admirers of Captain Bernard M. searching out the original records at great pains and Ward will be saddened to learn of his death, which expense. He took as his guiding principle in the occurred quite suddenly at his home, Lemsford Cot accomplishment of this task the following text of Itage, Lemsford, Hertfordshire, England, on October Edmund Lodge in Illustrations of Br,tish History 2, 1945. (17911: Captain Ward's untimely demise--due to over• "For genuine illustration of history, biography exertion in the war-removes the last of a distin• and manners, we must chiefly rely on ancient orig guished family of British soldier-scholars. He was inal papers. To them we must return for the correc• one of the founders of The Shakespeare Fellowship tion of past errors; for a supply of future materials; in 1922, and for several years prior to his return to and for proof of what hath already been delivered the British Army in 1940, served as Honorary Sec unto us." retary of The Ft-llowship. As author of The Seven• In order to keep the size of his book within reason• teentk Earl o/ Oxford, the authoritative biography able bounds, Captain Ward did not attempt to in o( Edward de Vere, based upon contemporary doc· troduce detailed Shakespearean arguments into The uments, and published by John Murray of London Seventeenth Earl of Oxford, being content to leave in 1928, Captain Ward will always occupy the place to others the rewarding task of making apparent the of honor next to the late J.
[Show full text]