Margaretta Frederick Watson - Collecting the pre-Raphaelites : the Anglo-American enchantment

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THIS PUBLICATION IS DEDICATED TO ROWLAND ELZEA,
SCHOLAR AND CHIEF CURATOR, DELAWARE ART MUSEUM
(1931-1995)

Collecting the Pre-Raphaelites

the Anglo-American enchantment

Edited by Margaretta Frederick Watson

First published 1997 by Ashgate Publishing

Reissued 2018 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA

Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright The individual contributors, 1997

The contributors have asserted their moral rights

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Publisher's Note
The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent.

Disclaimer
The publisher has made every effort to trace copyright holders and welcomes correspondence from those they have been unable to contact.

A Library of Congress record exists under LC control number: 96052053

Typeset in Palatino by Photoprint, Torquay

ISBN 13: 978-1-138-31299-9 (hbk)

ISBN 13: 978-1-138-31302-6 (pbk)

ISBN 13: 978-0-429-45785-2 (ebk)

Contents

1. 1 Introduction
   Crossing the Big Pond: the Anglo-American appeal of Pre-Raphaelitism

1. 1 Introduction
   Crossing the Big Pond: the Anglo-American appeal of Pre-Raphaelitism

Guide

First and foremost I must express my gratitude to all of the staff at both the Delaware Art Museum and the Birmingham Museums and Art Gallery. In particular, at Delaware I am deeply indebted to Lial A. Jones, who was both the creative spirit and the organizational whirlwind behind the symposium that led to this publication, as well as the provider of countless hours of much needed advice. In addition, Steven Bruni, Director of the Delaware Art Museum, has been more than generous in his support of the project. At Birmingham, I am most appreciative of the endeavours of Stephen Wildman, both for the creation of the wonderful exhibition 'Visions of Love and Life' and his support and enthusiasm for this book. To both institutions go my sincere thanks for the permission to reproduce works from their collections.

I am extremely grateful to Jon McDowell for his technological expertise and untold patience.

I should like to thank each of the contributing authors for their patience with the fledgling editor and for their numerous helpful suggestions and remarks. In particular, I would like to single out Betty Elzea for her work in editing Rowland Elzea's symposium paper for publication. I am also grateful to Colleen Denney for her prescient remarks and suggestions concerning the introductory text. And of course, the whole project would not have come to pass without the guiding hands of Pamela Edwardes and Ellen Keeling at Scolar Press.

Finally, on a more personal note, I must thank David Watson and Benjamin and Sophie Testerman for forfeiting a wife/mother for extended periods of time, as well as fielding numerous phone calls and generally picking up the home-front slack.

To all, heartfelt thanks, for what has truly been a rewarding experience.

MFW

LAUREL BRADLEY is currently Director of Exhibitions and Curator of the College Collection at Carleton College in Northfield, Minnesota. She has published widely on Victorian painting including 'From Eden to Empire: John Everett Millais's Cherry Ripe', in Victorian Studies (34/Winter, 1990-91). Dr Bradley is writing a book entitled Paintings for the Victorians (working title).

SUSAN P. CASTERAS, formerly Curator of Paintings at the Yale Center for British Art, has written many books, exhibition catalogues and articles on the subject of Pre-Raphaelite and Victorian art. She is currently working on several new books and is teaching in the Art History Department of the University of Washington.

JULIE F. CODELL is Director of the School of Art, Arizona State University, Tempe. Dr Codell's focus on the Pre-Raphaelites as a field of study has included many articles on Pre-Raphaelite painting and her recent tenure as Editor-in-Chief of the Journal of Pre-Raphaelite Studies, of which she is now the book review editor. Her most recent article on the Pre-Raphaelites, in Victorian Poetry (Winter 1995), is entitled 'Painting Keats: Pre-Raphaelite Artists Between Social Transgressions and Painterly Conventions'.

COLLEEN DENNEY serves as Assistant Professor of Art History and Adjunct Assistant Professor of Women's Studies and American Studies at the University of Wyoming in Laramie. She recently co-curated the exhibition entitled 'The Grosvenor Gallery: A Palace of Art in Victorian England', held at the Yale Center for British Art in spring 1996, for which she also co-edited the catalogue.

ROWLAND ELZEA was formerly Curator Emeritus at the Delaware Art Museum and Honorary Research Fellow of the Centre for Whistler Studies, Glasgow University. He has published on a variety of subjects, including The Pre-Raphaelite Era, 1848-1914. (co-authored with Betty Elzea) and The Samuel and Mary R. Bancroft, Jr. and Related Pre-Raphaelite Collections. Rowland Elzea died in December 1995.

BETTY ELZEA has filled numerous curatorial positions including Curator of Circulating Exhibitions at the Victoria and Albert Museum, London, Exhibitions Curator at the Museum and Art Gallery of Brighton and assistant in the Decorative Arts Department of the Philadelphia Museum of Art. She is currently working on a catalogue raisonn of the work of Frederick Sandys.

JOSEPH A. KESTNER is McFarlin Professor of English at the University of Tulsa. He received his Ph.D. from Columbia University in the Department of English. He has published widely on nineteenth-century literature and painting, including Masculinities in Victorian Painting (Scolar Press, 1995).

BECKY WINGARD LEWIS is writing her dissertation on illustration in nineteenth-century British literature at the University of South Carolina, Columbia. She is acting co-Principal of Preston College, also University of South Carolina. With William B. Thesing, she has recently co-authored The Idler: Victorian Fiction Research Guide (University of Queensland Press).

DIANNE SACHKO MACLEOD is Professor of Art History at the University of California, Davis. She has published widely on nineteenth-century British patronage. Her most recent book is Art and the Victorian Middle Class: Money and the Making of Cultural Identity (Cambridge University Press, 1996).

DEBRA N. MANCOFF is an independent author and curator as well as Scholar in Residence at the Newberry Library Chicago. She has written widely on Victorian art and the medieval revival. Her most recent books include The Return of King Arthur: The Legend through Victorian Eyes and, as co-author, The Arthurian Handbook.

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