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Poems by Alfred Tennyson

Author:
Alfred Tennyson (British, Somersby, Lincolnshire 1809–1892 Surrey)
Sitter:
Frontispiece of Alfred Tennyson (British, Somersby, Lincolnshire 1809–1892 Surrey)
Designer:
Frontispiece from a medallion by Thomas Woolner (British, Hadleigh, Suffolk 1825–1892 London)
Engraver:
Frontispiece engraved by Henry R. Robinson (British, active 1827–72)
Illustrator:
Thomas Creswick (British, Sheffield 1811–1869 London)
Illustrator:
Sir John Everett Millais (British, Southampton 1829–1896 London)
Illustrator:
William Holman Hunt (British, London 1827–1910 London)
Illustrator:
William Mulready (Irish, Ennis 1786–1863 London)
Illustrator:
John Callcott Horsley (British, London 1817–1903 London)
Illustrator:
Dante Gabriel Rossetti (British, London 1828–1882 Birchington-on-Sea)
Illustrator:
Clarkson Stanfield (British, Sunderland 1793–1867 London)
Illustrator:
Daniel Maclise (Irish, Cork 1806–1870 London)
Engraver:
Thomas Williams (British, Colchester 1798–1862 after)
Engraver:
Dalziel Brothers (British, active 1839–1893)
Engraver:
John Thompson (British, Manchester 1785–1866 London)
Engraver:
William James Linton (British, London 1812–1897 New Haven, Connecticut)
Engraver:
W. T. Green (British, active 1837–72)
Dedicatee:
Queen Victoria (British, London 1819–1901 Isle of Wight)
Publisher:
Edward Moxon & Company (London)
Printer:
Bradbury & Evans
Date:
1857
Medium:
Illustrations: mezzotint, wood engraving
Dimensions:
9 x 6 5/8 x 1 3/4 in. (22.9 x 16.8 x 4.4 cm)
Classification:
Books
Credit Line:
Rogers Fund, 1920
Accession Number:
20.32
Not on view
In 1857 Edward Moxon brought out a new edition of Tennyson’s Poems illustrated by Dante Gabriel Rossetti and fellow Pre-Raphaelites William Holman Hunt and John Everett Millais. The first two artists created unconventional medievalist images to accompany poems they revered. Rossetti's illustration, created for the poem Sir Galahad, portrays King Arthur’s purest knight resting at a woodland shrine during his quest for the Holy Grail. In the poem, invisible mystical forces tend the shrine, but Rossetti represented female angels clustered beneath the altar, ringing a bell. George Somes Layard wrote in the nineteenth century that "Millais realised, Holman Hunt idealised, and Rossetti transcendentalized the subjects which they respectively illustrated."
Inscription: In black ink on leaf facing 1/2 title: "Mr. Fuller / Dec. 1857"
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," October 6, 1997–January 4, 1998.

New York. The Metropolitan Museum of Art. "The Pre-Raphaelite Legacy: British Art and Design," May 20, 2014–October 26, 2014.

Edward Fenton "Word Becomes Image." The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, n.s. vol. 13, no. 8, New York, April 1955, p. 256.

John Russell Taylor The Art Nouveau Book in Britain. Methuen & Co., Ltd., 1966, p. 26 (Rossetti's "Lady of Shalott" illustrated), ill.

Gregory R. Suriano The Pre-Raphaelite Illustrators: The Published Graphic Art of the English Pre-Raphaelites and Their Associates. Oak Knoll Press, 2000, pp. 15, 21-2, 25-6, 30, 32-3, 34, 35-6, 42, 46, 49, 51-2, 99-101, 106-8, 140, 155-61, 187-8, 191, 197-9, 270.

Julian Treuherz, Elizabeth Prettejohn, Edwin Becker Dante Gabriel Rossetti. Thames & Hudson, 2003, cat. no. 76-83, pp. 176-177, ill.



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