This correspondence between the leading art agent of the mid-Victorian period, known as "The Owl," and the family of his chief client, Dante Gabriel Rossetti, may be the most complete record of the artist-agent relationship. The letters also provide much new information about a leading artist-poet, the Pre-Raphaelite circle, and the leading London artists and writers beyond that circle, from Madox Brown to Swinburne. The then new role of artist's agent was defined in many respects by Charles Augustus Howell, flamboyant yet cultivated son of an English artist-wine merchant and an aristocratic Portuguese lady. Starting as an international man of mystery with some involvement in railways, Howell emerged in 1866 as Ruskin's secretary with a sideline as art salesman and interior decorator. During the 1870's he became the friend and business associate not only of D.G. Rossetti but also of Whistler, G.F. Watts, and Burne-Jones, Sandys, and other principal artists. His consummate salesmanship was most evident in the case of Rossetti, who refused to exhibit his works or even allow them to be seen unless the viewer was a certain buyer. Dubbed "Owl" by Burne-Jones, Howell was described by Whistler as "the wonderful man, the genius, the superb liar, the Gil-Blas, Robinson-Crusoe hero out of his proper time, the creature of top-boots and plumes." The letters from the Rossettis to Howell are published here for the first time, having been sold by Howell's estate to a family that subsequently sold them to the University of Texas. The whole correspondence--together with Professor Cline's introduction, notes, and index--"alters all existing catalogues and bibliographies and critical studies of D.G. Rossetti," says Stanley Weintraub, author of Whistler and Four Rossettis.

The Book of the Bird celebrates the bird in art with an elegant, international collection of paintings, illustrations, and photographs, featuring all kinds of birds from the smallest tits and wrens to colourful exotics. Interspersed though the illustrations are short texts giving background to the pictures and information on bird species. This is the perfect gift for all bird lovers.

The marriage of William Michael Rossetti (1829-1919) and Lucy Madox Brown (1843-1894) united two of the most resonant Pre-Raphaelite family names. Their passionate and ultimately tragic relationship - described here for the first time - provides a fresh perspective on nineteenth-century marriage and on the private lives of eminent Victorians. Sibling of Dante Gabriel and Christina Rossetti, William was one of the original Pre-Raphaelite 'Brothers,' a Bohemian, radical author, poet, critic, artist, connoisseur, biographer, historian, and taxman. Lucy, the intense, intellectual daughter of Ford Madox Brown, was an ambitious artist and biographer of Mary Shelley in spite of struggling with tuberculosis for nearly a decade. Drawing on hundreds of previously unpublished sources and a wealth of new visual material (including art by William, Lucy, and others of their circle and striking contemporary photographs), the book follows William and Lucy through their separate professional careers, marriage, continental travels, and Lucy’s illness and death. At the crossover between art history, literary criticism, social history, and biography, the book rewrites Pre-Raphaelite history and brings to life two fascinating people who were both of their time and ahead of it.

This book focuses on Christina and Dante Gabriel Rossetti, it demonstrates the interconnectedness of their friendships and creativity, giving information about literary composition and artistic output, publication and exhibition, and details literary and artistic influences. It draws on many unpublished sources, including letters and diaries.

This newly revised study examines thematic elements in Christina Rossettis poetry in order to celebrate and explain an important, undervalued writer and her remarkable artistic quest to achieve an original voice. Critics rightly applaud Rossettis metrical craftsmanship and song-like lyrical phrasings, but over-attention to formal felicities can impede proper interpretation of content. Through detailed readings of selected poems, this book demonstrates that Rossettis rigorously controlled use of language and innovative symbolism combine to create radical, hidden inter-textual levels of meaning beyond those attainable via biographical decoding, making her a singular bridge between Romanticism and Modernism. From earliest secular interactions with Romantic and Tractarian thought, through Goblin Market (1862) and The Princes Progress (1866), Rossettis verse resists straightforward interpretation by subtly interrogating and subverting the patriarchal traditions of writing that it simultaneously extends: love lyric, fairy tale, quest myth, and sonnet. Persuasively constructing a case for the inability of male-ordained poetics to cope with the expression of active female identity, Monna Innominata (1881) deconstructs lyric tradition, casting together medieval, renaissance, Romantic and Victorian ideologies. This groundbreaking sonnet cycle disturbs poetic conventions and forms the most concentrated, sustained demonstration of the struggle to articulate the female self to be found in Rossettis oeuvre, perhaps in literary history. The painful sense of irresolution and despair pervading Monna Innominata sheds important light upon Christina Rossettis exclusive production of devotional literature during her final years.