Rossetti, Dante Gabriel, 1828-1882

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"I hope I am in time to say -- by all means let R's [Rossetti's] picture be seen at Literary Society. I send you a silver and black frame for it -- the one I had it in. It looks well in it. Always faithfully Yrs" [Date provided by Surtees: ? February 1856]

Scope and Contents: Ruskin asks Heaton to inform him if she receives his letter as he wants to be sure she will not allow "the pictures" to be seen. Ruskin makes arrangements to have the Rossetti works recently purchased by Heaton displayed for exhibition, explaining all correspondence relating to the matter should be address to Rossetti. Ruskin tells Heaton that he has recently recovered from a two-week bout of illness which has thrown him "much into arrear.". In a postscript, Ruskin...

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Ruskin tells Heaton that Rossetti has received both of the works she sent for the exhibition. Ruskin reiterates that all correspondence relating to the exhibition should be addressed to Rossetti. Ruskin asks Heaton how much she would be willing to pay for a work by Turner, telling her it is likely to be between £180 to £200 and enquires whether he should secure a good work by Turner as soon as he finds one. [Date provided by Surtees: Early March 1856]

Scope and Contents: Ruskin tells Heaton he will be glad for the loan of her Rossetti watercolor Dante's Dream after the Brownings (to whom Heaton was currently loaning the work) leave for Florence. Ruskin asks to borrow Turner's Castle St Angelo from Heaton as "there is more in these vignettes than I thought." Ruskin tells Heaton that, inspired by Heaton, he has bought two Turner vignettes. Ruskin debates the benefits of exhibiting at the Colnaghi...

Scope and Contents: Ruskin tells Heaton he will not be able to meet her as planned as two friends are visiting him from Northumberland and so promises to send Heaton the Elizabeth Siddall drawings. Ruskin says he believes the "Rossetti drawing is in town" but tells Heaton he will confirm if it is when he sends the Siddall works. In a postscript, Ruskin praises Byron's "Destruction of Sennacherib" which appeared in the Oxford and Cambridge Magazine No. 8,...

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"Sadly crushed in my pocket -- the enclosed is nevertheless worth making out as you will see how R. [Rossetti] feels himself about the drawing. I have sent word to [Arthur] Hughes to send it to you instantly -- as I can't go & see it -- if there is anything shocking in it -- it is not my fault." [Date provided by Surtees: Monday 13th October 1856]

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"Tomorrow -- 12, just the thing : -- we shall have a quiet hour -- at any rate. I fear I shall be interrupted at ½ past two -- but I have no better day. -- It really looks as if I did'nt care about the Dante, not to have come for it -- but I could'nt. I shall be so much obliged if you will bring it -- always faithfully Yrs." [Date provided by Surtees: Wednesday (October - November 1856)]

Scope and Contents: Ruskin begins by asking Heaton for a further £5. He says he will not send her recently purchases vignettes by railroad "because they are wholly unreplaceable" but says that he will send the sketch, once it is insured. He tells Heaton that he is negotiating to change one of the pieces "the golden grey, for a blue one" which he thinks she will like better. In a postscript, he tells Heaton not to try to secure Rossetti's appearance at the Manchester Art Treasures Exhibition...

Scope and Contents: "Great purchase is going on: but not settled yet. It may involve various sacrifices on my part and among others, that of my beautiful Rossetti. Supposing I were obliged to let it go -- would you like to have it at 40[...]?[...]I hope you will not find your Turner sketches quite so unacceptable to the multitude as you seem to think. I consider the one with the children quite a drawing. I will most certainly relieve you of them in a little while if you don't like them." In a...

Scope and Contents: Ruskin approves that Heaton proposes to continue acquiring Turners, for the moment. Ruskin says he has never used Heaton's money for personal gain but concedes that Heaton's brother has grounds to suspect Ruskin might be leading her "astray" in her purchases, not being assured of the value of the Turners and Rossettis. Ruskin says it is unlikely that he will have to sell his Rossetti and that he wouldn't want to prevent Heaton from purchasing other works by convincing her to buy...

Scope and Contents: Ruskin says he enjoys looking at the Calais Heaton sent him as well as the two "blues" [the drawings on blue paper mentioned in Ruskin's previous letter], saying he will keep the latter for a week or two before exchanging them on Heaton's behalf. He asks if a "fine, late, finished [Turner] work" will be acceptable to Heaton in an exchange. Ruskin asks Heaton about her arrangements to have a Rossetti exhibition in Leeds and expresses his dismay...

Scope and Contents: "I am not going to let you charge me with inconstancy to some purpose. I don't like the St Angelo, now I have it by me. -- I think nature of some sort is pleasanter though there is magnificent work in the St Angelo. I would offer the St Angelo and Lochmaben to White, if I were you -- for the two vignettes of trees he has had by him so long. Both those are pretty and different from...

Scope and Contents: "I carried off the Dream (Rossetti's Dante's Dream) from Chelsea only two day's before my father's death; so that my promise to Rossetti to photograph it was ... roughly hindered -- I shall be glad that you undertake it -- as I was afraid to take it out of the frame -- you shall have it in a week -- and never let it out of your power more" (Ruskin's father died 3 March 1864 and this letter has a mourning border.) Ruskin goes on to thank Heaton for her...

Abstract:

Letters by Rossetti to various parties, including Sir Frederic Burton and Frederic James Shields, along with one letter from Charles Augustus Howell to Rossetti. One manuscript by Rossetti: "At Wellington's Funeral. 18th November 1852," an autograph receipt, and a deck of playing cards painted by Rossetti at the age of 12.

Abstract: The collection comprises 57 letters from Dante Gabriel Rossetti to Ellen Heaton written from 1855 to 1875 (the bulk from 1855 to 1864). The letters primarily pertain to works by Rossetti, including a number of his works commissioned by Heaton. Works referenced include: Beata Beatrix, Beloved, Bethlehem Gate, Dante’s dream at the time of the death of Beatrice, ...

Abstract: The collection comprises 11 letters from Dante Gabriel Rossetti to William H. Clabburn written from 1863 to 1865. The last of these is addressed to Clabburn's wife, Hannah Louisa. The letters are accompanied by 8 envelopes addressed to Clabburn by Rossetti. Rossetti’s letters primarily relate to Clabburn’s commission of an oil replica of Rossetti’s Mary Magdalen at the door of Simon the Pharisee. The correspondence records in detail Rossetti’s artistic process...

Abstract:

The collection comprises letters from John Ruskin to Ellen Heaton, written from 1855 to 1864.

Abstract: The collection consists of letters and manuscripts by Swinburne, including letters to Robert Browning; Andrew Chatto; John Camden Hotten; Joseph Knight; Thomas Purnell; Dante Gabriel, William Michael, and Christina Rossetti; William Bell Scott; Richard Herne Shepherd, and Theodore Watts-Dunton. Manuscripts of Swinburne's writings include working drafts of poems, the Chorus from Atalanta in Calydon, an early draft of Hymn to Proserpine, proofs of Channel Passage, and manuscripts of several...