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DALZIELS' BIBLE GALLERY: JOSEPH’S COAT Related Works: Boston Museum of Fine Arts, Hartley Collection Dalziels' Bible Gallery: Joseph’s Coat, wood-engraving, proof on India paper, 55.1549 The British Museum Dalziels' Bible Gallery: Joseph’s Coat: Compositional Study, c. 1864, pen and black ink, purchased from the Dalziel Brothers, 1893-1018.2 D alziels' Bible Gallery: Joseph’s Coat: working proof, wood-engraving, 1913-0415.201.663 Museo de Arte, Ponce, Puerto Rico The Coat of Many Colours, 1871, oil on canvas Tate, London The Coat of Many Colours, 1867, watercolour on paper, N04584 The Victoria and Albert Museum Dalziels' Bible Gallery: Joseph’s Coat, wood-engraving, proof on India paper, E.2851-1904 Walker Art Gallery, Liverpool The Coat of Many Colours, 1864-1866, oil on panel, WAG1633 Cat. no. 69 Dalziels' Bible Gallery: Joseph’s Coat (Compositional Sketch and four Studies for Jacob's Granddaughter), 1863 - 65 Pencil on paper; 391 x 291 mm Insc. in pencil bl.: FMB 1865 [altered from 1855, possibly postdated] Lit.: Whitley, p. 43; Jane Butler ‘A Pre-Raphaelite Shibboleth: Joseph,’ The Journal of Pre-Raphaelite Studies, Nov. 1982, vol. 3, no. 1, p. 82, ill. facing p. 82; The Pre- Raphaelites, exh. cat., Tate, London, 1984, p. 206 Exh.: Ford Madox Brown, 1964 (87); Ford Madox Brown: The Unofficial Pre-Raphaelite (43) Prov.: Charles Fairfax Murray Presented by Subscribers, 1906 (1906P788) or the illustration Joseph's Coat from Dalziels' Bible Gallery. This sheet gives an insight into how Brown worked. On the right is an early compositional sketch drawn with loose lines and little detail. It already contains the major elements of the composition notably Jacob and his granddaughter on a raised platform, the dog in the centre, and four of Joseph's brothers standing around his blood stained coat of many colours. 89 These drawings have in the past been identified as studies for the painting The Coat of Many Colours but are in fact f Brown has boxed in the sketch and uses the spare paper to focus on the figure of Jacob's granddaughter whose pose appears to have troubled him. The sheet contains three nude sketches of this child in various positions, and one of the model in costume, in the pose of the middle nude. This is the pose taken up in the finished illustration. At the top right of the paper there is also a small sketch of the front 89 In the catalogue to his one man exhibition held in 1865 Brown refers to this female figure as Jacob’s granddaughter (Op. cit. at note 20, p. 21). 236
wheel of a tricycle-like object which does not appear to be related to the composition but may be one of Brown's inventions. Although this sheet of drawings appears to be dated 1865, this might be a case of Brown mistakenly backdating his work as he had certainly begun the design by 1864, if not before. Jane Butler suggests it may be a study for an illustration to Charles Wells drama Joseph and his Brethren (1824), which Rossetti was keen to have published in the 1850s. 90 Cat. no. 70 Dalziels' Bible Gallery: Joseph's Coat, 1863-1865 Engraved woodblock; 177 x 173 x 23 mm Insc. engraved in reverse bl.: FMB [monogram], bc.: Dalziel Sc Insc. in black ink on reverse: Joseph's Coat/ Dalziel/ No 52 [label]/ BAM Loan J N Hart Esq No34 [label] Insc. engraved on the side l.: WELLS/ INVENTOR, c.: 24 BOUVERIE STREET, r.: LONDON Exh.: Ford Madox Brown: The Unofficial Pre-Raphaelite (44) Prov.: J N Hart Acquired through the executors of J N Hart c.1965 (2006.1040.22) As can be seen from this woodblock, in the final design Brown added a man on a ladder in the background as a reference to Jacob's ladder. The name ‘Wells’ and the word 'INVENTOR' have been etched onto the side of the block. This refers to Charles Wells, who manufactured wooden printing blocks for engraving firms, notably the Dalziel Brothers and Joseph Swain. In 1850 Wells invented a system for bolting blocks together. This allowed engravers to extend the size of the block, but also meant that they could be taken apart and shared between different engravers to speed up production. 91 Swain favoured this type of block. However, the Dalziel's preferred Wells to use more traditional 'groove and tenon' joints when producing their printing blocks. This type of joint involved making a groove on the two sides being joined together and inserting an additional piece of wood inbetween. This gave the joint extra strength and the surface of the wood could be polished to make it appear seamless. This particular woodblock is made up of five separate blocks. 90 Janet Butler ‘A Pre-Raphaelite Shibboleth: Joseph,’ The Journal of Pre-Raphaelite Studies, Nov. 1982, vol. 3, no. 1, p. 82. 91 Op. cit. at note 34, p. 201. 237
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FORD MADOX BROWN: WORKS ON PAPER AN
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ABSTRACT This collaborative thesis
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I extremely grateful to the Arts an
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VOLUME ONE ABBREVIATIONS The follow
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Charles Fairfax Murray (1849-1919),
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group even before it was formally f
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Cherry's misfortune was to the adva
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The first exhibition of works exclu
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lies in her exceptional visual anal
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invaluable to scholars and those wo
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catalogue has been compiled with it
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historiography in the nineteenth ce
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innovative painter. However, as has
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sister, in 1840, Brown decided to m
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outsider and misfit?' offering the
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of 'French' Art. 18 Romanticism had
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subjects. As early as 1818 he wrote
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omitting the death of Lear and Cord
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drawing competitions which took pla
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them together but varied the viewpo
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scene is set outside with the castl
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drawings as 'the reflection of the
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picture. 61 The study also hints at
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The sketch is to be 36 inches in he
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ecords the event, relating that Chr
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from a darkened Earth to a brillian
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unlikely that Madox Brown would hav
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Brown’s interest in another conte
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As shown above the strongest eviden
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Brown sustained his friendship with
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Byron The Romantic poetry of Lord B
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when Prince Azo discovers that his
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these preparatory studies. Even the
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immediate inspiration for the young
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Chamois Hunter: What dost thou mean
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This work composed, in 1840, when I
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published in 1768 and it remained p
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was the romantic and comic aspects
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are identical, although Brown raise
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Brown's use of subtle comedy and ei
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to the Ascension, there are certain
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CHAPTER 2 FLESHING OUT TIME: FORD M
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In the section 'Construction: The P
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eighteenth century with the formati
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The picturesque mode not only told
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Scott's historical novels also infl
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BMAG collection by a sheet of early
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which he forced Harold to swear to
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Normandy.' 47 Therefore, a more pla
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order to improve it, and he was …
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unbefriended Widow is seen to appea
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constitution, and is brought forwar
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Byron, Pope and Burns, and in medal
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Journal in an editorial entitled 'G
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undertook research to check that th
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farmer and lost in a religious tran
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Construction: The Practicalities Re
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institutions he used as resources.
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Southey’s book of the church. Met
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copied the portrait, keeping his po
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Costume and Historical Sourcebooks
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similar British works, such as the
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such as the hat and hair style of t
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Fairholt originally published secti
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Chaucer and John of Gaunt in Wyclif
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he went to grays in Lane to Seddon
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students study '2 hours a day drawi
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y not pursuing this course, the art
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moment when the Anglo-Saxons lost c
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and perfect their poses. He has als
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ack over the early stages of The Se
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Chaucer (Fig. 117). His last prepar
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etter than reading because the view
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explored in detail, Brown’s work
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stopped at was the leave-taking of
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drawing but not to the etching whic
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of working up a composition, most o
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translate his drawing into a carved
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month on an etching of King Lear, y
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Might shine-it was a foolish though
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his friend Dr John Marshall supplie
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illustration to the Prisoner of Chi
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minutely observed study of a corpse
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Let me take this opportunity of exp
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appealing subject in its own right
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Bible had been dropped and it was c
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From these suggestions the obscure
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Brown wrote of the effect he wished
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Eglon's arm jewellery appears to ha
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contributed approximately 30,000 dr
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wood - & the cartoons would be of g
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involved photographing the finished
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corrected it into the end of a lock
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In the mid-nineteenth century steel
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who is leaving on horseback. On the
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Page 193 and 194: My Dear Brown, - I expect to see yo
Page 195 and 196: with bold black outlines and minima
Page 197 and 198: For several years Brown was an inti
Page 199 and 200: England (Fig. 5). This chapter has
Page 201 and 202: FORD MADOX BROWN: CATALOGUE OF DRAW
Page 203 and 204: Exposition Rétrospective de Peintu
Page 205 and 206: already begun the painting in 1845
Page 207 and 208: Cat. no. 6 The Ascension: Study of
Page 209 and 210: Cat. no. 12 The Ascension: Study fo
Page 211 and 212: diary he described it as 'the most
Page 213 and 214: that his 'idea was conceived abroad
Page 215 and 216: works to be bought for a public col
Page 217 and 218: the same composition in the collect
Page 219 and 220: The hand studies, the figure of the
Page 221 and 222: "knight" made a lirlipipe for it.'
Page 223 and 224: decorative architecture and her fin
Page 225 and 226: illustration in Strutt's A Complete
Page 227 and 228: painting the King's cloak has a che
Page 229 and 230: Cat. no. 45 Chaucer at the Court of
Page 231 and 232: y Brown, perhaps one of the sashes
Page 233 and 234: This pastel portrait shows Emma Mad
Page 235 and 236: Cat. no. 59 Costume Studies: French
Page 237 and 238: Cat. no. 62 Dalziels' Bible Gallery
Page 239 and 240: DALZIELS' BIBLE GALLERY: ELIJAH AND
Page 241: Such attention to detail and desire
Page 245 and 246: In December 1863 Brown sent his pat
Page 247 and 248: The British Museum The Dark Blue, O
Page 249 and 250: Manchester A.D. 1363 which was comp
Page 251 and 252: etc.' 111 These drawings may well b
Page 253 and 254: the throne and the prominence of th
Page 255 and 256: Cat. no. 84 King Lear: Kent accuses
Page 257 and 258: Etching in the Germ’ in 1853. 121
Page 259 and 260: attracted no attention, and the yea
Page 261 and 262: faithfully. 133 However, capturing
Page 263 and 264: Cat. no. 93 Lyra Germanica - the Ch
Page 265 and 266: Cat. no. 97 Male: Academic Study of
Page 267 and 268: Cat. no. 101 Morris & Company Windo
Page 269 and 270: Cat. no. 104 Oure Ladye of Saturday
Page 271 and 272: Cat. no. 113 Oure Ladye of Saturday
Page 273 and 274: POETS OF THE NINETEENTH CENTURY: TH
Page 275 and 276: Cat. no. 119 Poets of the Nineteent
Page 277 and 278: in the Birmingham photograph, produ
Page 279 and 280: Cat. no. 125 Portrait: Emma Hill (l
Page 281 and 282: Cat. no. 127 Portrait: Mrs Madox Br
Page 283 and 284: carefully collated from different k
Page 285 and 286: Justice entry again. 'My blessed Li
Page 287 and 288: This is a detailed study of the fac
Page 289 and 290: Cat. no. 143 Stages of Cruelty: Stu
Page 291 and 292: After the reorganisation of the Mor
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1873. 217 The second window depicts
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Cat. no. 152 Sterne's 'Sentimental
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Cat. no. 154 Unknown Subject: Compo
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Cat. no. 158 Wycliffe reading his T
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December 1847. 239 On 28 January 18
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The Traveller, pub. 1869 Wood-engra
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Discussion has highlighted his use
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the artists working in the German s
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and in fact suggested they name the
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APPENDIX Down Stream Between Holmsc
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4. Princeton University Library, Pr
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Blind, Mathilde, Dramas in Miniatur
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Hope, Thomas, Costume of the Ancien
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Retzsch, Friedrich August Moritz, R
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White, Gleeson, English Illustratio
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Fairholt, Frederick William 'Notes
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SECONDARY BOOKS Athanassoglou-Kallm
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Johnson, Lee, The Paintings of Eug
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Vaughan, Michael, William Blake, Lo
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Cusack, Tricia, 'Emma’s Teeth: Re
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Sidey, Tessa, 'Charles Fairfax Murr
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Catalogue of the Permanent Collecti
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Pre-Raphaelite Drawings and Waterco
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Nicoletti, Lisa, Resuscitating Ophe
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