Shakespeare, William, The Complete Works <strong>of</strong> William Shakespeare revised from the original Editions by J. O. Halliwell: Tragedies, vol. 1, London, John Tallis and Co., 1860 Shakespeare, William, Hamlet with sixteen Lithographs by Eugène Delacroix, London Paddington Press, 1976 Shakespeare, William, King Lear, ed. R. A. Foakes, London, Thomas Learning, 2005 Shaw, Henry, Specimens <strong>of</strong> Ancient Furniture, drawn from existing Authorities with Descriptions by Sir Samuel Rush Meyrick, London, William Pickering, 1836 Shaw, Henry, Dresses and Decorations <strong>of</strong> the Middle Ages, 2 vols., London, W. Pickering, 1843 Soskice, Juliet, Chapters from Childhood: Reminiscences <strong>of</strong> an Artist’s Granddaughter, London, Selwyn and Blount, 1921 Speght, Thomas, ed., The Works <strong>of</strong> our ancient, learned, & excellent English Poet, Jeffrey Chaucer, London, 1687 Sterne, Laurence A Sentimental Journey through France and Italy, London, Penguin, 2001 (first published 1768) Stephens, Frederic George, Dante Gabriel Rossetti, London, 1894 Stothard, Charles, Monumental Effigies <strong>of</strong> Great Britain; selected from our Cathedrals and Churches for the purpose <strong>of</strong> bringing together and preserving correct Representations <strong>of</strong> the best historical Illustrations extant, from the Norman Conquest to the Reign <strong>of</strong> Henry the Eighth, 2 vols., London, printed by J. M’Creery for the Author, 1817 Strutt, Joseph, The regal and ecclesiastical Antiquities <strong>of</strong> England: Containing the Representations <strong>of</strong> all English Monarchs from Edward the Confessor to Henry the Eighth; together with many <strong>of</strong> the great Persons that were eminent under their several Reigns, London, Walter Shropshire, 1777 Strutt, Joseph, A Complete View <strong>of</strong> the Dress and Habits <strong>of</strong> the People <strong>of</strong> England from the Establishment <strong>of</strong> the Saxons in Britain to the Present Time, 2 vols., London, H. G. Bohn, 1842 Surtees, Virginia, ed., The Diary <strong>of</strong> George Price Boyce, Norwich, Real World, 1980 Surtees, Virginia, ed., The Diary <strong>of</strong> Ford Madox Brown, New Haven and London, Yale <strong>University</strong> Press for the Paul Mellon Centre for British Art, 1981 Tennyson, Alfred, Poems, London, Moxon, 1857 Trewin, J. C., ed., The Journal <strong>of</strong> William Charles Macready 1832-1851, London, Longmans, Green and Co., 1967 317
White, Gleeson, English Illustration: ‘The Sixties 1855-70,’ London, Archibald Constable and Co., 1897 Willmott, Robert Aris, Poets <strong>of</strong> the Nineteenth Century, London, George Routledge and Co., 1857 Willmott, Robert Aris, English Sacred Poetry, London, Routledge, Warne, & Routledge, 1862 Winkworth, Catherine, trans., Lyra Germanica - the Christian Life, 2 nd Series, London, Longmans, Green, Reader and Dyer, 1868 ARTICLES AND PERIODICALS Anonymous, 'Review <strong>of</strong> the new Edition <strong>of</strong> Thomas Hope's Costume <strong>of</strong> the Ancients' in The Art Union, vol. 7, no. 79, 1 April, 1845, p. 104. Anonymous, 'Review <strong>of</strong> Costumes des 13me, 14me, and 15me Siècles, dessinés et gravés par Paul Mercury; avec un texte historique et descriptif, par Camille Bonnard,' The Art Union, vol. 7, no. 82, 1 May 1845, p. 124 Anonymous, 'Review <strong>of</strong> the 1845 Westminster Competition,' The Art Union, vol. 7, no. 85, 1 August 1845, pp. 253-259 Anonyomous, The Athenæum, 9 September, 1848, p. 911. Anonymous, 'Royal Academy Exhibition,' Illustrated London News, 17 May 1848, p. 415 Anonymous, 'Maria <strong>of</strong> Moulines,' The People's Journal, vol. 4, 1850 Anonymous, 'Fine Arts,' The Standard, 20 March, 1865, p. 6 Anonymous, 'Mr Madox Brown's Exhibition,' The Daily Telegraph, 24 March 1865, p. 3 Anonymous, 'Mr Brown's Exhibition,' Pall Mall Gazette, 29 March 1865, pp. 10-11 Anonymous, 'Work and other Pictures by Mr Ford Madox Brown,' The Reader, 1 April 1865, pp. 377-78 Anonymous, 'Private Enterprise in Art,' The Standard, 15 April, 1865, p. 3 Anonymous, 'An English Art Reformer: Ford Madox Brown,' Scriber's Monthly, New York, May 1872, pp. 157-161 Anonymous, 'Mr Madox Brown's "Oliver Cromwell",' The Examiner, 28 March, 1874, p. 325 The Art Union, vol. 4, no. 46, 1 November 1842, p. 245 318
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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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year. The most arresting element of
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My Dear Brown, - I expect to see yo
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with bold black outlines and minima
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For several years Brown was an inti
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England (Fig. 5). This chapter has
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FORD MADOX BROWN: CATALOGUE OF DRAW
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Exposition Rétrospective de Peintu
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already begun the painting in 1845
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Cat. no. 6 The Ascension: Study of
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Cat. no. 12 The Ascension: Study fo
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diary he described it as 'the most
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that his 'idea was conceived abroad
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works to be bought for a public col
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the same composition in the collect
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The hand studies, the figure of the
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"knight" made a lirlipipe for it.'
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decorative architecture and her fin
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illustration in Strutt's A Complete
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painting the King's cloak has a che
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Cat. no. 45 Chaucer at the Court of
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y Brown, perhaps one of the sashes
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This pastel portrait shows Emma Mad
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Cat. no. 59 Costume Studies: French
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Cat. no. 62 Dalziels' Bible Gallery
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DALZIELS' BIBLE GALLERY: ELIJAH AND
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Such attention to detail and desire
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wheel of a tricycle-like object whi
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In December 1863 Brown sent his pat
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The British Museum The Dark Blue, O
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Manchester A.D. 1363 which was comp
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etc.' 111 These drawings may well b
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the throne and the prominence of th
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Cat. no. 84 King Lear: Kent accuses
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Etching in the Germ’ in 1853. 121
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attracted no attention, and the yea
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faithfully. 133 However, capturing
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Cat. no. 93 Lyra Germanica - the Ch
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Cat. no. 97 Male: Academic Study of
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Cat. no. 101 Morris & Company Windo
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Cat. no. 104 Oure Ladye of Saturday
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Cat. no. 113 Oure Ladye of Saturday
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- 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
- Page 293 and 294: 1873. 217 The second window depicts
- Page 295 and 296: Cat. no. 152 Sterne's 'Sentimental
- Page 297 and 298: Cat. no. 154 Unknown Subject: Compo
- Page 299 and 300: Cat. no. 158 Wycliffe reading his T
- Page 301 and 302: Cat. no. 164 Wycliffe reading his T
- Page 303 and 304: December 1847. 239 On 28 January 18
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- Page 307 and 308: The Traveller, pub. 1869 Wood-engra
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- Page 315 and 316: APPENDIX Down Stream Between Holmsc
- Page 317 and 318: 4. Princeton University Library, Pr
- Page 319 and 320: Blind, Mathilde, Dramas in Miniatur
- Page 321 and 322: Hope, Thomas, Costume of the Ancien
- Page 323: Retzsch, Friedrich August Moritz, R
- Page 327 and 328: Fairholt, Frederick William 'Notes
- Page 329 and 330: SECONDARY BOOKS Athanassoglou-Kallm
- Page 331 and 332: Johnson, Lee, The Paintings of Eug
- Page 333 and 334: Vaughan, Michael, William Blake, Lo
- Page 335 and 336: Cusack, Tricia, 'Emma’s Teeth: Re
- Page 337 and 338: Sidey, Tessa, 'Charles Fairfax Murr
- Page 339 and 340: Catalogue of the Permanent Collecti
- Page 341 and 342: Pre-Raphaelite Drawings and Waterco
- Page 343 and 344: Nicoletti, Lisa, Resuscitating Ophe