Fashioning the artist: artistic dress in Victorian Britain 1848-1900

212 Pages·2012·2.09 MB·English

by  Robyne Erica Calvert

Calvert, Robyne Erica (2012) Fashioning the artist: artistic dress in
Victorian Britain 1848-1900. PhD thesis.

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Fashioning the Artist:
Artistic Dress in Victorian Britain, 1848 - 1900

Robyne Erica Calvert
Master of Arts, MLitt

Submitted in fulfilment of the requirements
for the Degree of PhD

Department of History of Art

School of Culture and Creative Arts

University of Glasgow

March 2012

© Robyne Erica Calvert, 2012
2
Abstract

My research comprises a study focused on Artistic Dress circa 1848-1900, presenting a roughly
chronological survey that seeks to further our knowledge on its development, varied
manifestations, and influence, both during its time and on subsequent fashion trends. While Artistic
Dress is a category that is acknowledged in the current literature on fashion history, it has had
limited and at times conflicting treatment. It is most often employed to describe sartorial codes in
which significant arts practitioners and patrons—particularly those associated with Pre-
Raphaelitism, the Arts and Crafts Movement, Aestheticism, and Art Nouveau—wore (and at times
designed and promoted) clothes that were frequently labelled in contemporary literature as ‘artistic’
or ‘aesthetic’. These descriptors designated such clothing to be of a unique and creative calibre, but
also outside the norm. As such, it has been a subject of interest for art and fashion historians, but
usually only approached marginally within the scope of larger studies on related artistic
movements, or within studies of larger fashion histories on nineteenth century dress and/or Dress
Reform.

This thesis offers a closer examination of Artistic Dress than has previously been undertaken. The
methodology for this research was to compile a history of the phenomenon of Artistic Dress
derived from relevant primary source material, including (where possible) actual clothing, images
(photographs and paintings), and text (correspondence, memoirs, and periodicals) related to
selected ‘artistic dressers.’ Through this, I hope to identify whether there are in fact differences in
the aforementioned related terms, and whether we might be able to position Artistic Dress as an
umbrella term that is the most appropriate classification for the alternative sartorial trends found in
artistic circles in Victorian Britain, offering a solution to this terminological quandary in dress
history. It is hoped that in clarifying this term, other styles such as Aesthetic Dress and Reform
Dress—and their relation to artistic practice—may be better understood. In this way, it is intended
that this research will enrich the body of knowledge in the areas of both the History of Fashion, and
of British Visual Culture.
3
Table of Contents

Abstract ............................................................................................................................................... 2
Table of Contents ................................................................................................................................ 3
List of Figures ..................................................................................................................................... 5
Acknowledgements & Dedication .................................................................................................... 15
Author’s Declaration ......................................................................................................................... 18
Chapter One: Introduction ................................................................................................................ 19
Review of Key Literature ............................................................................................................. 20
Terminology ................................................................................................................................. 25
Art and Artistic ......................................................................................................................... 25
Aesthetic Movement and Aestheticism .................................................................................... 26
Aesthetic Dress, Pre-Raphaelite Dress, Dress Reform ............................................................ 26
Dress, Fashion, Style, and Sartorial ......................................................................................... 32
Personae (and Artistic Personae) .............................................................................................. 33
Pre-Raphaelite and Pre-Raphaelitism ....................................................................................... 33
Contribution to Knowledge, Methodology, and Approach .......................................................... 33
Scope and Limitations .................................................................................................................. 38
Chapter Structure .......................................................................................................................... 40
Chapter Two: Early Artistic Dress (ca. 1848-1860) ......................................................................... 42
Victorian Women’s Fashion at Mid-century ................................................................................ 44
What is Pre-Raphaelite Dress? ..................................................................................................... 47
Elizabeth Siddal ............................................................................................................................ 52
Early Male Artistic Dress: ‘Sartorial Disregard’ .......................................................................... 58
G.F. Watts and the Holland Park Circle ....................................................................................... 60
Chapter Three: Artistic Dress and Second Wave Pre-Raphaelitism (ca. 1860-1870) ...................... 66
Towards Couture: Victorian Women’s Fashion in the 1860s ...................................................... 66
Manly Modes: Gentleman, Bohemian, and Dandy ...................................................................... 70
‘Pattledom’: Respectable Bohemia .............................................................................................. 77
(‘Uncrinolined’) Women in White ............................................................................................... 81
Jane Morris at Tudor House ......................................................................................................... 85
Artistic Dress and Second-wave Pre-Raphaelitism ...................................................................... 89
Chapter Four: Artistic Dress and the Rise of Aestheticism (ca.1870 – 1880) .................................. 90
Artistic Dress ‘At Home’ .............................................................................................................. 92
Godwin on Dress .......................................................................................................................... 97
Whistler the Modiste .................................................................................................................. 103
Artistic Dress and Society .......................................................................................................... 108
4
Chapter Five: The Artistic Dress Debate (ca. 1880 – 1890) ........................................................... 116
Mrs Haweis and The Art of Dress .............................................................................................. 119
1882 ............................................................................................................................................ 124
William Morris and ‘The Lesser Arts of Life’ ....................................................................... 126
Hamilton’s ‘Aesthetic Movement’ and Defence of Wilde ..................................................... 128
The Helpful Advice of ‘The Magazine of Art’ ...................................................................... 131
Mrs Luke Ionides’ Artistic Dress ........................................................................................... 135
Artistic Dress & Dress Reform ................................................................................................... 136
The Thornycroft Gown: a Liberty Dress? .................................................................................. 142
Whistler & Wilde ........................................................................................................................ 145
Public and Private Views ............................................................................................................ 150
Chapter Six: Healthy and Artistic Dress (ca. 1890 – 1900) ............................................................ 152
Liberty’s ‘School of Personal Adornment’ ................................................................................ 153
The Healthy and Artistic Dress Union ....................................................................................... 156
Foundation .............................................................................................................................. 156
Aglaia ..................................................................................................................................... 159
Meetings and Exhibitions ....................................................................................................... 167
The Exhibition of Living Pictures .......................................................................................... 168
Later Work ............................................................................................................................. 171
Art School Style .......................................................................................................................... 172
Chapter 7: Conclusion ..................................................................................................................... 179
Chronology of Artistic Dress ...................................................................................................... 180
Definition of Artistic Dress ........................................................................................................ 186
Legacy of Artistic Dress ............................................................................................................. 190
Further Research ......................................................................................................................... 193
Conclusion .................................................................................................................................. 196
Appendix I: Figures ........................................................................................................................ 197
Bibliography .................................................................................................................................... 259
List of Figures

Fig. 1.1 Liberty & Co. Ltd., Evening Cape, ca. 1895-1905. Brocaded silk and 197
satin ribbon. Fashion Museum, Bath [BATMC 1.0419].
Fig. 1.2 Liberty & Co. Ltd., Liberty Catalogue, 1894-95. National Art Library, 197
London.
Fig. 2.1 Amy Manson as Lizzie Siddal and Aidan Turner as D.G. Rossetti in 198
Desperate Romantics, episode one. BBC, 2009.
Fig. 2.2 Unknown maker, Bodice of purple and blue shot silk, ca. 1849. 198
Collection: Glasgow Museums [E.1945.54.b].
Fig. 2.3 Unknown maker, Bodice of grey-green silk, ca. 1850 (detail). 198
Collection: Glasgow Museums [E.1956.1.c].
Fig. 2.4 Sir Charles Lock Eastlake, Haidée, a Greek Girl, 1827. Exhibited 1831. 199
Oil on canvas, support: 635 x 508 mm. Tate Britain [N00398].
Fig. 2.5 Dante Gabriel Rossetti, Veronica Veronese, 1872. Oil on canvas, 43 x 199
35 in. Bancroft Collection, Delaware Art Museum [DAM1935-28].
Fig. 2.6 Dante Gabriel Rossetti, The Girlhood of Mary Virgin, 1848-9. Oil on 200
canvas, support: 832 x 654 mm, frame: 1080 x 905 x 75 mm. Tate
Britain, Bequeathed by Lady Jekyll, 1937 [N04872].
Fig. 2.7. Dante Gabriel Rossetti, study for The Girlhood of Mary Virgin, 1848. 200
Pencil; black and brown ink and brown wash; heightened with white and
gold; inscribed ‘Rosetti’ [sic] in an unknown hand; sketch of man’s head
verso; 9.5 x 4.75 inches. Private collection.
Fig. 2.8 Dante Gabriel Rossetti, Hermia and Helena, 1846. Pen and ink, 9 x 6.5 201
in. The National Trust, Wightwick Manor, Wolverhampton.
Fig. 2.9 Unknown maker, Dress (detail), ca. 1858. Grey-brown silk with flounces 201
woven á disposition. Glasgow Museums [E.1985.49.1c].
Fig 2.10 Dante Gabriel Rossetti, Photograph of mid-1850s drawing of Elizabeth 202
Eleanor Rossetti (née Siddal), ca. 1863. Albumen print, 119mm x
95mm, 4 5/8 x 3 3/4 in. National Portrait Gallery, London [NPG P1273
(2a)].
Fig. 2.11 French fashion plate of women’s day dresses, ca. 1856. 202
Fig. 2.12 Dante Gabriel Rossetti, Elizabeth Siddal, ca. 1854. Graphite with 203
stumping, on ivory wove paper, edge mounted to off-white wove
paper, 264 x 113 mm. Art Institue of Chicago [1989.472].
Fig. 2.13 Unknown maker, Day Dress, ca. 1855. White muslin roller-printed with 203
blue flowers and very small dots in background. Glasgow Museums
[E.1985.65.4].
Fig. 2.14 John Everett Millais, Spring (Apple Blossoms), 1859. Oil on canvas, 176 203
x 113 cm, 69.3 x 44.5 in. Lady Lever Art Gallery, Liverpool [LL3624].
Fig. 2.15 Unknown, Elizabeth Siddal, May 1861. Hand coloured photograph, 204
Walters Art Gallery.
Fig. 2.16 Dante Gabriel Rossetti, Beata Beatrix, ca. 1864-70. Oil on canvas, 864 x 204
660 mm. Tate Britain, Presented by Georgiana, Baroness Mount-
Temple in memory of her husband, Francis, Baron Mount-Temple,
1889 [N01279].
Fig. 2.17 Unknown, Dress, ca. 1858-70. Silk, gimp, velvet. Glasgow Museums 204
[E.1977.144.10].
List of Figures 6
Fig. 2.18 Dante Gabriel Rossetti, Dante Gabriel Rossetti (self-portrait), 1847. 205
Pencil and chalk, 197 x 178 mm, 7 3/4 x 7 in. National Portrait Gallery,
London, purchased 1891 [NPG 857].
Fig. 2.19 Herbert Watkins, John Everett Millais, 1854. Albumen print, 32 x 31.5 205
cm. Watts Gallery, Compton [COMWG.501].
Fig. 2.20 G.F. Watts, Self-portrait, 1845. Oil on canvas. Private Collection. 205
Fig. 2.21 Charles Couzens, G.F. Watts, 1849-50. Oil on canvas, 41 x 23 cm. 206
Watts Gallery, Compton [COMWG.501].
Fig. 2.22 G.F. Watts, Sophia Dalrymple, 1851-53. Oil on canvas, 198 x 78.7 cm. 206
Watts Gallery, Compton [COMWG.200].
Fig. 2.23 Frederic Leighton, Pavonia, 1858-9. Oil on canvas, 53 x 41.5 cm. 207
Private Collection.
Fig. 2.24 Unknown, Sara Prinsep and Virgina Pattle, later Countess Somers, n.d. 207
(ca. 1850s). Photograph. Private Collection.
Fig. 2.25 Unknown (possibly H.T. Prinsep), Sophia Dalrymple and G.F. Watts, 207
ca. 1850s. Copy photograph from an Emery Walker negative. National
Portrait Gallery, London [NPG 953/8].
Fig. 3.1 Unknown, Advertisement for ‘Sansflectum Crinolines’ from Le Follet, 208
Journal Du Grand Monde, Fashion, Polite Literature, Beaux Arts, &c.
&c., September, 1863. Print.
Fig. 3.2 Unknown, Engraving from ‘The English Woman’s Domestic Magazine’, 208
July 1860. Print. V&A [PP.19.F]
Fig. 3.3 Unknown, Charles Frederick Worth, n.d. (1860s). Photograph. Getty 208
Images/Hulton Archive.
Fig. 3.4 Unknown, Whistler seated, 1860/65. Modern silver print. Charles Lang 209
Freer Papers, Freer Gallery of Art, Smithsonian Institution, Washington
D.C. Gift of the Estate of Charles Lang Freer.
Fig. 3.5 George du Maurier, Whistler in Q, 1860. Drawing/print. Punch, vol. 39 209
(October 27, 1860), p. 163. Glasgow University Library, Department of
Special Collections.
Fig. 3.6 Edward John Poynter, James Abbot McNeil Whistler, 1858. Drawing. 209
Fig. 3.7 James McNeill Whistler, Portrait of Whistler, 1859. Etching and 209
drypoint, 22.7 x 15.2 cm. Hunterian Art Gallery [GLAHA 46744].
Fig. 3.8 David Wilkie Wynfield, Self-Portrait, 1860s. Albumen print, 213 x 162 210
mm, 8 1/8 x 6 1/8 in. National Portrait Gallery, London. Given by H.
Saxe Wyndham, 1937 [NPG P97].
Fig. 3.9 David Wilkie Wynfield, John Everett Millais, 1860s. Albumen print, 210
213 x 162 mm, 8 1/8 x 6 1/8 in. National Portrait Gallery, London.
Purchased, 1929 [NPG P79].
Fig. 3.10 Lewis Carroll, Julia Margaret Cameron, 1860. Albumen print, 213 x 210
162 mm, 8 1/8 x 6 1/8 in. Getty Images/Hulton Archive, 3326161.
Source: Cox & Ford p. 7.
Fig. 3.11 George du Maurier, Sketch from a letter to the artist’s sister, April 1862. 210
Reproduction. From du Maurier letters, p.126.
Fig. 3.12 Julia Margaret Cameron, Sir John Herschel, c. 1865. Carbon print. 211
National Museum of Science and Industry [1954-243].
Fig. 3.13 Textiles from William Holman Hunt’s Collection, 19th c. Collection of 211
the Royal Ontario Museum, Toronto.
List of Figures 7
Fig. 3.14 Julia Margaret Cameron, William Holman Hunt in Eastern Dress (Taken 211
on the lawn of Brent Lodge, Hendon), May 1864. Albumen print, 259 x
208 mm, 10 1.4 x 8 1.4 in. National Media Museum, Bradford.
Fig. 3.15 Julia Margaret Cameron, William Holman Hunt in Eastern Dress 211
(Taken on the lawn of Brent Lodge, Hendon), May 1864. Albumen
print.
Fig. 3.16 William Holman Hunt, Self-Portrait, 1875. Oil on canvas. Uffizi 212
Gallery, Florence.
Fig. 3.17 G.F. Watts, Choosing, c. 1864. Oil on strawboard mounted on 212
Gatorfoam, 472 x 354 mm, 18 5/8 x 14 in. National Portrait Gallery,
London. Accepted in lieu of tax by H.M. Government and allocated to
the Gallery, 1975 [NPG 5048].
Fig. 3.18 Julia Margaret Cameron, Sadness (Portrait of Ellen Terry at 16), 1864. 212
Carbon print, 242 x 240 mm, 9 1/2 x 9 1/2 in. Royal Photographic
Society.
Fig. 3.19 Julia Margaret Cameron, Hypatia (Marie Spartali), 1867. Albumen print, 213
335 x 246 mm, 13 1/4 x 9 5/8 in. Getty Museum.
Fig. 3.20 Julia Margaret Cameron, The Neopolitana (May Prinsep), 1866. 213
Albumen print, 10 1/4 x 8 1/8 in. Christies.
Fig. 3.21 Julia Margaret Cameron, Julia Jackson, 1867. Albumen silverprint from 213
glass negative, 274 x 200 mm, 10 3/16 x 8 1/8 in. Metropolitan Museum
of Art. Purchase, Joseph Pulitzer Bequest, 1996 [1996.99.2].
Fig. 3.22 Julia Margaret Cameron, Julia Jackson, 1864-65. Albumen print. 213
Fig. 3.23 James McNeill Whistler, Symphony in White, No. 1: The White Girl, 214
1862. Oil on canvas, 213 x 108, 83 7/8 x 42 1/2. National Gallery of
Art, Washington, D.C [1943.6.2].
Fig. 3.24 James McNeill Whistler, Symphony in White, No. 2: The Little White 214
Girl, 1864. Oil on canvas, 76 x 51 cm, 30 x 20 in. Tate Britain.
Bequeathed by Arthur Studd, 1919 [NO3418].
Fig. 3.25 James McNeill Whistler, Symphony in White, No. 3, 1865-67. Oil on 214
canvas, 52 x 76.5 cm, 20 1/2 x 30 1/8 in. The Barber Institute of Fine
Arts, University of Birmingham [39.24].
Fig. 3.26 Dante Gabriel Rossetti, Lady Lilith, 1868. Oil on canvas, 37 1/2 x 32 in. 215
Bancroft Collection, Delaware Museum of Art.
Fig. 3.27 Unknown maker, Dress, 1864. Bleached linen tartalan dress with a 215
matching sash, The Museum of the City of New York. Gift of the
Misses Braman [47.83.1ab].
Fig. 3.28 John Parsons, Jane Morris posed by Dante Gabriel Rossetti, 7 July 215
1865. Albumen print from wet collodion-on-glass negative, 253 x 200
mm. Victoria and Albert Museum [820-1942].
Fig. 3.29 John Parsons, Jane Morris posed by Dante Gabriel Rossetti, 7 July 215
1865. Albumen print from wet collodion-on-glass negative, 204 x 140
mm. Victoria and Albert Museum [1750-1939].
Fig. 3.30 John Parsons, Jane Morris posed by Dante Gabriel Rossetti, 7 July 216
1865. Albumen print from wet collodion-on-glass negative, 256 x 203
mm. Victoria and Albert Museum [823-1942].
List of Figures 8
Fig. 3.31 John Parsons, Jane Morris posed by Dante Gabriel Rossetti, 7 July 216
1865. Albumen print from wet collodion-on-glass negative, 171 x 133
mm. Victoria and Albert Museum [1746-1939].
Fig. 3.32 John Parsons, Jane Morris posed by Dante Gabriel Rossetti, 7 July 216
1865. Albumen print from wet collodion-on-glass negative, 162 x 147
mm. Victoria and Albert Museum [1748-1939].
Fig. 3.33 Dante Gabriel Rossetti, Jane Morris (The Blue Silk Dress), 1868. Oil on 216
canvas, 110.5 x 90.2 cm. The Society of Antiquaries of London
(Kelmscott Manor).
Fig. 3.34 Dante Gabriel Rossetti, Mrs William Morris, 1868. Pen and ink, 18 x 15 217
in. National Gallery of Ireland [2259].
Fig. 3.35 John Parsons, Jane Morris posed by Dante Gabriel Rossetti, 7 July 217
1865. Albumen print, 92 x 60 mm. Victoria and Albert Museum [1735-
1939].
Fig. 3.36 John Parsons, Jane Morris posed by Dante Gabriel Rossetti, 7 July 217
1865. Albumen print, 85 x 59 mm. Victoria and Albert Museum [1736-
1939].
Fig. 4.1 Unknown, Fashion plate from Godey’s Ladies Book, November, 1870. 218
Print.
Fig. 4.2 James Tissot, Too Early, 1873. Oil on canvas. The Guildhall Art 218
Gallery, London.
Fig. 4.3 Unknown, Bustle Pad, ca. 1875. woven horsehair and linen, padded with 219
horsehair. V&A, Bequeathed by Mr E.W. Mynott [T.57-1980].
Fig. 4.4 Unknown, The Gazette, Men’s Coats, 1872. Print. 219
Fig. 4.5 Ellen (Nellie) Epps, Portrait of Laura Alma Tadema in the Dutch Room 219
at Townsend House, c. 1873. Oil on canvas, 77.5 x 63 cm, 30 1/2 x 24
3/4 in. Private Collection.
Fig. 4.6 Catherine Madox Hueffer, Laura Alma Tadema, c. 1873. Watercolour, 219
78.7 x 50.8 cm, 31 x 20 in. Private Collection.
Fig. 4.7 Emma Sandys, A Fashionable Lady, 1873. Pencil and body colour on 220
paper. Private Collection.
Fig. 4.8 Marie Spartali Stillman, Self-Portrait in medieval dress, 1874. Gouache 220
and pastel with gum arabic, 63.5 x 50.8 cm, 25 x 20 in. Private
Collection.
Fig. 4.9 Julia Margaret Cameron, Marie Spartali Stillman, 1868. Albumen print. 220
National Media Museum, Bradford [1955-71/4].
Fig. 4.10 Walter Crane, At Home, A Portrait, 1871. Oil on canvas. Leeds 220
Museums and Galleries (City Art Gallery).
Fig. 4.11 Frederick Hollyer, Sir Edward Coley Burne-Jones, 1st Bt and William 221
Morris with their families, 1874. Albumen cabinet card, 103 mm x 139
mm, 4 in. x 5 1/2 in. National Portrait Gallery [NPG x131265].
Fig. 4.12.1 David Wilkie Wynfield, The St John’s Wood Clique, n.d. (1860s). 221
Reproduction of an Albumen print. Reproduced in H.S. Marks Pen and
Pencil Sketches, London 1894, p.182 (Hacking, 23).
Fig. 4.12.2 David Wilkie Wynfield, P.H. Calderon, W.F. Yeames, and D.W. 221
Wynfield at Hever Castle, ca.1866. Albumen print. Private Collections
(Hacking, 24).
Fig. 4.13 Unknown, E.W. Godwin, c.1870. Photograph. (Kinchin & Stirton). 222
List of Figures 9
Fig. 4.14 Unknown, E.W. Godwin and cast members from ‘As You Like It’ in 222
Coombe Wood, c.1870s-80s. Photograph. Victoria & Albert Museum
[S.163-1998].
Fig. 4.15 Unknown, E.W. Godwin in Medieval Dress, ca. 1861-65. Photograph. 223
Collection of the National Trust, Ellen Terry Memorial Museum,
Smallhythe Place, Kent.
Fig. 4.16 Samuel Walker, Ellen Terry wearing a kimono, ca. 1874. Photograph. 223
Collection of the National Trust, Ellen Terry Memorial Museum,
Smallhythe Place, Kent.
Fig. 4.17 Samuel Walker, Ellen Terry, 1873. Photograph [carte-de-visite]. 223
Collection of the National Trust, Ellen Terry Memorial Museum,
Smallhythe Place, Kent.
Fig. 4.18 James McNeill Whistler, Arrangement in Grey: Portrait of the Painter, 224
c.1867/72. Oil on canvas, 74.9 x 53.3 cm, 29 1/2 x 21 in. Detroit
Institute of Arts, Bequest of Henry Glover Stevens in memory of Ellen
P. Stevens and Mary M. Stevens [32.47].
Fig. 4.19 James McNeill Whistler, Symphony in Flesh-colour and Pink: Mrs F. R. 224
Leyland, 1871-74. Oil on canvas, 195.9 x 102.2 cm, 77 1/8 x 40 1/4 in.
The Frick Collection, New York [16.1.133].
Fig. 4.20 Dante Gabriel Rossetti, Monna Rosa (Portrait of Frances Leyland), 224
1867. Oil on canvas, 174.2 x 136 cm, 68 5/8 x 53 5/16 in. Private
Collection.
Fig. 4.21 James McNeill Whistler, Study for “Symphony in Flesh-colour and 225
Pink: Mrs F. R. Leyland”, 1871/74. Chalk and pastel on brown paper,
28.8 x 18.2 cm, 11 5/16 x 7 3/16 in. Amon Carter Museum, Fort Worth,
Purchase with funds provided by the Council of the Amon Carter
Museum [1990.9].
Fig. 4.22 James McNeill Whistler, La Princesse du pays de la porcelaine, 1863- 225
64. Oil on canvas, 199.9 x 116.1 cm, 78 3/4 x 45 3/4 in. Freer Gallery of
Art, Smithsonian Institution, Washington, D.C., Gift of Charles Lang
Freer [F1903.91].
Fig. 4.23 Unknown, George and Rosalind Howard, n.d.. Albumen print. 226
Collection of Castle Howard, York.
Fig. 4.24.1 W.B. Richmond, George Howard (above), Rosalind Howard (below), 226
ca. 1879. Oil on canvas. Collection of Castle Howard, York.
Fig. 4.24.2 W.B. Richmond, Rosalind Howard, ca. 1879. Oil on canvas. Collection 226
of Castle Howard, York.
Fig. 4.24.3 W.B. Richmond, Rosalind Howard (detail of dress), ca. 1879. Oil on 227
canvas. Collection of Castle Howard, York.
Fig. 4.25 G.F. Watts, Countess Somers [Virginia Pattle], 1860-69, Oil on canvas, 224
121.9 x 89 cm, 51 x 35 in. Watts Gallery, Compton [COMWG.71].
Fig. 4.26 G.F. Watts, Miss Virginia Dalrymple, 1871-72, with later additions c. 227
1874. Oil on canvas, 132 x 84 cm, 52 x 33 in. Watts Gallery, Compton
[COMWG.200A].
Fig. 4.27 Unknown maker, Green Velvet Dress belonging to Virginia Dalrymple, 228
c.1870. Velvet with satin trim. Watts Gallery, Compton [uncatalogued].
Fig. 4.28 Unknown maker, Green Velvet Dress belonging to Virginia Dalrymple, 228
c.1870. Velvet with satin trim. Watts Gallery, Compton [uncatalogued].