DEAD LOVE - Elizabeth Siddal

Oh never weep for love that’s dead
Since love is seldom true
But changes his fashion from blue to red,
From brightest red to blue,
And love was born to an early death
And is so seldom true.

Then harbour no smile on your bonny face
To win the deepest sigh.
The fairest words on truest lips
Pass on and surely die,
And you will stand alone, my dear,
When wintry winds draw nigh.

Sweet, never weep for what cannot be,
For this God has not given.
If the merest dream of love were true
Then, sweet, we should be in heaven,
And this is only earth, my dear,
Where true love is not given.

"Elizabeth Siddall Plaiting her Hair" drawing by Dante Gabriel Rossetti

Portrait of Elizabeth Siddal By Dante Gabriel Rossetti 1860 – 1861

http://www.preraphaelites.org/the-collection/1904p256/portrait-of-elizabeth-siddal/

Drawing of Lizzie Siddal

http://lizziesiddal.com/portal/a-drawer-full-of-guggums/

Beerbohm’s cartoon of Rossetti, Lizzie and a mouse

Lizzie Siddal new play

LIZZIE SIDDAL
A NEW PLAY BY JEREMY GREEN
AT THE ARCOLA THEATRE, LONDON
from Wednesday 20 November - Saturday 21 December 2013

Elizabeth Siddal, The Holy Family

Clerk Saunders, watercolour by Elizabeth Siddal

1857

Lady Clare, Elizabeth Siddal, 1857.

Lady Clare, Elizabeth Siddal, 1857. 
This drawing illustrates Tennyson's Lady Clare, in which the heroine's natural mother begs her to conceal her humble origin, lest Lord Ronald withdraw his offer of marriage.

Lady Affixing a Pennant to a Knight’s Spear

http://www.artmagick.com/pictures/artist.aspx?artist=elizabeth-eleanor-siddal

The face of Lizzie

http://en.wikipedia.org/wiki/Elizabeth_Siddal

http://scandalouswoman.blogspot.co.uk/2009/05/lizzie-siddal-victorian-supermodel.html

http://www.amazon.co.uk/Legend-Elizabeth-Siddal-Jan-Marsh/dp/0704371936

The Legend of Elizabeth Siddal

Jan Marsh
Just bought this

Elizabeth Eleanor Siddal

The miniature painted in gouache over a photograph has been attributed to the subject's husband, Dante Gabriel Rossetti, the English poet and leader of the Pre-Raphaelite painters.

Around 1905 a lady visiting visiting East London saw it in an elderly ladies home who said it was 'of the wife of a painter man'. It was the midwife who attended Lizzie's confinement and was given to her by Rossetti. Pierpoint added the Faberge frame. The money from the sale kept the old lady out of the Workhouse.

 http://www.unc.edu/~hallybur/siddall6.html

Beata Beatrix close up of Lizzie

http://en.wikipedia.org/wiki/Beata_Beatrix

Beata Beatrix, Dante Gabriel Rossetti, c.1864-70

“Oh never weep for love that’s dead
Since love is seldom true
But changes his fashion from blue to red,

From brightest red to blue,
And love was born to an early death
And is so seldom true.
Then harbour no smile on your bonny face
To win the deepest sigh.
The fairest words on truest lips
Pass on and surely die,
And you will stand alone, my dear,
When wintry winds draw nigh.

Sweet, never weep for what cannot be,
For this God has not given.
If the merest dream of love were true
Then, sweet, we should be in heaven,
And this is only earth, my dear,
Where true love is not given.”
— Dead Love -Elizabeth Eleanor Siddal

Red House (a Grade I Listed Building), Bexleyheath ~ a fragment of a Mural thought to be by Elizabeth Siddal (wife of Dante Gabriel Rossetti) in the Morris's Bedroom

http://www.flickr.com/photos/mynameismisty/5524530074/

Elizabeth Eleanor Siddal - Clerk Saunders

Price Realized
£7,250

inscribed 'By Lizzie R/Clerk Saunders' by William Michael Rossetti (on the reverse of the backing sheet)
pencil, on paper, with partial watermark, unframed
3½ x 5½ in. (8.9 x 14 cm.)

The present drawing illustrates the same subject as lot 20, and is again related to the finished watercolour of 1857 in the Fitzwilliam Museum, Cambridge. Another version of the drawing, apparently known only from one of the glass negatives of the artist's work in the Ashmolean Museum, Oxford, is illustrated in the catalogue of the Siddal Exhibition held at Sheffield in 1991, p. 65.

http://www.christies.com/lotfinder/elizabeth-siddal-clerk-saunders/5396354/lot/lot_details.aspx?from=salesummary&pos=6&intObjectID=5396354&sid=e107da45-4c75-42f8-9c76-d62ad90fe2bd&page=2

Elizabeth Eleanor Siddal - The Maries at the Sepulchre; and The Passing of Arthur

Price Realized
£2,500


one inscribed 'By Lizzie R' by William Michael Rossetti and further inscribed 'The Maries at/The Sepulchre/Property of/MRS ROSSETTI ANGELI' (on the reverse of the backing sheet); and one with inscription 'King Arthur/not wanted' (on the reverse of the backing sheet)
pencil, on paper, unframed
3½ x 5½ in. (8.9 x 14 cm.); and smaller (2)

Provenance
Dante Gabriel Rossetti. William Michael Rossetti and by descent in his family to the present owner.

Literature
The Maries at the Sepulchre;
William Michael Rossetti, 'Dante Rossetti and Elizabeth Siddal', Burlington Magazine, vol. I, no. 3, May 1903, p. 295.
Roger C. Lewis and Mark Samuels Lasner (eds.), Poems and Drawings of Elizabeth Siddal, Wolfville, Nova Scotia, 1978, pl. 8.

Exhibited
The Maries at the Sepulchre
London, Arts Council, Ruskin and his Circle, 1964, no. 247.
Sheffield, The Ruskin Gallery, Elizabeth Siddal: Pre-Raphaelite Artist, 1991, no. 22 (photograph only), illustrated in catalogue.
The Passing of Arthur
Sheffield, The Ruskin Gallery, Elizabeth Siddal: Pre-Raphaelite Artist, 1991, no. 13, illustrated in catalogue.

Dated circa 1855 in the Sheffield exhibition catalogue, the second drawing illustrates Tennyson's poem 'Morte d'Arthur'. One of Rossetti's two designs for 'The Palace of Art' in the famous Moxon edition of Tennyson of 1857 is comparable in subject and composition.

http://www.christies.com/lotfinder/elizabeth-siddal-the-maries-at-the-sepulchre/5396352/lot/lot_details.aspx?from=salesummary&pos=4&intObjectID=5396352&sid=e107da45-4c75-42f8-9c76-d62ad90fe2bd&page=2

Elizabeth Eleanor Siddal - Clerk Saunders

Price Realized
£6,500

watercolour with gum arabic and scratching out, on paper
10 x 7½ in. (25.4 x 19.1 cm.)

'Clerk Saunders' is a well-known Border ballad that appears in many early collections, including Matthew ('Monk') Lewis's Tales of Wonder (1800) and Sir Walter Scott's Minstrelsy of the Scottish Border (1802-3). The first part describes how the Clerk seduces Maid Margaret and is stabbed to death by her brothers when they find them sleeping. In the second part, which seems to be the subject of Siddal's design, the action moves into the sphere of the supernatural. The Clerk returns after death to claim a token of love and Maid Margaret follows him in a vain attempt to share his grave as she has his bed.

Scott described the ballad as 'uncommonly wild and beautiful, and apparently very ancient', and it fascinated the Pre-Raphaelite circle. Burne-Jones illustrated it in a watercolour of 1861 (Tate Britain), and his wife, Georgiana, included it in the repertoire of early songs she would sing to her own piano accompaniment. The traditional tune was supplied by Peter Paul Marshall, the least prominent partner in the firm of Morris, Marshall, Faulkner & Co., Fine Art Workmen, established that year.

Siddal's design was conceived in response to a commission that she and Rossetti received in 1854 to illustrate a collection of ballads that their friend William Allingham was editing for Routledge. The scheme in this form eventually fell through, but not before both artists had executed a number of designs.

'Clerk Saunders' was the first subject to be undertaken by Siddal, and she clearly identified closely with the theme. Several preliminary studies are recorded, including the present example and lot 21, while a finished watercolour of 1857 is generally considered her masterpiece (Fitzwilliam Museum, Cambridge; illustrated in the catalogue of the 1991 Siddal Exhibition at Sheffield, pl. 3). The watercolour was bought by Rossetti's American friend Charles Eliot Norton, but when Siddal died so tragically in 1862, Rossetti asked for it back, exchanging it for a drawing of his own. When he moved to 16 Cheyne Walk, Chelsea, in October that year, he hung the entire drawing-room with designs by his late wife.

Lots 19 and 20 may also have been among these drawings, while the present study could be the one to which Charles Fairfax Murray was referring in a note still on the back of the Fitzwilliam watercolour: 'A finished sketch mostly done in carmine remains in the possession of Wm. Rossetti' (the note is transcribed in full in the catalogue of the 1991 exhibition, p. 64). The colour as it stands today is more brown than carmine, but it might have faded.
http://www.christies.com/lotfinder/elizabeth-siddal-clerk-saunders/5396353/lot/lot_details.aspx?from=salesummary&pos=5&intObjectID=5396353&sid=e107da45-4c75-42f8-9c76-d62ad90fe2bd&page=2

Elizabeth Eleanor Siddal - The Maries at the Sepulchre; and The Passing of Arthur

Price Realized £2,500

The Maries at the Sepulchre; and The Passing of Arthur
one inscribed 'By Lizzie R' by William Michael Rossetti and further inscribed 'The Maries at/The Sepulchre/Property of/MRS ROSSETTI ANGELI' (on the reverse of the backing sheet); and one with inscription 'King Arthur/not wanted' (on the reverse of the backing sheet)
pencil, on paper, unframed
3½ x 5½ in. (8.9 x 14 cm.); and smaller (2)

Provenance
Dante Gabriel Rossetti. William Michael Rossetti and by descent in his family to the present owner.


Literature
The Maries at the Sepulchre;
William Michael Rossetti, 'Dante Rossetti and Elizabeth Siddal', Burlington Magazine, vol. I, no. 3, May 1903, p. 295.
Roger C. Lewis and Mark Samuels Lasner (eds.), Poems and Drawings of Elizabeth Siddal, Wolfville, Nova Scotia, 1978, pl. 8.


Exhibited
The Maries at the Sepulchre
London, Arts Council, Ruskin and his Circle, 1964, no. 247.
Sheffield, The Ruskin Gallery, Elizabeth Siddal: Pre-Raphaelite Artist, 1991, no. 22 (photograph only), illustrated in catalogue.
The Passing of Arthur
Sheffield, The Ruskin Gallery, Elizabeth Siddal: Pre-Raphaelite Artist, 1991, no. 13, illustrated in catalogue.

Dated circa 1855 in the Sheffield exhibition catalogue, the second drawing illustrates Tennyson's poem 'Morte d'Arthur'. One of Rossetti's two designs for 'The Palace of Art' in the famous Moxon edition of Tennyson of 1857 is comparable in subject and composition.

http://www.christies.com/LotFinder/lot_details.aspx?from=searchresults&pos=9&intObjectID=5396352&sid=62632de3-e778-481e-a531-df02343950ab

Ballad of Fair Annie - Study / Jephtha's Daughter - Sketch

On the front a study from life for a design for an old ballad, 'The Ballad of Fair Annie', one of four sketches by Rossetti.On the back is a pencil sketch by Elizabeth Siddal for 'Jephtha's Daughter' (Judges XI). An Israelite commander who waged war against the Ammonites, Jephtha vowed to sacrifice to God 'whosoever cometh forth of the doors of my house to meet me', should he return victorious: this proved to be his daughter, his only child. This work is the only drawing by Siddal in the Birmingham collection. This is from a group of drawings identified as studies for 'Jephtha's Daughter'.

http://www.preraphaelites.org/the-collection/1904P360/ballad-of-fair-annie-study--jephthas-daughter-sketch/

Elizabeth Eleanor Siddal - The Haunted Wood (gouache on paper)

http://www.bridgemanart.com/image/Siddal-Elizabeth-Eleanor-Lizzie-1834-62/The-Haunted-Wood-gouache-on-paper/ae69864bdf7f415cb997b8a94a0b2516?key=pre%20raphaelites&filter=CBPOIHV&thumb=x150&num=15&page=46