John Collier (English, 1850-1934)
The Sleeping Beauty
3K notes
·
View notes
William J. Webbe
The White Owl (Alone and warming his five wits, the white owl in the belfry sits). 1856
5K notes
·
View notes
The Siren by John William Waterhouse (1900)
7K notes
·
View notes
Studies for The Fates Gathering in the Stars by Elihu Vedder
American, c. 1884-1887
charcoal and chalk on wove paper
National Gallery of Art, Washington, D.C. x x
197 notes
·
View notes
The Favorites of the Emperor Honorius, John William Waterhouse, 1883
372 notes
·
View notes
On the Terrace by Antonio Torres-Fuster
161 notes
·
View notes
You know the pamphlets have paid off when someone finally commissions a stained glass window of you!
A somewhat successful attempt to do Egbert the Careless as a stained glass window (based on one of Burne-Jones’ although I achieve nowhere near that level of goodness).
As ever, thanks @outsidexboxofficial for the very good dragon-man
See the rest of the Oxventurers here:
Corazon
Prudence
Dob
Merilwen
171 notes
·
View notes
John William Waterhouse
St. Joan /A Young Saint (propably St. John)
oil on canvas, 55 x 48 cm, early 1870s
299 notes
·
View notes
John Collier, 1897: “Lady Godiva”
370 notes
·
View notes
John William Waterhouse (English, 1849-1917)
Lamia
792 notes
·
View notes
William J. Webbe
Chanticleer and the fox. 1857
338 notes
·
View notes
Apollo and Daphne by John William Waterhouse (1908)
2K notes
·
View notes
Love and the Pilgrim
by Edward Burne-Jones (1833–1898)
· Oil on canvas, 1896-97
· Tapestry, 1909 (by William Morris)
· Pencil on paper, c.1872
674 notes
·
View notes
The Fates Gathering in the Stars by Elihu Vedder. American, 1887. Oil on canvas. In the collection of the Art Institute of Chicago.
Description from the Art Institute:
Elihu Vedder depicted the three Fates of Greek mythology working the thread of life: Clotho spins the thread, Lachesis fixes its length, and Atropos cuts it at the appointed time of death. Their symbolic tools—spindle, distaff, and shears—rest in the foreground, emphasizing the Fates’ decisive role in matters of life and death.
112 notes
·
View notes
Theodor von Holst (1810 - 1844), The Wish, 1840, oil on canvas, Yale Center for British Art (source).
Groupie Fact: It is widely believed that von Holst modeled the woman in this painting after the 20-year-old Amelia Thomasina Symmes-Villard, his then fiancé and favorite model. Symmes-Villard was a sort of femme-fatale and allegedly carried around a small knife within her bodice. Fellow artist William Bell Scott once suggested that if von Holst’s alcoholism did not kill him, Symmes-Villard probably would have done it herself (source).
For more information on Theodor von Holst and Amelia Thomasina Symmes-Villard, check out “Theodor von Holst; his art and the Pre-Raphaelites” by Simon Poe (linked above).
134 notes
·
View notes