Marillier, DGR: An Illustrated Memorial, 162-163.
Sharp, DGR: A Record and a Study, 212-214.
Surtees, A Catalogue Raisonné, vol. 1, 140-141. ◦
The Pre–Raphaelites, Tate 1984, 308-309.
The date of the three principal drawings is uncertain. Sharp assigns them to 1874, Surtees to
1875. Apparently DGR made his finished drawings in preparation for a large canvas, but he
never undertook the project, in spite of the fact that Howell had a buyer for such a picture, as he wrote to DGR
in December 1875: “What do you want for Lady Macbeth and when will it be begun and
finished? Grant wants an important picture, and I am told (not by him) that it must be a
certain size, as it is going into a drawing room where there will be no other pictures. Write
to me, describe the picture, describe more or less the size, and name your price, and time by
which you think it can be finished” (see
Fredeman, Correspondence, 75.230
“Filled with a sense of frenzy and nightmarish flux. . ., [the] influences can be
seen from Fuseli and his follower Theodore von Holst”
Grieve, The Pre–Raphaelites, Tate 1984, 308