Jane Morris standing, in marquee [2] Dante Gabriel Rossetti and John Parsons 1 © V&A Images/Victoria and Albert Museum [untitled] DGR and John Parsons 1865 June R.A., 1973; Pre-Raphaelite Photography, A British Council Exhibition (1983) Victoria and Albert Museum 1741.1939 The uncropped version of this picture in the Victoria and Albert collection measures 28.5 x 20.1 cm. (Record No. 823/42). photography collodion print 19.6 x 13 cm <artist/> <bibl/> <note/> </citnpictorial> <citnmythic> <name/> <culture/> <bibl/> <note/> </citnmythic> <citnhistorical> <event/> <place/> <date/> <bibl/> <note/> </citnhistorical> <citnautobiographical> <name/> <place/> <date/> <bibl/> <note/> </citnautobiographical> <citnscenic> <place/> <date/> <bibl/> <note/> </citnscenic> </listcitn> </source> <commentaries> <head>Commentary</head> <section type="intro"> <head>Introduction</head> <p>This pose is closely related to <xref doc="a.sa140g.rap">another pose</xref> in which Mrs. Morris is outdoors under a marquee and against a white backgroup, with her hands clasped at her midriff. In this pose her body is turned to the left but her face is turned directly at the camera. As in the related pose, this exists in two printed states, <xref doc="a.sa140h.tif">one</xref> that shows a billowing canopy, <xref doc="a.sa140hh.tif">the other</xref> that is more lightly printed and that is cropped close. The cropped print is much less dramatic. The uncropped picture is in fact a modern print made when Gordon Bottomly was putting together the <xref doc="a.bottomly.rad">album of photographs</xref> that house all of the Victoria and Albert prints.</p> <p>The Victoria and Albert Museum has two other prints of this picture. Both are the version that is not closely cropped. One of these is a <xref doc="a.sa140h2.tif">black and white</xref> print, the other is a <xref doc="a.sa140h3.tif">sepia</xref> print. The Museum records identify <xref doc="a.sa140hh.tif">the cropped</xref> print as an original, the other as a modern copy. Of course all the copies of the uncropped version ultimately derive from an original 1865 negative, and in fact it is these copies that show the negative's original compositional structure.</p> </section> <section type="prodhist"> <head>Production History</head> <p/> </section> <section type="recepthist"> <head>Reception</head> <p/> </section> <section type="icon"> <head>Iconograpic</head> <p/> </section> <section type="pictorial"> <head>Pictorial</head> <p/> </section> <section type="historical"> <head>Historical</head> <p/> </section> <section type="literary"> <head>Literary</head> <p/> </section> <section type="autobio"> <head>Autobiographical</head> <p/> </section> <section type="biblio"> <head>Bibliographic</head> <p> <bibl> <author>Bartram</author>, <xref doc="a.bartram001.rad" link="dead" from="38" to="40" workcode="sa140"> <title level="wrk"> <hi rend="i">Pre-Raphaelite Photography</hi> , 38-40. Bartram, <hi rend="i">The Pre-Raphaelite Camera</hi> , Chapters 5-6.