Artworks · John Everett Millais

Portia

1886 · Oil on canvas

49 1/4 x 33 in. (125.1 x 83.8 cm)

The Metropolitan Museum of Art

The Baby-House

1872 · etching on chine applique

plate: 14.5 x 18.5 cm (5 11/16 x 7 5/16 in.) sheet: 26 x 36.5 cm (10 1/4 x 14 3/8 in.)

National Gallery of Art

Going to the Park

1872 · Etching on cream chine, laid down on ivory wove paper (chine collé)

Plate: 18.5 × 13.1 cm (7 5/16 × 5 3/16 in.); Sheet: 35.9 × 25.1 cm (14 3/16 × 9 15/16 in.)

Art Institute of Chicago

The Unjust Judge and the Importunate Widow (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Good Samaritan (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

Image: 5 3/8 × 4 3/16 in. (13.7 × 10.7 cm) Sheet: 7 5/16 × 6 3/16 in. (18.6 × 15.7 cm)

The Metropolitan Museum of Art

The Labourers in the Vineyard (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Unmerciful Servant (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Wicked Husbandmen (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

image: 5 1/2 x 4 5/16 in. (13.9 x 10.9 cm) sheet: 7 5/16 x 6 1/16 in. (18.6 x 15.4 cm)

The Metropolitan Museum of Art

The Foolish Virgins (The Parables of Our Lord and Saviour Jesus Christ)

1864 · Wood engraving; proof

Image: 5 1/2 × 4 1/4 in. (13.9 × 10.8 cm) Sheet: 7 7/16 × 6 3/16 in. (18.9 × 15.7 cm)

The Metropolitan Museum of Art

The Baby House

1863 · Etching on cream chine, laid down on ivory wove paper

Plate: 14.5 × 18.4 cm (5 3/4 × 7 1/4 in.); Sheet: 28 × 38.5 cm (11 1/16 × 15 3/16 in.)

Art Institute of Chicago

Summer Indolence

1861 · Etching on ivory wove paper

Plate: 17.5 × 25.2 cm (6 15/16 × 9 15/16 in.); Sheet: 21.1 × 27 cm (8 5/16 × 10 11/16 in.)

Art Institute of Chicago

Happy Springtime

1860 · Etching on ivory wove chine laid down on off-white wove paper

Image: 13.5 × 9.8 cm (5 3/8 × 3 7/8 in.); Chine: 24.5 × 16.9 cm (9 11/16 × 6 11/16 in.); Sheet: 44.7 × 31.9 cm (17 5/8 × 12 9/16 in.)

Art Institute of Chicago

Bridge of Sighs

1858 · Etching on ivory chine, laid down on ivory wove paper

Plate: 17.6 × 12.5 cm (6 15/16 × 4 15/16 in.); Sheet: 34.9 × 24.5 cm (13 3/4 × 9 11/16 in.)

Art Institute of Chicago

Study for the Head of the Rescuing Lover in Escape of the Heretic

1857 · Graphite and red chalk, on cream wove paper (discolored from ivory) laid down on ivory

25.3 × 19.1 cm (10 × 7 9/16 in.)

Art Institute of Chicago

Design for a Gothic Arch with the Artist and Effie Ruskin Embracing (recto); Design for a Gothic Arch with Effie as an Angel (verso)

1853 · Graphite, with touches of pen and brown ink (recto and verso) on ivory paper

23.2 × 11.5 cm (9 3/16 × 4 9/16 in.)

Art Institute of Chicago

Aeneas Shown the Body of Pallas from Virgil's "Aeneid"

1843 · pen and black ink on original mount

Sheet: 36.1 x 48.7 cm (14 3/16 x 19 3/16 in.); Secondary Support: 43.1 x 55.4 cm (16 15/16 x 21 13/16 in.)

Cleveland Museum of Art

Study of a Pottery Jug [recto]

1842 · watercolor over graphite on wove paper

overall: 9.2 x 14.9 cm (3 5/8 x 5 7/8 in.)

National Gallery of Art

Lovers under a Tree

1840 · graphite on wove paper

overall: 15.8 x 20.9 cm (6 1/4 x 8 1/4 in.)

National Gallery of Art