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Edward Burne-Jones Auction Price Results

Edward Burne-Jones (1833-1898)  Please Register/Login to access your Invaluable Alerts

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Edward Burne-Jones British, 1833-1898 May Margaux, a Study for Clerk Saunders, circa 1859-1865

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Description: Edward Burne-Jones British, 1833-1898 May Margaux, a Study for Clerk Saunders, circa 1859-1865 Stamped EBJ (ur), inscribed Clerk Saunders/May Margaux (lr) and inscribed Clerk Saunders/May Margaux in pencil (ll) Graphite pencil on paper 13 1/2 x 6 5/8 inches (34.3 x 17 cm) This sheet is a study for Burne-Jones's painting Clerk Saunders now in the Tate Gallery. The painting illustrates an English folk ballad of the same name. The figure depicted in the drawing is the heroine of the story, May Margaux, who is seduced by Saunders, who is himself then killed by one of her brothers. The drawing is a fine example of Burne-Jones's Pre-Raphaelite period, which spanned from about 1859 to 1864. The model was apparently Elizabeth Siddal, herself a Pre-Raphaelite artist and the wife of the painter Dante Gabriel Rossetti. We are grateful to Dr. Elisa Korb of Misericordia University for confirming the attribution to Burne-Jones, based on photographs, and for her assistance in cataloguing this lot. • 

Condition Report: Toned. Matburn. Foxing. 3/4 inch horizontal repaired tear in the upper right register (upper right corner) and a 2 inch diagonal tear in the upper right corner. Some handling creases in the lower right corner. There is old glue residue, verso and the work is hinged with two pieces of tape along the upper register verso. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Edward Burne-Jones British, 1833-1898 The Marriage of Pyramus and Thisbe

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Description: Edward Burne-Jones British, 1833-1898 The Marriage of Pyramus and Thisbe Possible partial signature Jon... (lr) Graphite pencil and watercolor on paper laid down to japanned paper 9 3/4 x 6 3/4 inches (24.8 x 17.1 cm) The Marriage of Pyramus and Thisbe pictures an alternative ending to the tale of star-crossed lovers described in Book IV of Ovid's Metamorphoses. Forbidden from marriage by their feuding families and failing in an attempted elopement, Pyramus and Thisbe end their lives. Here, Burne-Jones imagines their apocryphal union, the lovers embraced by the winged, rose-garlanded figure of Eros. Maria Cassavetti Zambaco, a Greek sculptor who frequented the Pre-Raphaelite circle and who was Burne-Jones's mistress from 1866, modeled for Thisbe. The artists' liaison ultimately paralleled that of Pyramus and Thisbe: Zambaco attempted suicide in 1869, and their affair fizzled around 1875. This work's symmetrical composition, geometric forms and saturated color scheme intimate that it served as a tile, embroidery or stained glass design for Morris, Marshall, Faulkner & Co. Burne-Jones was a partner in the British decorative arts firm and its leading stained glass designer. A larger and probably earlier version of this piece appeared on the art market in 2003. We are grateful to Dr. Elisa Korb of Misericordia University for confirming the attribution to Burne-Jones, based on photographs, and for her assistance in cataloguing this lot. C 

Condition Report: Paper toned. Pin hole in the margin at the upper left edge. Possible U-shaped repair to the paper at the sleeve of Pyramus at the upper center right, approximately 1/4 of an inch. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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EDWARD BURNE-JONES, (BRITISH 1833-1898), STANDING MALE NUDE

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Description: EDWARD BURNE-JONES (british 1833-1898)/span STANDING MALE NUDE Signed with initials and dated 'EBJ / 1885' bottom center right, pencil on paper laid to paper 8 5/8 x 4 7/8 in. (21.9 x 12.4cm) (sheet) provenance: /spanPrivate Collection, Florida.

Condition Report: Sheet is affixed to card. There is some pale, diffuse toning at outer edges of sheet (sheet may have conceivably been framed with a different overmat that covered part of outer edges?). There is, additionally, some apparent surface toning/discoloration, including at lower left corner. There are scattered foxing spots, some practically minute, and the largest being in part of figure's hair at right (as visible in catalogue photo). At parts of outer top left edge and parts of top edge, there are some discolored darkened spots, with some of these brown spots apparently emanating from the backing card, at the juncture of the card and the sheet. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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Circle of Sir Edward Coley-Burne-Jones (1833-1898), 'I possess my visions and peace' (Blake), a late

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Description: Circle of Sir Edward Coley-Burne-Jones (1833-1898), 'I possess my visions and peace' (Blake), a late 19th Century design for a stained glass window, lithograph, pencil inscribed bottom right, 21 x 64", in a dark frame with gold slip.

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EDWARD BURNE-JONES (1833-1898)

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Description: Doriguène de Bretagne attendant le retour de son mari Travail préparatoire pour « Dorigen of Bretaigne awaiting the Safe return of Her Husband, or Dorigen Cursing the Rocks », de 1871. Pastel et aquarelle contrecollé sur panneau 28 x 39 cm Nous remercions Madame Elisa Korb qui nous a confirmé l’authenticité de cette oeuvre. L’oeuvre sera incluse dans le catalogue raisonné actuellement en préparation par Madame Elisa Korb. Note : La palette des couleurs, le support, les dimensions ainsi que la composition ont amené l’experte Elisa Korb à conclure que ce pastel de Burne-Jones est un travail préparatoire pour sa gouache intitulé « Dorigen of Bretaigne Awaiting the Safe Return of Her Husband » qui se trouve actuellement au Victoria & Albert Museum à Londres. Ainsi, le pastel serait daté de 1865-1867. L’iconographie serait inspirée des Contes de Franklin qui relatent l’histoire d’une jeune femme en Bretagne attendant le retour de son mari et craignant qu’il périsse sur les noirs rochers au large. Il arrivait assez fréquemment à Burne-Jones de changer la composition de ses oeuvres dans les étapes préparatoires surtout lorsqu’il s’agit de représenter des personnages dans un espace confiné. Bibliographie : Elisa Korb Hidden Burne-Jones: Works on Paper by Edward Burne-Jones from Birmingham Museums and Art Gallery, catalogue publié par le Birminghan Museums lors de l’exposition Hidden Burne-Jones.

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Edward Coley BURNE-JONES (English 1833-1898)

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Description: HEAD OF A YOUNG WOMAN From L'estampe Moderne, 1889 Lithograph Signed and dated on the plate lower left

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SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898) THE PRINCESS CHAINED TO A TREE 105cm x 91cm (41.25in x 35.75in)

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Description: SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898) THE PRINCESS CHAINED TO A TREE Signed with initials and dated 1866, oil on canvas 105cm x 91cm (41.25in x 35.75in)

Condition Report: The old lining has been taken off and a substitute strip lining to edges only has been carried out by J H Cooke and Sons. The painting is in good condition and clean. The original frame has been re-gilded with gold leaf. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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Jones

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Description: E. Burne Jones. "Statue of Queen Victoria". Antique engraving on thick wove paper after the original by Dujardin. This is not a modern reprint but was hand pulled from the copper plate c 1880. The strike is crisp. (Image size 4 1/4 x 10 1/4 inches). This print is in excellent condition. Comes with a Certificate of Authenticity.

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EDWARD BURNE-JONES, (BRITISH 1833-1898), PSYCHE

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Description: EDWARD BURNE-JONES (british 1833-1898)/span PSYCHE Signed with initials and dated 'EBJ 1896' lower right, gouache and gold chalk on paper, unframed 13 7/8 x 8 5/16 in. (35.2 x 21.1cm) provenance: /spanPrivate Collection, Long Island, New York. By descent in the family. Private Collection, Virginia. note:/span The present work is a study of Psyche for The Wedding of Psyche a larger composition that was completed in 1896 and now resides in the collection of the Musées Royaux des Beaux-Arts Belgique in Brussels. We would like to thank Dr. Elisa Korb for her assistance in cataloguing this work.

Condition Report: In fine overall condtion, the colors a bit darker and richer than they appear in the catalogue photo. The sheet is fully laid down to card. Just within the outer right edge of sheet is a vertical pencil (?) line. There is a tiny tack hole at very outer lower left corner of sheet - NOT touching the figure. The very outer upper left corner of sheet has an approx. 1/16 inch 'notch' of paper, just below which is a tiny brownish circular partial mark (from an old tack?). This circular mark is barely noticeable and thus unobtrusive. At isolated parts of the very outer edges of the sheet, and nearly only visible under magnification, there appear to be tiny affixed bits of thin (tissue-like) paper. There is a very slight approx. 1/2 inch surface scratch in background near top of sheet at upper left. Lastly, some of blue background is slightly lighter in color at/near top edge of sheet as compared to surrounding areas. The overall appearance of this work is a well-executed composition with fine colours and the slightest of condition related issues. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AFTER EDWARD BURNE-JONES (1833-1898): HOPE

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Description: AFTER EDWARD BURNE-JONES (1833-1898): HOPE Two photomechanical prints on wove paper, the full sheets. 13 1/4 x 4 1/2 in. (sight), 14 1/2 x 6 in. (frame) and 19 x 6 1/2 in. (sight), 21 1/2 x 9 1/4 (frame).

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AFTER EDWARD BURNE-JONES (1833-1898): THE ROSE BOWER, FROM THE LEGEND OF THE BRIAR ROSE

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Description: AFTER EDWARD BURNE-JONES (1833-1898): THE ROSE BOWER, FROM THE LEGEND OF THE BRIAR ROSE Photogravure on wove paper, 1892, with margins, signed in pencil, published by Thomas Agnew & Sons, London. 23 x 37 1/2 in. (sight), 30 x 45 in. (frame). Note: The Legend of the Briar Rose was a series of four paintings completed between 1885 and 1890. All four, plus an additional ten panels, are located at Buscot Park, Oxfordshire, where they were originally installed by its owner, the Lord Faringdon. The panel depicted here, The Rose Bower, was the last in the series based on Sleeping Beauty.

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EDWARD BURNE-JONES, (BRITISH 1833-1898), STANDING FEMALE NUDE

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Description: EDWARD BURNE-JONES (british 1833-1898) STANDING FEMALE NUDE with; FEMALE HEAD STUDY verso Pencil on paper 13 7/8 x 10 in. (35.2 x 25.4cm) provenance: Private Collection, Maryland.

Condition Report: Framed and matted; generally good overall condition apart from some very pale mount staining, some very unobtrusive handling creases, a brown spot (foxing) and some surface smudging. This double-sided drawing is not signed; it is housed in a frame with a Burne-Jones plaque. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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Sir Edward Coley Burne-Jones (English, 1833-1898)

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Description: Sir Edward Coley Burne-Jones (English, 1833-1898) "The Flower Book" edition 13/300 with 38 Pre-Raphaelite design illustrated plates Edward Burne-Jones, "The Flower Book: Reproductions of Thirty Watercolour Designs". Henri Piazzi et Cie, London, 1905. The cover with gilt lettering and foliate designs, also gilding to fore-edge. Printed on Michallet paper. 12 3/4" x 10 1/2". Overall good condition. Each flyleaf with very minor discoloration to the edges, 1/4" tear to second sheet prior to title page, 7 1/6" x 1/16" loss to one page, and minor surface wear to covers. Wear to original external book cover including loose binding and boards.

Condition Report: A statement of "Very good condition" means, that in our opinion, there are no significant damages and there has been no repair. Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to submit condition reports in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition.

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EDWARD BURNE-JONES (1833-1898): INTRICATELY TIED SCARVES #4

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Description: EDWARD BURNE-JONES (1833-1898): INTRICATELY TIED SCARVES #4 Pencil on paper, unsigned, with an unidentified collector's mark on the mat, with label from J.T. Burns & Co., Ltd., London. 7 x 5 in. (sheet), 17 x 13 1/4 in. (frame). Provenance: Emily Driscoll, New York. Estate of Holland Roberts Melson, Jr, New York

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Burne-Jones -  Autograph Postcard signed

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Description: ( Sir Edward, first baronet, painter, 1833-98) Autograph Postcard signed " Burne-Jones" to Robert Guéraut, Hammersmith, art supplier, restorer and framer, 74 x 112mm., 13th August 1892, "I should be glad if you would call first thing on Wednesday morning next & I will give you a note for Mr. Murray. I have also some drawings for you to measure & mount"; and 4 other items, including: a printed postcard announcing the marriage of Sydney Cockerell, 4th Nov., 1907, with an autograph note, "I am not sure that I told you that the Chaucer has now gone to Bickers [Bickers & Son, booksellers and bookbinders, 1 Leicester Square, London], another postcard for Sydney Cockerell with a change of address, 20th June 1908, an envelope from the Kelmscott Press, and a newspaper clipping on the closing of the Kelmscott Press, v.s., v.d. (5).

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SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898) STUDY FOR THE MIRROR OF VENUS 74cm x 120cm (29in x 47.25in)

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Description: SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898) STUDY FOR THE MIRROR OF VENUS Oil on canvas 74cm x 120cm (29in x 47.25in)

Condition Report: Relined. Horizontal line of retouching extending from back of stooped figure across to kneeling figures right. Retouching along extreme top left margin, and some retouching to sky and to two figures on extreme left. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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After Jean-Léon Gérôme (1824-1904): Idyl

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Description: After Jean-Léon Gérôme (1824-1904): Idyl Photogravure on chine collé, published by Goupil & Co., 11 x 8 in. (sheet), 19 3/4 x 16 3/4 in. (frame); together with After Edward Burne-Jones (1833-1898): The Golden Stairs, photogravure on paper, c.1900, 20 x 8 1/2 in. (sight), 29 5/8 x 18 1/4 in. (frame).

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EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) STUDY OF A MALE NUDE - POSSIBLY FOR 'BLIND LOVE' 26cm x 20cm (10.25in x 8in)

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Description: EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) STUDY OF A MALE NUDE - POSSIBLY FOR 'BLIND LOVE' Charcoal 26cm x 20cm (10.25in x 8in)

Condition Report: Light mark (approx. 1 inch in size) of discolouration to upper left edge, parallel to figure's shoulder - just about visible in illustration. Small tear (approx. 3 cm) upper edge and extending through hair of second head study - also just visible in illustration. Otherwise no further evidence of creases or tears. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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*Burne-Jones (Edward Coley, 1833-98). An original pen & ink drawing within an inscribed copy of Le Morte Darthur, circa 1897,

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Description: *Burne-Jones (Edward Coley, 1833-98). An original pen & ink drawing within an inscribed copy of Le Morte Darthur, circa 1897, pen & ink heightened with gold, showing an altar with wild flowers on either side, with the Cup of Life atop into which falls several droplets, with sun rays above, lettered above image 'This is that golden book called Le Morte Darthur in which are written the deeds of the holy King Arthur and the glorious company of the Round Table and the quest of the most holy sangreal', drawn on the preliminary blank of a late 19th century edition of Le Morte Darthur, with Caxton's colophon at rear (lacking title-page?), blank following sketch inscribed by the artist 'To my dear Grand-daughter Angela, Edward Burne-Jones, Oct 27th 1897', rough-trimmed, marbled endpapers, upper hinge split, contemporary straight-grained green morocco, extremities rubbed, gilt lettered spine faded, 8vo (leaf size 15 x 9.5cm/6 x 3.75ins) Edward Burne-Jones's fascination with Thomas Malory's 'Morte d'Arthur', which began when he and William Morris were undergraduates at Oxford, is well-documented. It was not just the pictorial splendours in Arthurian legend that the Pre-Raphaelites found so appealing, but it was also the romantic and moral ethos of the tales which they embraced as a foil to the increasingly ugly industrialised and materialistic world. "Nothing," Burne-Jones wrote, "was ever like Morte d'Arthur - I don't mean any book or any one poem - something that can never be written, I mean, and can never go out of the heart." Novelist Angela Margaret Thirkell (1890-1961) was the elder daughter of Margaret Burne-Jones and John William Mackail. Her father was a Scottish classical scholar and civil servant from the Isle of Bute, who was Oxford Professor of Poetry from 1906 to 1911. (1)

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Jones Venus' Looking-Glass heliogravure 1800s

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Description: E. Burne Jones. "Venus' Looking-Glass". Antique heliogravure on thick wove paper after the original by Dujardin. This is not a modern reprint but was hand pulled from the copper plate c 1880. The strike is crisp. (Image size 6 1/4 x 10 1/2 inches). This print is in excellent condition. Comes with a Certificate of Authenticity.

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EDWARD COLEY BURNE-JONES (1833-1898) THREE PRINTS FROM 'THE FLOWER BOOK', 1905 24cm x 19.5cm

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Description: EDWARD COLEY BURNE-JONES (1833-1898) THREE PRINTS FROM 'THE FLOWER BOOK', 1905 LOVE IN A MIST; JACOB'S LADDER; and WALL TRYST, each contained within a gilt frame (3) 24cm x 19.5cm

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EDWARD BURNE-JONES

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Description: BRITISH, 1833-1898, The Flower Book, Published in 1905 with the Fine Art, Society, London, with the 38 circular, pochoirs now independently framed., 6.25 in, 16 cm diameter.

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Edward Coley Burne-Jones, (British, 1833-1898), Daphne and Apollo, circa 1875, charcoal, ink and gouache, 6

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Description: Edward Coley Burne-Jones (British, 1833-1898) Daphne and Apollo, circa 1875 charcoal, ink and gouache 6" x 10.5" Provenance: The Estate of Robert Edwards, Swarthmore, PA

Condition Report: Not examined out of the frame. Light spots of foxing. Otherwise appears to be in overall good condition.

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SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898) STUDY FOR 'THE DEPTHS OF THE SEA' 18cm x 17cm (7in x 6.75in)

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Description: SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898) STUDY FOR 'THE DEPTHS OF THE SEA' Signed with initials, black and white chalk on buff paper 18cm x 17cm (7in x 6.75in)

Condition Report: Slight stain to right of face visible in photo. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.

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Edward Coley BURNE-JONES (1833-1898) Black & white photograveau on wove ‘The Briar Wood’ from a set of four titled the Legend of Briar Rose One from a set of 4, published 1892 by Thomas Agnew & Sons Signed 16.5” x 32.5” image size (42cm x

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Description: Edward Coley BURNE-JONES (1833-1898) Black & white photograveau on wove ‘The Briar Wood’ from a set of four titled the Legend of Briar Rose One from a set of 4, published 1892 by Thomas Agnew & Sons Signed 16.5” x 32.5” image size (42cm x 82.5cm) wide margins

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Sir Edward Coley Burne-Jones, Bt., ARA (British, 1833-1898) Girl with Plait, for the figure of Fortune, from The Wheel of Fortune

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Description: Sir Edward Coley Burne-Jones, Bt., ARA (British, 1833-1898) Girl with Plait, for the figure of Fortune, from The Wheel of Fortune pencil on white paper h:18 w: 18 cm Provenance: With Peter Nahum, 5 Ryder Street, London, SW1. Private collection, East Anglia. Exhibited: Burne-Jones, The Pre-Raphaelites and their century, Peter Nahum, in the text p. 71 and Volume II: The Plates, illus. Plate 36, pub.1989, Girl with Plait. The present drawing for the head of Fortune from the 1870s shows an intermediate stage in which Burne-Jones combined the elaborate plaits and the swathed head-dress from the two ideas for the figure he was considering. The present treatment of the head can be compared with the head-dresses of the Libyan and Erythraean Sybils on the Sistine ceiling. A Hollyer photograph exists of a drawing of the head of Fortune, with a very elaborately plaited hairstyle and dated 1876 (Witt Library). Although this date is retrospective and may be slighly inaccurate, it indicates the height of Burne-Jones's interest in fanciful hairstyles in the early and middle 1870s. Note in the present drawing the indication of Fortune's raised left arm, turning the wheel.

Condition Report: Condition is fine. Lovely frame.

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Sir Edward Coley Burne-Jones, RA (British, 1833-1898) Female Nude standing holding a lily - A Study for Love and Beauty - Romance of...

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Description: Sir Edward Coley Burne-Jones, RA (British, 1833-1898) Female Nude standing holding a lily - A Study for Love and Beauty - Romance of the Rose pencil h:25 w:16 cm Provenance: Acquired by the vendor's late father at Sotheby's, London, sale 29 October 1964, lot 296 (Edward Burne-Jones, A Female Nude Standing Holding a Lily, pencil, 9 3/4 ins x 6 1/2 in) Literature: William Morris and Edward Burne-Jones, The Works of Geoffrey Chaucer, paper, 42.5 x 29.2 cm leaf, pub. 1896. Kelmscott Press, on display at the William Morris Gallery, London. "Le Roman de la Rose" influenced many other writers over the centuries. In the 14th century Geoffrey Chaucer translated sections of it into Middle English as "The Romaunt of the Rose". Edward Burne-Jones' illustrations for William Morris' beautiful 19th century edition of the works of Chaucer show several episodes from this version. One of Burne-Jones' sketches for the book is in the Fitzwilliam [1050.37], depicting 'Fair Idleness and the lusty folk in the garden'.

Condition Report: Unframed. On buff paper with no tears or damages - grey mount.

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Sir Edward Coley Burne-Jones (British, 1833-1898) Portrait of Frances, Lady Horner signed lower right with initials

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Description: Sir Edward Coley Burne-Jones (British, 1833-1898) Portrait of Frances, Lady Horner (1858-1940) signed lower right with initials "EBJ" brown chalk h:27 w:22 cm Provenance: From the Collection of William Graham, Burne-Jones's friend and patron, and by descent within the family of Lady Horner. Literature: Oliver Garnett, William Graham - Pre-Raphaelite Patron and Collector, privately printed, 1990 "Bring the drawing of Frances to show me when you come", letter to Burne-Jones from William Graham, dated 21 June 1885, from Oakdene, Guildford. Other Notes: William Graham (1817-1885), was a Scottish politician and Pre-Raphaelite patron, and MP for Glasgow. He was a wealthy merchant who was a cotton manufacturer and wine merchant. Graham was a friend and patron of Edward Burne-Jones from 1856. Graham bought several of Burne-Jones's works and invited Burne-Jones and other artists such as Rossetti to his country house, Stobhall, in Perthshire. When Graham died on 16 July 1885, Burne-Jones sent some small paintings to be buried with him, which are now in his coffin in a Glasgow cemetery. After his death, most of his very large collection was sold at auction by Christie's in April 1886, confirming Burne-Jones's position as a great painter, with his pictures fetching £17,000. In the 1870s, Graham commissioned two large oils from Burne-Jones, "Laus Veneris" (now in the Laing Art Gallery, Newcastle upon Tyne) and "Chant d'Amour" (now in the Metropolitan Museum of Art, New York). William Graham's importance is not only as a purchaser and a patron of Burne-Jones, but also as a collector whose collection of early Italian paintings helped to inspire artists such as Rossetti and Edward Burne-Jones who Graham supported. Frances Jane Graham (1858-1940), Graham's daughter, married in 1883 John Francis Fortescue Horner, a barrister, later Sir John Horner, of Mells Abbey, Somerset. Frances became a leading light in the coterie known as "The Souls" and her autobiography "Time Remembered" of 1933 contains many reminiscences of the artist who had played such a large part in her life. Frances continued her father's role as a friend and patron of Burne-Jones, becoming one of Burne-Jones's most important female friends and muses; she and Burne-Jones enjoyed an intense, romantic but platonic relationship. Born in 1858, she was the fourth of the eight children of William Graham. Burne-Jones had the highest regard for her charm, perception and intelligence. He painted her several times and exchanged frequent correspondence with her over a period of thirty years, often illustrating his letters to her for her pleasure. Frances said that their friendship "coloured her whole life". One famous commission for her was the Orpheus Piano , taking Frances as the model for Eurydice and his own for the resigned and wistful Pluto. He drew her in profile, and this was to remain his favourite view of her (this was in 1879-80; the piano is now in a private collection). Burne-Jones painted Frances first at the age of eleven, as the young bride in The King''s Wedding - at the same time Dante Gabriel Rossetti drew Frances as La Donna della Finestra. Burne-Jones painted himself with Frances in the Maiden and Necromancer, now known as The Wizard (Birmingham Museum and Art Gallery). Frances is the nymph on the far right in The Arming of Perseus, and appears as a girl on the far left at the foot of the stairs in The Golden Stairs (The Tate). Burne-Jones wrote of Frances in 1892: "All the romance and beauty of my life means you and my days are ending in splendour through you".

Condition Report: Under glass and condition is good. Sold with a Conservation Report from Nick Burnett of Museum Conservation Services Ltd., Duxford, Cambridge, dated March 2009 (for a copy please Refer Department)

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Sir Edward Burne-Jones, a C19th platinum print, sk

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Description: Sir Edward Burne-Jones, a C19th platinum print, sketch portrait of Maria Zambaco, signed and dated 1878, in original Arts & Crafts frame, 13'' x 11''

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Burne-Jones, Edward 1833 Birmingham - 1898 London

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Description: Burne-Jones, Edward 1833 Birmingham - 1898 London Study of a Female Head. Black pencil on paper. Mounted: Reversible, mounted at top. 20 x 18cm. Mat. Provenance (according to the labels included): - Colnaghi, London; - Arnoldi-Livie, Munich; - Frankfurt, private possession. This fine, softly drawn study has been identified by as a sketch for the painting "Chant d'Amour" (Clemens-Sels-Museum, Neuss). As a comparison, an illustration of this painting is included, it can also be viewed under: http://upload.wikimedia.org/wikipedia/commons/b/b7/Edward_Burne-Jones_Le_Chant_d_Amour_(So ng_of_Love).jpg German Text Burne-Jones, Edward 1833 Birmingham - 1898 London Weibliche Kopfstudie. Schwarzer Stift auf Papier. Montiert: reversibel oben montiert. 20 x 18cm. Passepartout. Provenienz (entsprechend beigefügter Etikette): - Colnaghi, London; - Arnoldi-Livie, München; - Frankfurter Privatbesitz. Die feine, zarte Zeichnung ist von Arnoldi Livie als Vorzeichnung zum Gemälde "Chant d'Amour" (Clemens-Sels-Museum, Neuss) identifiziert worden. Zum Vergleich eine Abbildung des Gemäldes anbei und unter: http://upload.wikimedia.org/wikipedia/commons/b/b7/Edward_Burne-Jones_Le_Chant_d_Amour_(Song_of_Love).jpg

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Circle of Edward Burne-Jones (British 1833-1898) Watercolor and gouache on paper

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Description: Circle of EDWARD BURNE-JONES(British 1833-1898) Knights on Horseback Watercolor and gouache on paper Apparently unsigned, verso with old label inscribed "Sir Ed Burne-Jones" and further inscribed in a different hand "Francis the 1st?1869" 3.75 inches x 7.75 inches (9.5 x 19.6 cm)

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Sir Edward Coley Burne-Jones, Perseus and the Grey (no.70) from an edition of 200 photogravures by the Berlin photographic company, 42.5cm x 47cm. Gallery label verso - Peter Nahum Gallery ltd.

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Description: Sir Edward Coley Burne-Jones, Perseus and the Grey (no.70) from an edition of 200 photogravures by the Berlin photographic company, 42.5cm x 47cm. Gallery label verso - Peter Nahum Gallery ltd.

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Sir Edward Coley Burne-Jones (1833-1898) Study of a girl's head, 6.5 x 4.25in.

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Description: Sir Edward Coley Burne-Jones (1833-1898) pencil drawing, Study of a girl's head, Abbott & Holder label verso, inscribed and dated 24.XI.1897, 6.5 x 4.25in.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study for a church window; The Sacrifice of Noah, 5.75 x 4.25in.

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) pencil on white paper, Study for a church window; The Sacrifice of Noah, Preliminary sketch for a light in the tower west window at St. Chads Church, Rochdale, Lancs. It was entered in Burne-Jones' autograph account book (Fitzwilliam Museum, Cambridgeshire) on 27th March 1872, and the window was erected the following year. See A.C. Sewter, The Stained Glass of William Morris and his Circle, Yale, 1974-5, vol.1, pl.397, and vol. 2, pl.161. Provenance; Bonhams sale 24th Sept. 2002 lot 2, 5.75 x 4.25in.

Condition Report: Please submit your absentee bids on www.gorringes.co.uk or e-mail clientservices@gorringes.co.uk FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

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Edward Burne-Jones (1833-1898) Angel Painting

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Description: Artist: Edward Burne-Jones (1833-1898); Title: Untitled; Medium: Oil painting on canvas; Year or Era Produced: 19th Century; Signature: Lower middle; Sight Area Approximate Measurement: 12.75" x 35.25"; Frame Approximate Measurement: 18.5" x 41.25" x 1.5"; Approximate Weight: 8 lbs; Note: Paint loss to the painting and chipping present to the frame

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Edward Burne-Jones (1833-1898) Angel Painting

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Description: Artist: Edward Burne-Jones (1833-1898); Title: Untitled; Medium: Oil painting on canvas; Year or Era Produced: 19th Century; Signature: Lower middle; Sight Area Approximate Measurement: 12.75" x 35.25"; Frame Approximate Measurement: 18.5" x 41.25" x 1.5"; Approximate Weight: 8 lbs; Note: Paint loss to the painting and chipping present to the frame

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BURNE-JONES, EDWARD COLEY(Birmingham 1833 - 1898

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Description: BURNE-JONES, EDWARD COLEY(Birmingham 1833 - 1898 London)Head study for sirens.Pencil. Monogrammed, dated and inscribed lower right: EBJ for the picture of the SIRENS.46.8 x 32 cm.BURNE-JONES, EDWARD COLEY(Birmingham 1833 - 1898 London)Kopfstudie zu den Sirenen.Bleistift. Unten rechts monogrammiert, datiert und bezeichnet: EBJ for the picture of the SIRENS.46,8 x 32 cm.

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Description: Sir Edward Burne-jones - Earth Mother - 26 1/4 X 44 In. - Giclée Print - Gallery Stretched - This Piece Is Ready To Hang On Your Wall Or Gallery. Please Note This item ships rolled in a tube outside of the USA.

Condition Report: New

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Description: Sir Edward Burne-jones - The Raising Of Lazarus Size: 37 7/8 X 40 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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Description: Sir Edward Burne-jones - The Head Of A Woman - 37 5/8 X 44 In. - Giclée Print - Gallery Stretched - This Piece Is Ready To Hang On Your Wall Or Gallery. Please Note This item ships rolled in a tube outside of the USA.

Condition Report: New

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Description: Sir Edward Burne-jones - The Head Of A Woman - 34 1/4 X 40 In. - Giclée Print On Canvas - Gallery Wrapped - Large Piece Of Art - This Piece Is Ready To Hang On Your Wall Or Gallery. Please Note This item ships rolled in a tube outside of the USA.

Condition Report: New

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Description: Sir Edward Burne-jones - Hill Fairies - 14 5/8 X 44 In. - Giclée Print - Gallery Stretched - This Piece Is Ready To Hang On Your Wall Or Gallery. Please Note This item ships rolled in a tube outside of the USA.

Condition Report: New

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Description: Sir Edward Burne-jones - The Raising Of Lazarus - 41 5/8 X 44 In. - Giclée Print - Gallery Stretched - This Piece Is Ready To Hang On Your Wall Or Gallery. Please Note This item ships rolled in a tube outside of the USA.

Condition Report: New

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Description: Sir Edward Burne-jones - Earth Mother Size: 17 7/8 X 30 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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Description: Sir Edward Burne-jones - Hill Fairies Size: 14 5/8 X 44 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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Description: Sir Edward Burne-jones - Green Summer Size: 22 X 13 3/8 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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Description: Sir Edward Burne-jones - The Sower Size: 13 3/4 X 30 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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Description: Sir Edward Burne-jones - The Morning Of The Resurrection Size: 30 X 16 3/8 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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Description: Sir Edward Burne-jones - Temptation Size: 22 X 21 1/2 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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Description: Sir Edward Burne-jones - Study For 'the Challenge In The Wilderness' Size: 29 1/8 X 40 In. - This Is A Gallery Stretched Giclee Print On Canvas. The Piece Was Printed On High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas And Is Ready To Hang.

Condition Report: New in Excellent Condition and ready to hang

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