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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

Lot 17: 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

Lot 18: 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

Lot 23: 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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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)

Lot 65: 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

Lot 67: Jones "The Golden Stairs" engraving 1800s

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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

Lot 74: 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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Sir Edward Coley Burne-Jones (English, 1833-1898)

Lot 94: Sir Edward Coley Burne-Jones (English, 1833-1898) "The Flower Book" edition 13/300 with 38 Pre-Raphaelite design illustrated plates

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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, (BRITISH 1833-1898), STANDING FEMALE NUDE

Lot 94: 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 B.T., A.R.A. (BRITISH 1833-1898) STUDY FOR THE MIRROR OF VENUS 74cm x 120cm (29in x 47.25in)

Lot 122: 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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Jones Venus' Looking-Glass heliogravure 1800s

Lot 177: 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

Lot 231: 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

Lot 254: 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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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)

Lot 295: 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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Sir Edward Coley Burne-Jones (British, 1833-1898) Portrait of Frances, Lady Horner signed lower right with initials

Lot 614: Sir Edward Coley Burne-Jones (British, 1833-1898) Portrait of Frances, Lady Horner signed lower right with initials "EBJ"

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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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Burne-Jones, Edward 1833 Birmingham - 1898 London

Lot 690: 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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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.

Lot 1483: 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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BURNE-JONES, EDWARD COLEY(Birmingham 1833 - 1898

Lot 3465: 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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Georgiana Burne-Jones at the piano

Lot 1: Georgiana Burne-Jones at the piano

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Georgiana Burne-Jones at the piano with inscription 'G B-J by E B-J' (on an old label attached to the backboard) pencil 3¾ x 3 7/8 in. (9.5 x 9.8 cm.)

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Sir Edward Coley Burne-Jones (1833-1898) the bound

Lot 1: Sir Edward Coley Burne-Jones (1833-1898) the bound

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Description: Sir Edward Coley Burne-Jones (1833-1898) the bound rose pencil on paper, 8½ x 7 in., 21.6 x 17.8 cm. Exhibited: The Fine Art Society, London, October, 1972. Provenance: with Piccadilly Gallery, London.

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SIR  EDWARD  COLEY  BURNE-JONES,  BT.,    A.R.A.,  R.W.S.

Lot 1: SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.

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Description: 1833-1898 STUDY  OF  KATIE  LEWIS pencil 12  by  23cm.,  5  by  9in.

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SIR  EDWARD  COLEY  BURNE-JONES,  BT.,    A.R.A.,  R.W.S.

Lot 2: SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.

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Description: 1833-1898 STUDY  FOR  THE  HEAD  OF  MEDUSA  FOR  THE  FINDING  OF  MEDUSA signed  and  dated  l.r.:  EBJ/  1876 pencil 17  by  16cm.,  6½  by  6¼in.

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                                        Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 2: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study of a seated female figure for 'The Garden of Pan' pencil on paper 8¼ x 7 in. (21 x 17.8 cm.)

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                                          Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 2: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study of two male nudes for 'Arthur in Avalon' signed with initials 'EBJ' (lower left) pencil on paper, unframed 13 x 8¼ in. (33 x 21 cm.)

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Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 3: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Love among the Ruins signed with initials (lower left), and signed again 'Edward. Burne. Jones' (on the backboard), with typed inscription 'This Picture, being painted in WATER/COLOUR, would be injured by the slight-/est moisture./Great care must be used whenever/it is removed from the Frame.' and signed again 'Edward Burne-Jones' (on a label attached to the reverse of the frame) watercolour, bodycolour and gum arabic on paper, extended along the lower edge 38 x 60 in. (96.5 x 152.4 cm.) In the original frame

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                                        Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 3: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Three sketches for figure subjects all with inscriptions 'EBJ' (possibly by Charles Fairfax Murray) pencil and scratching out, on paper 5½ x 7¾ in. (14 x 19.7 cm.) (3)

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                                          Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 3: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study of a hill fairy for 'Arthur in Avalon' signed with initials and dated 'EB-J/1885' (lower right) pencil on paper 8¼ x 5½ in. (21 x 14 cm.)

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After Edward Coley Burne-Jones (1833-1898)

Lot 3: After Edward Coley Burne-Jones (1833-1898)

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Description: After Edward Coley Burne-Jones (1833-1898) Spring etching, 1900, on vellum, signed in pencil by the engraver Abel Mignon, published by Arthur Tooth & Sons, London, with margins, a 60 mm. and a 70 mm. crease at the lower right sheet corner running into the image, otherwise in good condition P. 444 x 299 mm., S. 564 x 397 mm.

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SIR EDWARD COLEY BURNE-JONES A.R.A.

Lot 4: SIR EDWARD COLEY BURNE-JONES A.R.A.

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Description: signed with monogram (lower left)

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Sir Edward Coley Burne-Jones, Bt., ARA (British, 1833-1898) Scene for Tannhauser - at Beyreuth unframed

Lot 4: Sir Edward Coley Burne-Jones, Bt., ARA (British, 1833-1898) Scene for Tannhauser - at Beyreuth unframed

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Description: Scene for Tannhauser - at Beyreuth inscribed with title, and paper stamped with 'Rottingdean, Sussex' (Upper centre)pen and ink18 x 11.5cm (7 1/16 x 4 1/2in).unframed

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Study of hands for the portrait of Amy Gaskell

Lot 5: Study of hands for the portrait of Amy Gaskell

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study of hands for the portrait of Amy Gaskell black and white chalk, on sanguine paper 10 7/8 x 8 1/8 in. (27.7 x 20.7 cm.)

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SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.

Lot 5: SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.

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Description: TWO STUDIES FOR .THE LAST SLEEP OF ARTHUR IN AVALON.

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                                        Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 5: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study of a female nude for 'Arthur in Avalon' pencil, on paper 5 x 4¾ in. (12.7 x 12 cm.) in the original Guéraut mount

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                                          Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 5: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Two figure studies for 'Arthur in Avalon' black, white and sanguine chalk on sanguine paper, unframed 15 x 10¾ in. (38 x 27.3 cm.); and 14¾ x 10½ in. (37.5 x 26.7 cm.) (2)

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Burne-Jones, Edward

Lot 6: Burne-Jones, Edward

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Description: Burne-Jones, EdwardThe beginning of the world. London: Longmans, Green & Co, 1902, 4to, 25 plates originally produced for the Kelmscott Press, original quarter cloth, a fine copy; Morris, William Architecture and history and Westminster Abbey. London: Longmans & Co, 1900, 8vo, printed by the Chiswick Press, original quarter cloth, upper board marked, endpapers browned, bookplate removed; Typography The book of ornamental alphabets. London, 1859. Second edition, oblong 8vo, original cloth gilt, worn, ink stains to lower edge; The Evergreen A Northern Seasonal. London, 1895-1897, small 4to, 3 volumes [lacking the Book of Autumn], various illustrators, original decorative stamped calf, t.e.g., backstrips worn, interiors clean (6)

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                                        Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 6: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study for 'Music' inscribed 'EBJ' (in monogram) 'to owl' (hieroglyph) (lower right) pencil, on paper 14¾ x 16¾ in. (37.5 x 42.5 cm.)

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                                          Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 6: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study for the head of a Queen in 'Arthur in Avalon' signed with initials and dated 'E.B.J./1885.' (lower left) and inscribed 'for a Queen in/AVALON' (lower right)pencil, on paper 9 5/8 x 5 7/8 in. (24.4 x 14.9 cm.) in a period oak frame

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                                        Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 6: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Study of a head, probably for the Angel in 'The Annunciation' signed with initials 'EBJ' (lower right) brown chalk on paper 10 7/8 x 8 7/8 in. (27.6 x 22.5 cm.)

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

Lot 6: Sir Edward Coley Burne-Jones, (1833 - 1898) , Danae "Danae" an Edouard Burne-Jones gouache. Signed with the initials EBJ with the title Danae. Holds the inscription Sir George Lavis ... Square London on the back and a sticker Emile Hisrch N° 14

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Description: gouache représentant Danae drapée d'une robe blanche. Elle était la fille du roi Acrisius d'Argos qui, averti par l'oracle que le fils de Danae le tuerait, décida d'enfermer sa fille dans une tour dorée. Comme la plupart des projets greco-antiques de Burne-Jones, le sujet n'est pas directement tiré d'un texte antique mais d'une source plus tardive, dans ce cas c'est vraisemblablement Earthly Paradise de William Morris qui l'inspira notamment pour sa série de dessins sur le thème de Persée et sur l'histoire de Cupidon et Psyché Signée en bas à gauche des initiales EBJ et titrée Danae. Porte au dos l'inscription en partie illisible Sir George Lavis ... Square London et une étiquette Emile Hisrch N° 14 Pforte Quantity: 1

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Sir Edward Coley Burne-Jones, Bt., ARA , RWS

Lot 6: Sir Edward Coley Burne-Jones, Bt., ARA , RWS

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Description: Sir Edward Coley Burne-Jones, Bt., ARA , RWS (British, 1833-1898) A seated woman with a pitcher red and black chalks 22.8 x 17cm (9 x 6 11/16in). Provenance Sale, Sotheby's, Castle Howard, Yorkshire, 11-13 November 1991, lot 618 Private collection John Simmons, Titania, Bristol Museum and Art Gallery

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                                        After Edward Coley Burne-Jones (1833-1898)

Lot 7: After Edward Coley Burne-Jones (1833-1898)

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Description: After Edward Coley Burne-Jones (1833-1898) The Garden Court, from : The Legend of the Briar Rose photogravure, on thick wove paper, published by Thomas Agnew & Sons, London, 1892, with margins, some foxing at sheet edges, otherwise apparently in good condition, unexamined out of the frameP. 420 x 775 mm.

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Sir Edward Coley Burne-Jones, Bt (1833-1898) St

Lot 7: Sir Edward Coley Burne-Jones, Bt (1833-1898) St

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Description: Sir Edward Coley Burne-Jones, Bt (1833-1898) St Peter and St. John Ezekial and Isaiah Two, red, blue and black chalk on lightly squared paper The first 96cm x 52cm The second 98.5cm x 51.5cm (2) Literature: Burne-Jones' Account book, under 1865, Nos 604 a

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Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 8: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: The Wise and Foolish Virginspen and ink and grey wash, with scratching out18 x 23 3/4 in. (45.8 x 60.5 cm.)

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Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 8: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: St Catherine disputing with the pagan philosopherswith inscription 'Mrs Coronio' (on an old label attached to the reverse of the frame)pencil, grey and brown washes heightened with white35 1/2 x 24 in. (89.5 x 61 cm.)in the original mount and frame by R. Guéraut, 2 Orris Villas, Hammersmith, W. (his label on reverse)

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SIR EDWARD COLEY BURNE-JONES, BART., A.R.A. 1833-1898

Lot 8: SIR EDWARD COLEY BURNE-JONES, BART., A.R.A. 1833-1898

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Description: STUDY RELATING TO THE COUNCIL CHAMBER IN THE BRIAR ROSE SERIES39 by 28 cm., 15 ¼ by 11 in.signed with initials and dated l.l.: EBJ 1887pencil and white chalk, arched topNOTEThese various studies of girls' faces were made in preparation for the painting entitled The Council Chamber, which is part of the series of paintings (existing in several versions) which tell the story of Sleeping Beauty and which Tennyson, in his poem based on the legend called 'The Day-Dream', had given the name 'The Briar Rose'. The positioning of the heads corresponds most closely to the version of The Council Chamber upon which Burne-Jones worked intermittently from 1872 to 1892 and which is now in the Bancroft collection in the Delaware Art Museum (see fig.00). This painting was itself a revision on larger scale of the second part of three panels in what is called 'The Little Briar Rose Series', done for William Graham and completed in 1871. These are now in the Museo de Arte at Ponce, Puerto Rico. In his first revision of the scheme, Burne-Jones's intention seems to have been to make a new series of four compositions, but only The Council Chamber was completed. However, in 1884, he decided to start on an entirely new Briar Rose series, again in four parts, based on the earlier compositions but with many revisions. A series of entries in Burne-Jones's work record from the mid and late 1880s chronicle this project, and one particularly in 1887, where he records that he 'redrew all the figures of the sleeping girls in the third picture of the sleeping palace' (quoted Stephen Wildman, The Art of the Pre-Raphaelites from the Delaware Art Museum, exhibition catalogue, Art Services International, 2004, p.120), refers to the process of revision of which the present drawing was part. The final Briar Rose series was completed in 1890. Great excitement attached to its display at Agnew's in Old Bond Street that same year, and the paintings were then exhibited in Whitechapel where they were seen by large numbers of people. The Briar Rose was installed at Buscot Park, the house of Lord Faringdon (now National Trust), in frames designed by the artist. The study on the upper part of the sheet, showing a girl's head in profile and with braided hair, looking downwards, appears to relate the head of the sleeping girl which is at the centre of the composition of The Council Chamber. In the finished painting, her head is covered with a cowl and is slightly turned towards the spectator rather than shown in pure profile. The study of a face on the lower part of the sheet, and the subsidiary study at the right centre, relate to the head of the sleeping figure in the upper left part of the finished composition, where a woman is seen with her face supported on her hand. CSN

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Studies of a woman seated and kneeling, possibly Fanny Cornforth

Lot 8: Studies of a woman seated and kneeling, possibly Fanny Cornforth

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Description: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898) Studies of a woman seated and kneeling, possibly Fanny Cornforth pencil 12 1/8 x 17 in. (30.7 x 43.2 cm.)

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SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.

Lot 8: SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S.

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Description: SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. 1833-1898 PORTRAIT OF GEORGIANA BURNE-JONES oil on canvas 76 by 53cm.; 30 by 21in.

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f - SIR EDWARD COLEY BURNE-JONES, BART., A.R.A. 1833-1898

Lot 9: f - SIR EDWARD COLEY BURNE-JONES, BART., A.R.A. 1833-1898

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Description: STUDY OF A GIRL'S HEAD38 by 28 cm., 15 by 11 in.gouache and wash on paperPROVENANCEGalerie Claude Givaudan, Geneva;Sotheby's, 8 March 1977, lot 41;Private collection, Geneva

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No Image Available

Lot 9: BURNE-JONES, EDWARD ColEY (1833-1898)

Description: Ecorche figure of a horse, 1890c. Black chalk 9x12 inches (22.2x29.3 cm).

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John Roddam Spencer Stanhope (1829-1908)

Lot 9: John Roddam Spencer Stanhope (1829-1908)

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Description: The Vision of Ezekiel: The Valley of Dry Bones signed and inscribed 'R. Spencer Stanhope/Florence' (on the backboard) pencil, watercolour and bodycolour with gum arabic, on two joined sheets 60 x 391/2 in. (152.4 x 100.8 cm.) PROVENANCE Joseph Dixon; (+) Christie's, London, 18 March 1911, lot 29 (18 gns to Louis). Mrs A.M.W. Stirling. EXHIBITION London, Royal Academy, 1902, no. 939. Birmingham, Royal Birmingham Society of Artists, Special Collection of Works by the late R. Spencer Stanhope, Autumn exhibition, 1909, no. 51, lent by Joseph Dixon. Bunkamura Museum of Art, Shizuoka Prefectural Museum of Art, Daimatu Museum, Kobe, and Tsukuba Museum of Art, Ibaraki, The Victorian Imagination, 1998, no. 27. NOTES For some unexplained reason, Stanhope began to exhibit again at the Royal Academy in 1902. He was then seventy-three, and had not showed there since 1872, a full three decades earlier. During the long interval the Grosvenor and New Galleries had suppied his needs as an exhibitor. But the Grosvenor was now defunct, and perhaps he felt that the New Gallery, which would close its doors in 1909, was not what it had been in its heyday. Even so, it is strange that the artist should have returned to the RA, knowing how his friends and mentors regarded it. Rossetti had never exhibited there. Burne-Jones had been elected an associate in 1885, but had bitterly regretted his decision and resigned in 1893. Stanhope's niece Evelyn De Morgan, a stong-minded woman if ever there was one, would have no truck with the Academy at any stage of her career. The Vision of Ezekiel was one of two works that Stanhope showed in 1902, the other being Knowledge strangling Ignorance (lot 4...). In his most mannered late style, it must have seemed an astonishing CCCmaly by this date, and one can imagine 'advanced' critics shuddering in disbelief. No reviews have yet been located, but The Expulsion from Eden (Walker Art Gallery, Liverpool), the last picture Stanhope had exhibited at the NCw Gallery, in 1900, had not received good reviews. It is possible, of course, to argue that this showed the provincialism of the reCiewers, who might well have drawn meaningful comparisons with contemporary European Symbolism. But the fact remains Chat, in England in 1902, late Pre-Raphaelitism seemed hopelessly old-fashioned beside the legacy of French realism, whether interpreted bC After all, Burne-Jones himself had been bitterly aware that, as he put it, 'the rage for me is over'; and he died in 1898. It is not clear what prompted Stanhope to treat this comparatively recondite subject on such a heroic scale. Ezekiel was one of the four so-called 'greater prophets' of the Old Testament, the others being Isaiah, Jeremiah and Daniel. He was among the Hebrews exiled in 579 BC to Babylon, where, beside the river Kebar, he experienced a number of apocalyptic visions. In Chapter 37 of his book he describes how, 'the hand of the Lord' being upon him, he is set down in a valley full of dry bones. He is commanded by God to prophesy and the bones come to life, assuming flesh and sinews until they represent 'an exceeding great army'. The passage was often seen as an Old Testament prefiguration of the general resurrection of the dead at the Last Judgement. Michelangelo had included Ezekiel among the prophets painted on the ceiling of the Sistine Chapel (fig. 1). He is depicted there as old man with a long white beard, as Stanhope himself portrays him. There was also a tradition of Ezekiel subjects within later Pre-Raphaelitism. Burne-Jones had illustrated Ezekiel's parable of the boiling pot in the early 1860s. Two versions exist, a pen-and-ink drawing of 1861 (Tate Gallery) and a slightly different design made a year or two later for the Dalziels' illustrated Bible (fig. 2). Although nothing came of this ambitious project at the time, the designs, which had been produced by a number of artists, were eventually published as Dalziels' Bible Gallery in 1880. Burne-Jones's interest in Ezekiel, like that of Stanhope forty years later, seems a little surprising, although in his case it may reflect his early admiration for Simeon Solomon, the young Jewish artist who specialised in Old Testament subjects. Then there were the exigences of stained glass. Rossetti drew Ezekiel in 1863 for windows that the Morris firm was currently installing at All Saints Church, Banstead, in Surrey, and in Bradford Cathedral; while between 1865 and 1875 the prophet was the subject of no fewer than three separate stained-glass cartoons by Burne-Jones. A version originally designed for a church at Tavistock in 1875 was re-used a year or two later in one of the magnificent Morris windows in the Chapel at Jesus College, Cambridge; but what makes this re-use so interesting is that to go beneath the standing figure Burne-Jones specially designed a panel with a subject that anticipates Stanhope's picture, namely another prophet, Elijah, preaching to dry bones. Finally, it is worth mentioning a small oil painting of Ezekiel's vision of the valley of bones by Burne-Jones's son Philip, which was on the London art market some years ago. Again it seemed a strange subject, especially as Philip's meagre artistic talents lay mainly in portraiture. No doubt somewhere behind these subjects lurked fears engendered by Darwinian theories of evolution. When Ezekiel experiences his vision, he hears the Lord asking 'Can these bones live?' In 1856 the artist Henry Alexander Bowler exhibited at the Royal Academy a picture which perfectly expresses Victorian anxiety about immortality (fig. 3). Entitled The Doubt: 'Can these Dry Bones Live?', it shows a young woman leaning on a gravestone in a churchyard, contemplating some bones which have been unearthed. If the question obsessed Bowler at the age of thirty-two, perhaps it did the much older Stanhope. But in some ways the most interesting comparisons are offered by G.F. Watts, Stanhope's early master and another man coming to the end of a long life. Watts's picture Jonah (fig. 4), a powerful but repellent work of 1895, shows the prophet calling the people of Nineveh to repentance. It was intended as a bitter rebuke to the social vices of the day, and at the very least is an example of a subject from the Old Testament prophets being used to address a contemporary moral problem. An even clearer parallel dates from three years later, when Watts was eighty-one. In Can these Bones Live? (fig. 5), a title, like Bowler's, which echoes Ezekiel, a pile of bones or a decomposing corpse looms eerily from beneath a shroud-like form in a dark and threatening landscape. The picture was exhibited at the New Gallery in 1898, and it is not impossible that Stanhope painted his Vision of Ezekiel by way of response.

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Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

Lot 9: Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898)

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Description: The Dream of Lancelotcoloured chalks on buff paper39 1/2 x 49 in. (100.5 x 124.5 cm.)

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