Sir Edward Coley Burne-Jones, Bt ARA RWS, British 1833-1898- Study of a female nude for 'Arthur in Avalon'; pencil on paper, 12.5 x 11.5 cm. Provenance: Remaining Works of the late Sir Edward Burne-Jones, Bt. (+); Christie's, London, 5 June 1919, possibly lot 55, 64 or 65. Anon. sale; Christie's, London, 9 June 2005, lot 111. with Agnews, London [DB6574]. Anon. sale, Christies, London, 15 June 2011, lot 5 (£4,375); where purchased by the present owner (A Distinguished British Private Collection). Note: From the 1870s onwards Burne-Jones had an established method in the development towards a final painting. Beginning with rough exploratory sketches, he would gradually define his compositions through multiple individual sketches, isolating every detail within the scene and experimenting with various designs until he was completely satisfied with the final result. The present study is for the so-called 'hill-fairies', one male and one female group, that Burne-Jones considered painting into the lateral sections of his completed painting 'The Last Sleep of Arthur in Avalon' in the collection of the Museo de Arte, Ponce, Puerto Rico. Dating to c.1885, it corresponds to an entry for that year in his autograph work-record, preserved at the Fitzwilliam Museum, Cambridge: 'also I worked on Avalon, and made the designs for the Fairies in the hills of that picture'. This drawing also appears to correspond, in modified form, to the standing figure grasping the column to the right of Arthur's body. Influenced by the Italian masters of the Renaissance combined with his ability to portray emotion and expression in his figures, Burne-Jones stands as one of the leading artists of his generation; a principal contributor to the Aesthetic movement, responsible for the rejuvenation of the tradition of stained glass art in Britain, and a key figure in 19th-century British art.
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON). The Death of Medusa (a fragment). oil on canvas24 ¾ x 31 in. (63 x 79 cm.).
◇ Attributed to Sir Edward Coley Burne-Jones (1833-1898) Study [of the Slave] for The Wheel of Fortune pencil on ivory wove paper unsigned mount aperture 17.5 x 11cm The verso of the frame bears the inscription 'Edward Burne-Jones - study for Wheel of Fortune (small version) / ex Mackail Collection'. The verso of the mount bears similar with the addition of '10609'. The Burne-Jones Catalogue Raisonne lists numerous similar studies for the Slave in various versions of The Wheel of Fortune. It is well documented that a large number of studies by Burne-Jones, from the collection of his daughter Margaret Mackail, were sold at Christie's, London, 3 December 1954.Qty: (1)Overall this work is in good condition - the drawing is sharp and immediate. The sheet is mount stained and has been fixed to the mount with tape to the sheet verso. Please see the additional images.
CERCLE D' EDWARD COLEY BURNE-JONES (1833-1898) Suite de deux projets pour vitraux Préraphaélites Scènes de chevaliers en prière, importants dessins au crayon et encre sur papier, avec annotations. Déchirures et restaurations. Dimensions : 126 x 56 cm et 115 x 55,5 cm
SIR EDWARD COLEY BURNE-JONES, BT. A.R.A., R.W.S. (BRITISH 1833-1898)SPES AND DAPHNEPencil on two joined sheets of paper laid on linen, wrapped around a wooden board93.5 x 123.2cm (36¾ x 48½in.)In the original frameProvenance:The artist, and by descent to his son, Sir Philip Burne-Jones, Bt.Sale of the remaining works by the late Sir Edward Burne-Jones Bt.; Christie's, London, 5 June 1919, probably lot 20 (25 gns to Gooden & Fox).William Hesketh Lever, first Viscount Leverhulme, who gave it to the Lady Lever Art Gallery, Port Sunlight, probably in 1922. Trustees of the Lady Lever Art Gallery; Christie's, London, 6 June 1958, lot 12.The present drawing is one of Burne Jones's most highly finished drawings and is one of the group of large scale, semi-independent works that relate to the needlework frieze designed to hang round the upper walls of the dining-room at Rounton Grange, Northallerton, a house commissioned from the architect Philip Webb (1831-1915) by the Novocastrian ironmaster and metallurgist Sir Isaac Lowthian Bell (1816-1904) in 1872. The commission in 1874 to decorate the interior of the house was one of the most important to date for Morris and Company and included wallpapers, ceilings, furniture and carpets. Burne-Jones and William Morris took the opportunity afforded by the commission to illustrate the medieval tale Romaunt of the Rose on a needlework frieze which was to be was worked by Sir Lowthian's wife, Margaret, and his daughters who were experienced needlewomen. Burne Jones designed the figures and William Morris the background of stylised briar roses. The frieze was completed in 1882 and survives in the William Morris Gallery, Walthamstow. The subject of the frieze was the thirteen-century Romance of the Rose, written by Guillaume de Lorris. It was among the most popular secular texts of the late Middle Ages, though considered controversial due to its sensuous language and imagery and often condemned by contemporary moralists. The Romaunt is a meditation on the nature and vicissitudes of courtly love cast in allegorical form and describes how a young poet dreams of an encounter with the god of Love (one of Burne Jones's favourite emblematic personifications). The poet enters a secret garden where after trials and tribulations he discovers a wonderful rose, symbolising perfect love. The tapestry covered three sections of the north, south and west walls of the dining room, in the centre, over a massive stone fireplace, Burne-Jones depicted the Pilgrim gazing on the miseries of the world - Hate, Felony, Villainy, Covetousness, Avarice, Envy, Sorrow, Age, Time, Hypocrisy and Poverty, represented by free-standing bronze sculptures set in niches along the exterior wall of the Garden of Idleness, while on either side is the poet's dream of Love leading the Pilgrim to safety and away from danger, and introducing him to the Garden of Idleness, where he finds ineffable beauty in the heart of the rose. The Garden itself is populated by beneficent presences Spes and Daphne is one of the four pairs of figures which personify the Virtues, the others are Love and Beauty, Largesse and Richesse and Courtesie and Fraunchise which aid the Pilgrim in his search for his beloved. Burne-Jones worked these pairs of Virtues, of which the present work is one, and Love Leading the Pilgrim (all private collections) up to exquisite highly finished drawings.The romantic, complex and scholarly story was translated from the French into middle English by one of Burne-Jones's favourite poets, Chaucer. Chaucer was one of the cornerstones of Burne-Jones's and Morris's medievalism and they first read him as undergraduates at Oxford. The story would have greatly appealed to Burne-Jones's sensibilities and was also the subject of one of his favourite illuminated manuscripts in the British Museum. G.P. Boyce records a visit to the Museum on 14 April 1860 when he, his sister Joanna, and her husband, the painter H.T. Wells, were shown this exquisite book by Burne-Jones, who evidently knew it well [1]. The lavishly illuminated manuscript was written in Bruges at the end of the 15th Century and illustrated with miniatures that conjured up a picturesque and highly-coloured world in keeping with the poem's celebration of courtly love.The finished embroidery worked from this design is illustrated in Edward Burne-Jones: Victorian Artist-Dreamer, exhibition catalogue, Metropolitan Museum, New York, 1989, pp. 180-181; two comparative highly finished drawings for the project of Love and Beauty and Largesse and Richesses are illustrated, loc.cit., nos. 73, 75. Several of the designs were re-cycled as easel paintings or tapestries for Morris & Co. Notably Love leading the Pilgrim (Tate Britain), his last major picture, exhibited at the New Gallery in 1896-7 and The Pilgrim at the Garden of Idleness, 1884 (Dallas Museum of Art), illustrated op.cit. pp. 182, 184, nos. 74, 78. The group of full-size pencil drawings, which includes the present drawing, Spes and Daphne, were finished to an exceptional level and reveal Burne-Jones's love of the medium and the irresistible opportunity they afforded him to execute such works. Dating from the early 1870s they clearly reflect the influence on his style of his visits to Italy in 1871 and 1873 where he studied Italian Renaissance paintings. The drawings are in his most 'Florentine' manner, notably the lively Ghirlandaio-style movement of the figures and the billowing Botticellian drapery with great emphasis on linear invention. How highly the artist rated this group of drawings is evidenced by the fact that Margaret Bell and her daughters were given photographic enlargements from which to work their embroidery while Burne-Jones retained the originals. Tellingly he gave Love Leading the Pilgrim, 1876-77 (private collection) to Frances Horner, the daughter of his patron William Graham, with whom he was platonically in love for years. In summary these exceptional drawings, including Spes and Daphne 'seem to have been taken to a degree of finish more out of pleasure than of necessity.'[2][1] V. Surtees, The Diaries of George Price Boyce, Norwich, 1980, pp. 29-30.[2] Edward Burne-Jones: Victorian Artist-Dreamer, exhibition catalogue, p. 180.
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BRITISH 1833-1898) AND STUDIOSTUDY OF NIMUE FOR 'THE BEGUILING OF MERLIN'black chalk and oil on a prepared canvas, unlined76.4 x 59.2cm (30 x 23¼in.) Provenance:Anonymous sale [Lady Clay]; Christie's, London, 3 February 1976, lot 161Possibly The Fine Art Society, London The present oil sketch is a study for the figure of Nimuë in Burne-Jones's celebrated painting The Beguiling of Merlin (1874, Lady Lever Art Gallery, Port Sunlight, fig. 1), one of a group of eight works Burne-Jones exhibited at the first Grosvenor Gallery exhibition in 1877. The picture was commissioned by Burne-Jones's great patron F.R Leyland (1831-1892) for the famous interior he created at 49 Prince's Gate, London.The Grosvenor Gallery was established as an alternative to the Royal Academy by Sir Coutts Lindsay (1824-1915) and set itself apart from mainstream exhibiting societies. It was more a private organisation defined in terms of distinction and the artists it promoted embodied this rarified identity. The pictures were hung (in contrast to the Royal Academy) in an aesthetic hang which embraced the ideal of 'art for art's sake'. Burne-Jones's exhibits, displayed on scarlet damask, shone out and marked him out as a leader of the new aesthetic sensibility. For Burne-Jones his debut at the inaugural Grosvenor Gallery exhibition marked a triumphal return to public exhibition after a break of seven years when he resigned from the Old Water Colour Society in 1870 after a member of the public complained about the nudity in Phyllis and Demophoon (Birmingham Museums Trust). The Beguiling of Merlin is based on the late Medieval French text Le Roman de Merlin. Merlin and Nimuë was one of Burne-Jones' favourite Arthurian themes. He discovered a copy of the 1817 edition of Sir Thomas Malory's Morte d'Arthur in a Birmingham bookshop in 1855, and painted an Arthurian subject in a mural for the old Debating Hall of the Oxford Union in 1857. He also executed a watercolour of the same subject in 1861 (Victoria & Albert Museum, London). In the story Merlin was so in love with Nimuë that at her request he taught her all his magic skills, which she wrote down. The picture depicts the moment when snake crowned Nimuë has lulled the magician to his doom, enchanting Merlin with his own sorcery by binding him into a hawthorn tree. Merlin is shown paralysed and helpless and the subject matter symbolising entrapment in which a male protagonist falls victim to a hidden, threatening female power.
ARTS & CRAFT - Two embroidery depicting King Cophetua and the Beggar Woman and The Song of Solomon by Edward Burne-Jones. England, late XIXth century. Frame dimensions: 206.5 x 111 cm Literature (for the subjects depicted): M. T. Benedetti, G. Piantoni, Burne-Jones, Nuove Edizioni Gabriele Mazzotta, Milano 1986, pp. 134, 249. 80 x 175 cm.
SIR EDWARD BURNE-JONES (1833-1898) 'DAY AND NIGHT' FROM THE FLOWER BOOK, CIRCA 1900 lithograph, framed 23.5cm x 19.5cm (frame size 43.5cm x 33cm) The Flower Book by Edward Burne-Jones (1833-1898) is a series of 38 round watercolours, each about six inches across, painted from 1882 to 1898. They were painted for his private pleasure, many while he was resting at his summer home in Rottingdean and were described by his wife as the "most soothing piece of work that he ever did". On his death, Burne-Jones left the album of flower paintings to his wife Georgiana, and she published a facsimile edition of 300 copies in 1905 in cooperation with the Fine Art Society in London.
SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & COMPANY 'ST. PETER' STAINED GLASS PANEL, CIRCA 1890 painted, leaded and stained glass, framed 98.5cm x 37cm (frame size 105cm x 42cm) Gabreal Franklin Collection, California The original design for St. Peter was made in 1877 for St Mark’s church, New Ferry on the Wirral by Edward Burne-Jones. The version here dates from the late 1890's and was probably made for St Alban's church, Streatham Park, Pretoria Road, Lambeth (destroyed by fire 29 December 1947).
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898) Portrait of Elsie Yorke signed with initials and dated 'EBJ/1889' with sitter's initials in an olive branch (lower left) pencil on paper 47.7 x 30.4cm (18 3/4 x 11 15/16in).
Walker Hodgson (c.1890-1899) Portrait of Sir Edward Coley Burne-Jones (1833-1898), signed and dated 'Octo' 1891, and further signed in ink 'Edward Burne-Jones A.R.A', pencil/black chalk on paper, 42 x 28cm Provenance: with the Christopher Wood Gallery
Sir Edward Coley Burne-Jones Bt. ARA (British, 1833-1898) Le Chant D'Amour artist's proof etching on vellum by Robert Walker MacBeth signed by the artist and engraver in pencil, published by the Fine Art Society, London, 1896 44 x 57cm 62 x 74cm framed
CERCLE D' EDWARD COLEY BURNE-JONES (1833-1898) Suite de deux projets pour vitraux Préraphaélites Scènes de chevaliers en prière, importants dessins au crayon et encre sur papier, avec annotations. Déchirures et restaurations. Dimensions : 126 x 56 cm et 115 x 55,5 cm
CERCLE D' EDWARD COLEY BURNE-JONES (1833-1898) Suite de deux projets pour vitraux Préraphaélites " Les Saintes Femmes et les Apôtres au pied de la croix ", importants dessins au crayon et encre sur papier rehaussés à la gouache blanche. Déchirures, pliures et restaurations. Dimensions : 129 x 52,5 cm et 123 x 53 cm
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (1833-1898). Head Study for the Goddess Fortune looking down to the right in 'The Wheel.... pencil on paper27,2 x 17,7 cm. (10 ¾ x 7 in.).
EDWARD BURNE-JONES (BRITISH 1833-1898) TWO STUDIES FOR THE ORPHEUS SERIES both black chalk on paper; (i) 7 x 10cm; (ii) 8.5 x 10.5cm; (34 x 24cm; 13 1/2 x 9 1/2in framed as one) Provenance: Margaret Burne-Jones (the artist's daughter, who married John William Mackail); Olaf Barrett (from whom purchased)
Edward BURNE-JONES (Birmingham, 1833 – Londres, 1898) Deux études de nus féminins pour 'Venus Concordia' Crayon noir et rehauts de blanc sur papier préparé au lavis de sanguine Dans un cadre en bois naturel richement sculpté de branchages fleuris Two studies of female nudes for 'Venus Concordia', black pencil and white highlights on paper, by E. Burne-Jones 14.17 x 10.23 in. 36 x 26 cm Provenance : Munich, collection particulière ; Galerie Michel Descours, Paris et Lyon ; Acquis auprès de cette dernier par l'actuel propriétaire ; Collection particulière, Paris Le subtil dessin que nous présentons compte parmi les études les plus raffinées qu’Edward Burne-Jones consacra aux figures féminines pour Venus Concordia (fig. 1), l’un de ses sujets fétiches où il exalte l’idéal harmonieux et pacificateur de la beauté. Sur une feuille soigneusement préparée d’un lavis de sanguine, l’artiste juxtapose deux poses complémentaires d’un même modèle : l’une de face légèrement déhanchée, l’autre de dos, dans un retournement gracieux qui peint le corps comme une architecture souple et vivante. Tout en s’inspirant librement de la pose des Trois grâces antiques, Burne-Jones reste fidèle à son esthétique préraphaélite où se mêlent à l’héritage de la Renaissance une certaine idéalisation. Il s’attache ainsi ici à un modelé délicat, construit par un réseau de hachures légères qui enveloppent le corps d’une lumière douce. La figure de face incline la tête dans une attitude méditative ; ses épaules rondes, son torse subtilement vrillé et l’élan souple de ses jambes rappellent les silhouettes élancées des fresques italiennes qu’admirait le peintre. La figure de dos, quant à elle, révèle la science anatomique de Burne-Jones : les omoplates, la colonne légèrement incurvée, le galbe des hanches sont rendus avec une précision retenue, toujours au service de son idéal de beauté éloigné de tout réalisme froid. Les rehauts de blanc, appliqués avec parcimonie sur les zones de lumière — clavicule, épaule, courbe des reins — confèrent à la feuille un relief subtil, comme si les corps émergeaient d’une pénombre rosée. Le choix du papier teinté, typique du travail d’étude de Burne-Jones, crée un halo uniforme dans lequel les formes se détachent avec douceur, accentuant la dimension intemporelle et quasi mystique de ces figures. Par cette double étude, l’artiste parvient à condenser ce qui fait la singularité de son art : une recherche de perfection formelle, une élégance mélancolique et un sens aigu de la poésie silencieuse du corps. Il ne s’agit pas d’une simple étude anatomique, mais bien d’une méditation visuelle sur la féminité idéalisée, prélude aux compositions plus ambitieuses où Burne-Jones invita ses modèles à incarner des allégories antiques et spirituelles. Ces deux figures, jumelles et complémentaires, offrent ainsi un rare témoignage du lent travail préparatoire par lequel le maître façonnait ses visions, entre rigueur du dessin et souffle intérieur. Fig. 1 : Venus Concordia, huile sur toile (127 x 208 cm), Plymouth City Museum and Art Gallery (n° PLYMG.1926.16). Edward BURNE-JONES (Birmingham, 1833 – Londres, 1898) 36 x 26 cm
EDWARD BURNE-JONES (BRITISH 1833-1898)FIGURE STUDY OF A NUDEPencil on paperIndistinctly inscribed (lower left)24.5 x 16cm (9½ x 6¼ in.)Provenance: Private Collection, UKThis composition relates to The Wheel of Fortune (first version, circa 1871) in the collection of the Tullie House Museum and Art Gallery, Carlisle.
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON). A study of a nude male seen from behind looking upwards to the left, with.... graphite11 1/8 x 7 ¾ in. (19.7 x 28.2 cm); and another drawing by Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898), Two studies of heads, possibly for 'The Mirror of Venus' (recto) and a study of a head and partial torso (verso), signed, inscribed and dated 'DRAWN BY SIR ED. / BURNE-JONES / 24. XI. 1897' (lower right), graphite, fragmentary watermark '[..] NSTER' 6 7/8 x 4 ½ in. (17.5 x 11.5 cm)(2).
Sir Edward Coley Burne-Jones (British, 1833-1898) Study of a female nude (recto); Study of birds wings (verso) The female nude study possibly a variant pose for Diana in The Knight's (Knyghtes) Tale: Emily (Emelye) praying to the statue of Diana - Kelmscott Chaucer The study of birds wings (verso) possibly for The Arming of Perseus (Perseus Series) Circa 1893 Pencil on paper Inscribed on verso 'Sketch by E Burne Jones bought / from Louis Meier 9.60 30/- / He bought a ** from Burne Jones's daughter Mrs. Mackail (?) / Possibly for 'The Bath of Venus' This drawing is included in the William Waters online Edward Burne-Jones catalogue raisonné, who confirmed its authenticity in 2024 Provenance: Margaret Burne-Jones (daughter of the artist); Christie, Mason & Woods, 3rd December 1954, Lot 10 part lot); Bought by Louis Meier, Hartnoll & Eyre Ltd, 1970 Dimensions: (Frame) 17 in. (H) x 11.5 in (W) (Paper) 13 in. (H) x 6.5 in. (W)
Sir Edward Coley Burne-Jones (Birmingham 1833 - 1898 London) Phineus and his courtiers turned to stone Point of the brush and brown wash with watercolor and white gouache on paper washed blue 333 by 650 mm; 13⅛ by 25⅝ in.
SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS, MARSHALL, FAULKNER & CO (1861-1875) Rare 'Dido', from the 'Legend of the Goode Wimmen' Series Figural Tile Panel designed circa 1861, painted 1861-75 glazed ceramic, wood frame tile dimensions 10 x 5in (26 x 13cm)
SIR EDWARD COLEY BURNE-JONES (1833-1898) FOR MORRIS, MARSHALL, FAULKNER & CO (1861-1875) Rare 'Thisbe', from the 'Legend of the Goode Wimmen' Series Tile Panel designed circa 1861, painted 1861-75 glazed ceramic, wood frame tile dimensions 5 x 10in (13 x 26cm)
SIR EDWARD COLEY BURNE-JONES (1833-1898) FOR MORRIS, MARSHALL, FAULKNER & CO (1861-1875) Rare 'Philomelæ', from the 'Legend of the Goode Wimmen' Series Figural Tile Panel designed circa 1861, painted 1861-75 glazed ceramic, wood frame tile dimensions 10 x 5in (26 x 13cm)
SIR EDWARD COLEY BURNE-JONES (1833-1898) FOR MORRIS, MARSHALL, FAULKNER & CO (1861-1875) Rare 'Hypermnestra', from the 'Legend of the Goode Wimmen' Series Tile Panel designed circa 1861, painted 1861-75 glazed ceramic, wood frame tile dimensions 10 x 5in (26 x 13cm)
Edward Burne-Jones "Creation" Victorian lithograph with six mounted in oak frame. Ca late Victorian 1890's. 48 inches x 24 inches. Missing brass plaque on frame. Original patina. Frame with verysmall chip. Shipping weight approx. 14 pounds.
Platinotipia, mm 150x320. "CRUDELITAS" in alto a sinistra, "SAEVITIA" in alto a destra. Si tratta di uno studio di tre teste (Crudelitas and Saevitia leading the Faire Dame, heads of Despight, Cruelty and Dame Amoeret for the Masque of Cupid) che fa parte di una serie eseguita per illustrare The Masque of Cupid tratta da The Fairie Queene di Edmund Spenser, progetto iniziato verso il 1870, poi interrotto e ripreso nel 1898 senza mai sfociare in un'opera definitiva. È nota un'autotipia pubblicata nel 1878 a Manchester dalla English Picture Publishing Company di dimensioni maggiori (mm 292x597) tratta da un disegno datato 1870 che il Burne-Jones Catalogue Raisonné dichiara esposto nel 1899 a Burlington, oggi scomparso e conosciuto solo attraverso riproduzioni in planotype di Frederick Hollyer e altri. La presente, in cui il disegno appare leggermente diverso, è una versione più piccola (censita anch'essa dal catalogo come "Photographic platinum platinotype print 1872 circa") che risulta meno comune.
Sir Edward Coley Burne-Jones ARA (1833-1898) for Morris & Co. A stained glass panel depicting Geoffrey Chaucer Stained, leaded and painted glass, 85cm x 36.5cm Provenance: Purchased in South Africa in the 1970's by Bettina Gwynne-Evans, daughter of Sir William Gwynne-Evans 1st Bt.; thence by descent
Sir Edward Coley-Burne Jones (British, 1833-1898) Study for the Figure of an Angel with a Raised Hand charcoal on paper inscribed Angel with King (upper right) 13 x 10 in. (33.3 x 25.5cm) Property from a Private Collection This lot is located in Philadelphia.
In good condition with wear commensurate with age. Frame measures approximately 16.5W x 14.5H Print measures approximately 7.5W x 5.5HSigned Edward Coley Burne-Jones Engraving Titled “The Wine of Circe.” Dated 1899. Engraved by Walter Monteith Aikman. Exquisite late 19th-century engraving after the work of Sir Edward Coley Burne-Jones, depictingthe mythological sorceress Circe. Showcases masterful line work and tonal precision characteristic of Aikman’s craftsmanship and Burne-Jones’ Pre-Raphaelite aesthetic. A refined and collectible example of classicalEnglish art.RH50332
Edward Burne-Jones (British, 1833-1898) Reclining Male Nude (Study) Study for Sir Gawaine in The Quest for the Sangreal, stained glass Circa 1885 Pencil on white paper With Christopher Wood, Motcomb Street, label on board verso With old auction stencil on board verso Inscribed on paper verso This drawing is included in the William Waters online Edward Burne-Jones catalogue raisonné, who confirmed in 2020 "Fitzwilliam Account book 1883 13 Oct 4 panels of painted glass for Bedroom window (in debit side ) 44. The drawing is for stained glass and it is interesting that he paid as much attention to these studies as for those for his paintings and watercolours." Provenance: Alister Matthews; Henry Scipio Reitlinger Collection, bought at the 1919 Studio sale as part of Lot 14; Sotheby's, 26th May 1954, Lot 433; Douglas Hamer, 1956; The Fine Art Society (FAS), between 1979-1987; Christie's London (Christie, Manson and Woods), Victorian Drawings & Watercolours 5 November 1993 lot 125 £920, wrongly identified as for The Council Chamber from the Briar Rose Series; James Hunt, Selham House; UK Art Market Literature: Sewter, Albert Charles, 'The Stained Glass of William Morris and His Circle', 2 vols (1974 & 1975 - Catalogue), vol I pl. 589 vol II pp. 102-105; Whiteway, Michael, Peyton Skipwith, Joseph Mordaunt Crook, Morris and Company, 1979, cat no. 188; MacCarthy, Fiona, 'The Last Pre-Raphaelite, Edward Burne-Jones and the Victorian Imagination', 2011, pp. 491, 493, 509 Exhibited: The Fine Art Society, Morris and Company, 1979, no. 188 Dimensions: (Frame) 13.75 in. (H) x 19.25 in. (W) (Paper) 8 in. (H) x 13 in. (W)
EDWARD BURNE-JONES (1833-1898) AND JOHN HENRY DEARLE (1859-1932) 'FLORA' TAPESTRY, CIRCA 1930 wool and silk, lined with blue cotton 100cm x 40.4cm Literature: Marillier H.C. History of the Merton Abbey Tapestry Works, London, 1927, p. 34Parry L. William Morris Textiles, V&A; 2013, pp. 133-136This late tapestry by Morris & Co. was possibly woven by Douglas Griffiths, one of the company’s final apprentices, who left to serve in the military at the outbreak of the Second World War or by Arthur Wingate and Wallace Stevens two of the other remaining weavers at Morris & Co. in the 1920s and 30s. A photograph held by the William Morris Gallery depicts Griffiths at his loom at Merton Abbey, working on Pamona, a companion piece in both size and treatment to the present tapestry. This work was completed in 1938 and was very possibly presented to Lady Chilston in 1937.In 1882, Burne-Jones received £25 for the figure designs of Flora and Pamona, his first designs specifically for tapestry, while Morris was responsible for the verdure backgrounds. The two original tapestries were acquired by the Whitworth Art Gallery in Manchester. From 1896 later versions began to be made, this time with verdure grounds designed by Dearle in a simpler form, allowing the figures to remain the primary focus rather than being overshadowed by the background.According to Marillier, the firm wove six additional Pamona tapestries and ten Flora tapestries before 1927. The present tapestry is believed to have been produced after this date and is therefore not included in that count.
SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO. 'ANGEL HOLDING THE STAR OF BETHLEHEM', A STAINED GLASS PANEL, 1915 stained, leaded and painted glass, within chenille material border, framed in later carved oak frame and including a light box 56cm x 62cm (frame size excluding light box 79.4 high, 85.3cm wide, 13.1cm deep) Haslam & Whiteway, LondonPrivate collection, London Literature: Cormack P. Morris & Company's Stained Glass for The Chapel of Cheadle Royal Hospital, Haslam & Whiteway Ltd. catalogue 2008, pp. 40-41.The original version of this design by Burne-Jones was drawn for the famous Morris & Co. tapestry The Adoration of the Magi, first woven in 1886-90 for the chapel of Exeter College, Oxford (where both Morris and Burne-Jones had been students in the 1850s). Burne-Jones also used the same subject, with minor changes, for an enormous watercolour, The Star of Bethlehem, commissioned by Birmingham City Art Gallery in 1887. The Morris firm adapted Burne-Jones's design - more closely following the tapestry version than the watercolour - for at least two other stained glass windows, at Westerham church (1909) and St Michael's church, Macclesfield (1918). The current lot formed part of the upper section of the Nativity scene from the Chapel's west window.
SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO. 'TWO ANGELS WITH LONG TRUMPETS', A PAIR OF STAINED GLASS PANELS, 1915 stained, leaded and painted glass, each within chenille material borders and framed in later carved oak frames and including light boxes (2) each panel 121cm x 25cm (frame size excluding light box 152.3cm high, 50.5cm wide, 14.2cm deep) Haslam & Whiteway, LondonPrivate collection, London Literature: Cormack P. Morris & Company's Stained Glass for The Chapel of Cheadle Royal Hospital, Haslam & Whiteway Ltd. catalogue 2008, pp. 2-3 and pp. 14 -15.The commission for the glazing of the new Chapel at Cheadle Royal Hospital, near Manchester, represents a significant episode in the later history of Morris & Company. Between 1906 and 1915, the firm provided a complete scheme of stained glass for the building, which consisted of twelve multi-light windows in a Perpendicular Gothic structure. The east window was installed first (1906), followed by the side windows (1909–1911), and the west window (1915). This programme reflected a deliberate choice by the patrons to ensure stylistic unity by entrusting the entirety of the Chapel’s glazing to Morris & Co.The design process was overseen by John Henry Dearle, then Art Director, who consulted with the hospital authorities on the selection of biblical figures and narrative scenes. While most of the cartoons were the work of Edward Burne-Jones, dating from commissions of the 1860s to 1890s, their adaptation for Cheadle was carefully coordinated to produce a coherent scheme. The surviving watercolour sketches and pattern designs, now in the Huntington Library, provide rare insight into this process.The Cheadle windows illustrate the persistence of Morris & Co.’s late nineteenth-century aesthetic after the deaths of Morris and Burne-Jones. Executed by long-serving craftsmen, they embody the continuity of the firm’s technical and stylistic practices and exemplify its capacity to sustain high standards well into the twentieth century. The designs for Two Angels with Long Trumpets were originally drawn by Burne-Jones as full-size figures for a major window at Cheddleton Church, Staffordshire, in 1869. The cartoons were subsequently adapted for several other Morris & Co. windows, including full-size versions at All Saints’, Bingley (1874), and tracery versions at Holy Trinity, Sloane Street, London (1894–95). The current examples were two parts of a tracery light from above the Ascension scene in the Chapel's west window and their reappearance at Cheadle highlights the firm’s practice of reinterpreting established designs to ensure stylistic consistency across different commissions.
Sir Edward Coley Burne-Jones ARA (1833-1898) for Morris & Co. A stained glass panel depicting Geoffrey Chaucer Stained, leaded and painted glass, 85cm x 36.5cm Provenance: Purchased in South Africa in the 1970's by Bettina Gwynne-Evans, daughter of Sir William Gwynne-Evans 1st Bt.; thence by descent
Burne-Jones (Edward Coley, 1833-1898). Cartoon study for the Death of Medusa II, circa 1881-1882 * Burne-Jones (Edward Coley, 1833-1898). Cartoon study for the Death of Medusa II, circa 1881-1882, gouache on canvas, a large irregularly-shaped fragment, depicting part of Perseus's legs, and the partial wings of one of the Gorgons on the left, some flaking of paint surface, 29.5 x 96.5 cm (11.5 x 38 ins) at largest extremities QTY: (1) NOTE: Provenance: Part of a damaged canvas purchased by the current owner's husband, the collector and connoisseur David Gould (1922-2004), in the 1960s. In 1875 the politician Lord Arthur Balfour commissioned Edward Burne-Jones to create a series of paintings for the music room of his London home. The subject was to be a re-telling of the classical story of Perseus and the slaying of Medusa, as related in William Morris’s epic poem ‘The Earthly Paradise’. Burne-Jones worked on the project for ten years but it was never completed. Southampton Art Gallery has ten full-size cartoon studies in gouache for the cycle, but only four of the oil paintings were finished, with one other partially completed. This study was done for the sixth scene in the series, 'The Death of Medusa II', for which no oil painting exists. It depicts the headless body of Medusa on the ground, whilst her two sisters take to the air to search for her assailant, and Perseus, wearing the helmet of Hades to maintain his invisibility, flees from the Gorgons with Medusa's head in his kibisis.
Property from an Important Private Collection Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. Birmingham 1833–1898 London The Finding of Medusa pencil on paper unframed; 13.5 x 12.5 cm.; 5⅜ x 4⅞ in. framed: 43.7 x 31 cm.; 17¼ x 12¼ in.
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON). A set of four stained glass designs for Albion Congregational Church,.... one pencil and black, white and blue chalk, three with yellow chalk, all on brown paper, laid down on linenone 54 ½ x 47 ¾ in. (138.4 x 121.3 cm.), one 54 ¾ x 33 ¼ in. (139.1 x 84.6 cm.) two slightly smaller(4).
EDWARD CLIFFORD (BRISTOL 1844-1907). 'An Idyll', after Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S. (1833-1898). pencil and watercolour heightened with bodycolour and gum arabic, on paper12 ½ x 11 7/8 in. (31.5 x 30.4 cm.).
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON). Head study of a young lady, possibly May Gaskell. pencil on paper17 ¼ x 11 ¾ in. (43.9 x 29.8 cm.).
SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON). head of Philip Comyns Carr (b.1874), looking down, aged 7: study for a.... black, white and red chalk on buff paper15 x 12 in. (38.1 x 30.5 cm.).
Kelmscott Press - William Morris. The Story of Sigurd the Volsung and the Fall of the Niblungs. Hammersmith, Kelmscott Press 1898. Mit zwei ganzseitigen Holzschnitten nach Edward Burne-Jones und zahlreichen, teils breiten Holzschnitt-Bordüren, -Zierstücken und -Initialen. Flexibler Originalpergamentband mit Yapp-Kanten, Rückenvergoldung und Schließbändern. Eins von 160 Exemplaren auf Apple Paper (Gesamtauflage 166). - Gesetzt aus der Chaucer Type, gedruckt in Rot und Schwarz. - Morris’ »Sigurd« erschien erstmals 1877, das Projekt, den Text in seiner Kelmscott Press zu drucken beschäftigte Morris seit deren Gründung 1891. - Die prächtigen Holzschnitte vor dem Titel und am Ende des Textes schnitt W. H. Hooper. - Provenienz: Richard Doetsch-Benziger (1877-1958, Schweizer Sammler und Mäzen), mit dessen Exlibris (lose beiliegend). Aus diesem Nachlass versteigert am 1. Juni 1962 in Auktion 112 bei Dr. Ernst Hauswedell, Hamburg (Lot 1053). - Seitdem in einer deutschen Privatsammlung. - Beilage: Ausführliche Beschreibung des Buches mit Zitat aus Morris’ »List«. - Dazu: A Tale of the House of the Wolfings and all the Kindreds of the Mark. Written in Prose and Verse by William Morris. London, New York und Bombay, Longmans, Green and Co. 1901. Originalhalbleinenband (etwas fleckig). Gedruckt auf der Chiswick Press für die Kelmscott Press. Auf Bütten. 33 : 24 cm. 207, [5] Seiten. - Die unteren Ecken beider Deckel schwach gestaucht. Ein Schließband abgerissen. - Schnitt schwach stockfleckig. Vorsätze oben etwas angestaubt. Peterson A 50 [Keywords: Private Press Books ] Achtung! Lose 1-281 werden am Samstag ab 14 Uhr aufgerufen, Lots 301-653 bereits ab 10 Uhr Please note! Lots 1-281 start at 2 p.m., Lots 301-653 already start 10 a.m.
Burne-Jones, Sir Edward (1833-1898) The Work of Edward Burne-Jones. London: The Berlin Photographic Company, c. 1900. Limited edition, elephant folio; one of 200 copies signed by the artist's son and editor Philip Burne-Jones on the limitation page; half-title, title printed in red and black, single leaf with artist's biography, 18 pages listing and describing the plates; complete with 91 photogravures, one being a portrait of the artist and the rest reproductions of his heavenly Pre-Raphaelite artworks, the majority protected by tissue guards (varied degrees of foxing to plates, largely marginal); loosely contained as issued in the original gilt-tooled morocco and cloth portfolio; ex-libris bookplates of German noblemen P.A. Mumm von Schwarzenstein and Radowitz-Mumm Kleiningersheim to inside front cover; 26 1/4 x 19 3/4 in.
![◇ Attributed to Sir Edward Coley Burne-Jones (1833-1898) Study [of the Slave] for The Wheel of Fortune](https://image.invaluable.com/housePhotos/Mallams/42/813842/H0738-L438699315.jpg)
