The work of Edward Coley Burne-Jones

The work of Edward Coley Burne-Jones

Sanders of Oxford

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The work of Edward Coley Burne-Jones A collection of Photogravures from ‘The Work of Edward Burne-Jones, Photogravures Directly reproduced from the Original Paintings’.

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Following the death of the distinguished artist Edward Burne-Jones in 1898, in 1900, a folio of ninetyone photogravures was issued by the artist’s son, Philip Burne-Jones, and the Berlin Photographic Company. Only two-hundred copies of the folio were published, each of which was signed by Philip.

All but two of the works featured in the collection were taken from the paintings of Burne-Jones, with the other two photogravures being taken from portraits of Burne-Jones, one by his son, who became a well-known painter in his own right, and the other by his friend, and artist, George Frederick Watts.

Although a collection of works that was issued largely as a celebration of the career of Burne-Jones, ‘The Work of Edward Burne-Jones, Ninety-One Photogravures Directly Reproduced from the Original Paintings’, which spans nearly four decades of his career, is testament to Burne-Jones’ versatility as an artist, and perfectly outlines the development of his eclectic style.

In order to fully comprehend the work of Burne-Jones, the Pre-Raphaelite movement, with which Burne-Jones was to become associated, must first be taken into consideration. Established in 1848 by William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, the Pre-Raphaelite Brotherhood was largely an avant-garde movement, and one fuelled by revolt. Revolution had spread across Europe in the same year, including a rise in Chartism, a working-class movement in Britain, which saw 150,000 people marching at Kennington Common in support of political and social reform. Amongst the protesters were Holman Hunt and Millais, and a month later, the Pre-Raphaelite Brotherhood was formed. In line with the age of revolution, the Pre-Raphaelite Brotherhood were revolting against the standard of art, and the Royal Academy. They were fuelled by a grave dissatisfaction for formulaic art that widely abandoned nature as its source, which had grown in prevalence since the time of Raphael, and was continually promoted by the Royal Academy. Four principles, therefore, acted as the basis for the Pre-Raphaelite Brotherhood’s doctrine; to have genuine ideas to express; to study nature attentively, so as to know how to express them; to sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote; and, most indispensable of all, to produce thoroughly good pictures and statues.

Although it was not until around 1855 that Burne-Jones, who was younger than the original members of the Pre-Raphaelite Brotherhood, came into contact with the revolutionary group, he is generally recognised as being an artist at the core of Pre-Raphaelitism. At a time when the Pre-Raphaelite Brotherhood were dissipating, a result of the three protagonists being far too individual, Burne-Jones developed the Pre-Raphaelite principles and style, allowing for a continuation of the movement, and the Brotherhood’s legacy to have a far greater impact than may have originally been expected. Burne-Jones, therefore, is generally associated with the second wave of Pre-Raphaelitism, and often as the last Pre-Raphaelite.

Burne-Jones carried into his work the Pre-Raphaelite tendency to produce images of a moralising nature, and although moralising images were popular in Victorian art, it was the lack of sentimentality in Pre-Raphaelite art that distinguished it from typical Victorian painting. With this concept being prominent in Pre-Raphaelite circles, medieval subjects were often visited. Through medieval subjects, the moral and social concepts of chivalry and honour could be explored, which, in an age of social unease, unsurprisingly proved to be popular with Pre-Raphaelite artists. Works such as Burne-Jones’ 1863 watercolour ‘The Merciful Knight’ and his 1866 series ‘St George and the Dragon’, of which photogravures were produced and feature in this collection, are testament to this continuing interest.

As well as carrying forward medieval subjects into his work, Burne-Jones also adopted the Pre-Raphaelite interest in classical subjects. Whilst through his medieval subjects, Burne-Jones offered some form of moral exploration, and often a clear narrative, his works of a classical nature were often overtly different. If one was to consider his 1870-82 painting ‘The Hours’, his 1870 painting ‘The Mill’, or his 1875 painting ‘The Mirror of Venus’ it becomes vividly apparent that Burne-Jones valued beauty and aesthetics far above that of a moralising narrative. Qualities such as these were intrinsic to the Aesthetic Movement, with which Burne-Jones was closely connected. Much like Pre-Raphaelitism, Aestheticism was a revolt against art of the time. A fundamental aspect of the Aesthetic Movement was the notion of

‘Art for Art’s Sake’. Derived from French philosopher Victor Cousin’s statement ‘l’art pour l’art’, the slogan swiftly became a commonly used statement against the traditional role of art, and is one that is embodied in the works of Burne-Jones.

As becomes apparent when analysing the work and life of Burne-Jones, he was a character associated with change and innovation. It is for this reason that the photogravure process is so appropriate for the folio of his works. A relatively new technology, the photogravure technique emerged alongside photography in the 1820s, both methods of which were pioneered by Nicéphore Niépce and Henry Fox Talbot.

By 1878, a fully developed method of the photogravure process emerged, which is still used today, and is known as the Talbot-Klič process. The emergence of the photogravure process radicalised the field of printmaking, allowing for greater quantities of images to be reproduced at a faster rate. With this being the case, the photogravure process was originally only considered in terms of its reproduction value, rather than any artistic quality. In 1889, however, the English photographer Peter Henry Emerson raised the status of the photogravure. In his book ‘Naturalistic Photography’, Emerson promotes the photogravure as an independent art form. As a process, the photogravure is timely and complex, and similarly to other printmaking techniques, such as mezzotint and aquatint, an extensive tonal variety can be reached.

It is important, therefore, that the photogravure process be valued for its artistic and aesthetic qualities.

Sir Edward Coley Burne-Jones, 1st Bt (1833-1898) was a painter and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones met William Morris as an undergraduate of Exeter College, Oxford, whilst studying for a degree in theology. The pair went on to work very closely together on numerous decorative arts projects including stained glass windows, tapestries, and illustrations. Originally intending to become a church minister, Burne-Jones never finished his degree, choosing instead to pursue an artistic career under the influence of Dante Gabriel Rossetti. Rossetti heavily inspired his early work, but by the 1860’s his idiosyncratic style was beginning to develop. His mature work, however different in total effect, is rich in conscious echoes of Botticelli, Mantegna and other Italian masters of the Quattrocento.

Thusly, Burne Jones’ later paintings of classical and medieval subjects are some of the most iconic of the Pre-Raphaelite movement. He was at the height of his popularity during the 1880’s, though his reputation began to decline with the onset of the Impressionists. He was created a baronet in 1894, when he formally hyphenated his name.

The Berlin Photographic Company, (1880 - 1920; fl) or the Berlin Photographische Gesellschaft, was a German print publishers who specialised in photogravures after Old Masters and contemporary painters.

High quality photographs were taken of the original works. The negatives were then exposed onto a gelatin covered copper plate, etched with acid, and printed in a similar fashion to an engraving. The main series of the Berlin Photographic Company’s publications is kept together at Blythe House, West Kensington.

1. Spes after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 455 x 160 mm, Plate 525 x 218 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 1, taken from Burne-Jones’ 1871 watercolour ‘Spes’.

‘Spes’, also known as ‘Hope’, depicts the allegorical figure of Hope, set within a shallow prison cell.

Periwinkles, a traditional symbol of condemned death, are scattered on the floor around Hope’s feet.

Despite the suggestion of impending death, the figure calmly reaches upwards to a delicate veil or cloud, possibly symbolising divine comfort. Unlike the periwinkles, the branch of apple blossom held

by Hope lacks symbolism, instead alluding to the Aesthetic Movement’s fascination with beauty. The elegant female figure, with a beauty that is somewhay otherworldly, is typical of Burne-Jones’ women. Encompassed by lavish drapery, she also reflects Burne-Jones’ fascination with the Classical and the Renaissance.

The watercolour was based on a cartoon produced

by Burne-Jones for a stained-glass window at Christ Church Cathedral, Oxford. The window belongs to a set of three, those of which depict the allegorical figures of Hope, Faith, and Charity.

A nearly identical oil version of the painting also exists, finished in 1896, which was to be one of Edward Burne-Jones’ last large-scale paintings prior to his death in 1898. The painting was commissioned

by Mrs Whitin of Whitinville, Massachusets, who had originally requested an image of a dancing girl.

Burne-Jones, however, was too distraught by the recent death of his close friend, William Morris, and instead offered an allegorical depiction of hope as an alternative.

Condition: Foxing and discolouration to margins, water stains to upper right and lower left corners, not affecting image. Small tear to lower edge of sheet.

Framed in a period frame [41484] £700

2. Phyllis and Demophoon after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 358 x 180 mm, Plate 431 x 241 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 2, taken from Burne-Jones’ 1870 watercolour of the same title.

Like many works produced by Pre-Raphaelite artists, Burne-Jones looked to literary sources for his ‘Phyllis and Demophoon’. Two major works are referenced; Chaucer’s ‘Legend of the Good Women’, and Ovid’s ‘Heroides’. Whilst the myth of Phyllis and Demophoon originally appeared in Ovid’s poem ‘Heroides’, Chaucer, a significantly influential figure to the Pre-Raphaelites, recounted the legend of Phyllis as one of ten tales of virtuous women, told in the form of a dream vision, in his ‘Legend of Good Women’. The legend witnesses the tragic heartbreak of Phyllis, Queen of Thrace, at the hands of Demphoon, King of Athens and son of Theseus. On his journey home following the Trojan War, Demophoon stops at Thrace, where he encounters Phyllis. The two marry, but duty bound, Demphoon returns to Greece to support his father, promising he will return in six months’ time. Failing to keep his promise, heartbroken Phyllis hangs herself, and is converted into an almond tree by the gods. Eventually returning to Thrace, Demophoon remorsefully embraces the almond tree, bringing the tree into bloom. Phyllis emerges from the tree to forgive and reclaim her lover.

The figures of both Phyllis and Demophoon were modelled on Maria Zambaco, the woman whom Burne-Jones had been having an affair with since June 1868. When the painting was exhibited at the Old Watercolour Society for the 1870 Summer Exhibition, great controversy followed, partially because of Burne-Jones’ affair, but also as a result of Demophoon’s nudity. Due to the numerous complaints, Burne-Jones withdrew the painting from the exhibition two weeks after the opening. In the August of the same year, Burne-Jones resigned from the Society.

Condition: Foxing and discolouration to margins, water stains to upper right and lower left corners, not affecting image. Small tear to lower edge of sheet.

[41485] £500

3. Music after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 258 x 167 mm, Plate 329 x 218 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 3, taken from Burne-Jones’ 1877 oil painting of the same title.

Burne-Jones’ ‘Music’ embodies the artist’s growing association with the Aesthetic Movement, presenting with a vivid preference for beauty and formal values over a narrative. The theme of music, which here carries a somewhat synesthetic quality, reflects the notion of engaging with the various senses, a popular concept with artists associated with Aestheticism.

‘Music’ is characteristic of the work produced by Burne-Jones during this period, with its highly Italianate nature reflecting Burne-Jones’ admiration for Italian Old Masters.

‘Music’ was commissioned by William Graham, a wealthy India merchant and Liberal M.P. for Glasgow, and Burne-Jones’ principal patron. Graham eventually owned nearly forty works by the artist. In 2007, ‘Music’ was rediscovered in a house in Oxford, and since 2008, has been in the collection of the Ashmolean Museum, Oxford.

Condition: Foxing and discolouration to margins, water stains to upper right and lower left corners, not affecting image.

[41486] £450

4. Dorigen of Bretagne after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 173 x 246 mm, Plate 243 x 303 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 4, taken from Burne-Jones’ 1871 bodycolour ‘Dorigen of Bretagne longing for the safe return of her husband’.

Medieval literature proved to be a highly influential source for the Pre-Raphaelites, as is demonstrated by Burne-Jones’ ‘Dorigen of Bretagne’, which takes it’s subject from Geoffrey Chaucer’s ‘Franklin’s Tale’, featured in ‘The Canterbury Tales’. The scene focuses on a particular aspect of ‘Franklin’s Tale’; Dorigen’s longing and concern for her husband, Arveragus, who had travelled to Britain to seek honour and fame.

Dorigen is depicted at a window, gazing out over the treacherous sea, and awaiting the safe return of Arveragus. In ‘Franklin’s Tale’, Chaucer describes Dorigen falling to her knees with fears that her husband will be shipwrecked. Burne-Jones’ choice of posture for the figure of Dorigen alludes to this particularly emotional charged moment. To the right of the composition sits a portable organ, decorated with two ghostly figures, which reference the reunion that Dorigen so desperately longs for.

Condition: Some foxing and discolouration to margins, water stain to lower right corner of sheet, not affecting image.

[41487] £375

5. Chaucer’s Dream of Good Women after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 190 x 258 mm, Plate 252 x 307 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 5, taken from Burne-Jones’ watercolour of the same title, produced between 1865 and 1867.

Greatly influenced by medieval literature, as were many artists associated with the Pre-Raphaelite’s, BurneJones found the subject of his image in Chaucer’s ‘Legend of Good Women’. Chaucer’s poem, which took the form of a dream vision, retold the tales of ten virtuous women. Rather than focusing on a particular tale featured in Chaucer’s poem, Burne-Jones illustrates Chaucer in his dream state, depicted asleep against a fountain to the left of the composition. Beside Chaucer is a large poppy, a traditional symbol of sleep. As well as alluding to Chaucer’s state of sleep, the poppy divides the sleeping figure from the women depicted to the right of the composition, suggesting that the figures are a culmination of Chaucer’s dream. The procession of women trails far into the distance, and is led by a winged figure of Love.

Condition: Some foxing and discolouration to margins, water stain to lower right corner of sheet, not affecting image.

[41488] £375

6. Venus Epithalamia after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 267 x 188 mm, Plate 338 x 246 mm Printed on India laid paper.

Plate 6, taken from Burne-Jones’ 1871 watercolour of the same title.

A typical source of inspiration for artists associated with the Pre-Raphaelite movement was classical mythology, as is demonstrated by Burne-Jones’ ‘Venus Epithalamia’. Here, Burne-Jones illustrates the tragic love story of Venus. As is told in classical mythology, Venus was given to Vulcan in marriage, following an agreement between Vulcan and Jupiter that released Jupiter’s consort and Vulcan’s mother, Juno, from entrapment. Venus, however, was deeply in love with Mars, and it is said that whenever Venus was unfaithful, Vulcan would cause Mount Etna in Sicily to erupt.

In Burne-Jones’ ‘Venus Epithalamia’, Venus is portrayed hiding behind a doorway, within the first of three chambers illustrated in the painting. With a contrapposto stance, Venus gazes downwards with a melancholic expression. Behind the figure of Venus, partially hidden by shadows, is a small, masked Cupid. In the following chamber, another nude figure is depicted. Perching on a ladder, with his back to the viewer, the figure moves with energy whilst hanging a garland, which greatly juxtaposes against the static, and sombre, figure of Venus. In the final chamber, a procession of maidens pass the doorway, although they appear unaware of what is occurring in the other chambers. The procession of women appear to be a precursor to Burne-Jones’ ‘The Golden Staircase’.

The title of the image makes reference to a particular aspect of the marriage ceremony. An ‘epithalamia’ is a wedding song, or poem, that was traditionally sung to the bride as she entered her marital chamber.

The original watercolour was commissioned by Euphrosyne Cassavetti as a wedding present for her niece, Marie Spartali Stillman, upon her marriage to the American journalist and painter William J. Stillman. Spartali was a Pre-Raphaelite painter, and arguably the greatest female artist of the movement.

Her career spanned over six decades, during which she produced over one hundred works.

[41489] £400

7. The Backgammon Players after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 145 x 233 mm, Plate 213 x 287 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 7, taken from Burne-Jones’ 1861-2 watercolour of the same title.

Set within a garden, a young man and maiden play backgammon. Wearing medieval inspired attire, the figures allude to Burne-Jones’, and more broadly speaking, the Pre-Raphaelite artists’ fascination with the Middle Ages. Although it has previously been suggested that the female figure was modelled on Jane Morris, it is more likely that the figure was modelled on Fanny Cornforth. A pencil drawing of the same date presents Cornforth in an identical dress to that in the watercolour.

The relaxed nature of the image appears to reflect that of the Red House, the home of William Morris, which was completed in 1859. As described by Georgiana Burne-Jones, the Red House was ‘more a poem than a house’.

The watercolour from which this painting was taken is now in the collection of Birmingham Museums and Art Gallery. Burne-Jones visited the subject on a few occasions, with a completed drawing, in far more detail than the watercolour, being held in the Fitzwilliam Museum, Cambridge. The subject was once again revisited for an oil painting on leather, featured on the doors of a cabinet created by Morris, Marshall, Faulkner & co., which is now in the collection of the Metropolitan Museum of Art, New York.

Condition: Foxing and discolouration to margins, water stain to upper left corner of sheet, not affecting image.

[41653] £375

8. The Briar-Rose after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Plate 8: Image 225 x 485 mm, Plate 297 x 544 mm, Sheet 507 x 667 mm, Plate 9: Image 220 x 504 mm, Plate 294 x 558 mm, Sheet 507 x 667 mm, Plate 10: Image 225 x 435 mm, Plate 292 x 490 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plates 8, 9, and 10, taken from Burne-Jones’ cycle, painted between 1871 and 1873, of the same title.

Burne-Jones visited the subject of ‘Briar Rose’, more popularly known as the fairy tale of ‘Sleeping Beauty’, on several occasions. This particular set of photogravures is taken from the artist’s very first series depicting the legend. The cycle, often known as the ‘small Briar Rose’ series, was purchased by William Graham, Burne-Jones’ principal patron, and is now part of the collection at the Museo de Arte, Ponce, in Puerto Rico.

In the first of the three images, the Prince encounters a group of Knights sleeping in the woods. The second of the series presents the King asleep in his council chamber, with his courtiers asleep on the floor around him. In the final, and most sensual image, the Princess is shown reclining on a bed, asleep, with her maidens sleeping on the floor around her.

The figures of ‘Sleeping Beauty’ and one of the maidens were modelled on Maria Zambaco, BurneJones’ mistress.

Condition: Some foxing and discolouration to margins, water stains to upper left and lower right corners of sheets, not affecting images.

[41491] £1,300

9. The Merciful Knight after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 354 x 240 mm, Plate 428 x 300 mm Printed on India laid paper.

Plate 11, taken from Burne-Jones’ 1863 watercolour of the same title.

As with many works by the artists associated with Pre-Raphaelitism, a medieval legend acted as the source for Burne-Jones’ ‘The Merciful Knight’.

Here, Burne-Jones looked to the tale of Giovanni Gualberto, an 11th-century Florentine knight, Italian Roman Catholic saint, and the founder of the Vallumbrosan Order. The legend states that, one Good Friday, Gualberto was entering Florence, accompanied by armed followers, when he encountered the man who had killed his brother. Ready to avenge his brother, the man fell to his knees, and pleaded for mercy in the name of Christ. Rather than killing the man, Gualberto forgave him. Later entering a Church to pray, Gualberto witnessed the figure of Christ on a crucifix bowing his head in recognition of Guaulberto’s forgiveness and chivalry. The legend was to be retold in Kenelm Digby’s ‘The BroadStone of Honour’.

Although the inspiration for Burne-Jones’ ‘The Merciful Knight’ was the legend of Gualberto, the image is far more intimate and dramatised than the tale.

Drawing on the moment that Gualberto receives recognition from the figure of Christ, Burne-Jones here depicts a life-size wooden figure of Christ leaning forward from his crucifix, miraculously embracing a kneeling Guaulberto.

Perhaps one of the most vital aspects of Pre-Raphaelite art was the notion of painting from nature.

Burne-Jones’ ‘The Merciful Knight’ embodies this principle, with the marigolds in the foreground being painted from the ‘town garden’ in Russell Square, near Burne-Jones’ house that sat opposite the British Museum.

‘The Merciful Knight’ is said to have been BurneJones’ own favourite amongst his early works. In Burne-Jones’ memorial biography, his wife, Georgiana, spoke of the painting, stating that it appeared ‘to sum up and seal the ten years that had passed since Edward first went to Oxford’.

[41492] £400

10. Love Disguised as Reason after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 391 x 185 mm, Plate 462 x 243 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 12, taken from Burne-Jones’ 1870 watercolour of the same title.

Burne-Jones’ elegant and classically inspired ‘Love Disguised as Reason’ presents two young maidens encountering Cupid, the god of love. Cupid, however, is disguised, wearing the cloak and hood of Reason. Tucked beneath his arm is a book, along with his bow, alluding to his true identity. The two maidens listen intently, and ponder over Cupid’s words. Drawing upon Burne-Jones’ fascination with the Italian Old Masters, he sets the figures against an overtly Italianate landscape and distant city view.

Similar to many works produced by artists associated with the Aesthetic Movement, ‘Love Disguised as Reason’ contains no literary narrative, nor offers a moral dialogue.

The watercolour on which this photogravure is based is currently in the collection of the South Africa National Gallery, in Cape Town. Held in the collection of the William Morris Gallery, Walthamstow, Birmingham, is a completed compositional drawing, which also dates to 1870. Interestingly, although the figures in the watercolour are completely clothed, in the drawing, they are presented as nude. The drawing appears to lend to the notion that Burne-Jones took the utmost care in studying the figures he featured in his work.

Condition: Some foxing and discolouration to margins, with large stains to upper right and lower left corners of sheet, although not affecting image.

[41493] £400

11. Zephyrus and Psyche after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 245 x 173 mm, Plate 316 x 224 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 14, taken from Burne-Jones’ 1865 watercolour of the same title.

Burne-Jones’ subject for ‘Zephyrus and Psyche’ is taken from the tale of Cupid and Psyche, featured in Apuleius’ ‘Metamorphoses’. The tale states that Venus, in a state of jealousy over Psyche’s beauty, sends Cupid to destroy Psyche. Pricking himself with his own arrow, Cupid instead falls in love with Psyche, and sends Zephyr, the West Wind, to transport Psyche to Cupid’s home. Cupid regularly visits Psyche here, although he never allows her to see him, and Psyche soon falls pregnant. Desperate to uncover her husband’s true identity, with concerns that he may be a monster, one night after Cupid falls asleep, Psyche carries a lamp and dagger towards Cupid. Startled by his beauty, Psyche catches herself on one of Cupid’s arrows. Struck with sudden passion, Psyche accidentally spills hot oil from the lamp, causing Cupid to wake, and flee. Psyche wanders to find Cupid, facing many trials set by the jealous Venus. Eventually, the two are reunited, and Psyche is immortalised. Burne-Jones’ ‘Zephyrus and Psyche’ captures the moment that Zephyr bears Psyche upon his back, carrying her to Cupid, her fated match.

The watercolour from which this photogravure was taken was based on an earlier woodblock design, produced by Burne-Jones for William Morris’ illustrated epic poem, ‘The Earthly Paradise’. Several of the paintings produced by Burne-Jones during this period were based on his earlier print designs for Morris’ publication.

Condition: Some foxing and discolouration to margins, water stains to upper right and lower left corners of sheet, not affecting image.

[41495] £400

12. Cupid and Psyche after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 276 x 189 mm, Plate 347 x 245 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 15, taken from Burne-Jones’ 1867 watercolour of the same title.

Burne-Jones’ subject for ‘Cupid and Psyche’ is taken from the tale of Cupid and Psyche, featured in Apuleius’ ‘Metamorphoses’. The tale states that Venus, in a state of jealousy over Psyche’s beauty, sends Cupid to destroy Psyche. Pricking himself with his own arrow, Cupid instead falls in love with Psyche, and sends Zephyr, the West Wind, to transport Psyche to Cupid’s home. Cupid regularly visits Psyche here, although he never allows her to see him, and Psyche soon falls pregnant. Desperate to uncover her husband’s true identity, with concerns that he may be a monster, one night after Cupid falls asleep, Psyche carries a lamp and dagger towards Cupid. Startled by his beauty, Psyche catches herself on one of Cupid’s arrows. Struck with sudden passion, Psyche accidentally spills hot oil from the lamp, causing Cupid to wake, and flee. Psyche wanders to find Cupid, facing many trials set by the jealous Venus. Eventually, the two are reunited, and Psyche is immortalised.

In ‘Cupid and Psyche’, Burne-Jones depicts the moment that the two lovers are reunited, with Cupid finding a sleeping Psyche following her return from the underworld. As tasked by Venus, Psyche travels into the underworld with a box to collect a dose of beauty from Prosperina, the queen of the underworld. On her return, Psyche is overwhelmed by curiosity. Unable to resist, Psyche opens the box, finding nothing inside but ‘infernal and Stygian sleep’, which sends her into a deep sleep. Having managed to escape Venus, Cupid finds Psyche, draws the sleep from her, and replaces it in the box.

Condition: Some foxing and discolouration to margins, with large stains to upper right and lower left corners of sheet, although not affecting image. £450

13. Pan and Psyche after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 234 x 205 mm, Plate 296 x 253 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 16, taken from Burne-Jones’ 1898-9 watercolour of the same title.

Burne-Jones’ subject for ‘Cupid and Psyche’ is taken from the tale of Cupid and Psyche, featured in Apuleius’ ‘Metamorphoses’. The tale states that Venus, in a state of jealousy over Psyche’s beauty, sends Cupid to destroy Psyche. Pricking himself with his own arrow, Cupid instead falls in love with Psyche, and sends Zephyr, the West Wind, to transport Psyche to Cupid’s home. Cupid regularly visits Psyche here, although he never allows her to see him, and Psyche soon falls pregnant. Desperate to uncover her husband’s true identity, with concerns that he may be a monster, one night after Cupid falls asleep, Psyche carries a lamp and dagger towards Cupid. Startled by his beauty, Psyche catches herself on one of Cupid’s arrows. Struck with sudden passion, Psyche accidentally spills hot oil from the lamp, causing Cupid to wake, and flee. Psyche wanders to find Cupid, facing many trials set by the jealous Venus. Eventually, the two are reunited, and Psyche is immortalised.

In ‘Pan and Psyche’, Burne-Jones depicts Psyche’s encounter with Pan, the wilderness god. Following Cupid’s departure, Psyche finds herself on the bank of a river. Here, Pan discovers her, and recognises her passion and longing. Burne-Jones presents Psyche emerging from the river, with Pan empathetically placing his hand upon her head.

The watercolour from which this photogravure was taken was the second full-length version of the painting executed by Burne-Jones, and is now held in a Private Collection.

Condition: Some foxing and discolouration to margins, water stains to upper right and lower left corners of sheet, not affecting image.

[41517] £450

14. Cupid and Psyche after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 262 x 318 mm, Plate 331 x 368 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 17, taken from Burne-Jones’ 1867 watercolour ‘Cupid Delivering Psyche’.

Burne-Jones’ subject for ‘Cupid and Psyche’ is taken from the tale of Cupid and Psyche, featured in Apuleius’ ‘Metamorphoses’. The tale states that Venus, in a state of jealousy over Psyche’s beauty, sends Cupid to destroy Psyche. Pricking himself with his own arrow, Cupid instead falls in love with Psyche, and sends Zephyr, the West Wind, to transport Psyche to Cupid’s home. Cupid regularly visits Psyche here, although he never allows her to see him, and Psyche soon falls pregnant. Desperate to uncover her husband’s true identity, with concerns that he may be a monster, one night after Cupid falls asleep, Psyche carries a lamp and dagger towards Cupid. Startled by his beauty, Psyche catches herself on one of Cupid’s arrows. Struck with sudden passion, Psyche accidentally spills hot oil from the lamp, causing Cupid to wake, and flee.

Psyche wanders to find Cupid, facing many trials set by the jealous Venus. Eventually, the two are reunited, and Psyche is immortalised.

In ‘Cupid and Psyche’, Burne-Jones depicts Cupid delivering Psyche to Venus. As tasked by Venus, Psyche travels into the underworld with a box to collect a dose of beauty from Prosperina, the queen of the underworld. On her return, Psyche is overwhelmed by curiosity. Unable to resist, Psyche opens the box, finding nothing inside but ‘infernal and Stygian sleep’, which sends her into a deep sleep. Having managed to escape Venus, Cupid finds Psyche, draws the sleep from her, and replaces it in the box. Burne-Jones presents Cupid carrying Psyche to Venus, in order to deliver the box that Venus requested.

Burne-Jones executed three paintings titled ‘Cupid Delivering Psyche’, all of which are rather similar. The watercolour from which this photogravure was taken was the first of the three paintings.

Condition: Some foxing and discolouration to margins, water stains to upper right and lower left corners of sheet, not affecting image.

[41518] £450

15. The Heart Desires after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 284 x 217 mm, Plate 349 x 268 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 18, taken from Burne-Jones’ 1878 oil painting of the same title.

Burne-Jones’ ‘The Heart Desires’ was the first painting of a series of four titled ‘Pygmalion and the Image’. The well-known tale, from Ovid’s ‘Metamorphoses’ witnesses Pygmalion, a Cypriot sculptor, swear an oath of celibacy in disgust at the local women’s debaucherous lifestyles. Unable to find a woman to marry, Pygmalion sculpts an ivory statue of his ideal woman. Having fallen in love with his creation, Pygmalion asks Aphrodite to send him a woman that resembles the statue. Aphrodite answers his prayers by bringing the statue to life. She becomes known as Galatea, whom Pygmalion marries.

‘The Heart Desires’ presents Pygmalion standing within his studio, contemplating his lonely existence.

Behind him, to the right, are three statues, referencing the Three Graces, whilst in the doorway, to the left, are two women peering into the studio. Pygmalion shows a complete lack of interest in the five female figures, and instead, gazes off into the distance, pondering over his next creation.

Burne-Jones painted two series with the title ‘Pygmalion and the Image’. The painting from which this photogravure was taken is from the second series, which is held in the collection of the Birmingham Museum and Art Gallery. Currently, the first series is in the collection of Lord Lloyd-Webber.

The figure of Pygmalion in the second series is said to have been modelled of W A S Benson, a leading designer of the Arts and Crafts movement.

Condition: Foxing and discolouration to edges of sheet, with large stains to upper right and lower left corners, although not affecting image. A few tears to right edge of sheet.

[41520] £375

16. The Hand Refrains after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 286 x 219 mm, Plate 353 x 271 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 19, taken from Burne-Jones’ 1878 oil painting of the same title.

Burne-Jones’ ‘The Hand Refrains’ was the second painting of a series of four titled ‘Pygmalion and the Image’. The well-known tale, from Ovid’s ‘Metamorphoses’ witnesses Pygmalion, a Cypriot sculptor, swear an oath of celibacy in disgust at the local women’s debaucherous lifestyles. Unable to find a woman to marry, Pygmalion sculpts an ivory statue of his ideal woman. Having fallen in love with his creation, Pygmalion asks Aphrodite to send him a woman that resembles the statue. Aphrodite answers his prayers by bringing the statue to life. She becomes known as Galatea, whom Pygmalion marries.

‘The Hand Refrains’ captures the moment Pygmalion has completed his creation. Standing to the left, holding his chisel to his face, Pygmalion gazes over his sculpture, appearing tentative about approaching the statue. Unlike the female figures present in ‘The Heart Desires’, the first image from the series, Galatea has a confined and inward posture, as though conscious of her nudity.

Burne-Jones painted two series with the title ‘Pygmalion and the Image’. The painting from which this photogravure was taken is from the second series, which is held in the collection of the Birmingham Museum and Art Gallery. Currently, the first series is in the collection of Lord Lloyd-Webber.

The figure of Pygmalion in the second series is said to have been modelled of W A S Benson, a leading designer of the Arts and Crafts movement.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image. A few tears to right edge of sheet.

[41524] £375

17. The Godhead Fires after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 285 x 220 mm, Plate 347 x 273 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 20, taken from Burne-Jones’ 1878 oil painting of the same title.

Burne-Jones’ ‘The Godhead Fires’ was the third painting of a series of four titled ‘Pygmalion and the Image’. The well-known tale, from Ovid’s ‘Metamorphoses’ witnesses Pygmalion, a Cypriot sculptor, swear an oath of celibacy in disgust at the local women’s debaucherous lifestyles. Unable to find a woman to marry, Pygmalion sculpts an ivory statue of his ideal woman. Having fallen in love with his creation, Pygmalion asks Aphrodite to send him a woman that resembles the statue. Aphrodite answers his prayers by bringing the statue to life. She becomes known as Galatea, whom Pygmalion marries.

‘The Godhead Fires’ captures the moment in which Aphrodite demonstrates her divine power, bringing life to the statue of Galatea. Standing on a cloud of doves and roses, Aphrodite extends her arm to support the bewildered Galatea as she emerges from her state as a sculpture. Galatea’s arms and upper body present with a sense of movement, whilst her legs and feet display with greater solidity, and appear very much rooted to the pedestal that she once belong to. Great similarity is present in the appearance of the two female figures, emphasising the notion of ideal beauty.

Burne-Jones painted two series with the title ‘Pygmalion and the Image’. The painting from which this photogravure was taken is from the second series, which is held in the collection of the Birmingham Museum and Art Gallery. Currently, the first series is in the collection of Lord Lloyd-Webber.

The figure of Pygmalion in the second series is said to have been modelled of W A S Benson, a leading designer of the Arts and Crafts movement.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image. A few tears to right edge of sheet.

[41483] £500

18. The Soul Attains after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 282 x 217 mm, Plate 347 x 268 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 21, taken from Burne-Jones’ 1878 oil painting of the same title.

Burne-Jones’ ‘The Soul Attains’ was the final painting of a series of four titled ‘Pygmalion and the Image’. The well-known tale, from Ovid’s ‘Metamorphoses’ witnesses Pygmalion, a Cypriot sculptor, swear an oath of celibacy in disgust at the local women’s debaucherous lifestyles. Unable to find a woman to marry, Pygmalion sculpts an ivory statue of his ideal woman. Having fallen in love with his creation, Pygmalion asks Aphrodite to send him a woman that resembles the statue. Aphrodite answers his prayers by bringing the statue to life. She becomes known as Galatea, whom Pygmalion marries.

‘The Soul Attains’ depicts the final stage of the Pygmalion myth. Here, Pygmalion kneels at the feet of Galatea, Pygmalion’s statue that has been given life. Although Pygmalion gazes up at her adoringly, and she passes her hands to him, Galatea’s stare is fixed in the distance. Like many women featured in Burne-Jones’ paintings, Galatea evokes an air of mystery.

Burne-Jones painted two series with the title ‘Pygmalion and the Image’. The painting from which this photogravure was taken is from the second series, which is held in the collection of the Birmingham Museum and Art Gallery. Currently, the first series is in the collection of Lord Lloyd-Webber.

The figure of Pygmalion in the second series is said to have been modelled of W A S Benson, a leading designer of the Arts and Crafts movement.

Condition: Foxing and discolouration to margins, water stains to upper right and lower left corners of sheet, not affecting image.

[41482] £450

19. The Days of Creation after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Each image approx. 395 x 135 mm, each plate 467 x 193 mm, each sheet 667 x 507 mm Printed on India laid paper.

Plates 22 - 27, taken from Burne-Jones’ 1877 cycle of watercolours of the same title.

‘The Days of Creation’, through a series of six panels, portrays the story of Creation as detailed in the first book of Genesis. Each of the panels features a central winged angel, crowned with a flaming finial, which holds a crystal globe that reveals the stages of creation. The first panel of the series represents the division of light and darkness, and the second, the division of water and land. In the third panel, the appearance of plant life is depicted. The fourth panel presents the emergence of the sun, moon, and stars. Symbolised by a flock of birds, the fifth panel represents the appearance of animal life. The final panel references the emergence of human life, with Adam and Eve featured within the globe. As a seventh panel was not included in the series to represent the ‘Day of Rest’, a seated angel, playing a musical instrument, is illustrated in the final panel.

The series of watercolours from which this set of photogravures were taken were a result of a commission from William Morris, Burne-Jones’ close friend and collaborator, for the production of stained glass windows at the Church of Saint Editha at Tamworth in Staffordshire. A set of pencil drawings were produced slightly earlier than the watercolours. Later, the images were to be translated into stained glass windows for the Saint George Chapel, East Window, in the Church of Saint Editha at Tamworth in Staffordshire. A duplicated set of the stained glass windows are featured in the Unitarian Chapel of Harris Manchester College, Oxford.

Five of the six watercolours are now held in the collection of the Fogg Art Museum of Harvard University. Unfortunately, whilst the complete set were on loan to the dining hall of Dunster House, Harvard University, in the 1970s, the fourth panel was cut out from the frame, stolen, and never recovered.

Condition: Foxing and discolouration to edges of sheets, water stains to upper right and lower left corners, not affecting images.

[41525] £1,500

20. Saint Cecilia after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 253 x 127 mm, Plate 324 x 178 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 28, taken from Burne-Jones’ 1870 watercolour of the same title.

Burne-Jones depicts Saint Cecilia, the patroness of musicians, standing in full-length, whilst playing an organ. The subject of Saint Cecilia is one that Burne-Jones revisited on a number of occasions.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, although not affecting image.

[41526] ÂŁ375

21. Vesper, or the Evening Star after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 254 x 181 mm, Plate 326 x 237 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 29, taken from Burne-Jones’ 1871 watercolour of the same title.

Although traditionally Vesper, the Evening Star, is represented as a male god, Burne-Jones personifies the god as an elegant, female figure. Hovering above the ground, with her hair and drapery flowing in the wind, Vesper casts her gaze towards the sea in the distance. Burne-Jones revisited the subject in 1872-3, producing another watercolour with a few changes, which is now held in the collection of Lord Lloyd-Webber.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image.

[41527] ÂŁ375

22. Spring after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 288 x 106 mm, Plate 358 x 159 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 30, taken from Burne-Jones’ 1869 watercolour of the same title.

A female personification of Spring, depicted standing in full-length. Clad in drapery, and standing before a curtain, the figure holds a twig of blossoming hawthorn in her raised right hand. Flowers adorn the top and bottom of the image.

Inscribed on a small plaque are four lines of verse, written by William Morris: ‘Spring am I, too soft of heart, Much to speak ere I depart.

Ask the Summer tide to prove The abundance of my love.’

The watercolour from which this photogravure was taken belongs to a set of six paintings; four of the seasons, and two of the times of day.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image.

[41552] £375

23. Summer after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 285 x 104 mm, Plate 355 x 160 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 31, taken from Burne-Jones’ 1870 watercolour of the same title.

A female personification of Summer, illustrated standing in full-length. The elegant figure, wrapping herself in sheer drapery, stands before a curtain and flowers. Water and forget-me-nots fill the foreground.

Inscribed on a small plaque are four lines of verse, written by William Morris: ‘Summer looked for long am I, Much shall change or ere I die.

Prythee take it not amiss Though I weary thee with bliss.’

The watercolour from which this photogravure was taken belongs to a set of six paintings; four of the seasons, and two of the times of day.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image.

[41553] £375

24. Autumn after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 286 x 106 mm, Plate 355 x 160 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 32, taken from Burne-Jones’ 1869 watercolour of the same title.

A female personification of Autumn. Standing in full-length, the figure, clad in drapery, holds an apple in her left hand. Water and water lilies fill the foreground.

Inscribed on a small plaque are four lines of verse, written by William Morris: ‘Laden Autumn here I stand Worn of heart and weak of hand; Nought but rest seems good to me, Speak the word that sets me free.’

The watercolour from which this photogravure was taken belongs to a set of six paintings; four of the seasons, and two of the times of day.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image.

[41554] £375

25. Winter after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 285 x 106 mm, Plate 354 x 161 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 33, taken from Burne-Jones’ 1870 watercolour of the same title.

A female personification of Winter, presented in full-length, standing before a curtain. The figure, dressed in a cloak and hood, reads from a book held in her right hand. She stands beside a fire of burning sticks.

Inscribed on a small plaque are four lines of verse, written by William Morris: ‘I am Winter, that doth keep Longing safe amidst of sleep; Who shall say if I were dead, What should be remembered.’

The watercolour from which this photogravure was taken belongs to a set of six paintings; four of the seasons, and two of the times of day.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image.

[41555] £375

26. Luna after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 256 x 181 mm, Plate 328 x 237 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 34, taken from Burne-Jones’ 1872-5 oil painting of the same title.

Luna, the goddess and female personification of the Moon, presented in an almost crescent poise, rests against the curve of a globe. The figure is covered with drapery, with her face almost completely hidden.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image.

[41556] ÂŁ400

27. The Hesperides after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 243 x 198 mm, Plate 313 x 253 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 35, taken from Burne-Jones’ 1873 watercolour ‘The Garden of the Hesperides’.

Burne-Jones’ ‘The Garden of the Hesperides’ illustrates the artist’s prominent interest in classical and mythological themes, taking the subject from the Greek myth of the Hesperides. According to the myth, the Hesperides, a triad of nymphs, guarded the golden apples that grew within Hera’s orchard.

Ladon, a hundred-headed dragon, was also placed in the garden by Hera to guard the apples. Burne-Jones depicts the Hesperides dancing around an apple tree. Coiled around the trunk of the tree is Ladon, although Burne-Jones depicts the guard as a snake, rather than a hundred-headed dragon as is traditionally described in the myth.

The watercolour from which this photogravure was taken is now in the collection of the Kunsthalle, Hamburg.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners of margins, not affecting image.

[41557] £450

28. Le Chant D’Amour after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 350 x 482 mm, Plate 423 x 541 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 36, taken from Burne-Jones’ 1868-77 oil painting of the same title.

The subject of Burne-Jones’ ‘Le Chant D’Amour’ is thought to have been based upon a refrain from an old Breton song. The lyrics, “Hélas! je sais un chant d’amour / Triste ou gai, tour à tour,” translate as: “Alas, I know a love song, / Sad or happy, each in turn.” In the print, a portable organ is played by a young woman, whilst the bellows are worked by an angel on the right. To the left, an armoured knight reclines languorously. Arthurian architecture bedecks the backdrop. Tulips and wallflowers adorn the foreground. The former, was a symbol of ardent love; the latter, an emblem of bitterness and conceit. In his use of flowers, the artist can be seen to represent the paradoxical nature of love as alluded to in the poem.

The painting from which this photogravure was taken is now in the collection of the Metropolitan Museum of Art , New York. When the painting was first exhibited in 1878 at the Grosvenor Gallery, London, the novelist Henry James is said to have compared it to ‘some mellow Giorgione or some richly-glowing Titian’.

Condition: Foxing and discolouration to edges of sheet, water stains to left edge and lower right corner of sheet, slightly affecting the left of image.

[41558] £550

29. The Hours after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 210 x 516 mm, Plate 272 x 565 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 37, taken from Burne-Jones’ 1870-82 oil painting of the same title.

Burne-Jones’ ‘The Hours’ offers an allegorical interpretation of the times of the day through the depiction of six female figures. From left to right, the seated figures symbolise Waking, Dressing, Working, Feasting, Playing, and Sleeping. The changing of time is reflected by the gradation of light in the sky.

The painting from which this photogravure was taken is now in the collection of Sheffield City Art Gallery.

Condition: Foxing and discolouration to edges of sheet, water stains to left edge and lower right corner of sheet, slightly affecting the left of image.

[41559] £550

30. Caritas after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 498 x 223 mm, Plate 570 x 278 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 38, taken from Burne-Jones’ 1867 watercolour of the same title.

Burne-Jones’ ‘Caritas’ presents the allegorical figure of Charity. Standing in full-length, the figure holds two infants in her arms, whilst four others gather at her feet. Behind the figure hangs a patterned damask curtain, and on the floor, an inscribed scroll is held open with apples.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, slightly affecting lower left of image.

[41560] £450

31. Princess Sabra Drawing the Lot after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 273 x 477 mm, Plate 348 x 535 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 41, taken from Burne-Jones’ 1865-6 oil painting of the same title.

Burne-Jones’ ‘Princess Sabra Drawing the Lot’ is the third in a series of seven paintings by the artist titled ‘Saint George and the Dragon’, which portrayed the legend of the same title. Circulated since the Middle Ages, the tale states that Princess Sabra was to be the next victim sacrificed to the dragon. Georges de Lydda, a Christian nobleman and Roman army officer, saves the princess from the beast. In return for slaying the dragon, Sabra’s father, the King, and his followers, convert to Christianity. The legend, imbued with chivalrous ideal, proved to be extremely popular in the circle of the Pre-Raphaelites.

‘Princess Sabra Drawing the Lot’ captures the moment that the Princess is allotted as the next sacrifice to the dragon. Having just drawn the fatal lot from the soothsayer’s bag, Sabra holds in her right hand a piece of paper inscribed with ‘MORITURA’. Four sorrowing maidens stand to the right of the Princess, whilst the heads of the assembly surround the platform. To the left of the composition, a small statue of Fortune sits upon a raised dais.

The painting from which this photogravure was taken is now in the collection of Hanover College, Indiana.

Condition: Foxing and discolouration to edges of sheet, water stains to upper left and lower right corners, slightly affecting upper left of image.

[41563] £400

32. St George Slaying the Dragon after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 274 x 342 mm, Plate 347 x 398 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 44, taken from Burne-Jones’ 1866 oil painting of the same title.

Burne-Jones’ ‘St George Slaying the Dragon’ is the sixth in a series of seven paintings by the artist titled ‘Saint George and the Dragon’, which portrayed the legend of the same title. Circulated since the Middle Ages, the tale states that Princess Sabra was to be the next victim sacrificed to the dragon. Georges de Lydda, a Christian nobleman and Roman army officer, saves the princess from the beast. In return for slaying the dragon, Sabra’s father, the King, and his followers, convert to Christianity. The legend, imbued with chivalrous ideal, proved to be extremely popular in the circle of the Pre-Raphaelites.

‘St George Slaying the Dragon’ presents Saint George, having released the Princess from the tree to which she was tied, thrusting his sword into the jaw of the dragon. On the ground before the kneeling Princess lay a skull and a broken spear.

The painting from which this photogravure was taken is now in the collection of the Gallery of New South Wales. A second version of the painting exists, which omits the Princess, and is housed in the William Morris Museum, Walthamstow.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right and lower left corners, not affecting image.

[41566] £450

33. The Return of the Princess after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 276 x 357 mm, Plate 352 x 416 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 45, taken from Burne-Jones’ 1866 oil painting of the same title.

Burne-Jones’ ‘The Return of the Princess’ is the final in a series of seven paintings by the artist titled ‘Saint George and the Dragon’, which portrayed the legend of the same title. Circulated since the Middle Ages, the tale states that Princess Sabra was to be the next victim sacrificed to the dragon. Georges de Lydda, a Christian nobleman and Roman army officer, saves the princess from the beast. In return for slaying the dragon, Sabra’s father, the King, and his followers, convert to Christianity. The legend, imbued with chivalrous ideal, proved to be extremely popular in the circle of the Pre-Raphaelites.

‘The Return of the Princess’ depicts Saint George leading the Princess by the hand, preceded by a group of maidens playing musical instruments, and strewing flowers.

The painting from which this photogravure was taken is now in the collection of the Bristol City Art Gallery.

Condition: Foxing and discolouration to edges of sheet, water stains to upper left and lower right corners, not affecting image.

[41567] £450

34. The Wine of Circe after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 310 x 468 mm, Plate 378 x 426 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 46, taken from Burne-Jones’ 1863-9 watercolour of the same title.

Circe is a mythological figure who features in Homer’s Odyssey. According to the epic poem, she resides over the island of Aeaea, and turns six members of Odysseus’ crew into pigs after offering them wine. In Burne-Jones’ work, Circe is bent over a vase of the broth as she measures out drops of the poisonous pharmakon kakon. Two black panthers prowl in the foreground as the three pentecosters of Odysseus and his men can be seen through the window. Dante Gabriel Rossetti, so inspired by the original painting, wrote a sonnet on the subject which appeared in his 1870 collection of poetry.

Condition: Foxing and discolouration to edges of sheet, water stain to upper left and lower right corners, slightly affecting upper left of image.

[41568] £550

35. The Beguiling of Merlin after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 487 x 285 mm, Plate 558 x 343 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 47, taken from Burne-Jones’ 1872-7 oil painting of the same title.

As was popular with the artists within the PreRaphaelite circle, Burne-Jones looked to medieval literature for the subject of ‘The Beguiling of Merlin’, focusing on the medieval Romance story of Merlin and Nimue. Featured in the Arthurian legend, the tale states that Merlin becomes enchanted

by Nimue, the Lady of the Lake, and later imprisoned. Burne-Jones presents Nimue placing Merlin into a deep sleep, with the helpless figure trapped within a hawthorn bush, whilst Nimue reads from a spell book.

Burne-Jones modelled the figure of Nimue on Maria Zambaco, his long-term mistress.

The painting from which this photogravure was taken is now in the collection of the Lady Lever Art Gallery, Liverpool.

Condition: Foxing and discolouration to edges of sheet, with large stains to upper right corner and lower edge of sheet, slightly encroaching into image at bottom.

[41569] £550

36. St. George after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 507 x 156 mm, Plate 578 x 211 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 48, taken from Burne-Jones’ 1892 oil painting of the same title.

The medieval legend of Saint George and the Dragon proved to be extremely popular with the artists associated with Pre-Raphaelitism, with Burne-Jones revisiting the subject on numerous occasions. In his ‘St. George’, Burne-Jones presents the armoured Saint standing in full-length, facing towards the viewer, whilst holding a banner and shield. George’s shield is adorned with an image of Princess Sabra in the coils of the dragon. On the ground behind the Saint lays the defeated beast.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right corner and lower edge of sheet, slightly encroaching into image at bottom.

[41570] £400

37. The Mill after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 234 x 517 mm, Plate 307 x 577 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 49, taken from Burne-Jones’ 1870 oil painting of the same title.

Burne-Jones’ Renaissance inspired ‘The Mill’ portrays three beautiful maidens dancing beside a stream, whilst a fourth androgynous figure, standing beneath a loggia, plays a lute. In the distance, nude figures can be seen bathing by the stream. Speaking of ‘The Mill’, Burne-Jones admitted that he made deliberate reference to Botticelli’s ‘Primavera’ with his dancing figures, and Piero’s ‘Baptism of Christ’ with the bathing figures. A townscape dominates the background, consisting of architecture that appears to combine features of the Renaissance and Middle Ages with those of a more contemporary nature. Housed within the buildings are three mills. It has been suggested that Burne-Jones had been inspired by the Oxford countryside, which he had become familiar with during his time as a student, in his depiction of the mills. Three mills are situated within a mile of each other just outside of Oxford, at Milton, Steventon, and Sutton Courtney.

As with many works produced by Burne-Jones, and more broadly speaking, those produced by artists associated with the Aesthetic Movement, ‘The Mill’ lacks any distinct narrative. Instead, an overt emphasis is placed on beauty, and engaging with the senses.

Burne-Jones modelled the three dancing figures on Maria Zambaco, his mistress, Marie Spartali Stillman, a prominent Pre-Raphaelite artist, and Aglaia Coronio. The three women were cousins, and were known among friends as the ‘Three Graces’.

The painting from which this photogravure was taken is now in the collection of the Victoria and Albert Museum.

Condition: Foxing and discolouration to edges of sheet, water stains to lower right corner and left edge of sheet, slightly encroaching into image at left.

[41571] £500

38. Spring after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 397 x 273 mm, Plate 468 x 328 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 50, taken from Burne-Jones’ oil painting of the same title, begun in 1868.

Burne-Jones’ ‘Spring’, also known as ‘Flora’, presents a female allegory of spring, portrayed running whilst sowing seeds. Both the figure and the Italianate setting are typical of Burne-Jones’ work of this period.

The painting from which this photogravure was taken is now lost.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right corner and lower edge of sheet, slightly encroaching onto India laid sheet at bottom.

[41572] £550

39. Love Among the Ruins after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 337 x 514 mm, Plate 408 x 571 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 51, taken from Burne-Jones’ 1894 oil painting of the same title.

Burne-Jones’ gentle and amorous image presents two young lovers embracing amidst fragments of ruinous buildings and overgrown wild roses. Seated upon a terrace, the young man holds a stringed musical instrument between his knees. An elaborately decorated doorway, surmounted by a frieze of putti, is featured in the background the left, with a partial view into an interior. To the right, set behind the figures, are a vista of arches.

It has been suggested that Burne-Jones’ inspiration for ‘Love Among the Ruins’ came from a fifteenth-century Venetian text titled ‘Hypnerotomachia Poliphili’, translating to ‘The Dream of Poliphilus’. The romance, with a somewhat labyrinthine plot, witnesses Poliphilo pursuing his love of Polia in a dream state. Eventually, their love is blessed by Venus, and the lovers are reunited at the Fountain of Venus. ‘The Dream of Poliphilus’, first published in Venice in 1499, featured refined woodcut illustrations, some of which presented lovers seated amongst stones and fallen pillars. Combined with elegant page layouts, the publication is a fine example of early printing.

Burne-Jones had previously approached the subject, having originally produced a watercolour of the subject between 1870 and 1873. The watercolour had become one of Burne-Jones’ most admired works, but unfortunately, was accidentally damaged in a photography studio in Paris in 1893.

The painting from which this photogravure was taken is now in the collection of Wightwick Manor, West Midlands.

Condition: With large stains to lower right corner and left edge of sheet, slightly encroaching into image.

[41573] £600

40. Temperantia after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 448 x 166 mm, Plate 523 x 224 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 52, taken from Burne-Jones’ 1872 watercolour of the same title.

‘Tempertantia’ offers a full-length depiction of the allegorical figure Temperance. Between her hands, she holds a vessel filled with water, which she pours onto the flames that rise around her feet. BurneJones’ treatment of the subject presents with an overt connection with Aestheticism, with beauty at the core the image. The elegant female figure, and the exquisite rendering of luxurious drapery, are testament to a principle interest in beauty.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right corner and lower edge of sheet, slightly affecting image.

Framed in a period frame.

[41574] £700

41. Fides after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 453 x 160 mm, Plate 528 x 219 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 53, taken from Burne-Jones’ 1871 watercolour of the same title.

‘Fides’, the goddess of faith and trust, stands in fulllength within a niche. Clad in drapery, the figure is adorned with a wreath of jessamine upon her head, whilst she holds a burning lamp in her right hand.

Tucked beneath her left arm is a branch, whilst a serpent coils around the wrist of the same arm. At her feet, the dragon of Doubt writhes in flames.

Condition: Foxing and discolouration to edges of sheet, water stains to upper right corner and lower edge of sheet, slightly affecting image.

[41575] £500

42. The Golden Stairs after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 524 x 222 mm, Plate 590 x 275 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 54, taken from Burne-Jones’ 1880 oil painting of the same title.

The meaning of Edward Burne-Jones ‘The Golden Stairs,’ has been the subject of much academic debate. Some believe that the trope of the golden stair derived from Dante, and alludes to the passage of time. Though the fact that those at the bottom of the stair appear no more elderly than those at the top, may act to dispel this view. Another stance states that the eighteen women are spirits in an enchanted dream. Walter Pater believed that Burne-Jones’ work was representative of the concept that ‘all the arts aspire to the condition of music’ which leant more credence by the fact that the figures hold instruments as they descend. The interest in investigating a mood rather than telling a story could be seen in other works of the time, most famously in Whistler’s ‘Nocturnes.’ This style anticipated the synesthesia of art and music by groups such as the Symbolists in the late nineteenth-century.

The painting from which this photogravure was taken is now in the collection of the Tate.

Condition: Foxing and discolouration to margins, water stains to upper right corner and lower edge of sheet, slightly affecting image.

Framed in a period frame.

[41576] £800

43. Sibylla Delphica [Cumaean Sibyl] after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 455 x 180 mm, Plate 526 x 235 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 55, taken from Burne-Jones’ 1877 oil painting ‘Cumaean Sibyl’.

The image was mislabelled in the portfolio as ‘Sibylla Delphica’, but the painting from which this photogravure was ‘Cumaean Sibyl’, now in a Private Collection.

In Burne-Jones’ classically inspired image, the Cumaean Sibyl - a priestess who presided over the Apollonian oracle at Cumae, a Greek colony near Naples - stands in full-length, reading from a scroll.

The niche-like setting resembles Renaissance frescoes, which were known to be a source of inspiration for Burne-Jones.

Condition: Foxing and discolouration to margins, water stains to upper right corner and lower edge of sheet, slightly affecting image.

[41577] £450

44. Dies Domini after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 355 x 355 mm, Plate 428 x 412 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 56, taken from Burne-Jones’ 1880 watercolour of the same title.

Burne-Jones’ ‘Dies Domini’ depicts Christ in Judgement, with the figure of Christ presented descending on the wings of numerous angels. Four angel heads emerge from between the wings. Christ’s right arm is raised, and with his left hand, points to the wound on his side. An abundance of drapery falls over the figure of Christ, bellowing below and above the figure.

‘Dies Domini’ was originally executed as a stained glass window design for the chancel east window of the church of St Michael and St Mary Magdalene, Easthampstead, Berkshire. The window, executed in 1876, features ‘Dies Domini’ as a rose window, which surmounts three panels illustrating the Last Judgement.

The watercolour from which this photogravure is now lost, although a pastel sketch of the same subject, completed in 1874, is in the collection of the Lady Lever Art Gallery, Liverpool.

Condition: Foxing and discolouration to margins, water stains to upper right corner and lower edge of sheet, not affecting image.

[41578] £400

45. The Prioress’s Tale after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 396 x 240 mm, Plate 468 x 298 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 57, taken from Burne-Jones’ 1865-98 watercolour of the same title.

As with many works produced by Burne-Jones, and more broadly speaking, the artists associated with Pre-Raphaelitism, the subject, and title, of ‘The Prioress’s Tale’ comes from medieval literature.

Burne-Jones looked to Geoffrey Chaucer’s ‘Canterbury Tales’, in which the ‘Prioress’s Tale’ is featured.

The tale, set in a Christian city in Asia, speaks of a Jewish community living in the area. A seven-yearold boy teaches himself the first verse of ‘Alma Redemptoris Mater’, a popular medieval hymn, which he begins to sing everyday on his walk to school through the streets of the Jews. Incited by Satan, the Jews murder the child, and discard of his body.

When the child’s mother eventually finds his body, he miraculously begins to sing the ‘Alma Redemptoris’. Throughout his Requiem Mass, the child continues to sing the hymn, until the holy abbot asks why it is possible for him to sing. The child replies that he had a vision in which Mary laid a grain on his tongue, allowing him to keep singing despite his throat being cut, and would be able to sing until the grain is removed. The abbot removes the grain, and the child dies.

The primary focus of Burne-Jones’ ‘The Prioress’s Tale’ is the moment in which the Virgin places a grain within the child’s mouth. Mary, bending downwards to the kneeling child, holds ears of corn in her left hand. Set within a garden, the two miraculous figures are surrounded by lilies, poppies, and sunflowers. The background is composed of a street scene, with the child’s murder depicted to the right, and scholars entering a school on the left.

The watercolour from which this photogravure was taken is now in the collection of the Delaware Art Museum, Wilmington.

Condition: Foxing and discolouration to margins, water stains to upper right corner and lower edge of sheet, not affecting image.

[41579] £450

46. Wood Nymph after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 293 x 293 mm, Plate 368 x 356 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 58, taken from Burne-Jones’ 1883 oil painting of the same title.

In this highly decorative work, Burne-Jones places a wood nymph at the centre of the composition, surrounded by an abundance of leaves. As with many of the works produced by Burne-Jones during this period, the image is purely aesthetic, and lacks any formal narrative.

As a great recycler of designs, Burne-Jones visited the concept of a wood nymph on an earlier occasion, with a watercolour drawing of the same subject being produced in 1878 as a design for a low relief sculpture. The design was created alongside two others; a water nymph, and the Hesperides. Although never executed, it is likely the designs were intended to be carried out in gesso on the sides of a cassone.

The painting from which this photogravure was taken is now in the collection of National Gallery of South Africa.

Condition: Foxing and discolouration to margins, water stains to upper right corner and lower edge of sheet, not affecting image.

[41580] ÂŁ500

47. The Mirror of Venus after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 309 x 514 mm, Plate 383 x 574 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 59, taken from Burne-Jones’ 1875 oil painting of the same title.

In the latter half of the nineteenth-century, the idea that art should be a separate entity to literature was gaining force. It was at this time when the rhetoric of art for art’s sake was most fiercely debated, and artists such as Rossetti replaced previously literary titles with simple designations. In the ‘Mirror of Venus’, not only is the Quattrocento evoked, but so too are Burne-Jones’ philhellenistic tastes as the figures in the work wear classical garments, and appear in a linear frieze-like manner of Grecian manner. The title, however, is somewhat deceptive. Though Burne-Jones was an extensive reader of Classics, the scene conjured in this work is an imaginary one. The artist’s interests look as if they lie in the investigation of mood as opposed to the display of a narrative. The wistful, oneiric girls, a huge influence to artists such as Marie Spartali, may just have been an exaltation of ideal beauty; as alluded to in the title.

The painting from which this photogravure was taken is now in the collection of the Gulbenkian Foundation, Lisbon.

Condition: Foxing and discolouration to margins, with large stain to left edge of sheet, encroaching into image.

[41581] £600

48. The Bath of Venus after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 398 x 138 mm, Plate 468 x 198 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 60, taken from Burne-Jones’ 1873-88 watercolour of the same title.

In this sensual image, Burne-Jones depicts Venus preparing to bathe. Behind the nude figure stand her attendants, with all but one playing musical instruments. In line with the growing notion of art for art’s sake, ‘The Bath of Venus’ has no literary or moral source, instead placing beauty at the core.

The watercolour from which this photogravure was taken is now in the collection of the Gulbenkian Foundation, Lisbon.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly encroaching into plate [41582] £450

49. The Feast of Peleus after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 172 x 517 mm, Plate 244 x 574 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 61, taken from Burne-Jones’ 1872-81 oil painting of the same title.

As is typical of many of Burne-Jones’ works, ‘The Feast of Peleus’ finds its subject in antiquity, portraying the wedding feast of Thetis and Peleus, the King of Thessaly. An array of gods and goddesses are presented at the feast. Positioned at the left end of the table are Mars and Vulcan, and at the right, Bacchus, Prosperine, and Ceres. Apollo, playing his harp, sits in front of the table, whilst beside him, Love prepares the marriage couch. Also depicted before the table are the three Fates spinning the web of mortal destiny. Entering at the far right of the composition is the uninvited Discordia presented with bat wings, and hair entwined with snakes. Bringing with her the Apple of Discord to the feast as a prize of beauty, Discordia intentionally fuelled a dispute between Venus, Minerva, and Juno, which acted as a catalyst to the Trojan War. Kneeling in front of the table is Mercury, presenting the apple to the gods, whilst also holding a scroll inscribed with ‘Detur Pulcherrimae’ (’For the Fairest’). Venus, Minerva, and Juno are depicted standing to the left, each of whom extend their arms expectantly. Jupiter, who refuses to judge which goddess is the fairest, and passes on the task to Paris, a Trojan mortal, is positioned to the right of the three goddesses.

Burne-Jones references antiquity not simply through his choice of subject, but also with the compositional structure of the image, that of which resembles a classical frieze.

The painting from which this photogravure was taken is now in the collection of Birmingham Museums and Art Gallery. Burne-Jones produced four versions of the same subject, another of which was featured on the ‘Troy Triptych’, also in Birmingham’s Collection. Another larger, unfinished version, is now in the collection of the Victoria and Albert Museum.

Condition: Foxing and discolouration to margins, water stain to left edge of sheet, affecting image.

[41583] £450

50. Sea Nymph after Edward Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 296 x 297 mm, Plate 365 x 348 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 62, taken from Burne-Jones’ 1881 oil painting of the same title.

In this aesthetically driven work, Burne-Jones places the sea nymph in the centre of the composition, surrounded by waves. In both hands she grasps onto fish, whilst her hair bellows in the wind. As with many of the works produced by Burne-Jones during this period, the image is purely aesthetic, and lacks any formal narrative.

As a great recycler of designs, Burne-Jones visited the concept of a sea nymph on an earlier occasion, with a watercolour drawing of the same subject being produced in 1878 as a design for a low relief sculpture. The design was created alongside two others; a wood nymph, and the Hesperides. Although never executed, it is likely the designs were intended to be carried out in gesso on the sides of a cassone.

The painting from which this photogravure was taken is now in a Private Collection.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, not affecting image.

[41610] ÂŁ450

51. Laus Veneris after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 330 x 501 mm, Plate 404 x 559 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 63, taken from Burne-Jones’ 1873-5 oil painting of the same title.

Similar to many other Pre-Raphaelite’s, Burne-Jones found his inspiration for ‘Laus Veneris’ within a literary source. Algernon Charles Swinburne’s poem of the same title, produced only four years before Burne-Jones’ painting, is based upon the theme of Tannhauser. The legend tells the story of a young knight, Tannhauser, who falls in love with Venus. Overwhelmed by pleasures, Tannhauser begins to feel remorse for his actions, and travels to Rome to ask the Pope for forgiveness. The Pope declares that absolving Tannhauser of his sins is impossible, similar to how his papal staff blossoming would be impossible.

Tannhauser returns to Venus, only for the papal staff to blossom three days later. The knight never learns of the divine miracle, and spends the rest of his life in damnation.

Burne-Jones captures the moment in which the knight is captivated by Venus, seen through the window with his fellow knights. Shown in her compact chamber, Venus appears to be disinterested in the attempts of her attendants to entertain her, suggesting that the knight will soon become her victim and focus of amusement.

Upon the walls of the chamber, scenes are painted to reflect the central story.

The rich oranges, reds, blues and purples of the original painting not only allude to the Middle Ages - not being too dissimilar to an illuminated manuscript - but enhance the sense of luxury in Venus’ chamber.

However, when combined with the hectic and claustrophobic interior, the air of luxury becomes somewhat overwhelming, which in turn reflects the underlying theme present in Tannhauser.

‘Laus Veneris’, combining classical, mediaeval, and literary sources, embodies themes that were regarded highly by the Pre-Raphaelites.

Condition: Foxing and discolouration to margins, with large stain to left edge of sheet, not affecting image.

[41611] £600

52. The Tower of Brass after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 493 x 240 mm, Plate 558 x 292 mm Printed on India laid paper.

Plate 64, taken from Burne-Jones’ 1888 oil painting.

Burne-Jones’ ‘The Tower of Brass’ takes its subject from Greek mythology, looking to the myth of Danaë, the daughter, and only child, of King Acrisius of Argos and Queen Eurydice. The myth states that Acrisius, frustrated by his lack of sons, questions the oracle of Delphi of any future male heirs. It emerges that the king would never have a son, but his daughter, Danaë, would, and that the king would eventually be killed by his daughter’s son. Terrified of the premonition, Acrisius has a bronze tower constructed, in which the childless Danaë is confined. Although an attempt to prevent Danaë from ever having children, Zeus, desiring Danaë, comes to her in the form of golden rain streaming through the roof of her chamber, from which she falls pregnant.

Their son, Perseus, is born soon after. Some years later, Perseus, on his way to Argos, learns of the prophecy. In an attempt to prevent his grandfather’s death, Perseus instead travels to Larissa, where athletic games were being held. An elderly Acrisius, by chance, also attends the games, during which Perseus accidentally strikes Acrisuis’ head with his javelin, fulfilling the oracle’s prophecy.

‘The Tower of Brass’ portrays the construction of the tower, with Danaë standing to left of the composition, anxiously watching over the structure through a doorway. Great emotional tension is formed between Danaë and the men in the background as she awaits her fate.

Although the subject of Burne-Jones’ ‘The Tower of Brass’ is that of the Greek myth of Danaë, it is likely that Burne-Jones was looking to William Morris’ ‘Earthly Paradise’ as his immediate source.

The painting from which this photogravure was taken is now in the collection of the Glasgow Museum and Art Gallery. Prior to the painting, Burne-Jones visited the subject on two other occasions, producing two smaller versions of the image. The first of the two, painted in 1872, which shows the tower completed, is now in the collection of the Ashmolean Museum, whilst the second version, of 1876, is in the collection of the Fogg Art Museum.

[41612] £450

53. The Wheel of Fortune after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 502 x 250 mm, Plate 574 x 308 mm Printed on India laid paper.

Plate 65, taken from Burne-Jones’ 1875-83 oil painting of the same title.

Typical of Burne-Jones’ interest in classical myths and medieval legends, ‘The Wheel of Fortune’ draws upon the medieval and ancient philosophical concept of the ‘Wheel of Fortune’, or ‘Rota Fortunae’, which refers to the temperamental nature of Fate. As an allegorical representation of Fate, the wheel belongs to the goddess Fortuna, who spins the wheel at random, which in turn alters the positions of those on the wheel. In doing so, some gain great fortune, whilst others are heavily afflicted.

Arguably Burne-Jones’ finest example of the subject, this particular version witnesses the wheel spanning the entire length of the image, and dominating a majority of the composition. Attached to the wheel are three tormented figures; a slave, a king, and a poet, the latter of which only has his head visible. With a look of disdain upon her face, the goddess Fortuna, portrayed as an enormous, powerful figure, turns the wheel. Fortuna, clad in exquisitely rendered drapery, resembles Botticelli’s female figures, whilst the muscular nude males, with their rather distort forms, offer a likeness to Michelangelo’s figures of the Sistine Chapel.

The painting from which this photogravure was taken is now in the collection of the Musée d’Orsay, Paris. Burne-Jones painted at least five versions of the subject, of which this was the last. Another oil painting from 1885 is held in the collection of the National Gallery of Victoria, Melboure, a gouache version of 1870 is in the collection of the Carlisle City Art Gallery, and a watercolour version of 18724 in the London Borough of Hammersmith and Fulham Public Libraries. ‘The Wheel of Fortune’ was also featured on Burne-Jones’ most ambitious work, ‘The Troy Triptych’, which was begun in 1872, but remained unfinished at the artist’s death. This version of the image acted as one of several paintings on the polyptch’s predella. ‘The Troy Triptych’ is now held in the collection of Birmingham Museums and Art Gallery.

[41615] £550

54. The Garden of Idleness after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 300 x 418 mm, Plate 369 x 475 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 66, taken from Burne-Jones’ 1884 oil painting ‘The Pilgrim at the Gate of Idleness’.

Burne-Jones’ ‘The Pilgrim at the Gate of Idleness’ is the first of a trilogy, with the companion pieces being ‘Love Leading the Pilgrim’, in the Tate Gallery, and ‘The Heart of the Rose’, in a private collection. Typical of Burne-Jones’ work, and more widely speaking, that of the artists associated with the Pre-Raphaelites, the trilogy’s source is found in medieval literature, with the series being loosely based on ‘The Romaunt of the Rose’. The first image, ‘The Garden of Idleness’, depicts the Pilgrim encountering Idleness, personified as a beguiling maiden. Having successfully escaped the temptation of the maiden, the Pilgrim meets Love, who leads him through a briar thicket, as is illustrated in ‘Love Leading the Pilgirm’. The final of the images, ‘The Heart of the Rose’, portrays the Pilgrim being led by a winged figure to the Rose, personified as a beautiful woman.

‘The Roumant of the Rose’ is a Middle English translation of the French allegorical poem ‘Le Roman de la Rose’. The English translation was originally considered to be the work of Geoffrey Chaucer, although since the 19th century, this notion has caused controversy. It is almost certain that Chaucer translated the French epic poem, but it is the authorship of the surviving text that is greatly questioned.

The painting from which this photogravure was taken is now in the collection of the Dallas Museum of Art. Condition: Foxing and discolouration to margins, with large stain to left edge of sheet, slightly affecting image.

[41617] £400

55. The Heart of the Rose after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 297 x 417 mm, Plate 364 x 476 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 67, taken from Burne-Jones’ 1893 oil painting ‘The Pilgrim at the Gate of Idleness’.

Burne-Jones’ ‘The Heart of the Rose’ is the last of a trilogy, with the companion pieces being ‘The Garden of Idleness’, in the Dallas Museum of Art, and ‘Love Leading the Pilgrim’, in the Tate Gallery. Typical of Burne-Jones’ work, and more widely speaking, that of the artists associated with the Pre-Raphaelites, the trilogy’s source is found in medieval literature, with the series being loosely based on ‘The Romaunt of the Rose’. The first image, ‘The Garden of Idleness’, depicts the Pilgrim encountering Idleness, personified as a beguiling maiden. Having successfully escaped the temptation of the maiden, the Pilgrim meets Love, who leads him through a briar thicket, as is illustrated in ‘Love Leading the Pilgirm’. The final of the images, ‘The Heart of the Rose’, portrays the Pilgrim being led by a winged figure to the Rose, personified as a beautiful woman.

‘The Roumant of the Rose’ is a Middle English translation of the French allegorical poem ‘Le Roman de la Rose’. The English translation was originally considered to be the work of Geoffrey Chaucer, although since the 19th century, this notion has caused controversy. It is almost certain that Chaucer translated the French epic poem, but it is the authorship of the surviving text that is greatly questioned.

The painting from which this photogravure was taken is now in a private collection.

Condition: Foxing and discolouration to margins, water stain to left edge of sheet, slightly affecting image.

[41619] £500

56. The Angel of the Martyrs after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 460 x 157 mm, Plate 532 x 213 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 68, taken from Burne-Jones’ 1878/96 gouache painting of the same title.

A full length depiction of an angel, turned towards the viewer, but gazing to the left. The figure, clad in drapery, holds a violin in their left hand.

The painting from which this photogravure was taken is now in the collection of the Nelson Atkins Museum of Art, Kansas City, Missouri.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly affecting image.

[41620] ÂŁ500

57. Perseus and the Sea Nymphs after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 467 x 388 mm, Plate 543 x 447 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 69, taken from Burne-Jones’ unfinished oil painting of the same title.

‘Perseus and the Sea Nymphs’ is the first of five oil paintings featured in Burne-Jones’ unfinished series, ‘The Perseus Cycle’, which portrays the classical story of Perseus and the slaying of Medusa. Perseus, the son of Jupiter and Danaë, having promised Polydectes, the King of Seriphos, that he would slay Medusa, the only mortal Gorgon, and bring her head to him, finds himself assisted by the gods. ‘Perseus and the Sea Nymphs’ presents Perseus receiving the armour donated by the gods, including Pluto’s invisibility helmet, and from the nymphs, winged sandals, and a wallet to collect Medusa’s head.

Although ‘The Perseus Cycle’ recounts the myth of Perseus and Medusa, it is likely that Burne-Jones was looking to William Morris’ ‘Earthly Paradise’ as the direct source for the series. Morris’ epic poem, completed in 1870, retells myths and legends from Greece and Scandinavia.

‘The Perseus Cycle’ was based on an earlier set of ten gouache cartoons. In 1875, Arthur Balfour, a British statesman and arts patron, commissioned the series, with the hope of having ten oil paintings for his London home. Although working on the project for ten years, Burne-Jones’ ill health meant that the works remained unrealised. Four of the oil paintings were finished, and one partially completed.

The painting from which this photogravure was taken is now in the collection of the Staatsgalerie Stuttgart.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly affecting image.

[41621] £500

58. Perseus and the Graiae after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 410 x 455 mm, Plate 483 x 512 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 70, taken from Burne-Jones’ 1892 oil painting of the same title.

‘Perseus and the Graiae’ is the second of five oil paintings featured in Burne-Jones’ unfinished series, ‘The Perseus Cycle’, which portrays the classical story of Perseus and the slaying of Medusa. Perseus, the son of Jupiter and Danaë, promises Polydectes, the King of Seriphos, that he would slay Medusa, the only mortal Gorgon, and bring her head to him. As the myth unfolds, Perseus travels to the country of the Graiae, the sisters of the Gorgons. The Graiae, which can be translated to ‘old women’ or ‘grey witches’, were three sisters who shared one tooth and one eye between them. Perseus steals the Graiae’s eye, promising to return it should they reveal the location of the Gorgons.

Burne-Jones’ treatment of this particular scene is somewhat paradoxical. The Graiae, traditionally noted for their extreme elderliness and repulsiveness, are instead portrayed as young, beautiful maidens. Each of the figures are overtly feminine, with their dainty hands emerging from beneath the drapery that carefully contours their youthful figures. Although the face of only one of the Graiae is visible, her delicate features reinforce the beauty of the sisters. In many ways, the Graiae are typical of Burne-Jones’ idealised women.

Although ‘The Perseus Cycle’ recounts the myth of Perseus and Medusa, it is likely that Burne-Jones was looking to William Morris’ ‘Earthly Paradise’ as the direct source for the series. The painting from which this photogravure was taken is now in the collection of the Staatsgalerie Stuttgart.

‘The Perseus Cycle’ was based on an earlier set of ten gouache cartoons. In 1875, Arthur Balfour, a British statesman and arts patron, commissioned the series, with the hope of having ten oil paintings for his London home. Although working on the project for ten years, Burne-Jones’ ill health meant that the works remained unrealised. Four of the oil paintings were finished, and one partially completed.

[41622] £400

59. The Rock of Doom after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 464 x 388 mm, Plate 534 x 448 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 71, taken from Burne-Jones’ 1888/98-9 oil painting of the same title.

‘The Rock of Doom’ is the third of five oil paintings featured in Burne-Jones’ unfinished series, ‘The Perseus Cycle’, which portrays the classical story of Perseus and the slaying of Medusa. Perseus, the son of Jupiter and Danaë, promises Polydectes, the King of Seriphos, that he would slay Medusa, the only mortal Gorgon, and bring her head to him. Having slain Medusa, Perseus, on his return home, passes through Syria. By chance, Perseus’ arrival coincides with a sea-monster ravaging the land, as sent by Neptune. As declared by the oracle of Jupiter, the only way to appease the monster’s wrath would be the sacrifice of Andromeda, the daughter of King Cepheus. Continuing with his journey home, Perseus encounters Andromeda, naked and chained to a rock. Struck by her exceptional beauty, Perseus offers to save Andromeda, should she agree to marry him.

Burne-Jones portrays the moment that Perseus encounters Andromeda, removing his helmet so as to be visible to her. Although fearful of her fate, the appearance of Perseus offers hope to Andromeda’s situation, which Burne-Jones captures through the static treatment of Andromeda’s figure. Her fixed form juxtaposes against Perseus’ swift movement, whilst her curved pose alludes to the S-shaped Madonnas and women prevalent in Gothic art.

Andromeda embodies both the notion of the weak, vulnerable woman, and the highly sensual female figure common in the work of Burne-Jones, and more widely speaking, the work of the artists associated with Pre-Raphaelitism.

Although ‘The Perseus Cycle’ recounts the myth of Perseus and Medusa, it is likely that Burne-Jones was looking to William Morris’ ‘Earthly Paradise’ as the direct source for the series. The painting from which this photogravure was taken is now in the collection of the Staatsgalerie Stuttgart.

Condition: Water stain to lower edge of sheet, slightly affecting image.

[41623] £600

60. The Doom Fulfilled after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 453 x 404 mm, Plate 534 x 463 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 72, taken from Burne-Jones’ 1888 oil painting of the same title.

‘The Doom Fulfilled’ is the fourth of five oil paintings featured in Burne-Jones’ unfinished series, ‘The Perseus Cycle’, which portrays the classical story of Perseus and the slaying of Medusa. Perseus, the son of Jupiter and Danaë, promises Polydectes, the King of Seriphos, that he would slay Medusa, the only mortal Gorgon, and bring her head to him. Having slain Medusa, Perseus, on his return home, passes through Syria. By chance, Perseus’ arrival coincides with a sea-monster ravaging the land, as sent by Neptune. As declared by the oracle of Jupiter, the only way to appease the monster’s wrath would be the sacrifice of Andromeda, the daughter of King Cepheus. Continuing with his journey home, Perseus encounters Andromeda, naked and chained to a rock. Struck by her exceptional beauty, Perseus offers to save Andromeda, should she agree to marry him.

In this dynamic portrayal of the Perseus myth, Perseus is presented within the coils of the beast which he is slaying. Much like ‘The Rock of Doom’, the figure of Andromeda is static, providing balance to the volatile movements of Perseus and the sea-monster.

Although ‘The Perseus Cycle’ recounts the myth of Perseus and Medusa, it is likely that Burne-Jones was looking to William Morris’ ‘Earthly Paradise’ as the direct source for the series. Morris’ epic poem, completed in 1870, retells myths and legends from Greece and Scandinavia.

The painting from which this photogravure was taken is now in the collection of the Staatsgalerie Stuttgart.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly affecting image.

[41625] £600

61. The Baleful Head after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 469 x 387 mm, Plate 540 x 446 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 73, taken from Burne-Jones’ 1887 oil painting of the same title.

‘The Baleful Head’ is the final of five oil paintings featured in Burne-Jones’ unfinished series, ‘The Perseus Cycle’, which portrays the classical story of Perseus and the slaying of Medusa. Perseus, the son of Jupiter and Danaë, promises Polydectes, the King of Seriphos, that he would slay Medusa, the only mortal Gorgon, and bring her head to him. Having slain Medusa, Perseus, on his return home, passes through Syria. By chance, Perseus’ arrival coincides with a sea-monster ravaging the land, as sent by Neptune. As declared by the oracle of Jupiter, the only way to appease the monster’s wrath would be the sacrifice of Andromeda, the daughter of King Cepheus. Continuing with his journey home, Perseus encounters Andromeda, naked and chained to a rock. Struck by her exceptional beauty, Perseus offers to save Andromeda, should she agree to marry him.

In an attempt to convince Andromeda of his divine origins, and in turn, win her hand in marriage, Perseus presents the head of Medusa to her, as is portrayed in Burne-Jones’ ‘The Baleful Head’. As the myth states, even casting a look over the dead Medusa would result in being turned to stone, with the only safe way to look at the creature being through a reflection. Standing over a well, Perseus raises the head of Medusa over the water for Andromeda to gaze over. Despite Medusa traditionally being cast as a hideous creature, Burne-Jones presents her with far more attractive and softer features than one would expect.

Although ‘The Perseus Cycle’ recounts the myth of Perseus and Medusa, it is likely that Burne-Jones was looking to William Morris’ ‘Earthly Paradise’ as the direct source for the series.

The painting from which this photogravure was taken is now in the collection of the Staatsgalerie Stuttgart.

Condition: Water stain to lower edge of sheet, slightly affecting image.

[41626] £600

62. The Fall of Lucifer after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 525 x 254 mm, Plate 596 x 308 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 74, taken from Burne-Jones’ 1894 oil painting of the same title.

Lucifer, having been cast out from the closed gates of Heaven, is presented descending into the Infernal Regions, accompanied by countless rebel angels bearing flags and armoury. Although overtly different in subject matter, the composition of ‘The Fall of Lucifer’ alludes to that of an earlier painting

by Burne-Jones; ‘The Golden Stairs’ of 1880. Surrounding the image is a frame inscribed with Revelation 12:7-12 in Latin.

The painting from which this photogravure was taken is now in the collection of Lord Lloyd Webber.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly affecting image.

[41627] £400

63. The Annunciation after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 516 x 212 mm, Plate 590 x 268 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 75, taken from Burne-Jones’ 1879 oil painting of the same title.

‘The Annunciation’ depicts the events described in the Gospel, in which the Virgin Mary is visited by the angel Gabriel, and informed that she will bear the son of God. Unlike many portrayals of the event, the Virgin in Burne-Jones’ ‘The Annunciation’ does not appear startled by her encounter with Gabriel. Instead, she appears humbled, and in a state of contemplation. Her distant gaze can be interpreted as one of sorrow, knowing that, as a mother, she will lose her son. The Virgin’s role in saving humanity is reflected by a relief on an arch, illustrating the expulsion of Adam and Eve from Eden. The angel Gabriel, suspended in space, appears to emerge from a large tree, with little distinction between the angel’s wings and the tree’s leaves. Exquisite detail has been applied to the figures’ drapery, alluding to the works of Italian Renaissance Masters, those of which Burne-Jones studied and made copies of during his visits to Italy.

The painting from which this photogravure was taken is now in the collection of the Lady Lever Art Gallery, Liverpool.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, affecting image.

[41629] £500

64. King Cophetua and the Beggar Maid after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 511 x 229 mm, Plate 585 x 285 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 78, taken from Burne-Jones’ 1884 oil painting of the same title.

The story of Cophetua concerns an ancient African king who disdained women, and was supposedly immune to affection. Upon glancing at a beggar maid named Penelophon, however, he vowed to make her his Queen. Love transcends class and reason.

Burne-Jones drew upon two sources for the subject.

Richard Johnson’s ballad ‘A Song of a Beggar and a King’, 1612, which was reprinted by the Percy Society in 1842, and Tennyson’s poem ‘The Beggar Maid.’ The elaborate composition is thought to have been inspired by Carlo Crivelli’s ‘Annunciation with Saint Emidus,’ which entered the London National Gallery in 1864. In fact, the peacock which is so focal in Crivelli’s altarpiece, is replicated in the balustrade behind the beggar maid’s head.

The painting from which this photogravure was taken is now in the collection of the Tate.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet into image.

[41635] £550

65. The Depths of the Sea after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 512 x 194 mm, Plate 584 x 248 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 80, taken from Burne-Jones’ 1886 oil painting of the same title.

As described by Burne-Jones, ‘The Depths of the Sea’ is both ‘indefinite’ and ‘suggestive’. Whilst it is clear that the mermaid has grasped onto the body of a young, nude man, and is hauling him to the depths of the sea, the context of the situation is ambiguous.

Instead, Burne-Jones purposely leaves the viewer to ponder over fear, desire, and fatal attraction. The mermaid embodies the notion of the ‘femme fatale’, which proved to be a popular theme in the work of Burne-Jones, and more widely speaking, that of the Pre-Raphaelites. In an age where a strict moral code was held high in society, it comes as little surprise that seductive, dangerous women sparked both fear and fascination, and in turn, was reflected in the visual arts.

The painting from which this photogravure was taken is now in a private collection. Burne-Jones revisited the subject in the following year, producing a watercolour copy, which is now in the collection of the Fogg Art Musueum.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly affecting image.

[41637] £500

66. Aurora after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 505 x 210 mm, Plate 577 x 267 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 82, taken from Burne-Jones’ 1896 oil painting of the same title.

In Burne-Jones’ classically inspired image, Aurora, the Roman mythical personification of dawn, is depicted walking barefoot, playing the cymbals to awake the sleeping town. Her presence is reflected by the gentle light of dawn visible above the rooftops and trees. As is told in Georgiana Burne-Jones’ memorial of her husband, the setting of ‘Aurora’ is based on a study by the artist, taken from a canal bridge in a poor area of Oxford thirty years prior to the execution of ‘Aurora’. In the memorial, Georgiana also states that ‘the canal has changed into an arm of a river and the houses have been welded into the long, low storage-places of a wharf, crowned by a great church lifted up against the sky’. Baring this in mind, it is possible that the area from which Burne-Jones took his study was along Castle Mill Stream, with the church that Georgiana speaks of being St. Barnabas Church in Jericho.

The painting from which this photogravure was taken is now in the collection of Queensland Art Gallery, Australia.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly affecting image.

[41639] £400

67. Flamma Vestalis after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 520 x 186 mm, Plate 591 x 242 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 85, taken from Burne-Jones’ 1886 oil painting of the same title.

Reminiscent of a Renaissance portrait, the figure, modelled on Burne-Jones’ daughter, Margaret, wears Renaissance style attire. Presented standing in threequarter length, and in profile to the right, she gazes down towards the rosary beads she holds in her left hand. It has been suggested that the sitter’s pose was perhaps inspired by a stone relief of Saint Cecilia, which had been attributed to Donatello during the nineteenth century. In the distance, Renaissance inspired buildings sit by a lake. The title of BurneJones’ work reinforces the link with classicism, making reference to the Vestal Virgins of Rome, who ensured the fire on the altar of the goddess Vesta was continuously alight. Hovering before the sitter’s shoulder is a small hand holding a flaming torch, once again referencing the Vestal Virgins. The positioning of the motif is suggestive of the torch being passed to the young woman.

The painting from which this photogravure was taken is now in the private collection of Lord Lloyd Webber.

Condition: Foxing and discolouration to margins, water stain to lower edge of sheet, slightly affecting image.

[41642] £500

68. The Garden of Pan after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 370 x 461 mm, Plate 441 x 517 mm Printed on India laid paper.

Plate 86, taken from Burne-Jones’ 1886-7 oil painting of the same title.

Burne-Jones’ ‘The Garden of Pan’ was conceived during a period in which he was deeply influenced by his travels to Italy. Having returned home in 1872, Burne-Jones intended to complete four ambitious works, none of which were ever fully realised. ‘The Garden of Pan’, although a completed work, belonged to this programme. As is told in Burne-Jones’ memorial, written by his wife, Georgiana, Burne-Jones originally planned for the work to depict ‘the beginning of the world - with Pan and Echo and sylvan gods, and a forest of centaurs, and a wild background of woods, mountains, and rivers’. Instead, the completed work is far simpler. Set within a pastoral landscape, Pan plays his pipes to a shepherd and shepherdess.

‘The Garden of Pan’ presents with a distinct Renaissance influence, both in style and subject matter. The composition and landscape setting are reminiscent of the pastoral image that had became prevalent in Venetian Renaissance painting, whilst Burne-Jones’ choice of Pan as his subject emerged from his interest in Renaissance literature. Burne-Jones had developed a particular interest in the transformation of classical myths, those of which reappeared in the Renaissance. Throughout the centuries, the Greek god, Pan, appeared in various forms, from ‘the good shepherd’ to a fiendish goat-legged creature.

In Burne-Jones’ portrayal, the figure of Pan is presented as an attractive, slender youth. The youthful depiction references the original design of the work, which Burne-Jones had intended to title ‘The Youth of Pan’.

As he sits upon a rock, gazing towards the viewer, Pan plays upon his pipes, with a young shepherd and shepherdess listening. A kingfisher and dragonflies, known for their speed, have been stopped by the beautiful sound of Pan’s music. Running through the centre of the image is a small stream, not only emphasising the pastoral nature of the setting, but acting as a divide between Pan and the listeners, and therefore, the natural and supernatural worlds.

[41643] £400

69. The Morning of the Resurrection after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 233 x 417 mm, Plate 308 x 473 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 87, taken from Burne-Jones’ 1886 oil painting of the same title.

In Burne-Jones’ depiction of the biblical event of the Resurrection of Christ, Mary Magdalene is presented visiting the empty tomb, where she is met by the resurrected Christ, accompanied by two angels. The startled figure of Mary Magdalene is typical in appearance of Burne-Jones’ women, as are the angels that rest by her sides.

The painting from which this photogravure was taken is now in the collection of the Tate. Burne-Jones produced at least two other versions of the subject, one of which, until recently, was at St Peter’s Church, Vere Street, London.

Condition: Foxing and discolouration to margins, water stain to left edge of sheet, slightly affecting image.

[41646] £375

70. The Dream of Launcelot at the Chapel of the San Grael after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 323 x 407 mm, Plate 393 x 452 mm, Sheet 507 x 667 mm Printed on India laid paper.

Plate 88, taken from Burne-Jones’ 1896 oil painting of the same title.

Typical of the work of Burne-Jones, and more broadly speaking, that of the Pre-Raphaelite artists, ‘The Dream of Launcelot’ is Medievally inspired, with its source being found in the Arthurian legend. Sir Lancelot, one of the Knights of the Round Table, is depicted asleep against the head of a well. His helmet sits by his side, whilst his sword rests in his hand, and his shield hangs from a withered tree. To the right of the composition is the Chapel of San Grael, with an angel emerging from the doorway.

The painting from which this photogravure was taken in now in the collection of the Southampton City Art Gallery. Burne-Jones revisited the subject in pastels, which was left unfinished at his death.

Condition: Foxing and discolouration to margins, water stain to left edge of sheet, not affecting image.

[41650] £375

71. The Altar of Hymen after Sir Edward Coley Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 236 x 165 mm, Plate 308 x 222 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 89, taken from Burne-Jones’ 1874 watercolour of the same title.

Burne-Jones’ classically inspired image, ‘The Altar of Hymen’, depicts the marriage of Pygmalion and Galatea. Standing at the altar of Hymen, the god of marriage, the couple embrace, whilst Venus and Cupid watch over.

The well-known tale, from Ovid’s ‘Metamorphoses’ witnesses Pygmalion, a Cypriot sculptor, swear an oath of celibacy in disgust at the local women’s debaucherous lifestyles. Unable to find a woman to marry, Pygmalion sculpts an ivory statue of his ideal woman. Having fallen in love with his creation, Pygmalion asks Aphrodite to send him a woman that resembles the statue. Aphrodite answers his prayers by bringing the statue to life. She becomes known as Galatea, whom Pygmalion marries.

Although ‘The Altar of Hymen’ recounts the myth of Pygmalion and Galatea, Burne-Jones was looking to William Morris’ ‘Earthly Paradise’, an epic poem, completed in 1870, which retells myths and legends from Greece and Scandinavia. Whilst the scene of Pygmalion and Galatea’s marriage is not recounted explicitly in Morris’ verses, it is referenced through Galatea’s speech.

The watercolour from which this painting was taken is now in a private collection.

Condition: Foxing and discolouration to margins, with large stain to lower edge of sheet, not affecting image.

[41651] £375

72. Portrait of Sir Edward Burne-Jones, Bart. after Sir Philip Burne-Jones Photogravure Published by the Berlin Photographic Company Berlin. _ London W.133 New Bond Street. _ New York 14 East 23rd Street. [c.1900] Image 306 x 210 mm, Plate 380 x 268 mm, Sheet 667 x 507 mm Printed on India laid paper.

Plate 90, taken from Philip Burne-Jones’ 1898 portrait of his father, Edward.

Painted at the end of Burne-Jones’ life by son, Philip, this portrait presents the artist working in his studio at his home in West Kensington. The painting which Burne-Jones is shown to be working on is a composition for ‘The Attainment’, one of five images of the Holy Grail tapestries, woven by Morris & Co. Whilst there is no evidence that Burne-Jones began an oil version of ‘The Attainment’, the round-arched baldacchino visible on the canvas is reminiscent of the tapestry. The painting seen behind the artist is the unfinished oil ‘Perseus and the Sea Nymphs’, from the Perseus Cycle, which remained unfinished at Burne-Jones’ death.

The painting from which this photogravure was taken is now in the collection of the National Portrait Gallery, London.

Condition: Heavy foxing and discolouration to margins, water stain to lower edge of sheet, not affecting image.

[41652] £150

73. The Mirror of Venus Felix Jasinski after Sir Edward Coley Burne-Jones Etching Copyright 1896 by Messrs. Arthur Tooth & Sons, Publishers, 5 & 6 Haymarket, London, and 295 Fifth Avenue, New York, The Fine Art Society. 148, New Bond Street, London, & Messrs. Steifbold & Co. Berlin.

Painted by Messrs. A. Salmon & Ardail, Paris.

Image 326 x 519 mm framed Artist’s Proof on velum, signed in pencil by artist and engraver.

400 at £10/10/Plate destroyed.

Edward Burne-Jones, a member of the pre-Raphaelite Movement, was one of the great forerunners of Symbolism. The subject of this composition can be seen as an exaltation of ideal beauty, set in the atmosphere of the universe represented in a perspective also common to late-Victorian art. The artist uses the minimum narrative discourse, distributing the poetic and dreaming figures, wearing pseudo-classical garments, in a linear frieze-like manner, of Greek inspiration.

Burne-Jones seeks a general affinity with the renaissance ambient rather than a formal similarity of style. A clear echo of the quattrocento, of Botticelli in particular, the picture favours the decorative harmony of the ensemble and deliberately creates a nostalgic evocation of the past.

Condition: Small holes to vellum to lower margin not affecting image.

[21116] £4,750

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