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| 1869-70 Sir Edward Burne-Jones by George Frederic Watts oil on canvas Birmingham Museums, UK |
For more information on Burne-Jones see part 1, and for earlier works see parts 1 & 2 also.
This is part 3 of a 14-part series on the works of Edward Burne-Jones:
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| 1862 Fair Rosamund and Queen Eleanor ink, watercolour, gouache and gum on paper 26 x 27.3 cm Tate, London |
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| 1862 Fatima pencil, watercolour and gouache on paper laid on canvas 77.5 x 26.7 cm |
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| 1862 King Cophetua and the Beggar Maid oil on canvas 76.2 x 63.5 cm Tate, London |
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| 1862 Morgan le Fay oil on canvas 96.5 x 48.2 cm Leighton House Museum, London |
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| 1862 The Annunciation, the Flower of God watercolour and gouache 60 x 53 cm Private Collection |
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| 1862-63 The Liberation of St Peter stained glass |
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| 1862-65 Sketch of Two Seated Figures: ‘Chant d’Amour’ graphite on paper 19 x 30.3 cm Tate, London |
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| 1862-72 Ariadne watercolour and gouache with opaque white, heightened with gum arabic on wove paper 39.9 x 22.1 cm © 2011 Art Gallery of Ontario |
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| c1862 Studies of Drapery and the figure of the Virgin for the ‘Annunciation’ in the Church of St Martin’s-on-the-Hill, Scarborough, Yorkshire graphite on paper 34 x 36.2 cm Tate, London |
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| c1862 Study for a Tile of the ‘Story of Beauty and the Beast’ graphite on paper 25.8 x 17.8 cm Tate, London |
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| Beauty and the Beast fireplace tile by William Morris & Co. |
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| c1862c Study of the Head of Tristram for ‘The Madness of Sir Tristram’ graphite on paper 10.1 x 13.1 cm Tate, London |
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| c1862 Two Studies of Tristram for ‘The Madness of Sir Tristram’ graphite on paper 20.7 x 24.1 cm Tate, London |
Note: The above studies look like they relate to the stained glass designs at Harden Grange (below). This c1892 painting of 'The Madness of Sir Tristram' also seems to incorporate the above studies:
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| c1892 The Madness of Sir Tristram watercolour and gouache, heightened with gum arabic and gold 58.5 x 55.8 cm |
1862 Harden Grange stained glass panels commissioned from Morris, Marshall, Faulkner & Co. by Walter Dunlop for Harden Grange near Bingley Yorkshire (four by Burne-Jones):
In 1862 Burne-Jones made four designs for stained glass illustrating the story of Tristram and Isoude from Sir Thomas Malory's 'Morte d'Arthur'. These were part of a group commissioned by Walter Dunlop for his home at Bingley in Yorkshire. Other designs for the set were provided by Rossetti, Madox Brown, Morris, Valentine Prinsep and Arthur Hughes; the stained glass is now in Bradford City Art Gallery. Late in 1862 Burne-Jones reworked three of his cartoons as watercolours, including 'The Madness of Sir Tristram.'
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| 1862 The attempted suicide of La Belle Isoude stained glass Harden Grange |
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| 1862 The Madness of Sir Tristram, stained glass at Harden Grange |
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| 1862 The Marriage of Tristram and Isoude Les Blanches Mains study for the above stained glass? graphite on paper 29.3 x 14.6 cm Tate, London |
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| 1862 The Tomb of Tristram and Isoude stained glass at Harden Grange |
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| 1862 The Tomb of Tristram and Isoude stained glass design at Harden Grange |
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| 1863 Cinderella watercolour and gouache on paper 65.7 x 30.4 cm Museum of Fine Arts, Boston, MA |
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| c1863 Study for ‘Cinderella’ graphite on paper 33.7 x 19.7 cm Tate, London |
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| 1863 King David the Poet stained glass 82.6 x 49.5 cm The Metropolitan Museum of Art, New York |
1863 The Merciful Knight
Based on an 11th-century legend retold by Sir Kenelm Digby in Broadstone of Honour, its hero is a Florentine knight named John Gaulbert. The explanatory inscription provided by Burne-Jones tells the viewer of a knight who forgave his enemy when he might have destroyed him and how the image of Christ kissed him in token that his acts had pleased God.
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| 1863 The Merciful Knight watercolour and gouache on paper 101.4 x 58.6 cm Birmingham Museum & Art Gallery, UK |
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| c1863 Composition Study for ‘The Merciful Knight’ graphite on paper 22.2 x 15.7 cm Tate, London |
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| c1863 Composition Study for ‘The Merciful Knight’ graphite on paper 25.2 x 15.3 cm Tate, London |
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| c1863 Nude Study of the Knight for ‘The Merciful Knight’ graphite on paper 33 x 14.3 cm Tate, London |
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| 1863c Study of Knight for ‘The Merciful Knight’ graphite on paper 24.8 x 17.5 cm Tate, London |
c1863 Stained Glass for St Michael and all Angels Church, Lyndhurst, Hampshire:
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| 1863 Design for stained glass South transept window St Michael and all Angels Church, Lyndhurst, Hants pen and grey and brown ink 34.6 x 23.4 cm The British Museum, London |
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| c1863 Study of a Seated Male Nude for ‘The Liberation of St Peter’ St Michael and All Angels, Lyndhurst, Hants graphite and chalk on paper 16.8 x 12.7 cm Tate, London |
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| c1863 Two Studies of a Seated Male Nude for ‘The Liberation of St Peter’ St Michael and All Angels, Lyndhurst, Hants graphite and chalk on paper 17.9 x 33.5 cm Tate, London |
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| Design for An Angel Harpist St Michael and all Angels Church, Lyndhurst, Hants © Ashmolean Museum, University of Oxford |
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| St Anne stained glass St Michael and all Angels Church, Lyndhurst, Hants |
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| St Hannah stained glass St Michael and all Angels Church, Lyndhurst, Hants |
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| St Monica stained glass St Michael and all Angels Church, Lyndhurst, Hants |
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| St Rachel stained glass St Michael and all Angels Church, Lyndhurst, Hants |
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| St Rachel stained glass detail |
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| Designed c1864-70 Made 1868-70c Phyllida hand-painted on tin-glazed earthenware Dutch blanks 77.2 x 30.2 cm Victoria & Albert Museum, London |
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| c1864-70 Tiles (with William Morris) hand-painted in various colours Victoria & Albert Museum, London |
c1864 Legend of Good Women
The 'Legend of Good Women' was written by Geoffrey Chaucer in the 1380s. It is an epic poem written in iambic pentameter describing how the personification of 'Amor' came to him in his sleep and related the stories of ten women from antiquity, all of whom suffered for love.
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| 1863 Legend of Good Women - Griselda pencil on buff paper 18.3 diameter Birmingham Museum and Art Gallery, UK |
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| 1863-64 Drapery Study of Hypermnestra pencil on cream toned paper 14.8 x 32.9 cm Birmingham Museum and Art Gallery, UK |
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| 1864 (made) Legend of Good Women stained glass made by Morris, Marshall, Faulkner & Co. |
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| 1864 Legend of Good Women - Amor and Alcestis pencil, pen and brown wash on toned paper 49 x 46.5 cm Birmingham Museum and Art Gallery, UK |
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| c1864 Legend of Good Women - Hypsiphile and Medea pencil, pen and brown wash on toned paper 49 x 46.2 cm Birmingham Museum and Art Gallery, UK |
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| Legend of Good Women 'Constance' satined glass |
