This drawing, most probably of Maria Zambaco due to the inscription on the reverse, may not be by Burne-Jones, but rather by his studio assistant, Charles Fairfax Murray. In 1872, Zambaco left London to stay in Paris for a while, during which time both Burne-Jones and Murray had visited her (see letters in Harry R Ransom Humanities Research Center, University of Texas at Austin). On a number of occasions Burne-Jones had asked Murray to make images both of and for Zambaco. This may be one of them, especially since it bears no likeness to any other drawings extant by Burne-Jones of Zambaco, neither at this time, before or after. It has been dated as 1872 because Zambaco was in Paris during the late spring through the summer, and returned to London in the autumn.

  • Purchased and presented by subscribers, 1903.
  • © Birmingham Museums and Art Gallery


Association Artist Organisation
Attributed to Charles Fairfax Murray -


Type Position(s) Method Date(s) Notes
'Maria, Paris' (in Charles Fairfax Murray's handwriting)
Inscription reverse centre Handwritten - Written in pencil.


Catalogue No. Venue Date(s)
Burne-Jones: dal Preraffaelismo al Simbolismo
41 Galleria Nazionale d'Arte Moderna, Rome 1986-10-7 - 1987-01-03


Author(s) Date(s) Publisher Pages
City of Birmingham Museum and Art Gallery: Catalogue of the Permanent Collection of Drawings
A E Whitley 1939 Bemrose & Sons Ltd, Derby p. 103
Un Chant d'Amour zu einem Bildniss von Edward Burne-Jones in Clemens-Sels-Museum Neuss
Gisela Zick 1973 Neusser Jahrbuch p. 28 (repro)
The Fateful Meeting and Fruitful Passion
Eileen Cassavetti March 1989, Vol. 60, No. 3 The Antique Collector p. 39, fig. 7
Hidden Burne-Jones, Works on paper by Edward Burne-Jones from Birmingham Museums and Art Gallery
Elisa Korb, Tessa Sidey 2007 Dan Giles, Ltd., London p. 76


Purchased from Charles Fairfax Murray, 1903

Associated people

Name Type
Maria Zambaco Artist's model
Sir Edward Burne-Jones Associated with

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