Information
A sketchbook of copies of architectural and decorative details. It can be dated c.1887-95 as it contains drawings related to 'The Adoration of the Magi' [The Star of Bethlehem] and 'San Graal' [Holy Grail] tapestries, and it is characteristic of this late period in placing the emphasis firmly on Romanesque and Byzantine sources. Some designs were used in 'Last Sleep of Arthur in Avalon' (1881-98; Museo del Arte, Ponce, Puerto Rico) and for the mosaic murals for St. Paul's Within-the-Walls, Rome (1886-90), which shows heavy use of the Byzantine and Romanesque style.The books from which copies were made include Seroux d'Agincourt's 'Histoire de l'Art par les Monuments, depuis sa decadence au IV Siecle' (Paris, 1823), Du Sommerard's 'Les Arts au Moyen Age' (Paris, 1838-46), and Viollet-le-Duc's 'Dictoinnaire Raisonne du Mobilier Francais de l'Epoque Carlovingienne a la Renaissance' (Paris, 1858-75). Some designs were used in 'Last Sleep of Arthur in Avalon' (1881-98; Museo del Arte, Ponce, Puerto Rico) and for the mosaic murals for St. Paul's Within-the-Walls, Rome (1886-90), showing heavy use of the Byzantine and Romanesque style.
- Presented by Mrs Angela Thirkell, 1952.
- © Birmingham Museums and Art Gallery
Makers
Association |
Artist |
Organisation |
Artist |
Sir Edward Burne-Jones |
- |
Inscriptions
Type |
Position(s) |
Method |
Date(s) |
Notes |
54/ everything in fairer key than finally intended/ amber varnish paint is turpentine throughout - then when quite dry mix final glaze colouring with amber varnish/ and use sparingly in the lights, if at all, freely in the darks - to a teaspoon full of varnish/ put really twice as much spirit of turpentine, and a teaspoon fresh of linseed oil to keep it from/ drying to quickly - mix all the glaze colours with a [blocked out] drop of this on the palette - it/ will seem to varnish a big picture - keep also a little bit to dip the brush in now &/ then/ Linseed Oil - can be kept open doors always with a hole in the cork, and the oil covered with a little water/ changed every 2 months - this refines it & revives the carbon [all in Burne-Jones's hand]// Studies from the Antique by Edward Burne-Jones Given by his daughter Margaret to his grand daughter Angela * |
Edition number |
cover/lid |
Written |
- |
in pen, in the upper right hand corner. most written in the artist's hand; statement denoted by asterisk, is in another hand |
|
Exhibitions
Catalogue No. |
Venue |
Date(s) |
Burne-Jones: The Paintings, Graphic and Decorative Work of Sir Edward Burne-Jones |
353 |
Hayward Gallery, London |
1975-11-05 - 1976-01-04 |
353 |
Southampton Art Gallery |
1976-01-24 - 1976-02-22 |
353 |
Birmingham Museum & Art Gallery |
1976-03-10 - 1976-04-11 |
|
William Morris & the Middle Ages |
154 |
Whitworth Art Gallery, University of Manchester |
1984-09-28 - 1984-12-08 |
|
The Holy Grail Tapestries |
No Catalogue |
Guernsey Museum & Art Gallery, St. Peter Port |
1992-07-01 - 1992-09-01 |
|
Hidden Burne Jones |
- |
Birmingham Museum and Art Gallery |
2007-04-04 - 2007-07 |
- |
Leighton House, London |
2007-10-14 - 2008-01-25 |
|
Literature
Author(s) |
Date(s) |
Publisher |
Pages |
The Holy Grail Tapestries: Designed by Edward Burne-Jones, William Morris and J H Dearle for Morris & Co. |
Helen Proctor |
1997 |
Birmingham Museum & Art Gallery |
36 |
|
Hidden Burne-Jones, Works on paper by Edward Burne-Jones from Birmingham Museums and Art Gallery |
|
2007 |
Dan Giles, Ltd., London |
p. 81 |
Provenance
Thirkell, Angela Mackail (1952); Mackail, Margaret Burne-Jones (1898) |
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