Lot Essay
The painting, now in the Tate Gallery, London, was exhibited at the New Gallery in 1894.
Vespertina Quies, by Emile Boilvin (1845-1899)
Details
After Sir Edward Coley Burne-Jones, Bt., A.R.A. (1833-1898)
Vespertina Quies, by Emile Boilvin (1845-1899)
etching on vellum, signed by artist and engraver, published by Arthur Tooth & Sons, 1897, with margins
15½ x 9 in. (39.4 x 22.8 cm.)
Vespertina Quies, by Emile Boilvin (1845-1899)
etching on vellum, signed by artist and engraver, published by Arthur Tooth & Sons, 1897, with margins
15½ x 9 in. (39.4 x 22.8 cm.)
Sale room notice
We are grateful to Jan Marsh for supplying the following information, subsequent to our catalogue entry.
Jan Marsh suggests that Rossetti's reference to Scott's 'peppermint and mud tint' should actually read 'Scotus's peppermint and mud tint'. Scotus was the nickname by which Scott was known to his friends. Also, Rossetti talked about tapestry not in the sense of embroidery, but of wall hangings.
Before being hung in the passage leading to the banqueting hall, the hangings were on the walls of an anteroom in the original pele tower of the Castle which is where Rossetti saw them in the autumn of 1868. They must have been moved to the passage leading to the banqueting hall when the latter was built in the 1880s, and were presumably cut down at that date.
The firm of Morris and Co. was know both in 1862 and 1868 as Morris, Narshall, Faulkner & Co. not Morris & Co.
Qui bien tard oublie have been identified by Norah Callow of the William Morris Gallery as quotation from Chaucer's Parlement of Fowles.
Jane Marsh no longer beleives that the hangings were commissioned by Alice Boyd, but suggests that they were later bought by Alice Boyd and/or William Bell-Scott for Penkill which was full of items given to them by William Morris when they were no longer a good example of the firm's work.
One of the embroiderers was probably Mrs Campfield, wife of the glass painter who later became the workshop foreman of Morris, Marshall, Faulkner & Co.
Jan Marsh suggests that Rossetti's reference to Scott's 'peppermint and mud tint' should actually read 'Scotus's peppermint and mud tint'. Scotus was the nickname by which Scott was known to his friends. Also, Rossetti talked about tapestry not in the sense of embroidery, but of wall hangings.
Before being hung in the passage leading to the banqueting hall, the hangings were on the walls of an anteroom in the original pele tower of the Castle which is where Rossetti saw them in the autumn of 1868. They must have been moved to the passage leading to the banqueting hall when the latter was built in the 1880s, and were presumably cut down at that date.
The firm of Morris and Co. was know both in 1862 and 1868 as Morris, Narshall, Faulkner & Co. not Morris & Co.
Qui bien tard oublie have been identified by Norah Callow of the William Morris Gallery as quotation from Chaucer's Parlement of Fowles.
Jane Marsh no longer beleives that the hangings were commissioned by Alice Boyd, but suggests that they were later bought by Alice Boyd and/or William Bell-Scott for Penkill which was full of items given to them by William Morris when they were no longer a good example of the firm's work.
One of the embroiderers was probably Mrs Campfield, wife of the glass painter who later became the workshop foreman of Morris, Marshall, Faulkner & Co.