Lot Essay
The Printseller's Association (1892) records an edition, declared 16 May 1890, of 400 Artist's Proofs at 8 guineas each or 30 guineas the set; 100 Proofs before Letters at 5 guineas each or 18 guineas the set; an unspecified quantity of India Prints at 3 guineas each or 10 guineas the set; and an unspecified quantity of prints on plain white paper at 2 guineas each.
The Legend of the Briar Rose represents the climax of Burne-Jones's career. Begun in the early 1870s, the four large canvases were completed in 1890 and exhibited to great acclaim at Agnew's. They were bought by Alexander Henderson, Lord Faringdon, and installed in the saloon of his country house, Buscot Park, near Lechlade (now National Trust), where they remain. Burne-Jones turned them into a continuous frieze by adding connecting panels, and William Morris wrote poems to adorn the frames.
These photogravures, which were printed in Paris, are exceptionally sharp and clear. Hand-work was often added to the plates to give greater definition, and it is probable that this was the case here.
George Howard, Earl of Carlisle, was a close friend of Burne-Jones for many years, and acquired some of his finest works.
The Legend of the Briar Rose represents the climax of Burne-Jones's career. Begun in the early 1870s, the four large canvases were completed in 1890 and exhibited to great acclaim at Agnew's. They were bought by Alexander Henderson, Lord Faringdon, and installed in the saloon of his country house, Buscot Park, near Lechlade (now National Trust), where they remain. Burne-Jones turned them into a continuous frieze by adding connecting panels, and William Morris wrote poems to adorn the frames.
These photogravures, which were printed in Paris, are exceptionally sharp and clear. Hand-work was often added to the plates to give greater definition, and it is probable that this was the case here.
George Howard, Earl of Carlisle, was a close friend of Burne-Jones for many years, and acquired some of his finest works.