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Lot Essay
If it were not for Burne-Jones's own inscription on the drawing, one would hardly recognise it as a study for a Queen in Arthur in Avalon. The four Queens sit at either end of the King's bier, two at his head, the others at his feet, but none of their heads corresponds to the drawing in pose. Perhaps the drawing acquired semi-independent status as the artist worked on it, like his well-known studies for The Depths of the Sea, The Car of Love and others. Certainly it has the exquisite refinement that characterises these supreme expressions of his skill as a draughtsman.
It is true that Burne-Jones sometimes misdated his drawings when preparing them for exhibition, often many years after they had been executed, but he can usually be relied on to identify the subjects correctly.
Burne-Jones and Henry Holiday had a patron called T.M. Kitchin in the 1860s. He remained a friend of Holiday's for many years (see the artist's Reminiscences), and it is possible that he was a relative of George Kitchin who was an owner of this drawing.
For other studies for Arthur in Avalon see lots 2, 3 and 5.
It is true that Burne-Jones sometimes misdated his drawings when preparing them for exhibition, often many years after they had been executed, but he can usually be relied on to identify the subjects correctly.
Burne-Jones and Henry Holiday had a patron called T.M. Kitchin in the 1860s. He remained a friend of Holiday's for many years (see the artist's Reminiscences), and it is possible that he was a relative of George Kitchin who was an owner of this drawing.
For other studies for Arthur in Avalon see lots 2, 3 and 5.