Sir Edward Coley Burne-Jones Posters Prints

Three Graces

Laus Veneris

Summer, 1869-70

Honeymoon of King Rene of Anjou

Beauty and the Beast

Blessed Virgin Mary

Amor and Alcestis

Challenge in the Wilderness

A Loving Hug

The Annunciation

Spring, 1869-70 Giclee Print

Winter, 1869-70

The Wise and Foolish Virgins

The Battle of Flodden Field

Katie Lewis Giclee Print

Edward Coley Burne-Jones was born in 11 Bennetts Hill on August 28 1833. In days his mother, Elizabeth, passed away therefore the child was raised by his father, likewise called Edward, who worked as a gilder and frame maker.

Burne-Jones spent the first twenty years of his life in Birmingham which was at the time a drab blue-collar town. His earliest recollections are alleged to have been of the towns celebrations for Queen Victoria's coronation.

Even though birth certificates were not introduced until three years later, a record of his baptism at St Philip's Church - presently called Birmingham Cathedral - on 1 January 1834 is maintained in the archive at the Birmingham Central Library. He afterwards designed the beautiful stained glass windows for the church of St Philip's.

Music Giclee Print

The Wheel of Fortune

Briar Rose Series, Sleeping Beauty

Princess Sabrat

Morning of the Resurrection

Hill Fairies Giclee Print

The Sower: a Design for Stained Glass at Brighouse

Pomona Giclee Print

Merlin and Nimue from Morte D'Arthur

Heart of the Rose Giclee Print

The Last Sleep of Arthur in Avalon

The Mirror of Venus

Circe Pouring Poison into Vase Awaiting the Arrival of Ulysses

Garden of the Hesperides

Mermaids in the Deep

By the age of eleven, the the young Edward Burne-Jones had been admitted to King Edward VI School, at the time situated in New Street. Destroyed over sixty years ago, this building had been designed by Sir Charles Barry and Augustus Pugin, the architects who designed for the Houses of Parliament.

Described in King Edward's School's records, Burne-Jones was steadily at the top of his class and gained numerous honors, particularly in mathematics. He likewise showed a talent for drawing - with caricatures of his instructors. Many years later, the school's archivists came across a series of humble portrayals and caricatures of teachers as well as students that many consider to be the art of the young Burne-Jones, although experts have been unable to reach a firm conclusion.

In 1853, Burne-Jones went up to Exeter College, Oxford where he would meet his lifelong friend to come, William Morris. At this time both men considered entering into the Church but, later after traveling northern France in 1855, Burne-Jones decided to become a artist and Morris to train as an architect. Both left Oxford University without graduating. In November 1856 he and Morris boarded together at the London at Red Lion Square, that before their occupancy was occupied by Dante Gabriel Rossetti and Walter Deverell. Known to early friends simply as Jones, he took the name of Burne-Jones sometime during this era.

Woman Playing Lute on Stained Glass Window

Lucretius on Stained Glass Window

Chaucer Asleep with His Good Women Stained Glass Window

Head of Penelope on Stained Glass Window

Aeschylus on Stained Glass

Apart from a couple of informal lessons by Dante Gabriel Rossetti, whom he ran across in 1856, Burne-Jones had been largely self taught, with his early art consisting of pen as well as ink drawings and watercolors that were entirely of romantic or literary themes. He became a member of the group that would produce the Oxford Union wall painting in 1857, was a member the Hogarth Club in 1858, and also in the following year conducted the first of four prolonged travels to Italy.

In 1860 Burne-Jones married Georgiana Macdonald who was the sister of a former school acquaintance. Their first house was at Great Russell Street in lodgings emptied by Henry Wallis and the Burne-Jones were constant company of William and Jane Morris in the Red House that Burne-Jones helped to decorate. He designed stained glass for several producers prior to being awarded the title of the first designer for Morris' company, especially following the reconstitution in 1875.

Enjoying the endorsing of critic John Ruskin, who accompanied Burne-Jones and Georgiana on a journey to Italy in 1862, Burne-Jones began to develop a personal style in which elements of Rossetti's Pre-Raphaelite was combined in a shape of neoclassical art as well as Old Master painting. The theme concerning drawing, preferably out of a living model, became important to his work, consequently this turned into a steady practice following he rooted in The Grange, Fulham, in 1867. He was elected an Associate of the Old Water Colour Society in 1864 - The Merciful Knight having been presented in one of his initial exhibits - although he resigned in 1870 following adverse critique of the painting Phyllis and Demophoon, a work which included eminent nude male and female figures. This year he scarcely survived a scandal concerning an intimacy with one of his steady models, Maria Zambaco.

Centering increasingly with oil painting, Burne-Jones became a prominent contributor in the first exhibition of the now famous Grosvenor Gallery in 1877. At this exhibition he achieved astonishing popular recognition. This was duplicated in France including paintings presented at the Exposition Universelle in 1878. A appearance at court later this year as a witness for John Ruskin in the notorious libel suit including James McNeill Whistler was a stressful event for Burne-Jones and had a profound effect on him.

His later paintings resulted in several large sized oil paintings, like as The Golden Stairs as well as King Cophetua and the Beggar Maid which are both now placed at the Tate Gallery, London as well as respective series of paintings that tell tales concerning legend and myth, notably Pygmalion and the Image, Perseus and the beautiful The Briar Rose Series. When producing such works, he was largely aided between 1869 by a studio assistant Thomas Matthews Rooke.

Burne-Jones habitually reused preceding draftings and designs for plans in various media, between decorated tiles as well as pianos to jewelry and stage costumes, many of which are today housed in Birmingham's collection. Two final collaborations with William Morris contributed to impressive designs for tapestries, dating back the later 1880s - the most dramatic of which, titled the Holy Grail series, is presently in placed Birmingham Museum and Art Gallery, where these are exhibited occasionally - as well as a plethora of illustrations for the Kelmscott Press, whose greatest achievement became the folio Geoffrey Chaucer of 1896. Reluctantly, Burne-Jones accepted an Associateship in the Royal Academy in 1885, although exhibited merely one time and stepped down in 1893. In 1894, Prime Minister Gladstone proposed him a baronetcy.

Sir Edward Burne-Jones died in Fulham on 16 June 1898 and was buried at a church yard at Rottingdean, Sussex, that he held a country house.

1850s
* A Knight and his Lady 1859, private collection
* Arthur with Excalibur 1858, private collection

1860s

* Girls a Meadow 1860, private collection
* Sidonia von Bork 1560 1860, Tate Brita, London
* Clara von Bork 1560 1860, Tate Brita, London
* Merl and Nimue from 'Morte d'Arthur' 1861, Victoria and Albert Museum, London Listed at Bridgeman Art Library
* The Goldfish Pool or Girl and Goldfish 1861, Tullie House Museum, Carlisle
* Clerk Saunders 1861, Tate Brita, London[7]
* The Annunciation and the Adoration of the Magi 1861, Tate Brita, London
* The Backgammon Players 1861-62, Birmgham Museum & Art Gallery, Birmgham
* Morgan le Fay 1862, Cecil French Bequest, London Borough of Hammersmith and Fulham
* The Madness Of Sir Tristram 1862, private collection
* Kg Mark and La Belle Iseult 1862, Birmgham Museum & Art Gallery, Birmgham
* Fair Rosamund and Queen Eleanor 1862, Tate Brita, London
* Cderella 1863, Museum of Fe Arts, Boston
* The Merciful Knight 1863, Birmgham Museum & Art Gallery, Birmgham
* Astrologia 1865, private collection Listed at Bridgeman Art Library
* Prcesse Sabra 1865, Musee d'Orsay, Paris
* The Lament 1865, William Morris Gallery
* The Prioress' Tale 1865-98, Delaware Art Museum
* Cupid and Psyche 1865, Manchester Art Gallery, Manchster Second version c 1865, Yale Centre for British Art, Hartford Both listed at Bridgeman Art Library
* The Garland: A Girl Tendg Flowers 1866, Cecil French Bequest, London Borough of Hammersmith and Fulham
* The Mirror of Venus 1866-77, private collection Later version, completed simulataneously:
- 1873-77 at the Calouste Gulbenkian Foundation, Lisbon
* Charity 1867, private collection Listed at Bridgeman Art Library
* Cupid Deliverg Psyche 1867, Cecil French Bequest, London Borough of Hammersmith and Fulham Three later versions of the same subject all listed at Bridgeman Art Library:
- 1867 at the Cecil Higgs Art Gallery
- c 1871 at Sheffield Galleries and Museums Trust
- date unknown, private collection
* The Love Song c 1868-73, Metropolitan Museum of Art, New York
* Green Summer 1868, private collection Listed at Bridgeman Art Library
* Laus Veneris 1869, Lag Art Gallery, Newcastle upon Tyne
* Autumn 1869-70, Roy Miles Fe Patgs Listed at Bridgeman Art Library

1870s

* Eveng Star 1870, private collection Listed at Bridgeman Art Library
* Phyllis and Demophoon 1870, Birmgham Museum & Art Gallery, Birmgham
* The Sleepg Beauty 1870-73, Muse- de Arte de Ponce, Puert-Ric - Study Manchester Art Gallery, Manchester
* The Wheel of Fortune 1870 onwards, there are at least seven versions of this composition cludg :
- c 1870 at the Carlisle City Art Gallery, Carlisle
- c 1870 at the Watts Gallery, Compton
- 1871-77 at the National Gallery of Victoria, Melbourne and
- 1871-85 part of the Cecil French Bequest, London Borough of Hammersmith and Fulham
- 1877-83 at the Musee d'Orsay, Paris
- c 1882 at the National Museum of Wales, Cardiff unfished
* Fame c 1870, Watts Gallery, Compton
* Love or The Triumph of Love c 1870, Watts Gallery, Compton
* Oblivion c 1870, Watts Gallery, Compton
* Flyg Figure c 1870, Cecil French Bequest, London Borough of Hammersmith and Fulham
* Day 1870, Fogg Art Museum, Harvard University
* Night 1870, Fogg Art Museum, Harvard University
* The Garden of Hesperides 1870-73, private collection
* Spes or Hope 1871, Duned Public Art Gallery, Duned Other versions of this subject:
- 1872-77 at the National Gallery of Victoria, Melbourne
- 1896 at the Museum of Fe Arts, Boston
* Dorigen of Bretaigne longg for the Safe Return of her Husband 1871, Victoria and Albert Museum, London Listed at Bridgeman Art Library
* Fides 1871, Vancouver Art Gallery[15]
* Venus Epithalamia 1871, Fogg Art Museum, Harvard University
* Pan and Psyche 1872-74, Fogg Art Museum, Harvard University Second version private collection Both listed at Bridgeman Art Library
* Danäe and the Brazen Tower 1872, Ashmolean Museum, Oxford There are tw- later versions of this composition both listed at Bridgeman Art Library:
- Danaë Watchg the Buildg of the Brazen Tower 1872, Fogg Art Museum, Harvard University
- Danae or the Tower of Brass 1887-88, Glasgow Museums, Glasgow
* The Beguilg of Merl 1872-77, Lady Lever Art Gallery, Port Sunlight
* Psyche enterg the Portals of Olympus 1872-81, Birmgham Museum & Art Gallery, Birmgham
* The Feast of Peleus 1872-81, Birmgham Museum & Art Gallery, Birmgham
* Troy Triptych 1872-98, Birmgham Museum & Art Gallery, Birmgham
* The Mirror of Venus 1875, Museu Calouste Gulbenkian, Lisbon Other versions:
- 1898 at the Calouste Gulbenkian Foundation, Lisbon
* Frieze of Eight Women Gatherg Apples 1876, Tate Brita, London
* The Annunciation 1876, Lady Lever Art Gallery, Port Sunlight
* Atlas Turned t- Stone c 1876, Southampton City Art Gallery Listed at Bridgeman Art Library
* The Avengg Angel of St Cathere 1878, Cecil French Bequest, London Borough of Hammersmith and Fulham
* An Angel Playg a Flageolet 1878, Sudley House, National Museums Liverpool Tw- further versions exist one a unidentified private collection and one Maks Collection All are listed at Bridgeman Art Library
* A Musical Angel c 1878-80, unknown

1880s

* The Golden Stairs 1880, Tate Brita, London
* The Angel 1881, Glasgow Museums, Glasgow
* The Last Sleep of Arthur Avalon 1881, Muse- de Arte de Ponce, Puert- Rico
* Earth Mother 1882, Worcester Art Museum, Massachusetts Second version a private collection both listed at Bridgeman Art Library
* The Mermaid 1882, Tate Brita, London
* The Tree of Forgiveness 1882, Lady Lever Art Gallery, Port Sunlight
* The Magic Circle c 1882, Tate Brita, London
* Georgiana Burne-Jones 1883, private collection
* Kg Cophetua and the Beggar Maid 1884, Tate Brita, London
* The Pilgrim at the Gate of Idleness 1884, Dallas Museum of Art
* The Morng of the Resurrection 1886, Tate Brita, London
* Sibylla Delphica 1886, Manchester Art Gallery, Manchester
* The Garden of Pan c 1886, National Gallery of Victoria, Melbourne
* The Depths of the Sea 1887, Fogg Art Museum, Harvard University
* The Star of Bethlehem 1887-91, Birmgham Museum & Art Gallery, Birmgham
* The Nativity 1888, Carnegie Museum of Art, Pittsburgh
* The Kg and the Shepherd 1888, Carnegie Museum of Art, Pittsburgh
* The Heart of the Rose 1889, private collection

1890s

* Sponsa de Liban- or The Bride of Lebanon 1891, Lady Lever Art Gallery, Port Sunlight
* The Sirens 1891-98, Rglg Museum of Art, Florida
* Vesperta Quies 1893, Tate Brita, London
* Love Among the Rus 1894, Wightwick Manor, Wolverhampton
* Psyche's Weddg 1895, Royal Museums of Fe Arts of Belgium
* The Dream of Launcelot at the Chapel of the San Graal 1895, Southampton City Art Gallery, Southampton
* The Wizard 1896-98, Birmgham Museum & Art Gallery, Birmgham
* Love and the Pilgrim 1896-7, Tate Brita, London

Series

The Legend of St George and the Dragon 1865-67

A series of seven works:

1 The Kg's Daughter, Musee d'Orsay, Paris
2 The Petition t- the Kg, Hanover College, Indiana
3 The Prcess Drawg the Lot, Hanover College, Indiana
4 The Prcess Sabra Led t- the Dragon, private collection
5 The Prcess Tied t- the Tree, private collection
6 St George Slayg the Dragon, Art Gallery of New South Wales, Sydney Second version, 1868, the William Morris Gallery
7 The Return of the Prcess, Bristol City Museum and Art Gallery, Bristol

The Legend of Briar Rose 1885-90

Farrgdon Collection Trust, Buscot Park, Oxfordshire Four major patgs with 10 jog panels:

1 Briars
2 The Briar Wood 1st major patg
3 Briars
4 Briars, with Helmet and Greave
5 A Terrace, with a Curta hangg before a flowerg Briar
6 The Council Chamber 2nd major patg
7 A Terrace, with a Curta hangg before a flowerg Briar
8 A Stone Hall with flowerg Briars
9 The Garden Court 3rd major patg
10 A Stone Hall with flowerg Briars
11 A Stone Kitchen overgrown with Briars
12 A Kitchen with a Cupboard overgrown with Briars
13 The Rose Bower 4th major patg
14 A Kitchen, with a Bas, Towel and Briars

Small Briar Rose series 1871-73

Muse- de Arte de Ponce, Puert- Rico

* The Briar Wood
* The Council Chamber
* The Rose Bower

Third Briar Rose series

* The Garden Court, Bristol City Museum and Art Gallery, Bristol
* The Council Chamber, Delaware Art Museum, Wilmgton
* The Rose Bower, Hugh Lane Gallery of Modern Art, Dubl

The Days of Creation 1870-76

Fogg Art Museum, Harvard University:

* The First Day
* The Second Day
* The Third Day
* The Fourth Day
* The Fifth Day
* The Sixth Day

Pygmalion Series 1868-70

Joseph Setton Collection private, Paris:

1 The Heart Desires
2 The Hand Refras
3 The Godhead Fires
4 The Soul Attas

Pygmalion and the Image Series or "Pygmalion and Galatea Series" 1875-78

Birmgham Museum & Art Gallery, Birmgham:

1 The Heart Desires
2 The Hand Refras
3 The Godhead Fires
4 The Soul Attas

The Perseus Cycle 1875-90s

Only four were completed oil, although full size gouache studies were rendered of all the images

1 The Call of Perseus, full size study Southampton Art Gallery
2 Perseus and the Graiae completed work oil at Staatsgalerie, Stuttgart Study private collection, sketches at the Cecil Higgs Gallery and a full size study Southampton Art Gallery
3 The Armg of Perseus or Perseus and the Nereids Sea Nymphs, study Southampton Art Gallery
4 The Fdg