PROPERTY FROM THE HOUGHTON HALL COLLECTION ■15 SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BIRMINGHAM 1833-1898 LONDON) The Prince entering the Briar Wood inscribed in an old hand 'The Knights in "The Briar Rose". early design painted in 1869' (on a label attached to the stretcher) oil on canvas 42 x 72º in. (107 x 183 cm.) £2,000,000-3,000,000 US$2,900,000-4,300,000 €2,400,000-3,500,000 PROVENANCE: The artist's studio sale (†); Christie's, London, 16 July 1898, lot 77 (126 gns to Agnew). T.H. Ward. John Wynford Philipps, 1st Viscount St. David's (1860-1938); Christie's, London, 16 July 1926, lot 65 (58 gns to Sampson) as 'A Knight in armour, holding a shield, with three companions asleep among the briar roses.' with Agnew's, London. Private Collection, Switzerland. Anonymous sale; Christie's, London, 27 November 1987, lot 143. with The Maas Gallery, London, 1990. Private Collection, Japan. Anonymous sale; Christie's, London, 13 June 2001, lot 11, when purchased by The Cholmondeley Chattels Trust. EXHIBITED: Stuttgart, Staatsgalerie, Edward Burne-Jones - The Earthly Paradise Das irdische Paradies, 24 October 2009 - 7 February 2010, no. 115. Norwich, Sainsbury Centre for Visual Arts, Masterpieces: Art and East Anglia, 14 September 2013 - 24 February 2014, no. 170. Houston, Museum of Fine Arts; San Francisco, Legion of Honor of the Fine Arts Museums of San Francisco; and Nashville, Frist Center for Visual Arts, Houghton Hall: Portrait of an English Country House, 22 June 2014 - 10 May 2015, unnumbered LITERATURE: Unpublished letter from Gerald Agnew to Mrs Henry H. Rockwell, dated 14 December 1937 (Box 16, Bancroft Papers, Delaware Art Museum, Wilmington). J. Hartnoll, C. Newall and J. Christian, The Reproductive Engravings after Sir Edward Coley Burne-Jones, London, 1988, p. 42. C. Conrad (ed.), Edward Burne-Jones: The Earthly Paradise, Ostfildern, 2009, pp. 139-140, 222, cat. no. 115, illustrated. I. Collins (ed.), Masterpieces: Art and East Anglia, University of East Anglia, 2013, pp. 170-171, illustrated. A. Smith (ed.), Edward Burne-Jones, London, 2018, p. 177. 66 In addition to the hammer price, a Buyer’s Premium (plus VAT) is payable. Other taxes and/or an Artist Resale Royalty fee are also payable if the lot has a tax or λ symbol. Check Section D of the Conditions of Sale at the back of this catalogue. Fig. 2 Sandro Botticelli, Venus and Mars, c. 1485, National Gallery, London Fig. 1 The Legend of Briar Rose installed in the saloon at Buscot Park, 2018, The Faringdon Collection Trust This important canvas encapsulates the chivalric ideal that was central the National Gallery. Graham began to collect examples when they Briar roses were to become something of a leitmotif in Burne-Jones’s Last Pre-Raphaelite: Sir Edward Burne-Jones and the Victorian Imagination, to the best Pre-Raphaelite art, and set the tone for much of the Victorian became available and frequently lent them to Burne-Jones to live with for work. Their arabesques provide a sense of rhythm and forward movement Harvard, 2012, p. 403). For William Morris however, the briar roses age. Begun in 1869 it is the first idea for a subject that would pre- a few weeks, to encourage and emulate. The result of such generosity to the narrative, and a decorative foil to the figures. They can be seen in clearly represented ‘the tangle of the world’s wrong and right’. The critic occupy Burne-Jones for the next twenty years and result in, arguably, manifested itself in pictures such as Green Summer (1868, private arguably the artist’s best known work in recent times, Love Among the Robert de la Sizeranne saw in the Briar Wood the moral that ‘the most his greatest triumph: the Briar Rose Series. Shown to universal acclaim collection) which Burne-Jones painted for Graham. By turns enigmatic Ruins, a watercolour shown at the Dudley Gallery shortly after this canvas righteous cause, the truest ideas, the most necessary reforms, cannot rise at Agnew’s in 1890, and thereafter in Liverpool and then at Toynbee and elegiac it is painted in the spirit of Giorgione, an artist Graham was executed, in 1873. Sold at Christie’s, London, on 11 July 2013, lot 3, triumphant, however bravely we may fight for them, before the time fixed Hall in Whitechapel, the set of four pictures attracted adulation from particularly loved. Burne-Jones would have seen Giorgione’s work at first (£14.8 million), the picture depicts two lovers embracing in a hostile and by the mysterious decree of the Higher Powers … The strongest and the young and old at all levels of society. Its retelling of the story of Sleeping hand on two visits to Italy in 1859 and 1863, undertaken in the company desolate world. The picture held deep personal significance for the artist wisest fail. They exhaust themselves with battling against the ignorance Beauty, with its themes of awakening and the redemptive power of of Ruskin who hoped to direct the course of his art. The richly coloured as the features of the female protagonist are those of Maria Zambaco, and meanness of their generation, which hem in and hamper them like the love, resonated then and inspires now. While the finished series is at tonality, achieved through the extensive use of glazes, partially rubbed successively the artist’s model, pupil, lover and muse. They met in 1866 branches of the briar rose; and at last they fall asleep in the thorny thicket, Buscot Park, Oxfordshire, (fig. 1, The Faringdon Collection Trust), all the to achieve a sfumato effect, can be seen both in Green Summer and the after Maria’s separation from her husband in Paris: her mother, sister of like the five knights who were as valiant as their successor, but who came numerous related canvases that were essentially preliminary versions to present canvas, which was begun the following year. The execution of the immensely wealthy patron Alexander Ionides, wanted Burne-Jones before their time’. (R. de la Sizeranne, ‘In Memomoriam, Sir Edward Burne- this climactic masterpiece are now are in museums. This is the only Briar the figures initially in monochrome owes much to Tintoretto who built to paint her likeness to launch her into London society. The contrast of Jones: A Tribute from France’, Magazine of Art, 1898, p. 516.) Rose subject remaining in private hands. up his compositions in layers of paint, a practice Burne-Jones admired, Maria’s warm, exuberant Mediterranean sensuality to his wife Georgie’s often with frequent re-working. The texture of the finished canvases strict Methodist decorum proved overwhelming for the artist, and their After starting this canvas, Burne-Jones embarked on a number of other The Sleeping Beauty was well-known to 19th century audiences. First were consequently the result of a rich process of accretion. As he wrote: affair came to a head in 1869. Burne-Jones felt unable to leave his wife versions before completing the Buscot series. The complex genesis of the told by Charles Perrault in his Contes du Temps Passé in the 17th century, ‘I love my pictures as a goldsmith does his jewels. I should like every and family and elope to a Greek island as the lovers had planned, and final version was thoroughly explored by John Christian in the catalogue it had been revived by the brothers Grimm and then by Tennyson in his inch of surface to be so fine that if all but a scrap from one of them were Maria subsequently attempted suicide by drowning. Shattered, Burne- entry when this picture most recently appeared at auction (Christie’s, poem The Day Dream. It was first treated by Burne-Jones in a series buried or lost, the man who found it might say whatever this may have Jones worked listlessly throughout the year, starting canvases but London, 13 June 2001, lot 11). In summary, these versions can be listed as of tile designs for Morris, Marshall, Faulkner & Co in 1864. These were represented, it is a work of art, beautiful in surface and quality of colour.’ then abandoning them. This was consistent with his working practice follows. In 1871 Burne-Jones painted two subjects relating to the series: intended for the watercolourist Myles Birket Foster’s house, The Hill, at (F. De Lisle, Burne-Jones, London, 1904, pp. 170-1.) throughout his life, but was exacerbated during this crisis. Although the The Sleeping Beauty (Manchester City Art Gallery), and Study for The Witley in Surrey and were executed by Lucy Faulkner, sister of Charles, canvas was begun in 1869, it was worked on further after the exhibition Sleeping Knights in ‘The Briar Rose’ (Walker Art Gallery, Liverpool). This of the eponymous firm. A set can now be seen in the Victoria and Albert If Burne-Jones was devoted to the Venetian works he had seen (the of the finished series in 1890. This accounts for its unfinished state in latter picture shows Michelangelesque contortion in the figures of the Museum, London. Carpaccios in the Scuola di San Giorgio degli Schiavoni particularly parts, although to what extent the artist intended a degree of completion recumbent knights and is the result of further study in Italy that year. He impressed him with the power of their simple narrative, sustained is a moot point: the spectral passages contribute to the dream-like, other also embarked on what was intended to be four canvases (but eventually It was Burne-Jones’s greatest patron, William Graham, the Liberal through a sequence of subjects), a counterweighting influence begins worldly atmosphere he was at pains to create.