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PROPERTY FROM A PRIVATE COLLECTION

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.
STUDY FOR THE SIRENS
前往
1

PROPERTY FROM A PRIVATE COLLECTION

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.
STUDY FOR THE SIRENS
前往

拍品詳情

維多利亞時期、拉斐爾前派與英國印象派藝術

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倫敦

Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.
1833-1898
STUDY FOR THE SIRENS
black and white chalk on cream paper, squared
50 by 70cm., 19½ by 27½in.
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來源

Christie’s, London, 5 June 1919, 'Remaining Works of the Late Sir Edward Burne-Jones, Bart sold by his Executors', lot 152;
Gooden & Fox, London;
Acquired by William Butler Yeats of 82 Merrion Square, Dublin in the 1920s and thence by descent

相關資料

Burne-Jones was fascinated by the legend of the sirens and for many years considered painting the subject. In 1872 the theme was one of four that he most desired to paint, but twenty years later he was still pontificating about how to depict it; ‘I am making a plan for a picture that will not be very big and will need to be very pretty’ he wrote in a letter ‘It is a sort of Siren-land – I don’t know when or where – not Greek Sirens, but any Sirens, anywhere, that lure on men to destruction. There will be a shore full of them, looking out from rocks and crannies in the rocks at a boat full of armed men, and the time will be sunset. The men shall look at the women and the women at the men, but what happens next is more than I care to tell’ (Georgiana Burne-Jones, Memorials of Edward Burne-Jones, 1904, p.308). A finished painting had been promised to Frederick Leyland, the shipping magnate and Pre-Raphaelite collector. In about 1891 Burne-Jones wrote to him; ‘I want to show you the design as far as I have gone, of the Sirens. It is very rough, only a scheme, but you can tell sufficiently, I think. I have made two. One is that little black invention almost literally enlarged, and the other is a variation upon it’. The present sketch may be one of the designs referenced in the letter, although the squaring suggests that it was made late in the preparation of the painting when the design was being transferred to the canvas. There are two large coloured pastel versions of The Sirens (National Gallery of South Africa, Capetown and in a private collection) and an alternative gouache design (offered in these rooms, 28 November 2002, lot 26). Many exquisite pencil studies for the heads of the Sirens are in various collections (including Birmingham City Art Gallery). The oil painting The Sirens (The Ringling Museum of Art, Sarasota) was not finished before Leyland’s death but is one of Burne-Jones' most powerful designs.

This drawing was in the collection of the poet William Butler Yeats and is probably the one referenced in a letter from him dated 14 December 1940 in which he described a needle-work being worked upon by his sister Lily; 'She has just done a silk and wool design after a Burne Jones drawing of a Burne Jones ship' (Bonhams, 4 November 2008, lot 367).

維多利亞時期、拉斐爾前派與英國印象派藝術

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倫敦