Sir Edward Coley Burne-Jones, Bt., A.R.A., R.W.S.

Christie's, London, 18 June 1928, lot 66;
Sotheby's, London, 3 February 1976, lot 160

Berlin, Drawings and Studies by Sir Edward Burne-Jones, 1898, no.50

This drawing is in very good original condition. The paper is flat and there are no signs of cockling or staining. There are minor scuff marks to the extreme lower edge of the sheet where it has been rubbed by the rebate of the frame. The picture is clean and ready to hang. FRAME The watercolour is contained in a simple wooden gilt frame (probably the original) with a clean mount and under glass. The picture has its original backboard bearing exhibition labels.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In his later years Burne-Jones painted a series of exquisite watercolours of female figures and head studies on toned paper heightened with gold paint. These pictures were highly experimental and demonstrate Burne-Jones' enduring need to explore different techniques, even in his maturity. He told Thomas Matthew Rooke on 22 April 1897 "This gold work must be done very directly - it's an art of itself. I forget how I do it between one time and another, and it's always an experiment.'" (Mary Lago, Burne-Jones Talking: His Conversations, 1895-1898, Preserved by his Studio Assistant Thomas Rooke, 1982, p.143) Ancilla Matutina (the morning maid) is a beautiful example of this later style. Here the subject is a hand-maiden waiting patiently with her mistress' golden gown draped over her arm. The folds of her drapery were Burne-Jones' primary interest in this picture and they are depicted in a very sculptural way to convey the pattern and volume. The face of the girl resembles Burne-Jones' daughter Margaret and has a similar peaceful expression to one of the artist's masterpieces from this period Vespertina Quies of 1893 (Tate). Through a small window in the monumental architecture of the picture can be seen the golden light of dawn and, along with the title, the picture is connected to Burne-Jones' fascination at that time with allegorical depictions of morning.

The present picture is very similar in size, technique and composition to Ruth Gleaning, painted in the same year (Christie's, 16 June 2010, lot 33). They may have been conceived as a pair or as part of a larger, unidentified series of full-length depictions of women.