Later Victorian Portraits Catalogue

Sir Edward Coley Burne-Jones, 1st Bt (1833-1898), Painter and designer

Self-portraits
Undated self-caricatures
By other artists
Undated portraits
Posthumous portraits
Photographs

Self-portraitsback to top


1860
Oil on canvas, The Adoration of the Kings and Shepherds, half-length, standing behind the shepherd playing bagpipes; Tate, N04743.

1881–98
Oil on canvas, 2794 x 6500mm, The Sleep of King Arthur in Avalon, whole-length, recumbent, head turned towards viewer, eyes closed; M. De Arte de Ponce, Puerto Rico, 63.0369. Exh. Burne-Jones Memorial Exh., New G., London, 1898–9; RA 1916; on loan to Tate Britain, London, 2008–9; and The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (150); repr. Wildman & Christian 1998, p.316; and Stuttgart 2010, pp.194 and 178 (detail). Though not intended as a self-portrait, the face of Arthur in this work, which occupied Burne-Jones for many years and became his artistic memorial, was thought by contemporaries to resemble his own.


Self-caricatures
Burne-Jones produced a large number of self caricatures and sketches, many as part of his prolific and often undated correspondence. The following list includes most of those published or in public collections but is not comprehensive; many of the dates are conjectural.

c.1856–7
Pen and ink caricature drawing, whole-length, profile to right, seated painting the back of a chair in his studio at 17 Red Lion Square; Mark Samuels Lasner Coll., on loan to the U. of Delaware L., Newark, DE. Repr. Burne-Jones 1904, vol.1, facing p.148; Harrison & Waters 1989, p.25; Mancoff 1998, fig.7; Calloway & Orr 2011, p.102, fig.69; Cruise 2011 p.168, fig.235; and MacCarthy 2011, p.71.

after 1861
Pen and ink caricature sketch, approx. 170 x 105mm, in Burne-Jones’s account book for Morris, Marshall, Faulkner & Co., whole-length, standing wearing a laurel wreath, with prostrate William Morris; Fitzwilliam M., Cambridge, Mss Dept. (passbook for the years 1861–82, f2r). Exh. Morris & Company in Cambridge, Fitzwilliam M., Cambridge, 1980 (107); and William Morris, V&A, London, 1996; repr. Robinson & Wildman 1980, p.90, no.107 (account book); and Parry 1996, D.5.

c.1862
Pen and ink caricature sketch in a letter as part of a group of correspondence to John Ruskin, whole-length to front, lying down and sitting by the side of his bed; untraced. Repr. Sotheby’s, 17 Dec. 1979 (145).

Pencil sketch, 70 x 30mm approx., whole-length to front, hands in pockets, wearing slippers; BL, London, Add MS 45336 (notebook formerly owned by William Morris), f.46v.

c.1865
Pencil, pen and ink caricature sketch, whole-length, profile to left, seated, asleep, with William Morris reading aloud; V&A, London, E.450-1976. Exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (10); repr. Parry 1996, fig.14 (where dated); Mancoff 1998, fig.15; Stuttgart 2010, p.29; Christian 2011, p.37; and MacCarthy 2011, p.181.

Pen and ink caricature drawing, 92 x 126mm, inscr. ‘MR MORRIS reading poems to MR BURNE-JONES’, whole-length, profile to left, slumped dozing in an upright chair, William Morris behind desk to left; BM, London, 1939,0513.12 from an album of 60 caricature drawings. Exh. Pre-Raphaelite Drawings in the British Museum, BM, London, 1994–5 (63); William Morris, V&A, London, 1996 (A15); and William Morris, Blackwell, Windermere (no number); repr. Gere 1994, no.63, p.92; and Parry 1996, A.15, p.28 (where dated); and Christian 2011, p.36 (where dated ‘c.1870s’).

1865–80
Pen and ink caricature sketch, 113 x 177mm, whole-length, working at an easel, with a large woman behind him watching; BM, London, 1939,0513.31, from an album of 60 caricature drawings. Repr. Wood 1998, p.76.

Pencil caricature sketch, 111 x 168mm, inscr. ‘Isha’, whole-length, seated sketching a nude woman standing before him holding her clothes, a fully clothed figure to the left; BM, London, 1939,0513.37, from an album of 60 caricature drawings.

c.1866
Caricature sketch in letter to George Howard, 9th Earl of Carlisle, whole-length to front, standing, top hat in right hand, holding hand of son Philip, wife and daughter Margaret standing on left; Castle Howard Archive. Repr. MacCarthy 2011, p.192.

1868–70
Pencil caricature drawing, three-quarter-length, seated painting Maria Zambaco; priv. coll. Ref. Sotheby’s, Belgravia, 29 June 1976 (223, ill.); repr. MacCarthy 2011, p.203.

Pencil caricature sketch on an envelope, whole-length in front of easel, left hand in pocket; priv. coll. Ref. Christie’s, 5 June 2007 (94); repr. Sotheby’s, 29 June 1976 (223).

Pencil caricature drawing, inscr. with names and initials of sitters, whole-length to left, nude, reclining in a Turkish bath, with Luke Ionides and others; priv. coll. Repr. Sotheby’s, 29 June 1976 (212, ‘A Turkish Bath’); and MacCarthy 2011, p.449.
See also W. Morris, P.S. Webb.

Pencil and chalk caricature sketch, whole-length seen from behind, opening a door; priv. coll. Repr. Sotheby’s, 29 June 1976 (217).

Red chalk caricature sketch, whole-length to left, with his back to a mirror; untraced. Repr. Sotheby’s, 29 June 1976 (225).

Pen and ink caricature sketch, inscr. ‘Starving’s Starving’, whole-length as a pavement artist; untraced. Repr. Sotheby’s, 29 June 1976 (224); and Mancoff 1998, fig.24.

1870
Pen and ink thumbnail sketch on envelope addressed to William Morris, postmarked 30 Aug. 1870, whole-length, hanging from gibbet; BM, London, 1939,0513.45, in album formerly belonging to Jane Morris.

Pen and ink caricature sketch, whole-length facing front, in Burne-Jones’s account book for Morris, Marshall, Faulkner & Co., whole-length, standing to left, full-face, raising glass in left hand, vines in background (drawn to resemble stained-glass window); Fitzwilliam M., Cambridge, Mss Dept. (passbook for the years 1861–82). Repr. Burne-Jones 1904, vol.1, p.291; Christian 2011, p.34; see also photograph by Emery Walker, NPG SB (Morris).

c.1870s
Pencil caricature sketch, 136 x91mm, whole-length, seated, hands between knees; from album possibly compiled by Aglaia Coronio; Fitzwilliam M., Cambridge, PD.58-1998 f.2.

Pen and ink caricature sketch, whole-length, seated at low stool before easel, with fat woman leaning on his back; BM, London, 1939,0513.31, in album formerly belonging to Jane Morris. Repr. Christian 2011, p.99.

1879
Pen and ink or pencil caricature in album assembled by Catherine Holiday (née Raven), inscr. ‘EBJ drawn / by himself Dec 14 / 1879’; untraced. Ref. Christie’s 16 Oct. 1981 (45).

later 1870s
Pen and ink caricature drawing, half-length, rear view, wearing top hat, seated in a carriage with William Morris and Philip Burne-Jones, Stonehenge in distance; untraced. Repr. Burne-Jones 1904, vol.2, p.89; and MacCarthy 1994, p.367.

?1880s
Pen and ink caricature sketch, whole-length, facing front, standing by easel with canvas showing full-length female figure; untraced. Repr. Wood 1998, p.56.

1882–9
Album of caricature drawings and sketches from correspondence between Burne-Jones and Katherine (Katie) Lewis; BM, London, 1960,1014.2.1.
The album, with over 100 images, not all self-caricatures, was exh. Burne-Jones, Hayward G., London, Southampton CAG and Birmingham MAG, 1975–6 (356); and Pre-Raphaelite Drawings in the British Museum, BM, London, 1994–5 (75). Its contents include the following items:

Pen and ink caricature sketches:
(a) whole-length to front, holding the tail end of a cat inscr. ‘MY HALF’;
(b) Burne-Jones’s daughter Margaret holding the head end of a cat inscr. ‘MARGARET’S HALF’;
BM, London, 1960,1014.2.15. Repr. Mancoff 1998, fig.27, p.89; and Christian 2011, pp.52-53.
c) whole-length, from rear, in the corner crying; BM, London, 1960,1014.2.16. Repr. Christian 1998, p.48, letter XII; nd Christian 2011, p.53
d) whole-length to front, hands in pockets, cat’s tail around neck; BM, London, 1960,1014.2.17. Repr. Christian 1998, p.50, letter XIII; and Christian 2011, p.55.

Pencil caricature drawings, two images, whole-length, one ‘shabby’ and one ‘dressed foppishly’; BM, London, 1960,1014.2.12. Repr. Fitzgerald 1975, between pp.144–5; and Christian 2011, p.24 (as ‘looking shabby and smart’).

Pencil caricature drawing, whole-length, profile to right, dancing a ‘jigska’; BM, London, 1960,1014.2.9. Repr. Christian 1998, p.40, letter VII.

Pen and ink caricature sketch, whole-length, in the corner crying; BM, London, 1960,1014.2.16. Repr. Christian 1998, p.48, letter XII.

Pen and ink caricature sketch, whole-length, riding on a donkey; BM, London, 1960,1014.2.72. Repr. Christian 1998, p.85, letter XXVII.

Pen and ink caricature sketch, whole-length with head of a bird, profile to left, as ‘Mr Beak’; BM, London, 1960,1014.2.76. Repr. Christian 1998, p.87, letter XXVIII.

Pen and ink caricature sketch, whole-length seen from behind, painting a canvas of a house and garden; BM, London, 1960,1014.2.75. Repr. Christian 1998, letter XXX.

Pen and ink caricature sketch on envelope addressed to Katie Lewis, postmarked 14 July 1883, whole-length from back, standing at easel with stamp as canvas; BM, London, 1960,1014.2.3. Repr. Wood 1998, p.104; Wildman & Christian 1998, p.209; Christian 2011, p.22; and MacCarthy 2011, p.329.

Pen and ink caricature sketches, entitled ‘The artist attempting to join the world of art with disastrous results’, sequence of five images showing him attempting to enter the work The Briar Rose; BM, London,1960,1014.2.60, 1960,1014.2.61, 1960,1014.2.62, 1960,1014.2.63, 1960,1014.2.64, 1960,1014.2.65. Repr. Harrison & Waters 1989, p.144; Arscott 2008, p.174, fig.100; Christian 2011, pp.25-27; and MacCarthy 2011, p.371.

1883
Pen and ink caricature sketch, entitled ‘The studio in the Grange’, whole-length from behind, painting up a ladder in studio; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c.832, f.194. Repr. Burne-Jones 1904, vol.2, p.136; Mancoff 1998, fig.26; and MaCarthy 2011, p.238.

Pen and ink caricature sketch in letter to Mrs Lewis about trials of organ-tuning, letter dated 1 Oct. 1883, envelope dated 30 June 1885, half-length, profile to left, looking up amid flames; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c.832, ff.42–3.

Pencil caricature drawing, head only visible, in bed with blankets up to chin, confronting three nursery monsters, part kitten, part rabbit; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c 847, f.49.

1885
Pen and ink caricature sketch, whole-length from back, painting, with stamps as canvases on easel and floor, on envelope to Mrs Lewis; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c.832.f.60.

1880s
Pencil sketches sent to Katie Lewis:
(a) whole length, standing to right, hands in pockets, shoulders hunched; BM, London, 1960,1014.2.9.
(b) whole length from rear, hands in pockets, left leg extended; BM London 1960,1014. 2.10.
Both repr. Christian 2011, pp.50-51 as ‘Margaret Burne-Jones teaching her father to dance’ (where dated to 1880s).

c.1890s
Pen and ink caricature sketch, 113 x 177mm, entitled ‘The Price of Success’, whole-length seen from behind, seated painting a canvas with a female looking over his shoulder; BM, London, 1939,9513.31. Repr. Harrison & Waters 1989, p.145.

Pen and ink caricature sketch, inscr. ‘unpainted masterpieces’, whole-length, seated, blank canvases stacked behind; Birmingham MAG, 1980P128. Exh. The Earthly Paradise, Staatsgalerie Stuttgart; Kunstmuseum Bern, 2010 (11); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (103); repr. Arscott 2008, fig.84; Stuttgart 2010, p.31; Cruise 2011, p.116, fig.148; Christian 2011, p.31; and MacCarthy 2011, p.425.

Pen and ink caricature sketch, entitled ‘The Artist’s Despair at the Cleaning of his “Augean Studio”’, whole-length, seated, head in hand; untraced. Repr. Wildman & Christian 1998, p.209; Wood 1998, p.138; Christian 2011, p.23; and MacCarthy 2011, p.256.

Pencil caricature sketches, three images:
(a) whole-length, standing with cane;
(b) whole-length, standing, hands in pockets;
(c) whole-length, seated making a sketch;
Morgan L&M, New York, 1981.60.1–3.

Pen and ink caricature sketch from a letter to Helen Mary Gaskell, whole-length, seated, head in hands; untraced. Repr. Sotheby’s, 28 Nov. 2002 (27).

Pen and ink caricature sketch, whole-length, lying face down on top of a canvas; untraced. Repr. Sotheby’s, 23 Mar. 1981 (29); and Mancoff 1998, fig.25.

Pen and ink caricature sketch, quarter-length at breakfast table surrounded by papers; untraced; formerly coll. Lionel Lambourne, 2008. Exh. and repr. British Caricature: From Hogarth to Hockney, NM of Western Art, Tokyo, 1987 (111).

Pencil caricature sketch, whole-length, standing before easel looking round at spectator; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c.849 f.126.

Pen and ink caricature sketch, whole-length to front, seated with palette inscr. ‘“Teach children to draw animals and they won’t wish to kill them.” / Said Sir Edward Burne-Jones’; untraced. Ref. Sotheby’s, Belgravia, 22 Feb. 1972 (64).

1891
Pen and ink caricature sketch on letter postmarked 24 Feb. 1891, whole-length, standing wrapped in huge scarf, hands in pockets; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c 849 f.106.

Pen and ink caricature sketch, seated from back, painting with a cat looking on; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

1892
Pen and ink caricature sketch in visitors’ book for North End House, Rottingdean (page dated Apr., sketch alongside dated ‘Ap 6 – Ap 11’), whole-length, seated in an armchair; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

Pen and ink caricature sketch in visitors’ book for North End House, Rottingdean (page dated Aug.), whole-length to front, leading a forlorn bird (himself as Mr. Beak?) by a rope; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

Pen and ink caricature sketch in visitors’ book for North End House, Rottingdean (page dated Nov./Dec.), as St Sebastian; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

1893
Pencil caricature sketches, two images:
(a) inscr. ‘The Painters Dream I’, head-and-shoulders, in bed with the head of a female ghost above;
(b) inscr. ‘The Painters Dream II’, head-and-shoulders, in bed as female ghost figure floats in the room;
both untraced; with Peter Nahum at the Leicester G., 2007. Repr. Sotheby’s, Belgravia, 29 June 1976 (247).

c.1893–7
Pen and ink and pencil caricatures as part of correspondence to Violet Maxse, ten images including whole-length, seated, used as signature; untraced. Repr. Christie’s, 22 Oct. 1980 (201A).

Pen and ink caricature sketch, head-and-shoulders above envelopes piled on floor beside breakfast-table, from letter to Cosmo Monkhouse; priv coll. Repr. Christian 2011, p.30.

1896
Pen and ink caricature sketch, in a letter to Margaret Burne-Jones 2 May 1896, marking the completion of the Kelmscott Press edition of Canterbury Tales, inscr. ‘BLESS YE MY CHILDREN. MAY. 1896 / this is the nastiest pen that ever was’, whole-length, with William Morris, leaning either side of figure of Chaucer, who has a hand on their shoulders; Bridwell L., Southern Methodist U., Dallas, Special Colls, 10363, from an album belonging to Margaret Mackail (née Burne-Jones). Repr. Harrison & Waters 1989, p.161; Mancoff 1998, fig.34; Wood 1998, p.114; Wildman & Christian 1998, p.310; and MacCarthy 2011, p.466..

Pen and ink caricature sketch, whole-length, prone on bed, fully dressed, with cushions, face just visible; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c.832, f.93.

1897
Pen and ink caricature sketch in visitors’ book for North End House, Rottingdean (page dated Aug./Sept.), whole-length to front, wrapped in a blanket, sitting in an armchair; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

Pen and ink caricature sketch in visitors’ book for North End House, Rottingdean (page dated Oct.), whole-length to front, sitting in an armchair, a part-cat[?] part-small child sitting next to chair; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

1898
Pen and ink caricature sketch in visitors’ book for North End House, Rottingdean (page dated Feb./Mar.), whole-length, profile to right, in old age, wearing bulky coat and walking with the assistance of sticks; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.


Undated self-caricaturesback to top



Pen and ink caricature sketches in correspondence to Canon R.W. Dixon, two images:
(a) self as an Oxford undergraduate;
(b) with the Morris–Burne-Jones circle at Oxford;
untraced. Repr. Sotheby’s, 6–7 Dec. 1984 (416).

Pencil caricature drawing, whole-length, crouching in front of a canvas with an easel on the floor in front of him; untraced. Repr. Christie’s, 16 Oct. 1981 (40).

Pen and ink caricature sketches as part of correspondence to George Frederic Watts, five images:
(a) whole-length, sitting;
(b) standing;
(c) walking;
(d) in bed;
(e) inscr. ‘do observe the bewilderment – palette in right hand – mind all gone – legs a disgrace to nature and tailor equally…’, whole-length, in his studio holding brushes and easel.
untraced. Sotheby’s, 27 Sept. 1988 (115).

Pen and ink caricature sketch in correspondence to Rev. Stopford Brooke, inscr. ‘Have you heard what Margaret has done?’, whole-length beneath a collapsed canvas; untraced. Repr. Sotheby’s, 18 Dec. 1985 (259).

Pen and ink and pencil caricatures in correspondence to his daughter Margaret (probably 1873–96) including whole-length from behind, seated at an easel, painting a canvas; untraced. Repr. Christie’s, 19 Sept. 1984 (315, ill. p.83; the correspondence was said [p.82] to contain approx. 60 sketches including ‘many self-portraits’).

Pen and ink caricature sketch, 136 x 91mm, whole-length, seated with hands between his legs and long beard; Fitzwilliam M., Cambridge, PD.58-1998.f.2, in album of 88 drawings. Exh. The Earthly Paradise, Staatgalerie Stuttgart and Kunstmuseum Bern, 2010 (12); repr. Sims Reed, London, Books on Prints and Drawings, Cat. 1997/8, no.409; and Stuttgart 2010, p.31.

Pencil caricature sketches, two images:
(a) whole-length, with umbrella;
(b) in profile, hands in pockets;
untraced. Repr. An Exhibition of Portraits and Figures by artists born in 17th to 20th Centuries, William Drummond, 1987 (5).

Pen and ink caricature sketches, group of three images:
(a) whole-length, holding an infant, with two children (Margaret and Philip?) alongside;
(b) whole-length, standing next to an easel with a child reaching into a box;
(c) whole-length, profile, seated painting a landscape with a child watching behind; untraced. Exh. Victorian Paintings, Drawings and Watercolours, Maas G., London, 1971 (52, 53, 54).

Pen and ink caricature sketch in letter to Mrs Lewis, inscr. ‘the day’s work is over and this is me’, whole-length, prostrate before easel with palette on floor; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c.832, f.93.

Pen and ink caricature sketch, whole-length, seated on box, stretching up to tall canvas; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c.832 f.188.

Pen and ink caricature sketch in letter to Mrs Lewis, inscr. ‘You see how hard I am pitching into my work, plunging into it every day’, whole-length, profile to right, breaking through three canvases, arm outstretched painting on fourth; Lewis Papers, Bodleian L., Oxford, Bod. Dep. c 832, f.192.

Pen and ink caricature sketch, 175 x 230mm, in letter to 'Max', whole-length, facing viewer, seated with palette and brushes in hand; ref. and repr. Roy Davids Coll., Bonhams, London, 29 Mar. 2011 (269).


By other artistsback to top


1856–7
Pen and ink sketch by Dante Gabriel Rossetti, inscr. by later hand ‘Sketch of Edward Burne-Jones / by D.G.Rossetti – about 1857–8’, head-and-shoulders, profile to left, no beard; untraced. Repr. Harrison & Waters 1989, p.24.

1857
Pen and ink drawing by Dante Gabriel Rossetti, whole-length, bending over to right, in historical costume as Sir Lancelot; Bancroft Coll., Delaware AM, 1935-86. Ref. Surtees 1971, vol.1, no.85; repr. Surtees 1971, vol.2, pl.111. This drawing was used as a basis for the illustration for ‘The Lady of Shalott’, engr. Dalziel, publ. The Poems of Tennyson(Moxon, 1857), repr. Treuherz et al. 2003, p.176, no.76. The earlier composition sketch (Birmingham MAG, 1904P279; ref. Surtees 1971, vol.1, no.85A) does not appear to be drawn from Burne-Jones.

Pen and ink over pencil drawing, 252 x 320mm, by Dante Gabriel Rossetti, whole-length, profile to left, seated on ground, bowed head and eyes closed, no beard, as Launcelot in design for Launcelot’s Vision of the Sanc Grael; Birmingham MAG, 1904P272. Exh. Works by English Pre-Raphaelite Painters, Tate, 1911 (59); The Pre-Raphaelite Brotherhood, Tate, 1923 (157); The Pre-Raphaelite Brotherhood, Birmingham MAG, 1947 (227b); Dante Gabriel Rossetti, RA, London, 1973 (135); Burne-Jones, Hayward G., London, Southampton CAG and Birmingham MAG, 1975–6 (368); Pre-Raphaelite Drawings, Portsmouth MAG, 1976 (59); William Morris and Kelmscott, West Surrey Coll., Farnham, 1981 (4); Dante Gabriel Rossetti, Bunkamura M., Japan and tour, 1990–91 (no number); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (141); ref. Surtees 1971, vol.1, no.93F; repr. Surtees 1971, vol.2, pl.119; Faxon 1989, pl.101, p.108; Newman & Watkinson 1991, pl.104; Marsh 2005b; Cruise 2011, p.133, fig.179. The drawing is inscr. on verso ‘G (Gabriel) / Figure of Sir Launcelot for Oxford / Union. Studied I think from Burne Jones / Note by Wm. M Rossetti’ / ‘The figure of Launcelot was in fact done from Burne Jones, “he used me when he could get no one else” he told me in reply to my question / C F Murray’.

1858
Watercolour, 224mm diam., by Dante Gabriel Rossetti, head, profile to left; untraced. Exh. ‘Rossetti’, Burlington Fine Arts Club, London, 1883 (24); ref. Surtees 1971, no.109E (where ‘said to be a portrait of Burne-Jones’).
Pencil drawing, 190 x 178mm, signed with monogram lower right and inscr. (by artist at later date) ‘drawn (1859) from E. Burne-Jones as a study for head of Christ’, head, profile to left, short beard; untraced. Ref. Surtees 1971, vol.1, no.109F; repr. Surtees 1971, vol.2, pl.161. The date given here does not exactly accord with that inscr. on the finished drawing noted below and this study may have been drawn later in preparation for an unexecuted oil or watercolour.

Pen and ink drawing, 508 x 457mm, by Dante Gabriel Rossetti, Mary Magdalene at the door of Simon the Pharisee, signed and dated 1858 lower right, head, profile to left, as Christ in window; Fitzwilliam M., Cambridge, 2151. Ref. Surtees 1971, vol.1, no.109; repr. Surtees 1971, vol.2, pl.156; Marillier 1899, no.105, pl. facing p.74 (where ‘the head of Christ seen through the window was drawn from the late Sir Edward Burne-Jones’); Faxon 1989, p.128, pl.127; and Cruise 2011, p.130, fig.175.

1859
Pencil drawing, 118 x 70mm, by Simeon Solomon, signed and dated 16 Sept. 1859, head, half-profile to right; Ashmolean M., Oxford, WA 1963.128. Exh. Love Revealed, Birmingham MAG, 2005 (28); repr. Rose 1981, p.135; Faxon 1989, pl.258, p.232; and Cruise 2005, p.84.

1868–9
Watercolour, 327 x 226mm, by Alphonse Legros, initialed, quarter-length to front; V&A, London, C.A.I.39.

Oil on panel, 460 x 372mm, by Alphonse Legros, signed, half-length to front with landscape background; Aberdeen AG, ABDAG002505. Repr. MacCarthy 2001, pl.XXII. Commissioned by George Howard, 9th Earl of Carlisle.

1869
Pen and brown ink caricature drawing, 179 x 113mm, by Dante Gabriel Rossetti, Rupes Topseia, c.July 1869, inscr. with title at bottom right, in row of thumbnail figures (William Morris’s business partners, including C.J. Faulkner and P.P. Marshall), in ruin above main image of Morris falling into hell from a precipice, preceded by his spectacles; BM, London, 1939,0513.7, from an album of 60 caricature drawings. Exh. Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (274); Pre-Raphaelite Drawings, BM, London, 1994–5 (32); and William Morris, V&A, London, 1996 (D6); repr. Surtees 1971, vol.2, no.611, pl.445; MacCarthy 1994, pl.30; and Marsh 1998b, where dating is established. This caricature does not relate to the dissolution of the partnership in 1874–5, as previously conjectured.
See also F. Madox Brown, W. Morris, Rossetti, P.S. Webb.

Sepia drawing, 318 x 193mm, by Charles Fairfax Murray, quarter-length, profile to left; Fitzwilliam M., Cambridge, 778. Exh. Morris & Company in Cambridge, Fitzwilliam M., Cambridge, 1980 (22); repr. Robinson & Wildman 1980, no.22, p.15.

c.1869
Pencil and sepia ink drawing with white, 338 x 222mm, by Charles Fairfax Murray, signed and dated, head-and-shoulders, profile to left, with rough sketch of left hand below; Fitzwilliam M., Cambridge, 778. Exh. I Turned It Into a Palace, Fitzwilliam M., Cambridge, 2008; repr. Panayotova 2008, fig.1.8, p.17.

Pencil and watercolour drawing, 328 x 217mm, by Charles Fairfax Murray, quarter-length, profile to left, head only completed; Whitworth AG, Manchester, D.1921.133. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (194); repr. Cruise 2011, p.109, fig.136.

1870
Oil on canvas by George Frederic Watts, half-length to front; Birmingham MAG, 1920P91. Exh. New G., London, 1899 (123); repr. Gillett 1990, p.60, fig. 13; Mancoff 1998, fig.21 (colour); and Calloway & Orr 2011, p.171, fig.148.
Photogravure after this by Frederick Hollyer repr. ILN, 7 Jan. 1893, p.3.
Photogravure by the Berlin Photographic Co., London and New York, 1900; ed. of 200; one print Birmingham MAG, 1900P19. Repr. Davids 2000, no.19. Photogravure by Emery Walker; repr. Burne-Jones 1904, vol.1, frontispiece.

early 1870s
Pen and ink caricature by Walter Crane, in letter to George Howard, 9th Earl of Carlisle, regarding proposed mural paintings at 1 Palace Green, London, whole-length, profile to right, standing, holding outsize palette and brushes, stepladder to right, Walter Crane and wineglasses to left; Castle Howard Archive. Repr. MacCarthy 2011, p.268. The figure of Burne-Jones is annotated ‘Ye Gt Master’, that of Crane ‘Ye Pupil’.

1874
Pencil drawing by George Howard, 9th Earl of Carlisle, inscr. and dated ‘E.Burne Jones, Naworth. 1874’, half-length, almost profile to right, seated smoking pipe; Castle Howard, not accessioned, Album 1, p.41.

Pencil drawing by George Howard, 9th Earl of Carlisle, inscr. and dated ‘E.B.Jones, Naworth. 1874’, whole-length, profile to right, seated, arm on back of chair; Castle Howard, not accessioned, Album 1, p.49.

Pencil drawing by George Howard, 9th Earl of Carlisle, inscr. and dated ‘E.B.Jones, Naworth. 1874’, three-quarter-length, almost profile to left, seated, smoking pipe and drawing; Castle Howard, not accessioned, Album 1, p.55.

Pencil drawing by George Howard, 9th Earl of Carlisle, inscr. and dated ‘E.B.J. 1874’, quarter-length, profile to right, eyes looking down; Castle Howard, not accessioned, Album 1, p.61.

c.1874
Pencil drawing by George Howard, 9th Earl of Carlisle, three-quarter-length, profile to left, sitting in chair smoking a pipe; untraced. Exh. Burne-Jones, the Pre-Raphaelites and Their Century, Leicester G., London, 1989 (83); repr. Nahum & Underwood 1989, pl.64; Christie’s, 3 June 1999 (43).

Pencil drawing by George Howard, 9th Earl of Carlisle, quarter-length, profile to right; untraced. Exh. Leighton House, London, 1954 (50); repr. Waters 1973, p.2.

1875
Pencil drawings by George Howard, 9th Earl of Carlisle, three studies:
(a) inscr. ‘Naworth / 1875’, whole-length, profile to left, reclining on a bench wearing a hat
(b) half-length, profile to left;
(c) three-quarter-length, profile to left, drawing; Tullie House MAG, Carlisle, 1954.68.1

possibly c.1875
Pencil drawings, both 178 x 165mm, by George Howard, 9th Earl of Carlisle, two studies mounted as pair, inscr. ‘E.Burne-Jones by George Howard’:
(a) head-and-shoulders, near profile to left, cigarette or pencil in mouth, holding paper or book; untraced.
(b) whole-length, profile to right, seated on low box, drawing in sketchbook; untraced. Repr. Maas G. cat. summer 2007 (51).
Exh. George Howard and His Circle, Carlisle AG, 1968 (121, as ‘Two Studies of Burne-Jones Sketching’).

Pencil drawing, 343 x 244mm, by George Howard, 9th Earl of Carlisle, three-quarter-length, profile to left, cigarette in mouth, seated with palette, painting; Mark Samuels Lasner Coll., on loan to the U. of Delaware L., Newark, DE. Exh. Shepherd G., New York, 1986; U. of Delaware, Newark, DE, 2002; and Grolier Club, New York, 2008; repr. Sotheby’s, 24 Sept. 1987 (526); Wood 1998, p.44; and Stetz 2007, p.41.

Watercolour drawing, 178 x 108mm, by George Howard, 9th Earl of Carlisle, inscr. ‘Pygmalion Novissimus’, whole-length, profile to right, standing in his studio considering studies for the Pygmalion series; untraced. Exh. Victorian Paintings, Drawings and Watercolours, Maas G., London, 1971 (79, ill.); and Burne-Jones, Hayward G., London, 1975–6 (386).

1879
Oil on canvas, unfinished, by Alphonse Legros, head-and-shoulders, almost profile to left; V&A, London, 370-1880. Exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (42, ill. p.82).

late 1870s
Pen and ink caricature drawing by Philip Burne-Jones, whole-length, seated to right with legs outstretched, with William De Morgan; priv. coll. Exh. The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (105); repr. Cruise 2011, p.117, fig.150.

c.1870s
Pencil drawing by George Howard, 9th Earl of Carlisle, half-length, almost profile to right; coll. The Hon. Simon Howard, Castle Howard, PWC640. Repr. In Celebration: The Art of the Country House, Tate, London, 1998 (81).

Pencil drawing by George Howard, 9th Earl of Carlisle, whole-length, profile to left, working on a composition of a full-length female figure; coll. The Hon. Simon Howard, Castle Howard, PWC643.

Pencil drawing by George Howard, 9th Earl of Carlisle; see NPG 5276.

publ. 1881
Drawing by (Edward) Linley Sambourne for Mr Punch’s Fancy Portraits no.14: Flowers of Culture; or A Swinburne-Jones Cutting, head only, with palette and head of Swinburne with quill and scroll reading ‘Namby Pamby’; untraced. Repr. Punch, 15 Jan. 1881, p.22; and Denney 2000, p.98.

1889
Pencil drawing by Sydney Prior Hall; see NPG 2287.

c.1880s
Watercolour drawing by Jules Bastien-Lepage, half-length, profile to right, wearing hat and coat; Birmingham MAG, 1961P51. Repr. Fitzgerald 1975, front cover of dust-jacket.

1880s–mid-1890s
Pen and ink sketch by Harry Furniss; see NPG 3432.

1891
Pen and ink drawing by G. Grenville Manton; see NPG 2820.

Pen and ink drawing by Aubrey Beardsley, signed and dated ‘Sunday 12th July 1891’ and inscr. with sitter’s name, three-quarter-length to front, hands in pockets, wearing a hat; untraced.
Publ. 1899 as process print by James Tregaskis, London; ed. of 8; Princeton UL, Ex. NE642.B362F82.1901q. Repr. Lago 1982, pl.12; and MacCarthy 2011, p.439.

Chalk drawing by (William) Walker Hodgson, signed and dated Oct. 1891, three-quarter-length, profile to left, seated; untraced. Exh. A Fraternity of Artists, Christopher Wood G., London, 1984 (2); Christie’s, 6 Nov. 1995 (81); ref. Christie’s, 6 Dec. 1957 (part of lot 7); repr. Christie’s, SK, 7 July 1993 (58). See NPG collection 4041(1–5).

?Portrait sketch by G.F. Scotson-Clark; untraced; cited in a letter from Aubrey Beardsley to Scotson-Clark, c.Sept. 1891. Ref. Maas, Duncan & Good 1971, p.28.

1895
Pencil drawing by Walford Graham Robertson, quarter-length, profile to right, seated sketching; untraced. Repr. Robertson 1931, facing p.76. 1897 Pencil drawing by George Howard, 9th Earl of Carlisle, half-length, profile to right, drawing at an easel; coll. Douglas Schoenherr. Ref. Sotheby’s, 8 Mar. 1977 (49); repr. Lago 1982, pl.11 between pp.100–101. Pencil drawing by George Howard, 9th Earl of Carlisle, head-and-shoulders, profile to left; Delaware AM, 1988-90. Repr. Wildman 2004b, p.354. 1898 Oil on canvas by Philip Burne-Jones|mp00655; see NPG 1864.


Undated portraitsback to top


Pencil drawing, 115 x 90mm, by unidentified artist, head, profile to right looking down, long beard; untraced. Repr. Sotheby’s, 29 June 1976 (231, where attributed to ‘Studio of Sir E.C.Burne-Jones’). It has some resemblance to Dante Gabriel Rossetti’s study of Burne-Jones for the head of Christ in Mary Magdalene at the House of Feasting (1858).

Pencil drawing on tracing paper by Charles Fairfax Murray, head-and-shoulders, looking down; untraced. Exh. and repr. John Ruskin and his Circle, Maas G., London, 1991 (98, formerly with Ruskin Educational Trust, Bembridge).


Posthumous portraitsback to top


1904
Pen and ink sketch by Harry Furniss, whole-length, profile to left; untraced. Repr. Furniss 1904, p.39.

c.1904
Pen, ink and watercolour caricature drawing, 201 x 303mm, by Max Beerbohm, Dante Gabriel Rossetti in his Back Garden, profile to left, in the centre, presenting a flower to a kangaroo, with ten others incl. A.C. Swinburne; Birmingham MAG, 1981P2. Exh. Carfax G., London, 1904; Artists and Writers, Parkin G., London, 1976 (36); Piccadilly G., London, 1980 (25); British Watercolours from Birmingham, Tokyo, 1992 (7); Visions of Love and Life, New York and Birmingham, 1995 (118); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (102); Ref. Gallatin 1913a, p.46, no.168; Gallatin 1918, p.70, no.254; Hart-Davis 1972, no.1268, p.119; and Denker 1995, pp.157–8; repr. Beerbohm 1904 and 1943 (no number); Beerbohm 1922 (1987, supplementary pl.3); The Times, 1 Jan. 1972; Dunn 1984, pl.15; Walkley 1994, p.154, fig.163; Denker 1995, p.158; Hall 1997, p.209, fig.198; Dearden 1999, p.202, no.300; and Cruise 2011, p.111, fig.140.
See also Hunt, W.Morris, Rossetti, Ruskin, Scott, Whistler.

1905
Watercolour, gouache, and pencil drawing by Blamire Young, Alfred Tennyson reads Maud to his Friends, half-length, to left of Tennyson; NG Australia, Canberra, 80.1099.

1906
Cartoon by T.M. Rooke, head-and-shoulders to front, mitred and haloed, as St John Chrysostom in design for the Earthly Paradise mosaic frieze (1907), St Paul’s Within the Walls American Episcopal Church of Rome; priv. coll.

c.1907
Illustration by ?R.T. Rose after photograph by Elliott and Fry; untraced. Repr. Hare 1907, p.9.

c.1915–16
Pencil studies by Max Beerbohm, four heads:
(a) to front, profile to left (after NPG 1864 by Philip Burne-Jones).
(b) profile to right (after photograph by Frederick Hollyer at age 51; see ‘Photographs, 1884’, below).
(c) to front (after drawing by George Howard, 9th Earl of Carlisle, ?1874).
(d) with sketches of Dante Gabriel Rossetti, Elizabeth Siddal, A.C. Swinburne, Jane Morris and William Morris.
All Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

1916
Caricature drawings by Max Beerbohm for Rossetti and his Circle, three images:
(a) pencil and watercolour, 311 x 387mm, inscr. ‘Topsy and Ned Jones settled on the settle in Red Lion Square’, whole-length, profile to left, stroking beard, seated with William Morris; Tate, A01049. Exh. Chris Beetles Ltd, London, 1997 (517); ref. Hart-Davis 1972, no.1072; repr. Beerbohm 1922 and 1987, pl.6; Hall 1997, fig.201; and Mancoff 1998, fig.8.
(b) pencil and watercolour, 292 x 394mm, inscr. ‘Mr William Bell Scott Wondering What It is Those Fellows Seem to See in Gabriel’, whole-length to left, in background with other artists; Tate, A01056. Exh. Grosvenor G., London, 1917 (10); Leicester G., London, 1921 (19); Tate, London, 1923 (19); and Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (377); ref. Hart-Davis 1972, no.1276, p.119; repr. Beerbohm 1922 and 1987, pl.14.
See also F. Madox Brown, W. Morris, Rossetti, Scott.
(c) pencil and watercolour, 451 x 298mm, signed and dated, and inscr. ‘The Sole Remark Likely to Have Been Made by Benjamin Jowett about the Mural Paintings at the Oxford Union / “And what were they going to do with the Grail when they found it, Mr Rossetti?”’, whole-length, posed as Sir Lancelot, after the 1857 sketch by Rossetti (see above); Tate, A01041. Exh. Grosvenor G., London, 1917; Leicester G., London, 1921 (4); Tate, London, 1923 (4); British Self-Portraits, Arts Council, 1962 (106); ref. Hart-Davis 1972, no.837; repr. Beerbohm 1922 and 1987, pl.4. Rough sketch for (c) listed as in a priv. coll. in Hart-Davis 1972, no.839.

c.1936
Drawings by Douglas Percy Bliss, probably drawn for the Sketch in sequence ‘More Mockery of the Old Masters’:
(a) watercolour and bodycolour over pencil drawing, 250 x 290mm, The Morrises, The Rossettis and the Burne-Joneses at the Red House, Upton, signed and inscr., whole-length, profile to left, drawing angels on chairback, with William Morris reading poems and other figures; untraced. Repr. Sotheby’s, 14 June 1989 (384); and The Illustrators: The British Art of Illustration 1800–1997, exh. cat., Chris Beetles, London, 1997, no.517.
See also W. Morris, Rossetti.
(b) watercolour and pencil drawing, 255 x 285mm, Lilies & Langours, inscr. with title and signed on reverse, whole-length, rear view, in his studio, up a ladder painting; untraced; formerly with Chris Beetles. Repr. Sotheby’s, 14 June 1989 (386).

undated
Silhouette by Stephen ?Fomassy, ‘framed with profiles of’ Deborah Quilley and Samuel Johnson; untraced. Ref. Bonhams, Knightsbridge, 9 Sept. 1998 (3).


Photographsback to top


c.1859
Albumen carte-de-visite by unidentified photographer, almost full-length, slightly to right, seated on a stool, hands clasped, from an album belonging to Sophia Pattle Dalrymple; repr. Christian 1981; Christie’s, 24 Nov. 2004, p.31.

1863
Albumen print, 210 x 159mm, by David Wilkie Wynfield, quarter-length, half-profile to right, wearing scholar’s cape and cap; reg. for copyright 1863 Dec 8: National Archives (COPY 1/5) as ‘Photograph of E.B.Jones in Holbein costume, bust, nearly full face’; RA, London, 03/7060. Repr. Hacking 2000, pl.30; and MacCarthy 2011, pl.3.
Copy neg. 461 in Emery Walker coll., NPG. See NPG collection P70–P100.

c.1863
Albumen print, 209 x 162mm, by David Wilkie Wynfield, quarter-length, looking down, bare-headed; RA, London, 03/7015. Repr. Hacking 2000, pl.31. See NPG collection P70–P100.

c.1864
Albumen cartes-de-visite by John Watkins, two known poses:
(a) three-quarter-length, almost profile to left, seated, legs crossed, hands out of sight; colls NPG Ax131896 (in Portraits of Members of the Society of Painters in Water Colours 1864, issued by Cundall, Downes & Co.) and NPG Ax14984; and The Rob Dickins Coll., Watts G., Compton, COMWG2008.4347. Repr. Sotheby’s, 1 July 2004, fig.35.
(b) three-quarter-length to right, eyes down seated, hands clasped on lap; coll. RA, London, 05/2677.

1874
Photographs by Frederick Hollyer, taken in the garden of Burne-Jones’s home The Grange, Fulham, six known poses:
(a) half-length, back row, third from left, in group of Burne-Jones and Morris families; prints colls NPG x11881 (platinotype, 150 x 135mm) and NPG x131265 (albumen cabinet card, 103 x 139mm); V&A, London, Ph.1813-1939 (platinotype, 140 x 131mm, exh. William Morris, V&A, London, 1996 [A.23], repr. Parry 1996, A.23; and The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 [15], repr. Stuttgart 2010, no.15); and William Morris G., Walthamstow, London).
(b) half-length, back row, centre in group similar to (a); prints colls NPG x131266 (albumen cabinet card, 102 x 139mm) and copyprint NPG EW box no.2453/4; V&A, London, Ph.7816-1938 and V&A, London, 1812-1939. Repr. MacCarthy 1994, pl.70 (reversed); Mancoff 2000, p.86, fig.11; and MacCarthy 2011, pl.15.
(c) platinum print, 136 x 75mm, whole-length, eyes down slightly to left, hands clasped round raised knee, seated on stone or tiled garden bench, soft hat to his side; prints colls V&A, London, 7710-1938; Getty Images, 2666408; Hammersmith and Fulham Archives, London, F759JON ZP72/651 neg.26 (copy print); and NMM, Bradford, 2003-5001.2.21753 (carbon print, 350 x 232mm, of same image, reversed and slightly cropped top and bottom).
(d) whole-length, to front, left hand to cheek, seated with his son Philip on bench; Hammersmith and Fulham Archives, London, F758JON ZP72/653 neg.28 (copy print).
(e) whole-length to front, with his daughter Margaret seated on his knee and his son Philip to left; Hammersmith and Fulham Archives, London, F759JON ZP72/656 neg.23 (copy print).
(f) whole-length to front, right hand to cheek, seated on tiled bench with William Morris; colls V&A, London, 7711-1938 and 7816-1938 (platinum print, 110 x 83mm); and NPG x3763 (platinum print, 135 x 96mm). Exh. Nationalmuseum Stockholm, 2009 (18); and The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (8); repr. Observer Magazine, 2 Nov. 1975; Marsh 2005a, p.12; and Stuttgart 2010, p.27, no.8 (from V&A print).
See also M. Morris, W. Morris.

Albumen prints by Benjamin Scott & Son of Carlisle, taken at Naworth Castle, Cumbria, August 1874, three known poses:
(a) cabinet card, 143 x 105mm, whole-length to right, seated by garden door, holding hat; NPG x3688. Repr. Burne-Jones 1904, vol.2, facing p.50 (captioned ‘aet.41’); Mancoff 1998, fig.22; and Sotheby’s 29 Nov. 2001, fig.56 (cropped half-length version).
(b) whole-length to right, leaning on a garden wall with George Howard, 9th Earl of Carlisle; repr. Harrison & Waters 1989, p.123.
(c) whole-length, profile to right, seated with George and Rosalind Howard; from Howard Family Album; exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (41); repr. Nahum & Underwood 1989, pl.62, no.84; Stuttgart 2010, p.79; and MacCarthy 2011, pl.13.

1882
Platinotype cabinet card by Frederick Hollyer, quarter-length, profile to right, jacket unbuttoned; colls NPG x4905 (146 x 90mm), NPG x19017 (148 x 102mm, inscr. ‘Yours remorsefully / Edward Burne-Jones’), NPG x128768 (143 x 92mm, inscr. ‘E.Burne-Jones. 1882’); The Rob Dickins Coll., Watts G., Compton, COMWG2008.293 (inscr. ‘to E[dith]. H[unt]. from EBJ 1882, May 9th’); NMM, Bradford, 2003.5001.2.20237 (platinum print, 141 x 100mm); and V&A, London, 7706-1938. Engr. repr. ILN, 4 July 1885, p.5; and engr. by Meisenbach repr. Graphic, 10 Feb. 1894, p.150;The Year’s Art 1889, p.200; MA, p.288; Windsor Magazine, vol.3, Jan.–June 1896, p.544; and Christie’s, 29 May 1986 (304).

1884
Platinum print, 131 x 105mm, by Frederick Hollyer, quarter-length, near-profile to right, looking down to right, trimmed beard, buttoned jacket; V&A, London, 7708-1938 (with pasted signature); reg. for copyright 1904 Feb. 20: National Archives (COPY 1/470). Repr. Burne-Jones 1904, vol.2, facing p.140 (where captioned ‘age 51’); Christie’s, 13 June 2001, fig.1 and 8 Mar. 2005, fig.1; and Gregory 2006, pl.7.

c.1885
Photographs by Alfred James Philpott for Elliott & Fry, two known poses:
(a) albumen cabinet card, 144 x 98mm, head-and-shoulders, profile to right, wearing soft-collared shirt, jacket and coat; NPG x3689 (from collection of Sydney Cockerell) and NPG x6422; see also half-plate neg. NPG x82208; reg. for copyright 1894 July 16: National Archives (COPY 1/417/96) and 1896 June 16 (COPY 1/425/333, where authorship ascribed to Philpott). Repr. as engr. Review of Reviews 1894, pp.229 and 458; as photogravure ILN, 25 June 1898, p.942; repr. Hillier 1975, p.85.
(b) similar format, described as ‘photograph of Mr E Burne-Jones large head & shoulders, 3/4 face head bent slightly forward’; reg. for copyright 1894 July 16: National Archives (COPY 1/417/97) and 1896 June 16: National Archives (COPY 1/425/332, where authorship ascribed to Philpott).

late 1880s?
Platinum print, 95 x 132mm, by Frederick Hollyer, head-and-shoulders to front, right hand to cheek; V&A, London, 7707-1938; reg. for copyright 1900 Mar. 12: National Archives (COPY 1/445/96) and probably 1907 Aug. 29: National Archives (COPY 1/512/346) [image not attached]. Possibly from same session as preceding entry: note trimmed beard.
Possibly also from the same session, half-length to front, with right arm across body, leaning against a tree probably in the garden at The Grange; repr. H.-C. Kirsch, William Morris – ein Mann gegen die Zeit, Munich, 1984, p.166 (with caption ‘Edward Burne-Jones im Garten seines Hauses “The Grange” 1889’ [this date is plausible]); and Lago 1982, between pp.100–101.

1890
Photograph by Barbara Leighton, 27 July 1890, whole-length, turning to front, on stepladder in his garden studio at The Grange, in front of The Star of Bethlehem; colls V&A, London; and NPG x13185 (platinum print, 333 x 257mm, by Frederick Hollyer from original neg.). Exh. Camera Portraits, NPG, London, 1989–90 (52, ill.); The Earthly Paradise, Staatgalerie Stuttgart and Kunstmuseum Bern, 2010 (131); repr. Burne-Jones 1904, vol.2, facing p.208 (as photogravure by Walker & Cockerell); Mancoff 1998, fig.29; Stuttgart 2010, p.164 (from V&A print); and MacCarthy 2011, pl.30.

Photograph by Frederick Hollyer, 27 July 1890, in the garden, The Grange, Fulham, three-quarter-length, standing leaning forwards over garden bench on which William Morris seated to right, elbow far left probably that of Margaret Mackail (née Burne-Jones); colls William Morris G., Walthamstow, London (repr. MacCarthy 1994, fig.103); Hammersmith and Fulham Archives, London (prints); NPG x19619 (half-plate glass positive copy by Emery Walker); and Getty Images, 3070031. Also repr. Henderson 1967, fig.61; Bradley 1978, p.98; Mancoff 1998, fig.35; and Rosenblum, Stevens & Dumas 2000, p.373 (image reversed).

1892
Photographs by Richard Stiles, High St, Kensington, with his grand-daughter Angela Mackail (later Thirkell), three known poses:
(a) half-length, almost profile to right, seated, eyes closed, embracing Angela; Hammersmith and Fulham Archives, London, F759JON ZP72/669 neg.27 (copy print). Repr. Thirkell 1931, frontispiece.
(b) three-quarter-length to front, drawing on large card, Angela’s hand placed over his; untraced.
(c) three-quarter-length to front, seated drawing, with Angela clutching his beard; Hammersmith and Fulham Archives, London, F759JON ZP72/670 neg.31 (copy print). Repr. Mancoff 1998, fig.31; and MacCarthy 2001, pl.31.
Angela Thirkell’s account of the sitting, when she was 30 months old:
‘In the first my grandfather is holding me on his knees. I am standing with a fat rather sulky faced turned away from his, which is lightly pressed against mine with a look of deep, patient adoration. In the second he is drawing something for me on a large sheet of cardboard. He is sitting on a wooden studio seat, bowed, with intent eyes, over his work. I, sitting beside him, close up against him, am following the picture with absorbed interest, my hand placed over his to guide the pencil. In the third he is still making a picture for me, but I have lost interest and am impertinently pulling his beard.’ (Thirkell 1931)

1895
Platinum prints by Henry & Richard Stiles, Nov. 1895, four known poses:
(a) three-quarter-length, seated, eyes lowered reading to his grandchildren Denis Mackail (left) and Angela Mackail (right); NPG x3690.
(b) almost whole-length to front, seated with his grandchildren Denis Mackail (left) and Angela Mackail (right); The Rob Dickins Coll., Watts G., Compton, COMWG2008.4338. Repr. Wood 1998, p.140; and Sotheby’s, 1 July 2004 (306).
(c) 151 x 102mm, three-quarter-length, seated, reading to his grandson Denis Mackail; NPG x3691.
(d) three-quarter-length, seated to right with his daughter Margaret; Hammersmith and Fulham Archives, London, F759JON ZP72/661 neg. 30 (copy print).

1890s
Photograph by Frederick Hollyer, quarter-length, profile to left looking at small album; copy neg. NPG RN46867. Repr. Temple Magazine, 1897–8, p.523 (as halftone).

Photograph, 187 x 87mm, by Frederick Hollyer, whole-length to front outside french window, wearing hat and overcoat; colls V&A, London, 7709-1938, 11-1939; and Getty Images, 2638321.

c.1897–8
Photograph by George Howard, 9th Earl of Carlisle, whole-length, profile to right, wearing hat in garden, said to be at Rottingdean; repr. Harrison & Waters 1989, p.171; and MacCarthy 2011, pl.33.
Possibly also taken by George Howard, whole-length, standing wearing dark overcoat and hat, with Philip Burne-Jones in the garden at The Grange, garden studio visible behind; Lewis Papers, Bodleian L., Oxford. Repr. MacCarthy 2011, pl.32.

Dr Jan Marsh