In a letter to Burne-Jones of March 3 1871 William Graham mentions "René's Honeymoon" which indicates that he was in possession of a work at that date, which conflicts with Garnett's statement that Graham bought the painting in the Birket Foster sale of 1876. There is some confusion between the stained glass version which was owned by Birket Foster and this watercolour. Lot 143 in the Graham sale "King René's Honeymoon" was bought by Edward Clifford for 200 guineas. This was a large sum for a single watercolour of 49.5cms by 37.1 cms, it is therefore possible that under the name of the painting both King Rene subjects (Painting and Sculpture) were held in the same lot. The previous lot of The Choristers is known to have consisted of two roundels and The Garland lot 144 and 145 (three paintings each) only reached 110 and 70 guineas which increases the possibility that lot 143 consisted of two paintings, this could also be supported by the fact that the paintings were exhibited together in 1913 in the ownership of Mrs de H Birch having remained together. Subsequently the pair appear to have been separated and it may be that Garnett did not appreciate the possibility that Graham had owned both paintings. As there is no evidence of a Foster sale in 1876, one of the paintings may well have been bought by private treaty between Foster and Agnew on Graham's behalf in order to re-unite the two. The model for King René was a Italian named Ciamelli, an organ grinder who was used by Simeon Solomon and Burne-Jones as a model in the early 1860s and was admired for his magnificent head of black hair.
E B-J didn't know Graham in 1861 so the entry in the Fitzwilliam worklist " King Rene's Honeymoon - Graham" has to be retrospective. Fiona MacCarthy cites their first meeting as 1865 when Graham bought Chant D'Amour first version, as does Fitzgerald. Also confirmed by Georgiana in Memorials.