I bought the Laus Veneris study at an auction for Kelmscott Manor at the Society of Antiquaries in September 2014. It had been donated by Joscelyn Godwin ... He is a composer and musicologist who has lived in America for years although he was born at Kelmscott and educated in England. In short, the drawing came from his grandmother Margaret Scott-Snell, née Fell (1880-1971), who lived at Kelmscott during the war, via her son Edward (1912-1988, Joscelyn’s father) who changed the family name to Godwin and moved to America.
... a sample of calligraphy, attributed to Burne-Jones but very much in William Morris’s own manner, as an illuminated title Laus Veneris as if for a manuscript of Swinburne’s poem, and almost exactly as depicted on the music stand in Burne-Jones’s great painting. LOT 85
We observe that the Laus Veneris lettering watercolour is obviously painted to be seen at the same angle as in the painting. It is situated there on the music stand slightly falling away from the viewer. So this can be interpreted as being created especially for the painting, but leaves a debate to the creator. It may well have been executed by Morris at the request of BJ, but it is also possible that BJ has executed it from an original by Morris. Compare cat no. N1 page 301 in the V& A William Morris ex cat 1996. The layout is the same although it is much earlier (1857). In conclusion we would suggest that this is a copy by BJ of an original by WM, made as a study for the painting. This watercolour seems to be little bit rough. WM is more meticulous, the "L" is similar to one made for Love is Enough in 1872. At this date the Morris's lived close to the Burne-Jones's and the two worked very closely together and started to meet every Sunday morning.