An album containing eighty drawings, including caricatures of the artist, William Morris and Val Prinsep, humorous drawings of devils and a 'wallypug', and sketches of figures, heads, birds, horses, a cat, flowers, drapery, armour, head-dresses, wings. PD.58-1998 Album of eighty-seven drawings bound with pigskin and oak boards. As John Christian has pointed out, the pigskin spine and oak boards of the binding recall the 48 deluxe copies of the Kelmscott Chaucer, published in 1896. They were bound in full white pigskin over oak boards by the Doves Bindery set up near Morris's house in Hammersmith by T.J. Cobden-Sanderson in 1893. PD.58-1998.f.71 is blank and therefore not recorded elsewhere. John Christian has suggested that this album may have been compiled by Aglaia Coronio, a close friend of Morris, or by one of her relations, possibly her daughter Calliope. Her brother Luke Ionides, recalls in his privately-published 'Memoirs' that he had, 'a set of [Burne-Jones] caricatures of [Morris] doing catherine wheels in Cavendish Square, and another at the Turkish Bath, where we had gone together' (1925; 1996 ed. p. 21). Further sheets in the album support the Ionides/Coronio provenance. The sketches of dresses and accesories may have been designed to help Aglaia make studio properties. One of the sheets is inscribed with Mrs Coronio's name; another bears the letterhead of '1 Holland Park', the home of her brother, Alexander Ionides; Aglaia lived next door at no. 1A. Self-portrait of the artist, seated, his hands Graphite on laid paper PD.58-1998.f.2 2. Portrait of Val Prinsep at his easel (no image) graphite on paper PD.58-1998.f.3 3. William Morris, working on a tapestry, viewed from behind graphite on laid paper PD.58-1998.f.4 4. William Morris, working on a tapestry (no image) graphite on laid paper PD.58-1998.f.5 5. William Morris seated in a pair of (over-long) trousers (no image) graphite on laid paper PD.58-1998.f.6 6. William Morris in a bath-tub graphite on laid paper PD.58-1998.f.7 7. Val Princep painting the figure of an ample woman (no image) graphite on paper PD.58-1998.f.8 8. William Morris performing a cartwheel (no image) graphite on paper PD.58-1998.f.9 9. William Morris performing a cartwheel (no image) graphite on laid paper PD.58-1998.f.10 10. William Morris performing a cartwheel graphite on laid paper PD.58-1998.f.11 11. William Morris performing a cartwheel, viewed from behind by moon and starlight graphite on laid paper PD.58-1998.f.12 12. William Morris bowling (no image) graphite on laid paper PD.58-1998.f.13 13. Figure - ?William Morris - hidden under a bed (no image) graphite on laid paper PD.58-1998.f.14a 14. A sleeping cat (no image) graphite on paper PD.58-1998.f.14b 15. A Wallypug (no image) brown ink on paper PD.58-1998.f.15 16. A man in a top hat, holding a cane, striding out (no image) graphite on laid paper D.58-1998.f.16a 17. Study of three horses rearing and running (no image) graphite on laid paper PD.58-1998.f.16b 18. Study of a figure draped in lion skin (?Hercules) (no image) graphite on laid paper PD.58-1998.f.17 19. Three studies of helmets (?for the Arming of Perseus) (no image) graphite on laid paper PD.58-1998.f.18 20. Three studies of helmets (no image) graphite on laid paper PD.58-1998.f.19 21. Study of a bird Study of a bird (no image) graphite on laid paper PD.58-1998.f.20 22. Study of the interior of a bedroom graphite on paper, folded PD.58-1998.f.21a 23. Study of a sandalled foot (no image) graphite on paper (back of an envelope) PD.58-1998.f.21b 24. Study of a draped female figure graphite on blue paper PD.58-1998.f.22a 25. Study of a portly man, seated in profile to left (no image) graphite on blue paper (back of an envelope) PD.58-1998.f.22b 26. Study of a female figure, semi draped, drapery and foliage graphite on blue paper PD.58-1998.f.23 27. Study of a draped figure (no image) graphite on paper PD.58-1998.f.24 28. Study of drapery (a 'Byzantine Dress') graphite on paper PD.58-1998.f.25 29. Study of a draped figure (?Love) against a background of intertwined flowers and foliage (no image) graphite on thick paper PD.58-1998.f.26a 30. Study of a flower Study of a caricaturised figure (?child's drawing) (no image) graphite on paper PD.58-1998.f.26b 31. Studies of a head, garlanded with laurel, and foliage graphite on laid paper PD.58-1998.f.27a 32. Outline study of a child's head (no image) pen and brown ink on paper (folded) PD.58-1998.f.27b 33. Study of a figure in armour (?Perseus) (no image) graphite on laid paper PD.58-1998.f.28a 34. Study of a draped female figure (?for a portrait) surrounded by a? foliage design (no image) graphite on paper PD.58-1998.f.28b 35. Caricature study of two rodent-like demons (no image) graphite on paper PD.58-1998.f.29a 36. Caricature study of two rodent-like demons (no image) graphite on paper PD.58-1998.f.29b 37. Study of a sandalled foot and a semi-draped female figure (no image) graphite on paper PD.58-1998.f.30 38. Two studies of draped female figures Study of the armed torso of a male figure (no image) graphite and black pencil on paper PD.58-1998.f.31 39. Studies of armour Study of the armed torso of a male figure (no image) graphite on laid paper PD.58-1998.f.32 40. Caricature study of a standing female figure and a face (no image) graphite on paper PD.58-1998.f.33 41. Study of birds and foliage (no image) graphite on laid paper PD.58-1998.f.34 42. Study of birds and foliage (no image) graphite on laid (letter) paper PD.58-1998.f.35a 43. Study of a bird in flight Rough sketches (no image) graphite on paper PD.58-1998.f.35b 44. Study of a leg in armour: 'The Arming of Perseus’ (no image) pen and brown ink on paper PD.58-1998.f.36a 45. Studies of legs, in armour: 'The Arming of Perseus' Slight sketch (no image) pen and brown ink on paper PD.58-1998.f.36b 46. Various studies of drapery Various studies of drapery (no image) graphite on laid paper (folded) PD.58-1998.f.37 47. Study of a bird (no image) graphite on laid paper PD.58-1998.f.38 48. Two studies of female heads, with floral/laurel garlands (no image) black pencil on paper PD.58-1998.f.39 49. Three studies of female heads, with floral garlands (no image) graphite on paper PD.58-1998.f.40 50. Three studies of female costume (no image) graphite on laid paper PD.58-1998.f.41 51. Study of a sleeping knight: The Briar Rose Rough sketch of ?costume (no image) graphite on laid paper (folded) PD.58-1998.f.42 52. Study of a bird in flight (no image) graphite on laid paper PD.58-1998.f.43 53. Study of a Kimono (no image) graphite on laid paper PD.58-1998.f.44 54. Study of a figure in armour, an arm and a leg Slight sketches, one of armour (no image) graphite on laid paper (folded) PD.58-1998.f.45 55. Studies of drapery graphite on laid paper PD.58-1998.f.46a 56. Study of a sandalled foot (no image) graphite on laid paper PD.58-1998.f.46b 57. Compositional study graphite on laid paper PD.58-1998.f.47a 58. Study of feet (no image) graphite on laid paper PD.58-1998.f.47b 59. Study of a draped figure, a belt and a girdle (no image) black pencil, pen and brown ink on paper PD.58-1998.f.48 60. Two studies of a draped figure (no image) graphite on laid paper (folded) PD.58-1998.f.49 61. Study of an arm draped Studies of drapery (no image) graphite on laid paper (folded) verso - over opened sheet PD.58-1998.f.50 62. Study of a cockerell, profile (no image) graphite on paper PD.58-1998.f.51 63. Studies of a draped female figure (no image) graphite on paper (folded) PD.58-1998.f.52 64. Two studies of a draped figure purple pencil on paper (folded) PD.58-1998.f.53 65. Intertwined ?reeds graphite on paper (folded) PD.58-1998.f.54 66. Study of ? (unidentified) graphite on paper PD.58-1998.f.55 67. Study of an arm, draped (no image) graphite on paper PD.58-1998.f.56 68. Study of a nude Sketch of a figure in armour (no image) graphite on laid paper PD.58-1998.f.57 69. Studies of shoes, a book, a ?visor & c Same as recto (no image) graphite on laid paper PD.58-1998.f.58 70. Study of a woman's head (no image) graphite, red pen and ink on laid paper PD.58-1998.f.59 71. Study of an outstretched arm, draped (no image) graphite on laid paper PD.58-1998.f.60a 72. Study of a ?hat (no image) graphite on paper PD.58-1998.f.60b 73. Studies of a female figure with arm upraised (no image) purple crayon on paper PD.58-1998.f.61 74. Putti climbing a ladder (no image) woodcut (black carbon ink) PD.58-1998.f.62 75. Study of a female figure in profile, with a head dress (no image) graphite on paper PD.58-1998.f.63 76. Study of a draped figure Drapery study (no image) graphite on paper (with an ink blot) PD.58-1998.f.64 77. Study of two birds in flight (no image) graphite and brown ink on paper PD.58-1998.f.65 78. Studies of sandalled feet graphite on laid paper (creased and stained) PD.58-1998.f.66 79. Study of a (semi-recumbant) male figure (no image) graphite on paper PD.58-1998.f.67 80. Study of ?footwear (no image) graphite on laid paper PD.58-1998.f.68 81. Study of a woman (? a nursemaid) holding a baby (no image) graphite on paper (an envelope) PD.58-1998.f.69 82. Study of two birds in flight Bookplate of Herbert George Fordham Odsey (no image) recto: graphite and brown wash verso: engraving on on thick paper PD.58-1998.f.70 83. Study of footwear (no image) graphite on laid paper PD.58-1998.f.72 84. Frontispiece to 'The Tale of Troy' Part I The Iliad (no image) engraving PD.58-1998.f.73 85. A herald of spring (no image) Printed poem with engravings PD.58-1998.f.74 86. Letter from Burne-Jones to Aglaia Coronio with measured drawing of a model (no image) graphite on paper ; recto; 21 inches length of leather coat - from / neck to where the skirt begins / 33 inches from neck to where skirt ends at knee / round the neck about 26 or 27 inches / round the chest 35 inches / round the waist 21 inches / .. 31 or 31 1/2 in / hips / edge of under tunic / Black line is shape of leather coat. ; recto; Dear Aglia I have measured Giaanto here are such measurements as an unskilled tailor can make - I have measured round him - and down him - is it enough? also how kind and helpful you are - & I am ashamed to give you such trouble / Your aff / E.B. PD.58-1998.f.75 87. Study of a flower (no image) graphite on blue paper PD.58-1998.f.76
An Album containing eighty drawings, including caricatures of the artist, William Morris and Val Prinsep, humorous drawings of devils and a 'wallypug', and sketches of figures, heads, birds, horses, a cat, flowers, drapery, armour, head-dresses, wings, books, and other decorative details, among them studies for 'The Wheel of Fortune', 'The Golden Stairs', 'The Arming of Perseus', 'The Briar Rose' and other paintings; together with a letter to Mrs Coronio regarding a dress for a model, a proof of a woodcut designed by Burne-Jones for Morris's Love is Enough, two drawings of birds by another hand, two printed texts - 'The Tale of Troy' and 'A Herald of Spring' - illustrated by Walter Crane, and an etched bookplate for H.G.F. Odsey, possibly by C.W. Sherborn Two of the caricatures inscribed 'Euston Sq', one drawing inscribed 'wait for answer/Mrs Coronio', another on an envelope addressed to 'Jessie Wright/18 Polygon/NW'; the drawings in pencil, pen and ink, crayon and watercolour, sixty mounted on pages of blue paper, the rest tipped in; the album bound in half pigskin over oak boards, blindstamped in the gothic style, with the binder's mark inside the back cover. This recently discovered and hitherto unpublished album appears to have been put together by someone in Burne-Jones's circle. The caricatures are typical of those he made for intimate friends, and most of the other drawings consist of rough working sketches or random doodles which would only have been available to a close associate. The most likely answer is that the compiler was Aglaia Coronio or one of her relations, possibly her daughter Calliope. A member of the large Anglo-Greek family of Ionides which figures so prominently in the annals of Victorian art (see lot 572), Aglaia was a close friend of William Morris and might well have owned caricatures of him. It is interesting that some show him doing cartwheels and handstands (figs.3 & 4) while one shows him in his bath, since Luke Ionides, one of Aglaia's brothers, recalls in his privately printed Memories (1925) that he 'had a set of [Burne-Jones] caricatures of [Morris] doing catherine wheels in Cavendish Square, and another at the Turkish bath, where we had gone together'. These drawings may be the ones in question. Aglaia was also close to Burne-Jones. Her 'perfect taste', Lady Burne-Jones recalled, 'had helped him a hundred times by finding fabrics and arranging dresses for models' (Memorials of Edward Burne-Jones, 1904, II, p.196). The album contains a letter which bears this out. 'Dear Aglaia', he writes, 'I have measured Giacinto - here are such measurements as an unskilled tailor can make - I have measured round him - and down him - is it enough? also how kind & helpful you are - & I am ashamed to give you such trouble'. Giacinto must have been one of the Italian models who were so much employed by Victorian artists, and there follows a diagram of his body with measurements for a 'leather coat', apparently in the Greek style. The many other sketches of dresses and accessories which the album contains may also have been made to help Aglaia make studio properties. One sketch is on a piece of paper inscribed 'wait for answer/Mrs Coronio', another is on writing paper headed 'I Holland Park, W'. This was the house of her brother Alexander, who created there one of the great 'aesthetic' interiors of the day, Burne-Jones being among the contributors. Aglaia herself lived next door at 1A. The caricatures are the most beguiling part of the album. Throughout his life Burne-Jones was a prolific caricaturist, expressing in these drawings the abundant sense of humour which all accounts of him emphasise but which he rigidly excluded from his 'official' work. Many of them, again in marked contrast to his paintings and decorative designs, are rebelaisian in spirit, revelling particularly in images of obesity - sumo wrestlers, fat ladies caught in a strong wind or some other revealing situation, or savage parodies of his bête noire, Rubens. Graham Robertson believed that this obsession had something to do with the rather straightlaced atmosphere created by his high-minded wife, Georgiana. 'EB-J's surroundings', he wrote, 'were so extremely correct and "proper" that I think he had to break out occasionally'. Among the most familiar of Burne-Jones's humorous drawings are the self-caricatures, in which he fosters the myth that he is very old, pathetically emaciated, and incredibly shabbily dressed, and those of William Morris, in which he takes an affectionate swipe at his friend's foibles, portraying him as the obsessively absorbed craftsman, the slave-driving plutocrat, or the bon viveur with a tendency to put on weight (more obesity). The album includes examples of both types, as well as a caricature of Val Prinsep (fig.2), the pupil of G.F. Watts who joined Morris and Burne-Jones in painting the Oxford Union murals in 1857 and went on to become a successful academic artist. The ten drawings of Morris, probably dating from the late 1860s and the 1870s, are particularly notable. The two showing him doing needlework (fig.5) recall the well-known sketch of him lecturing on weaving, now in the Morris Gallery at Walthamstow, and that of him in his bath-tub is also a familiar image; another example is reproduced in Fiona MacCarthy's recent biography of Morris, p.117. But those in which he tries to do acrobatics are more unusual. The two inscribed 'Euston Sq' may have been drawn at 56 Euston Square, where William Michael Rossetti and his family lived for many years from 1867, although it is conceivable that it was in Euston and not Cavendish Square that Morris did the cartwheels recalled by Luke Ionides. The drawing of Morris crawling under a bed is very similar to one in the Violet Hunt papers that were sold in these Rooms on 6 November 1995, lot 111A (repr. in cat.). Violet Hunt attributed that drawing to William Blake Richmond, but the discovery of the present sketch prompts the question whether is could not be by Burne-Jones. The album also contains some of the whimsical drawings that Burne-Jones was always making. Connoisseurs will recognise such familiar themes as the amourous love-birds and the 'wallypug' (fig.8), one of a series of amiable mythical beasts (the 'phlumbudge', a fat little bird, was another) with which he entertained children - children, that is, of all ages, including, as his wife put it, 'the child that was always in himself'. The sketch of a bedroom with bottles of brandy, gin and rum prominently displayed on the mantlepiece - perhaps made for a friend whom he knew to be the soul of temperance - is another characteristic touch. On a more art-historical level, the drawings include many which can be identified as sketches for paintings. Among these are The Arming of Perseus, one of the Perseus series commissioned by Arthur Balfour in 1875, The Golden Stairs, that supreme expression of 'aesthetic' values, exhibited at the Grosvenor Gallery in 1880, The Wheel of Fortune, shown there in 1883 and said to have been Burne-Jones's own favourite among his pictures, and the Briar Rose series, the exhibition of which at Agnew's in 1890 marked the climax of his career. Some of the sketches of 'Byzantine' dresses may be connected with such late works as The Star of Bethlehem and Arthur in Avalon, while the Dantesque figure of Love among roses recalls a magnificent design for needlework made for Frances Graham about 1880 and now in the Victoria and Albert Museum. A sketch of an open book provides interesting information about Burne-Jones's visual sources, being copied from the painting of the Virgin Mary in the upper part of Van Eyck's Ghent alterpiece. Inserted near the end of the album is a bookplate made for Herbert George Fordham Odsey. This is not a name familiar to Pre-Raphaelite scholarship, but the pencil inscription - 'Done in 1901' - may be in the hand of Sydney Cockerell, Morris's amanuensis during the last years of his life and secretary to the Kelmscott Press. The bookplate itself may be by Charles William Sherborn (1831-1912), the most notable exponent of the engraved bookplate of the period, whom Cockerell certainly knew. The pigskin spine and oak boards of the binding recalled the deluxe copies of the Kelmscott Chaucer, the crowning achievement of the Kelmscott Press, published in 1896. Forty-eight copies were bound in full white pigskin over oak boards by the Doves Bindery, set up near Morris's house in Hammersmith by T.J. Cobden-Sanderson in 1893; and the album too might be the Bindery's work. An unidentified stamp at the base of the leatherwork inside the back cover would seem to provide a clue to this problem.
The drawings of various sizes from 3.7/8 x 2.7/8 in. (9.8 x 7.3 cm.) to 14¾ x 10½ in. (37.5 x 26.6 cm.), the album 12¼ x 9½ in. (31.1 x 24.1 cm.)