Grosvenor Place 4 August 1869 My dear Jones, I have the pleasure to enclose a cheque for £ 200 to account. My cash memoranda in Glasgow so that I cannot at the moment trace what money I have previously acknowledgement of £250 5th Sept. last year which is I have no doubt what Mrs told me yesterday. If so it just pays for the three Saints (or Saintesses!) [b28] and but is not it lamentable to think that after our two years friendship this is all I have your work! notwithstanding my being so very hungry for it from the first day I Now I understand I may hope to have better fortune. I want the 'Love is passing'have the litde Jew boy3 you shewed me yesterday - Then the 'Spring'4 and ''Sleeping Princess Knights enchanted'5 - And a fellow to the Pygmalion [b27?] 'Psyche and Pan',6 and if your busy brain produces something more beautiful than is this not right. Then about money I only send ¿£200 now which is a very small instalment of so I do so only because you promised if you wanted money to ask me for it at any time The 'first marriage'7 [bi 8?] is very nice, and I am going to take it to Urrard with finished when we return. The angel in the centre must be from the life - are North End?! Ever Yours Sincerely W. Graham When you can tell me the price of my uncle's picture8 I should ask him for a payment to acct. if you want it at any time and I can tell him it is getting on. I shall desire Foord and Dickinson to take the Chant D'Amour [b3] to you this week. I want it back in November please. 1 EBJ notebook (EBJ papers, Fitzwilliam Museum), p. 15: 1871 - a replica of Cupid & Psyche that Miss Spartan had, for Graham - a changed background.' 2 If WG is referring here to The Passing of Venus , the subject began life as a tile design for Morris & Co. in 1861 (illus. Harrison and Waters, 1979, fig. 59). EBJ does not seem to have produced a picture on the theme for Graham, but he used the design for the tapestry in the background of [b22] Laus Veneris. There are at least two other versions of The Passing of Venus: an oil formerly in Exeter College, Oxford, c. 1875 (illus. Harrison and Waters, 1979, pl. 26), and a very late ( c . 1898) and unfinished body colour in the Tate Gallery (3453)» which was used as the basis of a tapestry woven at Merton Abbey. He may, however, be referring to The Car of Love : preparatory design begun in 1870 in the City Art Gallery, Auckland; unfinished oil c. 1891 in Victoria & Albert Museum (see Harrison and Waters, 1979, pl. 237). 3 Unidentified. 4 Cf. Spring , 1869 (private collection): Bume-Jones (Arts Council, 1975), no. 109. 5 This would appear to be The Knight entering the Briar Wood ,sold at Christie's, 27 Nov. 1987 (lot 143). The painting is undated, but an old label on the back gives the date '1869', which on stylistic grounds seems plausible. It seems to have been EBJ's first attempt to translate his original tile designs of the early 1860s based on Perrault's Sleeping Beauty to canvas; he does not appear to have painted any of the accompanying scenes on this scale (106.7 x 183.5 cm) at this date. For whatever reason WG did not buy the picture. Indeed, it remained unsold with EBJ throughout his life and was included in his studio sale (Christie's, July 1898). For further details of the complex development of this subject, se Chapter 4 above and J. Christian in The Reproductive Engravings after Sir Edward Coley Bume-Jones (Julian Hartnoll, London, 1988), pp. 42-45. 6 Cf. Pan and Psyche , 1969-74 (Fogg Art Museum, Cambridge, Mass.): illus. Harrison and Waters, 1979, pl. 150. 7 Alternatively, this may be the unfinished Temple of Love (Tate Gallery 3452), which EBJ worked on in 1868 and 1875. It was never owned by WG. 8 Perhaps The Hours , 1870-82 (Mappin Art Gallery, Sheffield): see B7. John Graham seems not to have received the picture: it was not in his sale: see Bume-Jones (Arts Council, !975)» no- !44» illus. Wildman and Christian, 1998, figs. 89 and on p. 329.