44 Grosvenor Place, S.W. My dear Jones I am quite ashamed of my neglect in not sending the enclosed on Monday. I have with some important work and overlooked it. Please receive herewith cheque for >£250 I have looked over Mrs Jones' memorandum and it appears so far as I can tell quite works still in progress the only one I think requires consideration is the picture of the which I scarcely think it would be wise to make a ^500 picture - The subject is one from its quaintness but not one that would I think be generally valued and when I first did not contemplate its being a picture of that value. I fancy the amount of work involved than either of us, or at all events than I supposed. Of course one is obliged to submit point of view to the commonplace consideration of 'saleable value', to some extent, and I feel very doubtful whether this subject could be made worth £500 to sell , by any amount of work upon wrong. I return Mrs Jones' memoranda of which I have kept a copy. I was charmed with the large Chant ďAmour [b4] on Saturday. It promises to be full of the deep rich colour which was my first attraction to its w. colour predecessor [b3] and in fact to your work when I first made its acquaintance. Ever with kind regards Yours Sincerely W. Graham 1 Probably The Prioress's Tale (Delaware Art Museum, Wilmington 35-41): there is a marginal note by GBJ on this letter: 'about "Virgin & Boy" (Chaucer's Prioress's tale picture)'. EBJ first used the design in 1858 to decorate the wardrobe designed by Philip Webb and given as a wedding present to William and Jane Morris in 1859 (Ashmolean Museum, Oxford). The Wilmington gouache is dated 1865-98. According to the EBJ notebook, he began work on it in 1869. WG turned it down and EBJ did not finally find a customer for it until 1898. See R. Elzea, The Samuel and Mary R. Bancroft, Jr. and related Pre-Raphaelite Collections (Delaware Art Museum, 1978), pp. 36-37, and Wildman and Christian, 1998, no. 43.