The 1889 Exposition Universelle Burne-Jones was represented at the 1889 Exposition Universelle by King Cophetua and the Beggar Maid (cat. no. 112), a painting that drew considerably more attention than did the work of Watts and Millais. This event marked the true beginning of Burne-Jones's relations with France. The critic Antonin Proust (1832-1905) applauded his contribution unre- servedly: "Burne-Jones, the most interesting of the Pre- Raphaelites, transcribed the figure of King Cophetua from Tennyson's ballad 'The Beggar Maid' with extraordinary power. The picture, with its compelling line, strong colour scheme, and harmonious composition, and with its loving references to Carpaccio and Mantegna, has an enduring appeal." 23 Moreau, a member of the jury, arranged for Burne- Jones to receive a gold medal. The English painter was also awarded the cross of the Legion d'honneur and named a cor- responding member of the Academie des Beaux-Arts. Moreau also seems to have tried to contact Burne-Jones directly, obtaining his address from the collector and writer Charles Ephrussi/ 4 and in 1892, through a common friend, Margaret, Lady Brooke, he received from him in 1892 a framed photographic reproduction of the six watercolours that constitute The Days of Creation (fig. 27). Moreau's letter of thanks to Burne-Jones, dated April 12, 1892, was couched in the most effusive terms: "Dear Sir and Illustrious Master, You have made me so happy, so proud; I wish to thank you from the bottom of my heart. Through your noble and admirable friend Lady Brook [e], you have sent me a photograph repro- ducing one of your exquisite works, which is a veritable delight for the spirit. How thoughtful of you, this fine and Figure 27. Framed photograph of Edward Burne-Jones, The Days of Creation, 1872-76 (fig. 79) charming gift! May I assure you that this expression of your sympathy is precious to me on many counts and that it is one of the most rare and beautiful rewards that I have received in my long life of work." 25 Although these superlatives perhaps conceal a certain insincerity, 26 the reciprocal admiration and esteem of the two artists is nevertheless attested by Burne- Jones's influence on the French painter s work. An example of this maybe seen in one of Moreau's watercolour drawings illus- trating "Death and the Woodcutter," from the Fables of La Fontaine (fig. 28), m which the passive male figure and the dominant, entwining female figure present analogies with corresponding figures in The Beguiling of Merlin, which Moreau had seen in 1878. 27 Other works by Moreau clearly display the influence of Burne-Jones: Orestes and the Erinyes (fig. 29) owes much to King Cophetua in its spatial construc- tion, heavy decor, and dark, metallic palette. The grouping of the figures and the imposing presence of the main female figure in The Glorification of Helen (fig. 30) could well allude to The Wheel of Fortune (cat. no. 52) and The Depths of the Sea (cat. no. 119), both exhibited in Paris in 1893. Both painters also used the common compositional device of isolating one part of a larger work from its original context and developing it independently. Probably the best-known example in Burne- Jones s work is the Troy triptych (cat. no. 50).
His concern applied equally to reproductions of his work. From about 1875 the photographers Frederick Hollyer and Emery Walker recorded his house, his studio and exhibition hangings, as well as many of his paintings and drawings [28]. The latter, photographed mostly by Hollyer and published as fine art prints, could be bought in frames related to those of the paintings, or to simpler frames used by Burne-Jones himself. Thus Hollyer’s reproductions of The Days of Creation could be obtained with a dark oak aedicular frame based on the original (top image, above); in a simpler flat oak frame with parcel gilt oak mount; in a completely unadorned oak mount, or with other forms of mount to which a variety of frames might be added (second and third images, above) [29]. The Frame Blog