SIR EDWARD COLEY BURNE-JONES BT ARA 1833-1898 The Flower Book consists of thirty-eight watercolours, tiny roundels, each some six inches across. In his list of works Burne-Jones described them as 'a series of illustrations to the Names of Flowers'. (1) He used traditional flower names as stepping-stones into his own imaginative world: as his wife put it, 'not a single flower itself appears.' (2) She wrote of Burne-Jones’ aims in detail in her introduction to the 1905 facsimile of the book: 'At first he thought any lovely or romantic name would lend itself to his purpose, but soon found ... that comparatively few were of use. Such as had too obvious a meaning as for instance ODIN'S HELM or FAIR MAID OF FRANCE, he rejected because there was not any reserve of thought in them for imagination to work upon. A picture, he held, should be no faint echo of other men's thoughts, but "a voice concurrent or prophetical". It was easy enough, he said, merely to illustrate, but he wanted to add to the meaning of words or to wring their secret from them'. (3) Because these watercolours were made for his own private pleasure they represent the quintessence of his imaginative vision. Some are re-workings of subjects he had treated in easel paintings, while others, like the present watercolours, are entirely original. Burne-Jones began the series in 1882 as 'rest from more laborious work' (4) and his wife described them as 'the most soothing piece of work that he ever did'. (5) He continued to produce designs until the end of his life and the facsimile contains a long list of names which he collected to inspire further images. Many were drawn at Rottingdean, his summer home. He was supposed to rest there, but as he wrote in 1887: 'At first I tried to do nothing, but cannot acquire the taste; so after an uncomfortable two days I began upon my flower-book'. (6) The small watercolours were easily transported to and from Rottingdean. His female confidantes supplied many of the flower names. Lady Burne-Jones noted that Lady Eleanor Leighton 'had much to do with the beginning of these designs, both through her unusual sympathy and understanding of imaginative and romantic things and by her knowledge of names and legends belonging to flowers. He collected suggestive names in every direction, but she gave him the largest number'. (7) Despite its sources of inspiration, the book was produced as a gift for his wife. As she wrote, Burne-Jones wished for the original watercolours 'not to be separated, because, wide as is their scope, one spirit, that of pure fantasy, unites them'. (8) As a result Lady Burne-Jones presented the book to the British Museum in 1909, eleven years before she died. 1. G.B-J, Memorials of Edward Burne-Jones, (Macmillan, London, 1904), volume 2 page 118 2. ibid 3. Georgiana Burne Jones, The Flower Book, (Fine Art Society, London 1905). 4. Georgiana Burne-Jones, 1905. 5. G B-J, 1904, volume 2, page 118. 6. G B-J, 1904, volume 2, page 120. 7. G.B-J, 1904, volume 2, page 118. 8. Georgiana Burne-Jones, 1905. Titles for individual illustrations: Adder's Tongue Arbor Tristis Black Archangel Comes he Not? False Mercury Fire Tree Flame Heath Flower of God Golden Greeting Golden Cup Golden Gate Golden Shower Grave of the Sea Helen's Tears Honour's Prize Jacob's Ladder Love in a Tangle Love in a Mist Love in a Tangle Marvel of the World Meadow Sweet Morning Glories Most Bitter Moonseed Rose of Heaven Saturn's Loathing Scattered Starwort Traveller's Joy Venus Looking Glass Wake Dearest Wall Tryst White Garden Witch's Tree
In 1905, Lady Burne-Jones wrote: "The wonderful advance of colour-printing in late years, and the special gift of M. Piazza, have made me believe that my husband’s original intention can now be carried out, and I am glad to agree to the publication that has hitherto been seen by so few." The Facsimile edition consisted of only 300 copies; some in the form of volumes, others in the form of a portfolio, and the reproduction is so faithful that the prints may be mistaken for originals. The Flower Book consists of thirty-eight watercolours. In his list of works Burne-Jones described them as a series of illustrations to the Names of Flowers. He used traditional flower names as stepping-stones into his own imaginative world: as his wife put it: "not a single flower itself appears". She wrote of Burne-Jones’s aims in detail in her introduction in 1905: "At first he thought any lovely or romantic name would lend itself to his purpose, but soon found ... that comparatively few were of use ... A picture, he held, should be no faint echo of other men’s thoughts, but “a voice concurrent or prophetical. It was easy enough, he said, merely to illustrate, but he wanted to add to the meaning of words or to wring their secret from them.” Because these designs were made for his own private pleasure they represent the quintessence of his imaginative vision. Burne-Jones began the series in 1882 as rest from more laborious work and his wife described them as the most soothing piece of work that he ever did. His female confidantes supplied many of the flower names. Lady Burne-Jones noted that Lady Eleanor Leighton had much to do with the beginning of these designs, both through her unusual sympathy and understanding of imaginative and romantic things and by her knowledge of names and legends belonging to flowers. He collected suggestive names in every direction, but she gave him the largest number. Despite its sources of inspiration, the book was to be produced as a gift for his wife.
Bound at W.H. Smith bindery under Douglas Cockerell in a full green morocco, gilt ruling with three green roundels to corners of boards, gilt ruled compartments to spine with gilt roundels to each corner, gilt lettered spine and upper board with the date in gilt to tail of spine. It was produced in two separate editions - the first a leather bound volume numbered 1-300 and the second a leather and cloth bound box with the individual prints mounted; each box numbered 1-300. Reproduced by Henri Piazza et Cie for the Fine Art Society, 1905. 1st Ed. 4to. 5 leaves lettered in red and green. 38 colour plates each with green lettered letterpress leaf. 4pp. facsimile in black and white of part of the lists of flowers made by Sir Edward Burne-Jones. E.ps. and prelims. very lightly browned, bound at W.H. Smith bindery under Douglas Cockerell in modestly beautiful full green morocco, gilt ruling with three green roundels to corners of boards, gilt ruled compartments to spine with gilt roundels to each corner, gilt lettered spine and upper board with the date in gilt to tail of spine, some light marking to boards, t.e.g. rest uncut, enclosed in green clamshell box with title in gilt to upper cover, some minor fraying, with the lower catch detached from case but affixed to upper catch, numbered and signed ”˜FAS’, by Georgiana Burne-Jones. Left at his death the original album of flower paintings, his wife Georgiana published the above facsimile, in an edition of 300 copies, in 1905 with the co-operation with the Fine Art Society in London. Superbly printed by Piazza, he hand-stencilled watercolour over collotypes using the pochoir technique to produce brilliant colours. The typography was by William Graily Hewitt. Sold in both bound and unbound form, the unbound copies being contained in a clamshell box. Produced in two separate editions - The first a leather bound volume numbered 1-300 and the second a leather and cloth bound box with the individual prints mounted; each box numbered 1-300. Reproduced by Henri Piazza et Cie for the Fine Art Society, 1905. 1st Ed. 4to. 5 leaves lettered in red and green. 38 colour plates each with green lettered letterpress leaf. 4pp. facsimile in black and white of part of the lists of flowers made by Sir Edward Burne-Jones. E.ps. and prelims. very lightly browned, bound at W.H. Smith bindery under Douglas Cockerell in modestly beautiful full green morocco, gilt ruling with three green roundels to corners of boards, gilt ruled compartments to spine with gilt roundels to each corner, gilt lettered spine and upper board with the date in gilt to tail of spine, some light marking to boards, t.e.g. rest uncut, enclosed in green clamshell box with title in gilt to upper cover, some minor fraying, with the lower catch detached from case but affixed to upper catch. No. 227 of 300 Copies, numbered and signed ”˜FAS’, by Georgiana Burne-Jones.Left at his death the original album of flower paintings, his wife Georgiana published the above facsimile, in an edition of 300 copies, in 1905 with the co-operation with the Fine Art Society in London. Superbly printed by Piazza, he hand-stencilled watercolour over collotypes using the pochoir technique to produce brilliant colours. The typography was by William Graily Hewitt. Sold in both bound and unbound form, the unbound copies being contained in a clamshell box.