SIR EDWARD COLEY BURNE-JONES B.T., A.R.A. (BRITISH 1833-1898)
THE PRINCESS CHAINED TO A TREE
Signed with initials and dated 1866, oil on canvas
105cm x 91cm (41.25in x 35.75in)
Estimate £500,000-800,000


Provenance
:

Commissioned by Myles Birket Foster for "The Hill," Witley.
Christie's, London, April 28, 1894, Lot #48/5.
Thomas Agnew & Sons, London.
Major C. F. Goldman Esq. by 1898.
William Hesketh Lever, 1st Viscount Leverhulme.
Anderson Galleries, New York, February 17, 1926, part II, Lot 13.
Louis Bamberger, Newark, New Jersey.
The Newark Museum, New Jersey.
Sayn-Wittgenstein Fine Art, New York, 1985.

Exhibited:

Maclean's Gallery, London, 1895, No. 5.
Gooden's Gallery, London 1896.
VII Internationale Kunstausstellung, Munich, Koeniglicher, Glaspalast, 1897, no. 226.
Exhibition of the Works of Sir Edward Burne-Jones, Bart., The New Gallery, London, 1898-9, no. 97.
The Pre-Raphaelites, Herron Museum of Art, Indianapolis, and Gallery of Modern Art, New York, 1964, no. 12, reproduced.
English Paintings of the Victorian Era, The Society of the Four Arts, Palm Beach, Florida, 1966, cat. no. 7, reproduced.
From Realism to Symbolism: Whistler and his World, Wildenstein & Co., New York, and Phildelphia Museum of Art, Philadelphia, 1971, cat. no. 56, reproduced.
The Victorian Rebellion, Lakeview Center for the Arts and Sciences, Peoria, Illinois, 1971, cat. no. 10, reproduced.
The Heatherley School of Fine Art: 150th Anniversary, Heatherley School of Fine Art, Chelsea, London, England, February 27-March 9, 1996, No.25, reproduced, p.50.
Symbolisme en Europe, Takamatsu City Museum, Takamatsu, Japan, November 1-December 8, 1996; The Bunkamura Museum of Art, Tokyo, Japan, December 14, 1996-February 10, 1997; Himeji City Museum, Himeji, Japan, February 15-March 30, 1997, No.43, reproduced in colour.
La Era Victoriana: un Siglo de Pintura Britanica, Museo Nacional de San Carlos, Mexico, December 1, 1997-March 30, 1998, no.16, reproduced in colour, p.119.
Edward Burne-Jones: Victorian Artist-Dreamer, The Metropolitan Museum of Art, New York, New York, June 1-September 6, 1998, No. 34, reproduced in colour; Birmingham Museums & Art Gallery, Birmingham, England, October 17, 1998-January 17, 1999; Musee d'Orsay, Paris, March 1-June 6, 1999, No. 24, reproduced in colour.
El Espejo Simbolista: Europa y Mexico, Museo Nacional de Arte, Mexico City, Mexico November 25, 2004-April 25, 2005, no. 32, reproduced in colour.
Edward Burne-Jones - The Earthly Paradise,
Staatsgalerie Stuttgart, October 24, 2009 - February 7, 2010; Kunstmseum Bern, March 18 - July 25, 2010, no. 32, reproduced in colour.

Literature:

Burne-Jones' autograph work-record (Fitzwilliam Museum, Cambridge), under 1866.
Masters in Art, a Series of Reproduced Monographs,1901, London, part 19, II, p. 39.
Malcolm Bell, Sir Edward Burne-Jones: a Record and Review, 1903, pp. 35-37, 130 [Note: on p.37, it is incorrectly recorded that the dispersal sale at Christie's took place on May 5, 1894. The correct date is April 28, 1894.].
O. von Schleinitz, Burne-Jones (Kunstler-Monographhien LV), Beilefeld and Leipzig, 1901, p.58.
Georgiana Burne-Jones, Memorials of Edward Burne-Jones, 1904, London, vol. I, pp. 295-296.
F. de Lisle,Burne-Jones, London, 1904, pp.75-76, 167, 181.
Martin Harrison and Bill Waters, Burne-Jones, 1973, London, pp. 89, 117, 193.
Penelope Fitzgerald, Edward Burne-Jones, A Biography, 1975, London, p. 96.
Alistair Hicks, "Fruits of Capitalism," Antique, Summer 1987.
R. Dorment, James McNeill Whistler, Tate Gallery, London, Musee D'Orsay, Paris, and National Gallery of Art, Washington, D.C., 1994-1995, cat. p.93.
Roxana Velasquez Martinez del Campo, "Imagenes de la era victoriana en colecciones mexicanas," La Era Victoriana: un Siglo de Pintura Britanica, Museo Nacional de San Carlos, Mexico, 1997, No.16, reproduced in color p.119.
"A Glimpse into the Victorian Era", Mexico City Times, Saturday, December 20, 1997, Arts & Leisure section, p.3.
S. Wildman and J. Christian, Edward Burne-Jones: Victorian Artist-Dreamer, The Metropolitan Museum of Art, New York, Museums and Art Gallery, Birmingham, and Musée D'Orsay, Paris, 1998-1999, cat. p. 19.
D. Elliott, Charles Fairfax Murray: the Unknown Pre-Raphaelite, Lewes, 2000, p. 19.
Doris Krumpl, "Bilder-Hausrat um Millionen Euro," Der Standard, January 11, 2003, reproduced in colour.
"Im Bannkreis der Viktorianischen Kunst," Handels Zeitung, January 22, 2003, p.20, reproduced.
Enzo Fabian, "L'Incanto di un'epoca," AD: Architectural Digest, Italian version, January 2003, p. 202, reproduced in colour.
Sarah Baxter, "Forbes Dynasty split by L25m art sale, The Sunday Times, London, January 26, 2003, p.25, reproduced in colour.
Barbar Amadasi, "Auction," Vogue, Italian version, February, 2003, p. 208, reproduced in colour.
Robyn Asleson, "Reforming Modern Art: Pre-Raphaelitism, Aestheticism and Classicism," The Forbes Collection of Victorian Pictures and Works of Art, February 19-20, 2003, p.163, detail reproduced in colour, p.138.
Lucille Grant,"Sale of the Century," SW: Southwest Magazine, February, 2003, p.25, reproduced in colour.
Mattias Frehner, "St. George and the Dragon, 1865 - 67," Edward Burne-Jones: The Earthly Paradise, Germany: Hatje Cantz, 2009, p. 51, detail reproduced in colour, p. 60, reproduced in colour, pp. 61, 217.
Allen Staley, The New Paintings of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement, New Haven: Yale University Press, 2011, p.36, reproduced in colour

Sold for £505,250 (buyer's premium included)