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Marc Chagall - part 27

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Marc Chagall 1980

Marc Zakharovich Chagall (born Moishe Zakharovich Shagalov 1887 - 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.

For more biographical information see part 1, and for earlier works see parts 1-26 also.


This is part 27 of a 28-part series on the works of Marc Chagall:



1976 Composition
oil on canvas 81 x 100 cm
Private Collection

1976 Easel with Flowers
colour lithograph on Arches wove paper 76.8 x 50.8 cm ( sheet )

1976 Poèmes poster
mixed media on paper 25 x 19 cm

1976 Sunrise
oil on canvas 65 x 65 cm
Private Collection

1976 The Painter
oil on canvas 65 x 54 cm
Private Collection

1976 The Prodigal Son
oil on canvas 162 x 122 cm
Private Collection

1976 Window in Artist's Studio
oil on canvas 92 x 73 cm
Private Collection

1977 A Vision of Marriage
oil, tempera and pen and ink on canvas 73.2 x 54 cm
Private Collection

1977 Adam, Eve and the Serpent
colour lithograph 79.8 x 59.2 cm ( sheet )

1977 Angel over Vitebsk
oil on canvas 81 x 100 cm
 Private Collection
1977 Jonas's Boat
lithograph on Arches wove paper 64 x 47.5 cm ( sheet )

1977 Phaeton
oil on canvas 195 x 130 cm
Private Collection

1977 Saint-Paul de Vence at Sunset
oil on canvas
Private Collection

1977 The Myth of Orpheus
oil on canvas 97 x 146 cm
Private Collection

1977 The Summer Season
colour lithograph 33 x 22.9 cm ( sheet )

1977 The Sun of Paris
colour lithograph 75.6 x 50.8 cm ( sheet )

1977 The Village
colour lithograph 38 x 56 cm

1977-78 Artist over Vitebsk
oil on canvas 65 x 92 cm
Private Collection

1977-78 Child with a Dove
oil on canvas 65 x 65 cm
Private Collection

1978 Landscape of Paris
oil on canvas 130 x 162 cm
 Private Collection

1978 Large Bouquet
oil on canvas 86.5 x 63.5 cm
Private Collection

1978 Nude with Bouquet
pencil, tempera and coloured chalk on cardboard 55 x 46 cm
Private Collection

1978 Pastorale
gouache, watercolour and black crayon on Rives paper 76.2 x 73.7 cm

1978 St. Mark and St. Matthew
stained glass window 141.5 x 34.5 cm
All Saints Church, Tudeley, Kent, UK

1978 The Black Beast
oil and mixed media on canvas 46 x 38 cm

1978 The Chagall Window, Chichester Cathedral, Sussex
photo © Poul Webb

1978 The Dream
tempera on canvas 65 x 54 cm
Private Collection

1978 The Event
oil on canvas 130 x 162 cm
Private Collection

1978 The Painter and the Fiancés
acrylic on canvas 60 x 50 cm
Private Collection

1978 The Painter in Front of his Painting
colour lithograph on Arches wove paper 61.9 x 47 cm ( sheet )

1978 The Painter
oil on canvas 65.1 x 50.2 cm
Private Collection

1978 View of Paris
oil on canvas 100.4 x 81.3 cm
Private Collection

1978-81 Circus under the Blue Sky of Paris
tempera, pastel and Chinese ink on laid paper
Private Collection

1978-81 Nude with Bouquet
oil on canvas 80.7 x 65.1 cm
Private Collection

1978c Blue Donkey
oil, acrylic, tempera and pen and ink on canvas-board 40.8 x 32.8 cm

1978c Male Horse with Yellow Cockerel
pencil, pastel and felt pen on paper 42 x 29.6 cm

1979 King David's Tower
etching 39.4 x 30.5 cm ( sheet )

1979 Meditation
colour lithograph 60.3 x 43.8 cm ( sheet )

1979 Mosaic
Vence Cathedral, France

1977 America Windows stained glass Art Institute of Chicago, Illinois:

A gift of Marc Chagall, the City of Chicago, and the Auxiliary Board of The Art Institute of Chicago, commemorating the American Bicentennial in memory of Mayor Richard J. Daley, 1977.

























1977 Et Sur La Terre:
The etchings for Et sur la terre were executed by Chagall in 1977. Et sur la terre was issued in an edition of 205 portfolios printed on velin d'Rives, each of which was signed on the colophon by Chagall and numbered. The first 25 portfolios contained an additional impression of the frontispiece signed and numbered by Chagall.


1977 Et Sur La Terre
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

1977 Et Sur La Terre 
etching 31.3 x 23.5 cm ( plate )

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Marc Chagall - part 28

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Marc Chagall 1980

Marc Zakharovich Chagall (born Moishe Zakharovich Shagalov 1887 - 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.

For more biographical information see part 1, and for earlier works see parts 1-27 also.


This is part 28 of a 28-part series on the works of Marc Chagall:


1979 Poster for La Ruche et Montparnasse
colour lithograph 74.5 x 54 cm

1979 The Married Ones
tempera on masonite 110 x 80 cm

1979 The Tower of King David
etching 39.4 x 30.5 cm

1979-80 The Grand Parade
oil on canvas 119 x 132 cm
 Private Collection

1979-81 Circus
oil on canvas 92 x 73 cm
 Private Collection

1979-81 Circus
oil on canvas 100 x 81 cm
 Private Collection

1980  Fruit Basket
gouache, watercolour, crayon and oil on paper 37.5 x 49.8 cm

1980 Artist and His Bride
oil on canvas 116 x 89 cm
 Private Collection

1980 Clown at the Circus
tempera and pen and ink on board 54.6 x 46 cm
Private Collection

1980 Composition
oil on canvas 81 x 65 cm

1980 Couple with Double Profile
oil on canvas 91.8 x 64.5 cm

1980 Flowers of the Fields
lithograph 60.1 x 46.8 cm ( sheet )

1980 Magic Flight
colour lithograph on Arches paper 116.8 x 75.2 cm ( sheet )

1980 Newlyweds with Paris in the Background
oil on canvas 116 x 89 cm
Private Collection

1980 The Joy
colour lithograph 114.3 x 73.7 cm ( sheet )

1980 The Lovers' Meal
gouache, watercolour, India ink, pencil, chalk on paper 76.8 x 57.2 cm

1980 The Studio at Night
colour lithograph 65.1 x 47.9 cm ( sheet )

1980 The Wait
oil on canvas 115.9 x 89 cm
Private Collection

1980 View of Notre-Dame
colour lithograph on Arches paper 115.6 x 75 cm ( sheet )

1980c Biblical Scene
oil on canvas 109.9 x 125.1 cm
Private Collection

1980c Clown and Violin
oil and ink on canvas 22.9 x 15.2 cm

1980c The Flight into Egypt
oil and pen and ink on canvas 19.3 x 24 cm
Private Collection

1981 Artist's Reminiscence
oil on canvas 116 x 89 cm
Private Collection

1981 Galerie Maeght poster
colour lithograph 90.5 x 57 cm

1981 Lovers
gouache, watercolour and pastel on card 80 x 60 cm

1981 Self-Portrait with Bouquet
oil on canvas 73 x 54 cm
Private Collection

1981 The Easel ( Le Chevalet )
etching and aquatint with hand-colouring on Rives wove paper 41.5 x 31 cm ( plate )

c1981 Songes (Dreams):
20 etchings (only 7 here found by me). Published by Éditions Gérald Cramer, Geneva, printed by Lacourière et Frélaut, Paris, text printed by Fequet- Baudier, Paris, contained an original parchment covered portfolio box.


1981 Songes
etching with hand-colouring on Rives wove paper 30.5 x 23.5 cm ( plate )

1981 Songes 
etching with hand-colouring on Rives wove paper 30.5 x 23.5 cm ( plate )

1981 Songes 
etching with hand-colouring on Rives wove paper 30.5 x 23.5 cm ( plate )

1981 Songes 
etching with hand-colouring on Rives wove paper 30.5 x 23.5 cm ( plate )

1981 Songes 
etching with hand-colouring on Rives wove paper 30.5 x 23.5 cm ( plate )

1981 Songes 
etching with hand-colouring on Rives wove paper 30.5 x 23.5 cm ( plate )

1981 Songes 
etching with hand-colouring on Rives wove paper 30.5 x 23.5 cm ( plate )


*          *          *          *          *

1982 Artist at a Festival
oil on canvas 116 x 89 cm
Private Collection

1982 Artist over Vitebsk
oil on canvas 92 x 60 cm
Private Collection

1982 Blue Horse with Couple
colour lithograph 38 x 28 cm ( sheet )

1982 Clown with Yellow Goat
colour lithograph 90.5 x 60 cm ( sheet )

1982 Flower Bouquet
oil on canvas 81 x 65 cm
Private Collection

1982-83 Newlyweds with Eiffel Towel in the Background
oil on canvas 61 x 50 cm
 Private Collection

1982-83c Around the Nude
ink and tempera on masonite 23.5 x 18.7 cm

1983 Bouquet over the Town
colour lithograph 65.7 x 47.9 cm ( sheet )

1983 Concert on the Square
hand-coloured lithograph 47.5 x 33 cm

1983 Couple on a Red Background
oil on canvas 81 x 65.5 cm
Private Collection

1983 Memory of a Spring
colour lithograph on Arches wove paper 65 x 47.5 cm ( sheet )

1983 Sun in the Sky of Saint-Paul
oil on canvas 73 x 115.5 cm

1983 The Appointment
colour lithograph on Arches wove paper 65 x 47.5 cm ( sheet )

1984 Back to Back
( details not found )

1984 Blue Clown
colour lithograph 83.5 x 60 cm

1984 Gathering in the Countryside
colour lithograph 63.5 x 48 cm

1984 Great Circus
oil on canvas 130 x 97 cm
 Private Collection

1984 The Painter in a Red Jacket
colour lithograph 61 x 48 cm
n.d. The Painter at the Easel
coloured pencil, pastel and watercolour on paper 41.8 x 29.6 cm

n.d. Self-Portrait at the Easel with Double Profile on a Red Background
oil and gouache on board 40.8 x 26.8 cm

1984-85 The Painter in Red
gouache and pastel on grey paper 67 x 52.7 cm
Private Collection


1984 The Sky
colour lithograph 83.5 x 60 cm

1984 The Winged Painter
colour lithograph 65.5 x 50 cm

That's All Folks.

Boris Artzybasheff - part 1

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“Get out of Russia, don’t sponge on my reputation, and change your name.” these were words of advice offered by M.P. Artsybasev, a well-known and respected Russian author, to his son Boris shortly before the First World War. Born in 1899, in Kharkov, Ukraine, the younger Artzybasheff did not leave Russia until 1919, after the Russian Revolution. The young artist settled in New York where he embarked on his artistic career. His earliest employment was as an engraver designing labels for beer and medicine bottles. He began doing free-lance work and soon established a reputation for creative design. 

Artzybasheff turned his attention to illustrating books. In 1927 his book designs won him the first of many prestigious awards including best illustrated book from both the American Library Association and the American Institute of Graphic Arts. Throughout his career he was commissioned to design more than thirty books and illustrate another twenty.


In 1940 the editors of Fortune magazine commissioned Artzybasheff to design a cover for the magazine. He had already created several colourful graphs and charts to illustrate articles in the magazine when he submitted a painting of a Japanese soldier standing before a large sculpted head of the Buddha.


1941 Fortune magazine April issue Japan in Asia

This cover illustration attracted the attention of Time magazine editors who were assembling a staff of illustrators to create cover designs. Artzybasheff created more than 200 covers for Time, including portraits of Stalin, Hitler, Truman, Mao Tse Tung, and Ho Chi Minh.


Time magazine, Ho Chi Minh

Other compelling forms of Artzybasheff’s published works were his illustrations of mechanized humans. These pictures, which often border on the surreal, display a keen sense of how the machine works or what human task the machine was meant to replace. The images of animated weapons of war and tyranny that were created for Life magazine, demonstrate how men can create monsters that are real and deadly.


1941 Imperturbable Tank Attack

When asked about his thoughts on war am weaponry, Artzybasheff relied, “I try to shake this thought off: It may be that a healthy planet should have no more life upon it than a well-kept dog has fleas; but what possesses the flea to concoct its own flea powder?” According to the editors of Life, Artzybasheff war machines “take a sardonic delight in their own power of estruction.” Many of his anthropomorphic designs, along with numerous other illustrations, were published in his 1954 book “As I See.”


As I See, 1954

Artzybasheff approached the creation of his paintings with the attention to detail and process that was similar to an engineer’s approach to designing a machined component. The precision of the planned design and his control over the methods and materials were extreme important to him. He kept extensive notes on his ideas, technique, and formulae for mixing gouache paints, and even notated his preparatory sketches, constantly making revisions and adaptations.

Often, he would “build” his paintings, starting with detailed drawings that were layered with skins of colour to develop the final design of the paintings. Components or features were frequently designed separately, then brought to the composition in their final form. The result was a picture that displayed the unique and imaginative vision of an artist who was justifiably labelled the “Master of the Machine Age.”

Biography adapted from Domenic J. Iacono

Associate Director of Syracuse University Art Collection


This is part 1 of a 12-part series on the works of Boris Artzybasheff:


1922 The Undertaker's Garland by John Peale Bishop:




The Death of the Last Centaur

Madman's Funeral

The Efficiency Expert

The Funeral of Mary Magdalen

The Fugitive Saint


The End

1922 Verotchka's Tales 

published by E.P. Dutton, New York:


Front Cover

Title Page

Bed Time

Bed Time

Bold Rabbit

Bold Rabbit

Cacinella

Cacinella

Crow and Canary

Crow and Canary

Milk, Cereal, and Moorka

Milk, Cereal, and Moorka

Mosquito and Mishka

Mosquito and Mishka

Sparrow, Stickleback, and Yasha

Sparrow, Stickleback, and Yasha

The Last Fly

The Last Fly

Vanka's Birthday

Vanka's Birthday

Wisest of All

Wisest of All


1927 Creatures by Colum Padraic 

published by Macmillan Co., New York:


Front Cover (wrapper)

Front and Back Cover (wrapper)

Back Cover (wrapper)

Frontispiece

Title Page



1927 The Wonder Smith and His Son by Ella Young:


Front Cover

Title Page








1923 Kazbek Perfume advertisement


Boris Artzybasheff - part 2

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff, and for earlier works, see part 1 also. This is part 2 of a 12-part series on the works of Boris Artzybasheff:

1925 The Forge in the Forest by Padraic Colum published by Macmillan Co., New York:

Front Cover

End Papers

End Paper

End Paper

Preface and Title Page

Preface

Title Page


















1927 Funnybone Alley by Alfred Kreymborg 

published by Macaulay Company, New York:

Front Cover

End Papers

Frontispiece
A bird of fancy en route to the evening star



Periwinkle Park








The Ballyboo Band


How the Moon thanked the Boys

How they rescued Strawberry's Dolls

Periwinkle Park

Periwinkle Park


Paper Dolls and Puppets

Paper Dolls and Puppets


What the Fisherman taught them

What the Fisherman taught them

The Pelican and the Crane


Long Words and Short Ones

On the Eve of the Bonfire

The Preparations for the Play


Minstrel Man



Boris Artzybasheff - part 3

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 & 2 also. This is part 3 of a 12-part series on the works of Boris Artzybasheff:

1928 Gay Neck, the Story of a Pigeon by Dhan Gopal Mukerji:





1929 The Golden Book Magazine:

1929 The Golden Book Magazine
March isssue

1929  The Golden Book Magazine
July issue

1929  The Golden Book Magazine 
August issue

1929  The Golden Book Magazine 
September issue

1929  The Golden Book Magazine 
October issue

1929  The Golden Book Magazine 
November issue

1930  The Golden Book Magazine 
January issue

1929 Three and the Moon; Legendary Stories of Old Brittany, Normandy & Provence by Jacques Dorey:

Front Cover (dust wrapper)

Hard Cover

Black Knight, Brandishing a Spear, on His Black Horse
Harvard Art Museums/Fogg Museum
© President and Fellows of Harvard College

Figure Falling into a Pit of Red Creatures
Harvard Art Museums-Fogg Museum
© President and Fellows of Harvard College

Four Knights Jousting
Harvard Art Museums-Fogg Museum
© President and Fellows of Harvard College

Knight Approaching the Sphinx
Harvard Art Museums-Fogg Museum
© President and Fellows of Harvard College

Knight in Blue and Red, Brandishing a Sword, on a Black Horse
Harvard Art Museums-Fogg Museum
© President and Fellows of Harvard College

Three Male Knights Surprising the Sleeping Female Knight
Harvard Art Museums-Fogg Museum
© President and Fellows of Harvard College

Three-Headed Fire-Breathing Green Creature
Harvard Art Museums-Fogg Museum
© President and Fellows of Harvard College

Winged, Clawed, Bearded, and Muscled Figure
Harvard Art Museums-Fogg Museum
© President and Fellows of Harvard College

1930 Orpheus; Myths of the World by Padraic Colum. Twenty engravings by Boris Artzybasheff published by Macmillan Co., New York:

Front Cover

Title Page










1933 Aesops Fables with wood-engravings by Boris Artzybasheff The Viking Press, New York:

Dust Cover

Hard Cover

End Paper


The Ass and the Horse

The Wind and the Sun

Sour Grapes

The Bat, the Birds, and the Beasts

The Goose that laid the Golden Egg

The Peacock and the Crane

The Dog who was invited to Dinner

The Peacock and the Crane

The Stag looking into Water

The Tiger and the Bulls

The Wind and the Sun


Boris Artzybasheff - part 4

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 3 also. This is part 4 of a 12-part series on the works of Boris Artzybasheff:

1932-1954c Machinalia:

Atlas Copco

Automation in Deutschland

Blooming Mill

Borer Miller

Browne & Sharpe

Electric Welders

Executive

Foaming Presses

Hydraulic Press

Machinalia

Machinalia

Machinalia

Machinalia

Machinalia

Machinalia

Machinalia

Machinalia

Making Steel

Milling

Mud Puddle

Navy Computer

One Lump Please

Planer

Radial Drill

Riveter

Rod Mill

Screw Cutter

Stranding Wire

Weaving Fence

Wire Drawing

Wire Hell-Fire

Wire Looms

Xerox

1934-1954 Neurotica:


Addiction

Alcoholism

Anxiety



Gastric Ulcers

Hypochondria

Indecision

Infantilism


Melancholia

Repressed Hostility

Schizophrenia

Timidity

Vanity

"We are getting to the bottom of it."


Boris Artzybasheff - part 5

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 4 also. This is part 5 of a 12-part series on the works of Boris Artzybasheff:

1935 The Circus of Dr. Lao by Charles G. Finney:

Front Cover










1937 Seven Simeons; a Russian Tale by Boris Artzybasheff:

Front Cover









1937 The Last Trumpet
wood engraving on Japan paper 28.4 x 18.3 cm

1940s World War II:

1940 Cannon

1940 Fortune magazine September issue
A Pilot's Blackout

1940 Fortune magazine
Southeast Asia & Japanese Controlled Areas

Japanese Warship

New Nazi Flag

P-38 Lightning

1941 Barrage Balloons

1941 Imperturbable Tank Attack

1941 Nazi Radio Propaganda


1942 Swastikas

1942 Wickwire Spencer Steel Company
Conveyor to Cook the Axis Goose

1942 Wickwire Spencer Steel Company
Springs with Stings

1943 Wickwire Spencer Steel Company
Jinnees of Freedom

1943 Wickwire Spencer Steel Company
The Spirit of '43

1944 Jet Propulsion Buzz Bomb

1941 Fortune magazine April issue
Japan in Asia

1941 Fortune magazine
Aviation's Backlog: These are the successive loads heaped upon a young industry

1941 Fortune magazine December issue
Economic Mobilisation

1941 Fortune magazine June issue
Cosmos of The UCC

1941 Time magazine
Joseph Stalin

1941 Time magazine 
Joseph Stalin artwork

1941 Time magazine
Marshal Timoshenko

1941 Time magazine 
Marshal Timoshenko artwork

1942 Advertisement for Wickwire Spencer Steel Company

1942 Land of Unreason by Fletcher Pratt and L. Sprague de Camp
published by Henry Holt and Co., New York

1942 Time magazine
Reich Marshall Hermann Goering -Director Air Operations artwork

1942 Time magazine
Reinhard Heydrich - Gestapo Chief

1942 Time magazine
Reinhard Heydrich - Gestapo Chief artwork


Boris Artzybasheff - part 6

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 5 also. This is part 6 of a 12-part series on the works of Boris Artzybasheff:

1942 Time magazine
Sir Arthur Wm. Tedder, British Air Chief Marshal artwork

1942 The Tree of Life
Selections from the literature of the world's religions

1942 Time magazine
Admiral Ernest J. King, Chief of Naval Operations artwork

1942 Time magazine August 11
Marshal von Rundstedt

1942 Time magazine July 20
Fireman Shostakovich
(Dmitri Shostakovich)

1942 Time magazine July 20
Dmitri Shostakovich artwork

1942 Time magazine
Marshal Timoshenko of Russia

1942 Time magazine May 11
Maxim Litvinoff

1942 Time magazine May 11 
Maxim Litvinoff artwork 
gouache and graphite on illustration board 27.3 x 24.3 cm
National Portrait Gallery, Smithsonian Institution

1942 Time magazine September 21
Field Marshal Fedor-von-Bock
Commander of Germany's Eastern-Front

1942 Time magazine September 21 
Field Marshal Fedor-von-Bock
Commander of Germany's Eastern-Front artwork

1943 Ajax and Aero advertisement

1943 Ajax and Aero Sanitary Paper Drinking Cups
The advertisement is encouraging the use of the product to prevent the spread of illness among war plant production workers

1943 Fortune magazine
Jesse Jones

1943 Fortune magazine June issue
Corn Kernel

1943 Time magazine February 15
Admiral Nagano of Japan

1943 Time magazine February 15
Admiral Nagano of Japan artwork 
gouache on illustration board 26.6 x 23.3 cm
 National Portrait Gallery, Smithsonian Institution

1943 Time magazine
General Harold George, Army Air Force Transport Command artwork

1943 Time magazine January 4
Joseph Stalin
(Man of the Year)

1943 Time magazine January 4 
Joseph Stalin artwork
(Man of the Year)

1943 Time magazine July 12
Turkish Premier Sukru Saracoglu

1943 Time magazine July 12 
Turkish Premier Sukru Saracoglu artwork

1943 Time magazine March 15
Elmer Davis, Head of the Office of War Information

1943 Time magazine March 15 
Elmer Davis, Head of the Office of War Information artwork

1943 Time magazine May 10
Admiral Karl Doenitz

1943 Time magazine May 10 Admiral Karl Doenitz artwork
 gouache, ink and graphite pencil on illustration board
26.8 x 23.9 cm
National Portrait Gallery, Smithsonian Institution

1943 Time magazine November 8
Admiral Mineichi Koga, Japanese Imperial Navy

1943 Time magazine November 8 
Admiral Mineichi Koga, Japanese Imperial Navy artwork

1943 Time magazine October 11
Heinrich Himler, Nazi S.S. Chief 

1943 Time magazine October 11 
Heinrich Himler, Nazi S.S. Chief artwork

1943 Time magazine Russian Marshal Alexander Vasilevsky artwork

1943 Time magazine September 6
Businessman Paul Hoffman

1943 Time magazine September 6 
Businessman Paul Hoffman artwork

1943 Time magazine
Sir Andrew B. Cunningham

1943 Time magazine 
Sir Andrew B. Cunningham artwork

1943 Wyandotte Chemicals Corporation
 Unmasked!

1943-48 Parker Pens advertisements:

1943

1944

1944

1944

1945

1945

1945

1946

1946

1946

1947

1947

1947

1947

1947

1947

1948

Note: I try to post three times a week whenever possible, usually Monday, Wednesday & Friday. 
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Boris Artzybasheff - part 7

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 6 also. This is part 7 of a 12-part series on the works of Boris Artzybasheff:

1944 Axis in Agony WWII anti Germany/Japan booklet published by Wickwire Spencer Steel Company:



















1944 Time magazine 21 August
Karl Rudolf von Rundstedt

1944 Time magazine 21 August Karl Rudolf von Rundstedt artwork
 gouache on illustration board 26.8 x 24 cm
National Portrait Gallery, Smithsonian Institution

1944 Time magazine December 25
Bishop Berggrav

1944 Time magazine December 25 
Bishop Berggrav artwork
1944 Time magazine February 14
Harrison E. Spangler artwork

1944 Time magazine July 3
Admiral Shigetaro Shimada -Minister of the Japanese Navy artwork

1944 Time magazine July 10
Field Marshal Sir Bernard Law Montgomery

1944 Time magazine July 10
Field Marshal Sir Bernard Law Montgomery artwork

1944 Time magazine June 12
Lt. General Carl Spaatz, Chief of U.S. Bombing Force

1944 Time magazine June 12
Lt. General Carl Spaatz, Chief of U.S. Bombing Force artwork

1944 Time magazine June 19
General Dwight Eisenhower, Commander European Forces

1944 Time magazine June 19
General Dwight Eisenhower, Commander European Forces artwork

1944 Time magazine March 6
King George VI of Great Britain

1944 Time magazine March 6
King George VI of Great Britain artwork

1944 Time magazine October 30
General Douglas MacArthur, Commander-Pacific Allied Army

1944 Time magazine October 30
General Douglas MacArthur, Commander-Pacific Allied Army artwork

1945 Time magazine
Adolph Hitler

1945 Time magazine April 9
Lt. General Patton

1945 Time magazine April 9
Lt. General Patton artwork

1945 Time magazine
Harry S. Truman artwork

1945 Time magazine
Man of the Year Harry S. Truman

1945 Time magazine October 8
Sinclair Lewis

1945 Time magazine October 8
Sinclair Lewis artwork

c1945-46 Communist Propaganda

1946 Ready for the Next War

1946 Time magazine April 15
California Banker Peter Giannini

1946 Time magazine April 15
California Banker Peter Giannini artwork

1946 Time magazine December 30
Marian Anderson

1946 Time magazine December 30
Marian Anderson artwork

1946 Time magazine January 28
Author Craig Rice artwork

1946 Time magazine January 28
Author Craig Rice

1946 Time magazine March 14
Chester Bliss Bowles

1946 Time magazine March 14
Chester Bliss Bowles artwork

1946 Time magazine March 18
Generalissimo Francisco Franco

1946 Time magazine March 18
Generalissimo Francisco Franco artwork

1946 Time magazine May 27
Edward H. Crump

1946 Time magazine May 27
Edward H. Crump artwork

1946 Time magazine November 18
Joe Martin

1946 Time magazine November 18
Joe Martin artwork

1946 Time magazine October 7
Financier Victor Emanual

1946 Time magazine October 7
Financier Victor Emanual artwork

1946 Time magazine October 21
Playwright Eugene O'Neill

1946 Time magazine October 21
Playwright Eugene O'Neill artwork
 

1946 Time magazine September 30
Politician Henry Wallace

1946 Time magazine September 30
Politician Henry Wallace artwork

1947 Anti-Submarine Warfare

1947 Time magazine
General Charles DeGaule artwork

1947 Time magazine July 7
Marlin Perkins

1947 Time magazine July 7
Marlin Perkins artwork

1947 Time magazine June 2
Billy Rose

1947 Time magazine June 2
Billy Rose artwork

1947 Time magazine March 17
Historian Arnold J. Toynbee

1947 Time magazine March 17
Historian Arnold J. Toynbee artwork
gouache and ink on paperboard 45.7 x 35.6 cm
National Portrait Gallery, Smithsonian Institution


Boris Artzybasheff - part 8

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 7 also. This is part 8 of a 12-part series on the works of Boris Artzybasheff:

1947 Time magazine May 26
Chen Lifu

1947 Time magazine May 26
Chen Lifu artwork

1947 Time magazine September 8
C.S. Lewis

1947 Time magazine September 8
C.S. Lewis artwork

1947 Time magazine
US Secretary of State George C. Marshall artwork

1947 Time magazine August 4
Atomic Energy Commission chairman David Lilienthal


1947 Time magazine August 4
Atomic Energy Commission chairman David Lilienthal artwork

1948 Time magazine August 16
David Ben-Gurion

1948 Time magazine August 16
David Ben-Gurion artwork

1948 Time magazine December 13
Columnist Drew Pearson artwork

1948 Time magazine February 9
Astronomer Edwin P. Hubble

1948 Time magazine February 9
Astronomer Edwin P. Hubble artwork

1948 Time magazine May 3
George Gallup

1948 Time magazine May 3
George Gallup artwork

1948 Time magazine October 25
William C. Menninger

1948 Time magazine October 25
William C. Menninger artwork

1948-49 Alcoa sails the Caribbean advertisements:












1949 The Little Sister by Raymond Chandler
dust jacket

1949 Time magazine August 8
FBI Head, J. Edgar Hoover

1949 Time magazine August 8
FBI Head, J. Edgar Hoover artwork

1949 Time magazine
Cornelius P. Rhoads artwork

1949 Time magazine
Cornelius P. Rhoads

1949 Time magazine February 21
Louis Armstrong

1949 Time magazine February 21
Louis Armstrong artwork

1949 Time magazine January 17
Senator Hubert Humphrey

1949 Time magazine January 17
Senator Hubert Humphrey artwork

1949 Time magazine January 24
Detroit's Charles Erwin Wilson

1949 Time magazine January 24
Detroit's Charles Erwin Wilson artwork

1949 Time magazine July 4
Los Angeles Mayor Bowron

1949 Time magazine July 4
Los Angeles Mayor Bowron artwork

1949 Time magazine March 28
Pan Am Airline Chief Juan Trippe

1949 Time magazine March 28
Pan Am Airline Chief Juan Trippe artwork

1949 Time magazine October 17
India's Prime Minister Jawaharlal Nehru

1949 Time magazine October 17
India's Prime Minister Jawaharlal Nehru artwork

1950 Time magazine December 11
Red China's Mao artwork

1950 Time magazine December 11
Red China's Mao

1950 Time magazine December 4
CBS's Frank Stanton
tempera on artist board 31.8 x 23.8 cm
National Portrait Gallery, Smithsonian Institution

1950 Time magazine December 4
CBS's Frank Stanton

1950 Time magazine August 7
Governor K.C. Wu artwork

1950 Time magazine August 7
Governor K.C. Wu

1950 The Travelers insurance company advertisement

1950 Time magazine May 15 Coca-Cola artwork

1950 Time magazine May 15 Coca-Cola






















Boris Artzybasheff - part 9

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 8 also. This is part 9 of a 12-part series on the works of Boris Artzybasheff:

1950 Time magazine January 30
Commerce Secretary Charles Sawyer

1950 Time magazine January 30
Commerce Secretary Charles Sawyer artwork

1950 Time magazine March 6
T.S. Eliot

1950 Time magazine March 6
T.S. Eliot artwork

1951 Shell X-100 Motor Oil advertisement

1951 Shell X-100 Motor Oil advertisement

1951 Shell X-100 Motor Oil advertisement

1951 The GM System of Floriculture

1951 Time magazine August 20
Lt. Gen. Vasily Stalin

1951 Time magazine August 20
Lt. Gen. Vasily Stalin artwork

1951 Time magazine February 19
Charles Edward Wilson

1951 Time magazine February 19
Charles Edward Wilson artwork

1951 Time magazine July 2
The Pentagon

1951 Time magazine March 12
Crime Hunter Kefauver

1951 Time magazine March 12
Crime Hunter Kefauver artwork

1951 Time magazine May 28
Frederick Rentschler

1951 Time magazine May 28
Frederick Rentschler artwork

1952 Executive of the Future
Casco Cybernetics

1952 Time magazine December 8
Space Pioneer

1952 Time magazine February 4
Clarence Decatur Howe

1952 Time magazine February 4
Clarence Decatur Howe artwork

1952 Time magazine February 11
British Prime Minister Anthony Eden

1952 Time magazine February 11
British Prime Minister Anthony Eden artwork

1952 Time magazine June 9
Kurt Schumacher 

1952 Time magazine June 9
Kurt Schumacher artwork

1952 Time magazine May 19
Richard Russell, Georgia Senate race Candidate

1952 Time magazine May 19
Richard Russell, Georgia Senate race Candidate  artwork

1952 Time magazine November 16
Igor Sikorsky

1952 Time magazine November 16
Igor Sikorsky artwork

1952 Time magazine September 15
G. Mennen Williams

1952 Time magazine September 15
G. Mennen Williams artwork

1952-54 Lycoming advertisements:

1952 Lycoming: "Blasts" for Jets

1952 Lycoming: "Sinews" to give cars "go"

1952 Lycoming: Hot "juice" for cold jets

1952 Lycoming: Meet a power generator with "legs"

c1952-1954 Lycoming: It's "twins" for Piper … by Lycoming

1953 Lycoming: "Leg muscles" that cushion a jet's landing

1953 Lycoming: Big "doings" in metal

1953 Lycoming: Big "doings" in metal  detail

1953 Lycoming: How a jet engine runs on its "nerves"

1953 Lycoming: New 'ticker" for tanks

1953 Lycoming: Strong "wrists" for America's new hay balers

1953 Lycoming: The hand that helps keep America "running"

1954 Lycoming: New speedster that can "crawl" without "stall"

1954 Lycoming: New "vitals" for this Korean air vet

1954 Lycoming: Parts that put new "starts" in jets

1954 Lycoming: Private "air truck" for Very Special Delivery"

1954 Lycoming: Stout "hearts" for Navy sub killers

Lycoming: How a helicopter hangs its "elbows"

Lycoming: meet a "flyer" with over 250.000,000 hours behind him!





Boris Artzybasheff - part 10

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 9 also. This is part 10 of a 12-part series on the works of Boris Artzybasheff:

1953- Shell X-100 Motor Oil advertisements:









1953 Time magazine
Amateur Photographer

1953 Time magazine April 27
Test Pilot Bridgeman
1953 Time magazine August 3
Allen W. Dulles, Head of CIA


1953 Time magazine August 3
Allen W. Dulles, Head of CIA artwork

1953 Time magazine February 2
Harold S. Vance

1953 Time magazine February 2
Harold S. Vance artwork

1953 Time magazine June 29
James H. Kindelberger

1953 Time magazine June 29
James H. Kindelberger

1953 Time magazine March 16
Joseph Stalin

1953 Time magazine March 16
Joseph Stalin

1953 Time magazine October 19
Superintendent William Jansen

1953 Time magazine October 19
Superintendent William Jansen

1954 Bore Miller

1954 Brown & Sharpe Screw Cutter

1954 Electric Welder

1954 Lathe

1954 Milling

1954 Pentagon Computer

1954 Planing

1954 Radial Drill

1954 Time magazine February 1
Harry J. Grant

1954 Time magazine February 1
Harry J. Grant artwork

1954 Time magazine February 22
Paul E. Magloire

1954 Time magazine February 22
Paul E. Magloire artwork

1954 Time magazine
Jazzman Dave Brubeck

1954 Time magazine
Konrad Adenauer

1954 Time magazine March 29
Dr. Jonas Salk

1954 Time magazine March 29
Dr. Jonas Salk

1954 Time magazine
Sears Roebuck's Robert E. Wood

1955 Life magazine
"The Gods and Demons"

1955 Life magazine
"The Gods and Demons" detail

1955 Life magazine
"The Gods and Demons" detail

1955 Life magazine
"The Gods and Demons" detail

1955 Time magazine August 8
Roy Campanella

1955 Time magazine August 8
Roy Campanella

1955 Time magazine December 12
Toymaker Louis Marx

1955 Time magazine December 12
Toymaker Louis Marx

1955 Time magazine March 28
IBM's Thomas Watson Jr.

1955 Time magazine May 9
Marshall Georgy Zhukov

1955 Time magazine May 9
Marshall Georgy Zhukov

1955 Time magazine May 16
Caltech's Lee DuBridge

1955 Time magazine May 16
Caltech's Lee DuBridge

1955 Time magazine October 17
Ed Sullivan

1955 Time magazine October 17
Ed Sullivan


Boris Artzybasheff - part 11

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 10 also. This is part 11 of a 12-part series on the works of Boris Artzybasheff:

1955 Time magazine September 12
Lt. Colonel Paul Stapp

1955 Time magazine September 12
Lt. Colonel Paul Stapp

1955 Time magazine February 14
Carl Jung

1955 Time magazine February 14
Carl Jung

1956 Time magazine April 30
Russia's Nikita Krushchev

1956 Time magazine April 30
Russia's Nikita Krushchev

1956 Time magazine
August Stavros Niarchos

1956 Time magazine August
Stavros Niarchos

1956 Time magazine December 7
Weatherman Carl-Gustaf Rossby

1956 Time magazine December 7
Weatherman Carl-Gustaf Rossby

1956 Time magazine January 2
General Motors' Curtice

1956 Time magazine January 2
General Motors' Curtice

1956 Time magazine June 25
World Bank's Eugene Black

1956 Time magazine June 25
World Bank's Eugene Black

1956 Time magazine March 19
France's Pierre Poujade

1956 Time magazine March 19
France's Pierre Poujade

1956 Time magazine September 3
Washington State Governor Arthur Langlie

1956 Time magazine September 3
Washington State Governor Arthur Langlie

1956 Time magazine
The Missile

1957 Automation? You name it… We'll tape it!
Advertisement

1957 Self-Portrait
photograph and ink on paperboard 34.3 x 26 cm
National Portrait Gallery, Smithsonian Institution

1957 Time magazine June 24
Road Builders

1957 Time magazine June 24
Road Builders artwork
tempera on masonite 45.7 x 35.6 cm
National Portrait Gallery, Smithsonian Institution

1957 Time magazine May 13
Attorney General Herbert Brownell Jr.

1957 Time magazine October 14
The U.S. Repairman

1957 Time magazine October 14
The U.S. Repairman artwork
acrylic on canvas 45.1 x 35.6 cm
National Portrait Gallery, Smithsonian Institution

1957 Time magazine September 6
Russia's Anastas Mikoyan

1957 Time magazine September 6
Russia's Anastas Mikoyan artwork
tempera and pencil on paper 31.8 x 23.2 cm
National Portrait Gallery, Smithsonian Institution

1958 Fabled Voyages
Bizarre Findings of Lunar Fiction

1958 Fabled Voyages
Bizarre Findings of Lunar Fiction detail

1958 Fabled Voyages
Bizarre Findings of Lunar Fiction detail

1958 Time magazine January 6
Nikita Khrushchev, Man the Year

1958 Time magazine January 6
Nikita Khrushchev, Man the Year artwork
tempera on masonite 31.8 x 22.5 cm
National Portrait Gallery, Smithsonian Institution

1958 Time magazine July 14
Geneticist George W. Beadle

1958 Time magazine July 14
Geneticist George W. Beadle artwork
tempera and pencil on masonite 47.6 x 38.1 cm
National Portrait Gallery, Smithsonian Institution

1958 Time magazine
US Defense Secretary Neil H. McElroy

1959 Time magazine
Atomic Submarine's Admiral Rickover

1959 Time magazine February 23
The Telephone Man

1959 Time magazine March 8
James Van Allen

1959 Time magazine March 8
James Van Allen artwork
 pencil, ink and tempera. ink and pencil on board
 47.6 x 38.1 cm
National Portrait Gallery, Smithsonian Institution

1959 Time magazine January 19
Space Exploration U.S. v. Russia

1959 Time magazine January 19
Space Exploration U.S. v. Russia
 tempera and ink on masonite 50.1 x 40.9 cm
National Portrait Gallery, Smithsonian Institution

1960 New Products

1960 Time magazine April 25
Lyndon Baines Johnson

1960 Time magazine January 18
U.S. Commuters

1960 Time magazine January 18
U.S. Commuters artwork
 tempera and pencil on masonite 77.5 x 57.2 cm
National Portrait Gallery, Smithsonian Institution

1960 Time magazine
John H. Loudon of Royal Dutch Shell

1960 Time magazine June 6
Rush Hour in Space

1960 Time magazine March 28
Jacques Cousteau

1960 Time magazine March 28
Jacques Cousteau artwork
tempera on board 35.6 x 25.4 cm
National Portrait Gallery, Smithsonian Institution




Boris Artzybasheff - part 12

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Boris Artzybasheff (1899-1965) fought with anti-communist White Russians before emigrating to America (he spoke no English and arrived with 14 cents). A chameleon, able to adapt different styles, from children's books to portraits. Renowned for his ability to turn machines into living beings (and living beings into who-knows-what). Advisor to the Psychological Warfare branch during WW II. A profuse illustrator for mainstream magazines: Life, Fortune, and Time (producing over two hundred covers for the latter). He illustrated fifty books, including those he wrote himself, notably "As I See." He did many illustrations for advertising; for Xerox, Shell Oil, Pan Am, Casco Power Tools, Alcoa Steamship lines, Parke Davis, Avco Manufacturing, Scotch Tape, Wickwire Spencer Steele, Vultee Aircraft, World Airways, and Parker Pens. Mechanics Illustrated profiled him with a cover story in 1954, "When Machines Come to Life."

For more information on Artzybasheff see part 1. For earlier works see parts 1 - 11 also. This is part 12 of a 12-part series on the works of Boris Artzybasheff:

1961 Leisure Camping

1960 Time magazine
New Products


1961 Time magazine August 18
C. Douglas Dillon

1961 Time magazine August 18
C. Douglas Dillon artwork
 tempera, pencil and ink on board 47 x 35.9 cm
National Portrait Gallery, Smithsonian Institution

1961 Time magazine August 25
Walter Ulbricht

1961 Time magazine August 25
Walter Ulbricht artwork
 tempera on Masonite 53.9 x 42.5 cm
National Portrait Gallery, Smithsonian Institution

1961 Time magazine October 27
Thomas V. Jones

1961 Time magazine October 27
Thomas V. Jones

1962 Avco advertisement
"Avco makes Corn Pickers, too."

1962 Avco advertisement
"Centuries of history teach the importance of military mobility."

1962 Time magazine August 10
Concept sketch for D. Brainerd Holmes

1962 Time magazine August 10
Concept sketch for D. Brainerd Holmes

1962 Time magazine August 10
D. Brainerd Holmes

1962 Time magazine August 10
D. Brainerd Holmes artwork
 tempera, pencil and ink on masonite 50.8 x 40.6 cm
National Portrait Gallery, Smithsonian Institution

1962 Time magazine August 31
The Berlin Wall

1962 Time magazine August 31
The Berlin Wall artwork
 tempera and ink on masonite 35.6 x 25.4 cm
National Portrait Gallery, Smithsonian Institution

1962 Time magazine March
Spaceman John Glenn

1962 Time magazine March 2
Spaceman John Glenn artwork
 pencil, ink and tempera on masonite 48.2 x 38.1 cm
National Portrait Gallery, Smithsonian Institution


1963 Avco advertisment for missiles
 "Sinews of strength take many forms."
watercolour and gouache on board 34.3 x 30.5 cm

1963 Avco advertisement
Avco manipulates molecules into new and useful shapes.

1963 Time magazine January 18
Architect Minoru Yamasaki

1963 Time magazine January 18
Architect Minoru Yamasaki
 tempera on board 36.9 x 26 cm
National Portrait Gallery, Smithsonian Institution

1963 Time magazine September 6
Planner William Pereira

1963 Time magazine September 6
Planner William Pereira

1963 Time magazine September 13
Red China

1963 Time magazine September 13
Red China artwork
opaque paint and marker on masonite 65.1 x 49.8 cm
National Portrait Gallery, Smithsonian Institution

1964 Der Spiegel
Automation in Germany

1964 Time magazine August 28
Lady Bird Johnson

1964 Time magazine August 28
Lady Bird Johnson artwork
 watercolour, gouache, coloured pencil and graphite pencil on paperboard 55.6 x 40.4 cm
National Portrait Gallery, Smithsonian Institution

1964 Time magazine February 21
Leonid Brezhnev

1964 Time magazine February 21
Leonid Brezhnev artwork
 Tempera on masonite 51.1 x 38.1 cm
National Portrait Gallery, Smithsonian Institution

1964 Time magazine January 10
R. Buckminster Fuller

1964 Time magazine January 10
R. Buckminster Fuller artwork
 tempera on board 43.2 x 31.1 cm
National Portrait Gallery, Smithsonian Institution

1964 Time magazine June 26
General Kong Lee

1964 Time magazine June 26
General Kong Lee artwork
 tempera on board 52.1 x 35.9 cm
National Portrait Gallery, Smithsonian Institution

1964 TIme magazine November 27
Du Pont's Copeland

1964 Time magazine October 2
Lee Harvey Oswald

1964 Time magazine October 2
Lee Harvey Oswald artwork
 tempera on board 36.6 x 25.7 cm
National Portrait Gallery, Smithsonian Institution

1965 Time magazine July 16
Ho Chi Minh

1965 Time magazine July 16
Ho Chi Minh artwork
 tempera on masonite 53.3 x 40.6 cm
National Portrait Gallery, Smithsonian Institution

1965 Time magazine April 2
The Computer in Society

1965 Time magazine
The Computer in Society artwork
 tempera and pencil on masonite 53.3 x 40.6 cm
National Portrait Gallery, Smithsonian Institution

n.d. Betty and Boris Artzybasheff Christmas card
"Betty and Boris Artzybasheff wish you Merry Christmas and the best of everything, and above all,
 the best of health!"
28 x 20 cm

(Date not found) Dateline 25th Anniversary

(Date not found) Fortune magazine
US Public Health Service

(Date not found) Skeleton Hand and Skull Silhouette




Edward Burne-Jones - part 1

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c 1860s Sir Edward Burne-Jones by David Wilkie Wynfield
Albumen print 21 x 15.9 cm
Royal Academy of Arts, London

Edward Burne-Jones was born in Birmingham and was an important British artist of the 19th century. His art influenced major European painters of the late 19th and early 20th centuries. His work encompassed styles of Medievalist, Pre-Raphaelite, Symbolist, and Aesthetic art. He was also an Arts and Crafts designer.

The son of Edward Richard Jones, framer and gilder, and Elizabeth Coley, who died six days after his birth. He attended King Edward VI Grammar School, Birmingham. In 1853 he entered Exeter College, Oxford, as a divinity student where he met William Morris.

Although untrained as an artist, he took inspiration from the art of the Pre-Raphaelite Brotherhood. In 1856 he received lessons in painting from Dante Gabriel Rossetti (1828-82). In 1857 he received his first artistic commission for Archibald MacLaren's "The Fairy Family." 


1857 The Fairy Family

1857 also saw his first commission to design stained glass, for James Powell & Sons, of "The Good Shepherd."


1857 The Good Shepherd
watercolour and ink 128.9 x 47.7 cm
Victoria & Albert Museum, London

Burne-Jones created many pen and ink designs, imitative of Rossetti. He began his first mural painting for the Old Debating Chamber in the Oxford Union Society in 1857. He visited Italy four times between 1859-1873. During the early visits he made copies of the Old Masters, while later he was influenced by the Renaissance artists Botticelli and Michelangelo. 1860 he married Georgiana Macdonald on 9 June in Manchester. He utilised her as the model for his female subjects for many years.

1861, a founding partner of Morris, Marshall, Faulkner & Co. Designs creating stained glass cartoons, textiles, including embroidery and ceramic tiles. His medieval subjects merged with his interest in Venetian painting in watercolours of the early 1860s. In the 1870s this is replaced by the influence of classical sculpture. An introduction to the Anglo- Greek community in London sees Maria Zambaco (1843-1914) become his new muse and model in the later 1860s.

By 1875 he was the sole designer of stained glass for Morris & Co. In 1885 elected Associate of the Royal Academy; and Honorary President of the Royal Birmingham Society of Artists, visiting Birmingham in the autumn. In 1887 he started work on the largest watercolour of the 19th century, "The Star of Bethlehem", completed in 1890. The watercolour was commissioned by the Corporation of Birmingham for the City's new Museum and Art Gallery. Shortly before his death, Burne-Jones completed an unfinished watercolour painting, begun in 1865, 'The Prioress' Tale', which fuses many of the aspects of his long and varied career.


1869-98 The Prioress's Tale
watercolour and gouache on paper mounted on linen
 103.5 x 62.8 cm
 Delaware Art Museum, Wilmington, DE

This is part 1 of a 14-part series on the works of Edward Burne-Jones:


c1856-61 Study for the figure of 'The Blessed Damozel'
pencil on cream paper 20.4 x 33.6 cm
Birmingham Museum and Art Gallery, UK

1856-61c The Blessed Damozel
watercolour, gouache, and shell gold on paper mounted on canvas 40.7 x 20.7 cm
Harvard Art Museums
© President and Fellows of Harvard College

1857 Solomon and the Queen of Sheba design for stained glass 
watercolour and India ink 213 x 49.5 cm 
Victoria & Albert Museum, London

1857 The Annunciation
oil on canvas 53.4 x 19.5 cm 
Birmingham Museums Trust, UK

Whisper Whisper from "The Fairy Family"

1857 Adam and Eve after the Fall
design for stained glass watercolour and India ink 214.4 x 47.8 cm
Victoria & Albert Museum, London

1857 Building of the Tower of Babel
design for stained glass watercolour and India ink 220.4 x 52 cm
Victoria & Albert Museum, London

1857 The Annunciation
oil on canvas 53.4 x 19.5 cm 
Birmingham Museums Trust, UK

c1857 Calling of Saint Peter
stained glass 107.2 x 35.6 cm
Victoria & Albert Museum, London

1858 Sir Galahad
black ink on vellum 15.6 x 19.2 cm
Harvard Art Museums, Cambridge, MA 
© President and Fellows of Harvard College

1858 The Knights Farewell
ink on paper 22 x 27 cm
The Ashmolean Museum, Oxford, UK

1858-59 Alice la Belle Pèlerine
graphite and black ink, heightened with white, on vellum 25.5 x 14.5 cm


1857 The Good Shepherd
watercolour and ink 128.9 x 47.7 cm
Victoria & Albert Museum, London

1858 Study for Merlin in "Merlin and Nimue"
graphite 32.7 x 18 cm

1861 Merlin and Nimue
watercolour and gouache 64.1 x 50.8 cm

after 1859 Sketchbook 
graphite and watercolour on paper 19 x 26.3 cm: 





















                               *         *         *         *        *
c1859-60" I rose up in the silent night: I made my dagger sharp and bright"
from Tennyson's poem "The Sisters"
pen and black ink with scratching out over graphite on wove paper 12.7 x 14.6 cm
Philadelphia Museum of Art, PA

1860 (made) Christ in Majesty
gouache 131 cm diameter
Victoria & Albert Museum, London


1860 Ladies and Animals Sideboard

A design for a cabinet depicting good and bad animals. The cabinet itself was probably designed by Philip Webb and then painted by Burne-Jones with the scenes. It was Burne-Jones's gift to his bride, Georgiana MacDonald on 9 June 1860. In her 'Memorials', Georgiana Burne-Jones described its origins thus:' In the unsettled week before his marriage Edward had amused himself by painting some figures upon a plain deal sideboard which he possessed, and this in its new state was a delightful surprise to find. 'Ladies & Animals' he called the subjects illustrated, and there were seven pictures, three on the cupboard doors in front, and two at each end, which showed them in various relations to each other. Three kind and attentive ladies were feeding pigs, parrots and fishes; two cruel ones were tormenting an owl by forcing him to look at himself in a round mirror, and a goldfish by draining him dry in a net; while two more were expiating such sins in terror at a hideous newt upon the garden path and the assault of a swarm of angry bees.' 



1860 Ladies and Animals Sideboard study
Birmingham Museum and Art Gallery, UK

1860 Ladies and Animals Sideboard study
Birmingham Museum and Art Gallery, UK

1860 Ladies and Animals Sideboard study
Birmingham Museum and Art Gallery, UK

1860 Ladies and Animals Sideboard study
Birmingham Museum and Art Gallery, UK

1860 Ladies and Animals Sideboard study
Birmingham Museum and Art Gallery, UK

1860 Ladies and Animals Sideboard
pine, painted in oil paint, with gold and silver leaf
 116.8 x 152.4 x 73.7 cm
Victoria & Albert Museum, London


1860 Ladies and Death
pen and ink over graphite laid down on thin card 14.4 x 45 cm
National Gallery of Victoria, Melbourne, Australia

1860 Ladies and Death detail

1860 Ladies and Death detail

1860: Sidonia von Bork 1560

Sidonia von Bork is the central character in Wilhelm Meinhold's gothic romance 'Sidonia the Sorceress'. The novel is set in sixteenth-century Pomerania and chronicles the crimes of the evil Sidonia, whose beauty captivates all who see her. She is shown here at the court of the dowager Duchess of Wolgast, one of the early intrigues in a career that leads to her execution as a witch. Many of the details of Sidonia's appearance are taken directly from Meinhold's description, but the costume is derived from a portrait of Isabella d'Este by Giulio Romano at Hampton Court. This is one of three figure studies, which were the earliest watercolours Burne-Jones completed.



1860 Sidonia von Bork 1560
watercolour and gouache on paper 33.3 x 17.1 cm
Tate, London

1860 Clara von Bork 1560
watercolour and gouache on paper 34.2 x 17.9 cm
Tate, London

1860 The Star of Bethlehem
watercolour and gouache 101.1 x 152 cm
Birmingham Museum and Art Gallery, UK

1860 The Third day of Creation design for stained glass
gouache 96 cm diameter
Victoria & Albert Museum, London

1860 The Wedding Procession of Sir Degrevaunt
 mural design
pencil on blue paper, squared for transfer 28.8 x 28.9 cm
Birmingham Museum and Art Gallery, UK

1860 The Wedding Procession of Sir Degrevaunt
tempera on plaster 114 x 102 cm
Red House, Kent, National Trust

1860-63 Phyllis
linen ground, partially painted, and embroidered with wools and with couched gold thread 126 x 51 cm
 Victoria & Albert Museum, London

c1860-80 Design for stained glass 144.1 x 54.6 cm
Victoria & Albert Museum, London

c1860 (made) Merchant's Daughter
stained glass 33.6 x 18.5 cm
Victoria & Albert Museum, London

c1860c (made) The King
stained glass 33.6 x 18.4 cm
Victoria & Albert Museum, London

1860c Study for ‘Ezekiel and the Boiling Pot’
graphite on paper 4.3 x 11.6 cm
Tate, London

1860c Study for ‘Ezekiel and the Boiling Pot’
graphite on paper 4.4 x 11.7 cm
Tate, London

1860c Study for ‘Ezekiel and the Boiling Pot’
graphite on paper 18.1 x 13.3 cm
Tate, London

1881 (published) Parable of the Boiling Pot
engraved by the Dalziel Brothers
wood engraving on paper 17.8 x 13.3 cm

Ezekiel and the Boiling Pot
ink and watercolour on vellum mounted on canvas
 26 x 15.2 cm
Tate, London





Edward Burne-Jones - part 2

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c1864 Sir Edward Burne-Jones by John Watkins, or by Cundall, Downes & Co
albumen carte-de-visite 9.2 x 5.9 cm
© National Portrait Gallery, London

Edward Burne-Jones became a founding member of William Morris’s decorative art firm in 1861, where he produced countless designs and illustrations for books, tapestries, ceramic tiles, mosaics and stained glass. In 1862, he travelled to Italy where he was introduced to Botticelli, whose formal patterning profoundly influenced his subsequent development as a painter. His typical subject matter derived from medieval and classical legends charged with symbolism. In fact, he was pre-eminent in the Aesthetic movement in England and the Symbolist movement in Europe. A defining characteristic of Burne-Jones as an artist was his wilful blurring of the boundaries between his painting and his decorative work.

For more information on Burne-Jones, and for earlier works, see part 1 also.

This is part 2 of a 14-part series on the works of Edward Burne-Jones.

1860c Charlemagne
design for embroidery 78.7 x 41.9 cm
Victoria & Albert Museum, London

c1860 Tiles
earthenware painted in blue and white
Victoria & Albert Museum, London


c1860 Tiles
earthenware painted in blue and white
Victoria & Albert Museum, London

early 1860s Head Study of a Woman
red chalk over pencil, cream toned paper 13.7 x 18.2 cm
Birmingham Museum and Art Gallery, UK

1860s The Story of Cupid and Psyche
wood engraving 11.1 x 16.6 cm

1860s The Story of Cupid and Psyche
wood engraving 11.4 x 8.7 cm

1860s The Story of Cupid and Psyche
wood engraving 11.4 x 8.7 cm

1860s The Story of Cupid and Psyche
wood engraving 11.4 x 16.3 cm

1860s The Story of Cupid and Psyche
wood engraving 11.7 x 9.2 cm

1860s The Story of Cupid and Psyche
wood engraving 15.4 x 20.7 cm

1860s The Story of Cupid and Psyche
wood engraving 16.5 x 10.9 cm

1860s The Story of Cupid and Psyche
wood engraving 20.1 x 15 cm

1860s-70s Study of two male figures for the unfinished painting 'Styx' 
black chalk on paper 23.5 x 13.5 cm
Art Gallery of South Australia, Adelaide

1860s-70s Study of two male figures for the unfinished painting 'Styx'
graphite on paper 18 x 12.8 cm
Art Gallery of South Australia, Adelaide

c1873 Souls on the Banks of the River Styx
oil on canvas 89 x 69.8 cm

1861 Dido
graphite and watercolour on fabric 25.4 x 12.7 cm
Tate, London

1861 Fair Rosamund and Queen Eleanor
mixed media on paper 49.5 x 37.5 cm
Yale Center for British Art, New Haven, CT

1861 Figure of a Queen
watercolour and graphite on fabric 25.4 x 13 cm
Tate, London

1861 King René's Honeymoon
pen, India ink and wash over coloured chalk and pencil, on paper 34.2 x 55 cm
Birmingham Museum and Art Gallery, UK

1861 Merlin and Nimue
watercolour and gouache 94.2 x 81.5 cm
Victoria & Albert Museum, London

1861 The Annunciation and the Adoration of the Magi

This Triptych was originally commissioned for the Church of St Paul's, Brighton. It is one of the most important large-scale works from the early part of Burne-Jones's career. After it had been installed in St Paul's he decided that the central panel was too complicated and went on to paint a second version for the church. His handling of the Biblical story owes much to the paintings of the Italian Renaissance, particularly to nativity scenes by Fra Angelico and Tintoretto. He was also influenced by Rossetti, who was then working on a triptych for Llandaff Cathedral. Among those who modelled for the picture were William and Jane Morris, and the poet Algernon Charles Swinburne.

1861 The Annunciation and the Adoration of the Magi
oil on three canvases
108.6 x 73.7 cm / 108.6 x 156.2 cm / 108.6 x 73.7 cm
Tate, London

1861 The Annunciation and the Adoration of the Magi 
oil on canvas 108.6 x 73.7 cm
Tate, London

1861 The Annunciation and the Adoration of the Magi
oil on canvas 108.6 x 156.2 cm
 Tate, London

1861 The Annunciation and the Adoration of the Magi
oil on canvas 108.6 x 73.7 cm
 Tate, London

1861 The Goldfish Pool
oil on canvas
Tulle House Museum and Art Gallery Trust, Carlisle, UK

1861 Thisbe
graphite and watercolour on fabric 25.4 x 13.3 cm
Tate, London

1861-62 Theseus and the Minotaur

Burne-Jones's accounts for early 1862 list two designs for 'Theseus' tiles, of which this is the only one known, but may have been executed as early as 1861. It shows a four five-inch tile format for the narrative scene and a mediaeval-style interpretation of the subject matter, with Theseus dressed in a tunic of Late Gothic damask or brocade and the Minotaur peering, gargoyle-like, round the labyrinth wall. It derives not from ancient mythology, but from Chaucer's retelling of the Greek story in his 'Legend of Good Women', which explains its medieval character.


1861-62 Theseus and the Minotaur in the Labyrinth
tile design pencil, brown wash, pen and ink on paper 25.5 x 26.1 cm
Birmingham Museum and Art Gallery, UK

1861-64 (made) Dido and Cleopatra
stained glass 47 x 43.2 cm
Victoria & Albert Museum, London

1861-64 (made) The God of Love and Alceste
stained glass 47 x 53.2 cm
Victoria & Albert Museum, London

1861 Clerk Saunders

Burne-Jones had a 'passionate sympathy' for Sir Walter Scott's collection of romantic ballads, 'The Minstrelsy of the Scottish Border'. One of the poems in the anthology was the source of this watercolour. The incident depicted comes at the end of the ballad of 'Clerk Saunders', when Margaret is visited by the spirit of her dead lover, the Clerk of the title, who has been murdered by her brothers. The flowing lines of the costumes are self-consciously mediaeval and may have been inspired by the clothes William Morris designed for his wife and other women of his and Burne-Jones's circle.


1861 Clerk Saunders
watercolour on paper 69.9 x 41.8 cm
Tate, London

c1861 Study for Clerk Saunders
graphite on paper 29.7 x 14.8 cm
Tate, London

1861 Sketchbook 
Graphite, pen and ink, watercolour 
Victoria & Albert Museum, London









1861 The Backgammon Players

Made the year William Morris’s design firm was founded, this cabinet is one of the company’s earliest attempts to fine and applied arts. The architect Philip Webb devised the frame and Byrne-Jones ornamented the doors with a game-playing couple; a traditional metaphor for courtship.

When the piece was shown in the Mediaeval Court at the International Exhibition in London in 1862, critics disparaged the “crude” structure and colour, but praised the “beautifully painted” figures.


c1861 Possibly a study for The Backgammon Players
graphite on paper 21 x 22.5 cm
Tate, London

1861 The Backgammon Players
painted and gilded pine, painted leather, copper hardware, painted iron hinges
The Metropolitan Museum of Art, New York

1861 The Backgammon Players 
detail

1861 The Backgammon Players 
detail

c1861 Head of a Girl 
graphite on paper 18.6 x 14 cm
Tate, London


c1861 Head of a Man 
graphite on paper 11.4 x 13 cm
Tate, London

c1861 Head of a Woman
graphite on paper 14 x 16.6 cm
Tate, London

c1861 Study for The Adoration of the Magi
graphite on paper 15.4 x 14.5 cm
Tate, London

1861c Woman in an Interior
graphite and watercolour on paper 22.5 x 31.8 cm
Tate, London

1862 (published) Sigurd the Crusader
engraved by the Dalziel Brothers
wood engraving on paper 15.6 x 11.4 cm
Tate, London

1861-80 Cupid and Psyche 

1865 Study for Cupid and Psyche
 black and white chalk on brown paper 42.5 x 27.5 cm
Harvard Art Museums, Cambridge, MA
© President and Fellows of Harvard College

1865-67 Cupid and Psyche
oil on canvas
Manchester Art Gallery, UK

1866 Cupid finding Psyche
watercolour and gouache
The British Museum, London

1867 Cupid Delivering Psyche
watercolour, body colour, chalk & oil pastel on paper 52.1 x 61 cm
The Higgins Art Gallery & Museum, Bedford, UK

1870 Cupid and Psyche
(Maria Cassavetti Zambaco, model) 
Clemens-Sels-Museum, Dusseldorf, Germany

1870 Study for Cupid finding Psyche
graphite on paper 19.3 x 16 cm
National Gallery of Victoria, Melbourne, Australia

1870c Cupid finding Psyche
watercolour, gouache and pastel on wove paper mounted on linen 70.2 x 48.3 cm
Yale Centre for British Art, New Haven, CT

1872-80 Cupid finding Psyche asleep by a Fountain
oil on canvas 124.5 x 119.5 cm
Birmingham Museum and Art Gallery, UK

1872-81 Psyche receiving the Casket back
oil on canvas 119 x 183 cm
Birmingham Museum and Art Gallery, UK

Note: I try to post three times a week whenever possible, usually Monday, Wednesday & Friday. I also put notice and a link on Twitter: @poulwebb

 

Edward Burne-Jones - part 3

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1869-70 Sir Edward Burne-Jones by George Frederic Watts
oil on canvas
Birmingham Museums, UK


Edward Burne-Jones became a founding member of William Morris’s decorative art firm in 1861, where he produced countless designs and illustrations for books, tapestries, ceramic tiles, mosaics and stained glass. In 1862, he travelled to Italy where he was introduced to Botticelli, whose formal patterning profoundly influenced his subsequent development as a painter. His typical subject matter derived from medieval and classical legends charged with symbolism. In fact, he was pre-eminent in the Aesthetic movement in England and the Symbolist movement in Europe. A defining characteristic of Burne-Jones as an artist was his wilful blurring of the boundaries between his painting and his decorative work.

For more information on Burne-Jones see part 1, and for earlier works see parts 1 & 2 also.

This is part 3 of a 14-part series on the works of Edward Burne-Jones:

1862 Fair Rosamund and Queen Eleanor
ink, watercolour, gouache and gum on paper 26 x 27.3 cm
Tate, London

1862 Fatima
pencil, watercolour and gouache on paper laid on canvas 77.5 x 26.7 cm

1862 King Cophetua and the Beggar Maid
oil on canvas 76.2 x 63.5 cm
Tate, London

1862 Morgan le Fay
oil on canvas 96.5 x 48.2 cm
Leighton House Museum, London

1862 The Annunciation, the Flower of God
watercolour and gouache 60 x 53 cm
Private Collection

1862-63 The Liberation of St Peter
stained glass

1862-65 Sketch of Two Seated Figures: ‘Chant d’Amour’
graphite on paper 19 x 30.3 cm
Tate, London

1862-72 Ariadne watercolour and gouache
with opaque white,
heightened with gum arabic on wove paper 39.9 x 22.1 cm
© 2011 Art Gallery of Ontario
 

c1862 Studies of Drapery and the figure of the Virgin for the ‘Annunciation’ in the Church of St Martin’s-on-the-Hill, Scarborough, Yorkshire
graphite on paper 34 x 36.2 cm
Tate, London

c1862 Study for a Tile of the ‘Story of Beauty and the Beast’
graphite on paper 25.8 x 17.8 cm
Tate, London


Beauty and the Beast fireplace tile
by William Morris & Co.

c1862c Study of the Head of Tristram for ‘The Madness of Sir Tristram’
graphite on paper 10.1 x 13.1 cm
Tate, London

c1862 Two Studies of Tristram for ‘The Madness of Sir Tristram’
graphite on paper 20.7 x 24.1 cm
Tate, London

Note: The above studies look like they relate to the stained glass designs at Harden Grange (below). This c1892 painting of 'The Madness of Sir Tristram' also seems to incorporate the above studies:

c1892 The Madness of Sir Tristram
watercolour and gouache, heightened with gum arabic and gold 58.5 x 55.8 cm

1862 Harden Grange stained glass panels commissioned from Morris, Marshall, Faulkner & Co. by Walter Dunlop for Harden Grange near Bingley Yorkshire (four by Burne-Jones):

In 1862 Burne-Jones made four designs for stained glass illustrating the story of Tristram and Isoude from Sir Thomas Malory's 'Morte d'Arthur'. These were part of a group commissioned by Walter Dunlop for his home at Bingley in Yorkshire. Other designs for the set were provided by Rossetti, Madox Brown, Morris, Valentine Prinsep and Arthur Hughes; the stained glass is now in Bradford City Art Gallery. Late in 1862 Burne-Jones reworked three of his cartoons as watercolours, including 'The Madness of Sir Tristram.'


1862 The attempted suicide of La Belle Isoude
stained glass Harden Grange

1862 The Madness of Sir Tristram,
stained glass at Harden Grange

1862 The Marriage of Tristram and Isoude Les Blanches Mains
study for the above stained glass?
graphite on paper 29.3 x 14.6 cm
Tate, London

1862 The Tomb of Tristram and Isoude
stained glass at Harden Grange

1862 The Tomb of Tristram and Isoude
stained glass design at Harden Grange

1863 Cinderella
watercolour and gouache on paper 65.7 x 30.4 cm
Museum of Fine Arts, Boston, MA

c1863 Study for ‘Cinderella’
graphite on paper 33.7 x 19.7 cm
Tate, London

1863 King David the Poet
stained glass 82.6 x 49.5 cm
The Metropolitan Museum of Art, New York

1863 The Merciful Knight

Based on an 11th-century legend retold by Sir Kenelm Digby in Broadstone of Honour, its hero is a Florentine knight named John Gaulbert. The explanatory inscription provided by Burne-Jones tells the viewer of a knight who forgave his enemy when he might have destroyed him and how the image of Christ kissed him in token that his acts had pleased God. 


1863 The Merciful Knight
watercolour and gouache on paper 101.4 x 58.6 cm
Birmingham Museum & Art Gallery, UK

c1863 Composition Study for ‘The Merciful Knight’
graphite on paper 22.2 x 15.7 cm
Tate, London

c1863 Composition Study for ‘The Merciful Knight’
graphite on paper 25.2 x 15.3 cm
Tate, London

c1863 Nude Study of the Knight for ‘The Merciful Knight’
graphite on paper 33 x 14.3 cm
Tate, London

1863c Study of Knight for ‘The Merciful Knight’
graphite on paper 24.8 x 17.5 cm
Tate, London

c1863 Stained Glass for St Michael and all Angels Church, Lyndhurst, Hampshire:

1863 Design for stained glass South transept window
St Michael and all Angels Church, Lyndhurst, Hants 
pen and grey and brown ink 34.6 x 23.4 cm
The British Museum, London

c1863 Study of a Seated Male Nude for ‘The Liberation of St Peter’
St Michael and All Angels, Lyndhurst, Hants
graphite and chalk on paper 16.8 x 12.7 cm
Tate, London

c1863 Two Studies of a Seated Male Nude for ‘The Liberation of St Peter’
St Michael and All Angels, Lyndhurst, Hants
 graphite and chalk on paper 17.9 x 33.5 cm
Tate, London

Design for An Angel Harpist St Michael and all Angels Church, Lyndhurst, Hants
© Ashmolean Museum, University of Oxford

St Anne stained glass
St Michael and all Angels Church, Lyndhurst, Hants

St Hannah stained glass
St Michael and all Angels Church, Lyndhurst, Hants

St Monica stained glass
St Michael and all Angels Church, Lyndhurst, Hants

St Rachel stained glass
St Michael and all Angels Church, Lyndhurst, Hants

St Rachel stained glass detail

Designed c1864-70 Made 1868-70c Phyllida
hand-painted on tin-glazed earthenware Dutch blanks
77.2 x 30.2 cm
Victoria & Albert Museum, London

c1864-70 Tiles (with William Morris)
hand-painted in various colours
Victoria & Albert Museum, London


c1864 Legend of Good Women

The 'Legend of Good Women' was written by Geoffrey Chaucer in the 1380s. It is an epic poem written in iambic pentameter describing how the personification of 'Amor' came to him in his sleep and related the stories of ten women from antiquity, all of whom suffered for love.


1863 Legend of Good Women - Griselda
pencil on buff paper 18.3 diameter
Birmingham Museum and Art Gallery, UK

1863-64 Drapery Study of Hypermnestra
pencil on cream toned paper 14.8 x 32.9 cm
Birmingham Museum and Art Gallery, UK

1864 (made) Legend of Good Women
stained glass made by Morris, Marshall, Faulkner & Co.

1864 Legend of Good Women - Amor and Alcestis
pencil, pen and brown wash on toned paper 49 x 46.5 cm
Birmingham Museum and Art Gallery, UK

c1864 Legend of Good Women - Hypsiphile and Medea
pencil, pen and brown wash on toned paper 49 x 46.2 cm
Birmingham Museum and Art Gallery, UK

Legend of Good Women
'Constance' satined glass



Edward Burne-Jones - part 4

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1874 Sir Edward Burne-Jones by Benjamin Scott & Son
albumen print 14.3 x 10.5 cm
© National Portrait Gallery, London

Edward Burne-Jones became a founding member of William Morris’s decorative art firm in 1861, where he produced countless designs and illustrations for books, tapestries, ceramic tiles, mosaics and stained glass. In 1862, he travelled to Italy where he was introduced to Botticelli, whose formal patterning profoundly influenced his subsequent development as a painter. His typical subject matter derived from medieval and classical legends charged with symbolism. In fact, he was pre-eminent in the Aesthetic movement in England and the Symbolist movement in Europe. A defining characteristic of Burne-Jones as an artist was his wilful blurring of the boundaries between his painting and his decorative work.

For more information on Burne-Jones see part 1, and for earlier works see parts 1 - 3 also.

This is part 4 of a 14-part series on the works of Edward Burne-Jones:

1864-68c The Story of Cupid and Psyche:

Cerberus
graphite with an ink border on tracing paper 10.2 x 15.7 cm 
The Ashmolean Museum, Oxford, UK

Charon's Fee
graphite on tracing paper 10.3 x 15.6 cm 
The Ashmolean Museum, Oxford, UK

Charon's Fee
wood engraving

Cupid going away 
pen and ink over graphite on tracing paper 10.6 x 15.8 cm 
The Ashmolean Museum, Oxford, UK

Cupid going Away
wood engraving 10.9 x 16 cm

Cupid reviving Psyche 
wood engraving 10.4 x 15.2 cm (block)
Art Gallery of New South Wales, Australia

Cupid reviving Psyche
graphite with an ink border on tracing paper 10.2 x 15.4 cm 
The Ashmolean Museum, Oxford, UK

Cupid's first Sight of Psyche
graphite on tracing paper 11 x 8.5 cm 
The Ashmolean Museum, Oxford, UK

Cupid's first Sight of Psyche
wood engraving

First visit of the Sisters
pen and ink over graphite on tracing paper 10.2 x 7.8 cm 
The Ashmolean Museum, Oxford, UK

First visit of the Sisters
wood engraving

Going into Hell
graphite with an ink border on tracing paper 10.5 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

Procession to the Hill: The Trumpeters
graphite, with an ink wash, on tracing paper 10.2 x 15.7 cm
The Ashmolean Museum, Oxford, UK

Procession to the Hill: The Trumpeters
wood engraving 10.5 x 15.6 cm
© William Morris Gallery, London

Proserpine giving Psyche the Casket
graphite with an ink border on tracing paper 10.6 x 15.6 cm 
The Ashmolean Museum, Oxford, UK

Psyche and Ceres
graphite with an ink border on tracing paper 10.7 x 7.8 cm 
The Ashmolean Museum, Oxford, UK

Psyche and Juno
graphite with an ink border on tracing paper 10.8 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

Psyche and Pan
pen and ink over graphite with ink border on tracing paper 10.2 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

Psyche and the opened Casket
graphite with an ink border on tracing paper 10.4 x 15.6 cm 
The Ashmolean Museum, Oxford, UK

Psyche and the Reeds
graphite with an ink border on tracing paper 10.5 x 7.7 cm 
The Ashmolean Museum, Oxford, UK

Psyche and the Reeds
wood engraving

Psyche at Bath 
wood engraving 10.2 x 5.1 cm (block)

Psyche at the Bath
pen and ink over graphite on tracing paper 10.2 x 5.5 cm 
The Ashmolean Museum, Oxford, UK

Psyche at the Bath
wood engraving 10.8 x 8.2 cm (block)

Psyche at the Table and the Musicians
wood engraving 10.7 x 16.6 cm (print)
© William Morris Gallery, London

Psyche before Venus
graphite on tracing paper 10.9 x 15.7 cm 
The Ashmolean Museum, Oxford, UK

Psyche by the Bed
pen and ink over graphite on tracing paper 10.2 x 5.1 cm 
The Ashmolean Museum, Oxford, UK

Psyche by the Bed
wood engraving 10.2 x 5.1 cm (block)

Psyche by the Table
pen and ink over graphite on tracing paper 10.3 x 5.4 cm 
The Ashmolean Museum, Oxford, UK

Psyche by the Table
wood engraving
Birmingham Museum and Art Gallery, UK

Psyche comes to the first Sister
graphite with ink border on tracing paper 10.3 x 7.8 cm 
The Ashmolean Museum, Oxford

Psyche comes to the first Sister
wood engraving 10.8 x 8.2 cm (block)

Psyche comes to the second Sister
graphite on tracing paper 10.3 x 8 cm 
The Ashmolean Museum, Oxford, UK

Psyche comes to the second Sister
wood engraving 10.8 x 8.2 cm (block)

Psyche coming out into Hell
graphite with an ink border on tracing paper 10.5 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

Psyche coming out into Hell
wood engraving 10.8 x 8.2 cm (block)

Psyche entering the Bath
graphite on tracing paper 11.7 x 7.7 cm 
The Ashmolean Museum, Oxford, UK

Psyche entering the Bath
wood engraving

Psyche entering the Court of the Palace
graphite on tracing paper 10.6 x 16.1 cm 
The Ashmolean Museum, Oxford, UK

Psyche entering the Court of the Palace
pen and ink over graphite on tracing paper 10.3 x 5.1 cm 
The Ashmolean Museum, Oxford, UK

Psyche entering the Court of the Palace
wood engraving 10.2 x 5.1 cm (block)

Psyche in the Garden
pen and ink over graphite on tracing paper 10.3 x 5.6 cm 
The Ashmolean Museum, Oxford, UK

Psyche in the Garden
wood engraving

Psyche looking into a Cupboard
pen and ink over graphite on tracing paper 10.3 x 5.1 cm 
The Ashmolean Museum, Oxford, UK

Psyche looking into a Cupboard
wood engraving 10.2 x 5.1 cm (block)

Psyche rushing out of the Palace
graphite with an ink border on tracing paper 10.2 x 7.8 cm 
The Ashmolean Museum, Oxford, UK

Psyche rushing out of the Palace
wood engraving in brown ink on buff paper 10.3 x 7.7 cm (block)
National Gallery of Victoria, Melbourne, Australia

Psyche Spying
pen and ink over graphite on tracing paper 10.4 x 15.8 cm 
The Ashmolean Museum, Oxford, UK

Psyche Spying
wood engraving

Psyche throwing herself into the River
graphite with ink border on tracing paper 10.3 x 7.8 cm 
The Ashmolean Museum, Oxford, UK

Psyche throwing herself into the River
wood engraving 10.8 x 8.2 cm

Psyche, disregarding their call for help
wood engraving
Birmingham Museum and Art Gallery, UK

Psyche, disregarding their call for help
graphite with an ink border on tracing paper 10.3 x 15.6 cm 
The Ashmolean Museum, Oxford, UK

Second visit of the Sisters
graphite with ink border on tracing paper 10.2 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

Second visit of the Sisters
wood engraving 10 x 8 cm

The Black Water
graphite with an ink border on tracing paper 10.4 x 15.4 cm 
The Ashmolean Museum, Oxford, UK

The Black Water
wood engraving 10.4 x 15.8 cm
William Morris Gallery, London

The Court of Venus
graphite on tracing paper 10.8 x 16 cm 
The Ashmolean Museum, Oxford, UK

The Death of the Sister
pen and ink over graphite on tracing paper 10.3 x 8.1 cm 
The Ashmolean Museum, Oxford, UK

The Death of the Sister
wood engraving 10.8 x 8.2 cm (block)


Note: The Story of Cupid and Psyche continues in Part 5.






















Sir Edward Burne-Jones part-5

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c1875 Sir Edward Burne-Jones by George James Howard, 9th Earl of Carlisle
pencil 21.6 x 14 cm
© National Portrait Gallery, London

Edward Burne-Jones became a founding member of William Morris’s decorative art firm in 1861, where he produced countless designs and illustrations for books, tapestries, ceramic tiles, mosaics and stained glass. In 1862, he travelled to Italy where he was introduced to Botticelli, whose formal patterning profoundly influenced his subsequent development as a painter. His typical subject matter derived from medieval and classical legends charged with symbolism. In fact, he was pre-eminent in the Aesthetic movement in England and the Symbolist movement in Europe. A defining characteristic of Burne-Jones as an artist was his wilful blurring of the boundaries between his painting and his decorative work.

For more information on Burne-Jones see part 1, and for earlier works see parts 1 - 4 also.

This is part 5 of a 14-part series on the works of Edward Burne-Jones:

1864-68c The Story of Cupid and Psyche:

The Head rising up
graphite on tracing paper 10.3 x 15.8 cm 
The Ashmolean Museum, Oxford, UK

The Head Rising Up
wood engraving
Birmingham Museum and Art Gallery, UK

The Oracle
graphite on tracing paper 11.1 x 16.4 cm 
The Ashmolean Museum, Oxford, UK

The Oracle
wood engraving 10.5 x 15.6 cm
© William Morris Gallery, London

The Procession to the Hill 
graphite, with an ink border, on tracing paper 10.4 x 15.7 cm
The Ashmolean Museum, Oxford, UK

The Procession to the Hill
wood engraving

The Song at her Getting Up
graphite on tracing paper 11.6 x 8 cm 
The Ashmolean Museum, Oxford, UK

The Song at her Getting Up
graphite on tracing paper 11.7 x 8 cm 
The Ashmolean Museum, Oxford, UK

The Song while She Eats
graphite on tracing paper 10.5 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

The Speaking Tower
graphite with an ink border on tracing paper 10.4 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

The Speaking Tower
wood engraving 10.8 x 8.2 cm (block)

The Task of the Seeds
graphite on tracing paper 10.5 x 15.5 cm 
The Ashmolean Museum, Oxford, UK

The Task of the Seeds
wood engraving 10.8 x 15.9 cm

Venus
graphite on tracing paper 11.7 x 7.8 cm 
The Ashmolean Museum, Oxford, UK

Venus sending Cupid to annoy Psyche
graphite on tracing paper 11.4 x 7.9 cm 
The Ashmolean Museum, Oxford, UK

Venus sending Cupid to annoy Psyche
wood engraving
William Morris Gallery, London

Venus
wood engraving 36 x 30 cm

Zephyr and Psyche
pen and ink over graphite on tracing paper 10.6 x 8.1 cm  T
he Ashmolean Museum, Oxford, UK

Zephyr and Psyche
wood engraving 10.5 x 7.6 cm

*         *         *         *         *

1865 Astrologia
graphite, watercolour and gouache, heightened with gum arabic on paper laid on canvas 53.5 x 45.8 cm
 Private Collection

1865 The Love Song (Le Chant d'Amour)
watercolour and gouache on wove paper 54.9 x 109.5 cm
Museum of Fine Arts, Boston, MA

1865-67 The Return of the Princess, (no. 6) from a group of six drawings depicting the legend of 'St George and the Dragon'
35.2 x 42.4 cm
The British Museum, London
 

c1865-70 Kneeling Draped Figure
graphite and red crayon on ivory wove paper 27.3 x 26.1 cm
Art Institute of Chicago, IL

c1865-80 Album of 60 caricature drawings Burne-Jones working at an easel, a large woman standing behind him
pen and brown ink 11.3 x 17.7 cm
The British Museum, London

1865c Study for one of the Fates
charcoal on white wove paper 40.2 x 28.8 cm
Art Institute of Chicago, IL

c1865 Cartoon for one of three windows in Saint Edbergs, Bicester, Oxfordshire (see below)
graphite and charcoal 213.5 x 54.5 cm
Princeton University Art Museum, New Jersey

c1865 Stained glass
Saint Edbergs, Bicester, UK


1866 Princess Sabra led to the Dragon
oil 108 x 96.6 cm
Private Collection

1866 reworked 1895 Saint George and the Dragon Series
No. 7: The Return
oil on canvas 104.7 x 134.6 cm
Bristol Museum & Art Gallery, UK

1866 Study of a Girl’s Head
graphite on paper 26 x 21.6 cm
Tate, London

1866 The Garland: A Girl Tending Flowers
(details not found)

1865-66 The Lament

Burne-Jones's most considered essay in the prevailing classical style of the later 1860s. The mood of restrained sadness, the chalky colours (characteristic of other paintings of 1866), the simple outlines and low relief of the figures all point to this conclusion. The design owes much to Burne-Jones's study of the Parthenon frieze in the British Museum, The Lament though dated 1866 was largely painted in 1865.  There are numerous studies for The Lament and a later oil version was sold at Christie's in 1967, which has a different background.


1866 The Lament
watercolour on paper 47.5 x 79.5 cm
William Morris Gallery, Walthamstow, London

1866-67 (made) Panelling for the Green Dining Room, South Kensington Museum
graphite and chalk on paper 29.3 x 17.3 cm
Victoria & Albert Museum, London

1866-67 Winter study of flying drapery
chalk on paper
Birmingham Museum and Art Gallery, UK

1866 All Saints Church, Jesus Lane, Cambridge, UK:

1866 Adam and Eve
stained glass
All Saints, Jesus Lane, Cambridge, UK

1866 David
stained glass
All Saints, Jesus Lane, Cambridge, UK

1866 Judas Maccabeus
stained glass
All Saints, Jesus Lane, Cambridge, UK

1866 Melchisedec
stained glass
All Saints, Jesus Lane, Cambridge, UK

1866 Our Lord Enthroned
stained glass
All Saints, Jesus Lane, Cambridge, UK

1866 St Agnes
stained glass
All Saints, Jesus Lane, Cambridge, UK

1866 St Barbara
stained glass
All Saints, Jesus Lane, Cambridge, UK

1866 St Dorothy
stained glass
All Saints, Jesus Lane, Cambridge, UK



1866-67 Sketchbook 
graphite and red chalk 18.7 x 26.6 cm 
Victoria & Albert Museum, London:




















Sir Edward Burne-Jones part-6

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1879 Sir Edward Burne-Jones 
oil on canvas 50.2 x 36.8 cm
Victoria & Albert Museum, London

Edward Burne-Jones became a founding member of William Morris’s decorative art firm in 1861, where he produced countless designs and illustrations for books, tapestries, ceramic tiles, mosaics and stained glass. In 1862, he travelled to Italy where he was introduced to Botticelli, whose formal patterning profoundly influenced his subsequent development as a painter. His typical subject matter derived from medieval and classical legends charged with symbolism. In fact, he was pre-eminent in the Aesthetic movement in England and the Symbolist movement in Europe. A defining characteristic of Burne-Jones as an artist was his wilful blurring of the boundaries between his painting and his decorative work.

For more information on Burne-Jones see part 1, and for earlier works see parts 1 - 5 also.

This is part 6 of a 14-part series on the works of Edward Burne-Jones:

c1866-68 Study of a Female Figure, for "The Garland Weavers"
black chalk and graphite on cream laid paper 46.2 x 30.2 cm
Harvard Art Museums
© President and Fellows of Harvard College

c1866-70 Cassandra
red chalk 35.6 x 28 cm
Victoria & Albert Museum, London

1866-77 The Mirror of Venus
oil on canvas 120 x 200 cm
Museu Calouste Gulbenkian, Lisbon

1866-80 Portrait of a Young Girl
graphite on paper 25.4 x 17.8 cm
The Metropolitan Museum of Art, New York

c1866 Sketch for an Illustration
graphite on paper 9.8 x 15.2 cm
Victoria & Albert Museum, London

1866c Study for the head of Saint George 
black chalk on paper 20.4 x 17.3 cm (sheet)
Art Gallery of New South Wales, Australia

1867 Study for The Mirror Venus
pencil, red and brown chalk 28.7 x 36.3 cm
National Gallery of Victoria, Melbourne, Australia


1867 The Garland
watercolour and gouache, heightened with gum Arabic and with scratching out on paper 76.2 x 44.2 cm
 Private Collection

1866c Study of a Draped Female Figure for 'The Garland Weavers'
graphite on paper 29.4 x 15.5 cm
The Courtauld Gallery, London

1866-68 The Legend of St George and the Dragon series: 

Princess Sabre, or The King's Daughter
oil on canvas 107.2 x 61.5 cm
Musée d'Orsay, Paris

Princess Sabre, or The King's Daughter
graphite on paper 35.2 x 19.7 cm
The British Museum, London

The Petition to the King
oil on canvas
Hanover College, Indiana

The Petition to the King
graphite on paper
The British Museum, London

The Princess Drawing the Lot
Hanover College, Indiana

The Princess Drawing the Lot
graphite and black chalk
The British Museum, London

The Princess Sabra led to the Dragon
oil on canvas 108 x 96.6 cm
Private Collection

The Fight: St George kills the Dragon
oil on canvas 105.4 x 130.8 cm
Art Gallery of New South Wales, Australia

The Fight: St George kills the Dragon
graphite? on paper 35.1 x 41.6 cm
The British Museum, London

St. George and the Dragon
watercolour and gouache on paper 62 x 48 cm
William Morris Gallery, London

St. George Killing the Dragon study
graphite on paper

The Princess tied to a Tree
graphite on paper 35.1 x 29.8 cm
The British Museum, London

The Princess tied to a Tree
oil on canvas 105 x 91 cm
Forbes Collection, New York

c1866 Study for The Hours
graphite on paper 47.8 x 26.4 cm
Tate, London
c1872 Study for The Hours
graphite on paper 14.6 x 14.9 cm
Tate, London

1882 The Hours
oil on canvas 118.7 x 227.8 cm
Graves Art Gallery, Sheffield, UK

1868 Green Summer
oil on canvas
Private Collection

1868 Laus Veneris
oil on canvas 122 x 183 cm
Laing Art Gallery, Newcastle-upon-Tyne, UK

1868 Seraph (study for 'Chant d'Amour')
red chalk on cream laid paper 34 x 23.5 cm
Aberystwyth University School of Art Museum and Galleries, Wales, UK

1868 Sibylla Delphica
oil on canvas 152.8 x 60.3 cm
Manchester Art Gallery, UK

1868 Woman's Head (study for 'Le Chant d'Amour')
red chalk on cream laid paper 31 x 23.5 cm
Aberystwyth University School of Art Museum and Galleries, Wales, UK

1868-77 The Love Song (Le Chant d'Amour)
oil on canvas 114.3 x 155.9 cm
The Metropolitan Museum of Art, New York

1868-77 The Love Song (Le Chant d'Amour)
study for the head
graphite on paper 27.9 x 21.6 cm

c1868-1878 Pygmalion and the Image

Burne-Jones made his first designs for the story of Pygmalion and the Image in 1867. These were part of a group intended to illustrate a lavish edition of William Morris's poem 'The Earthly Paradise'. The myth, which Morris adapted from Ovid, concerns a sculptor whose love for one of his own creations is the means of its coming to life. For his paintings, Burne-Jones compressed the story into four scenes, working from 1868 simultaneously on two versions of the series (the set he exhibited in 1879 is in the Birmingham Museum and Art Gallery). This drawing (1868c Study) is a preliminary study for the third scene, in which the goddess Venus animates the statue.


1868-78 Pygmalion and the Image - The Soul Attains
oil 97.5 x 74.9 cm
Birmingham Museums and Art Gallery, UK

c1868 Study of the Image for ‘The Godhead Fires’ in the ‘Pygmalion and the Image’ Series
graphite on paper 26.5 x 14.9 cm
Tate, London

1870 Head of Venus in The Godhead Fires
graphite on paper
Birmingham Museum and Art Gallery, UK

1878 Pygmalion and the Image 'The Godhead Fires'
oil on canvas 97.5 x 74.9 cm
Birmingham Museum and Art Gallery, UK

(Date not found) Pygmalion and the Image - The Hand Refrains
oil on canvas
Private Collection

1869 Hymenaeus
oil over gold leaf on panel 32.2 x 21 cm
© Delaware Art Museum

1869-70 The Seasons, Autumn

1869-70 The Seasons, Spring

1869-70 The Seasons, Summer

1869-70 The Seasons, Winter

1869-73 The Garden of the Hesperides
 watercolour and gouache on paper 119 x 98 cm
Kunsthalle Hamburg, Germany

1869-98 The Prioress's Tale

This painting tells the story of a seven-year old boy whose throat was cut for singing a Christian song in a Jewish city in Asia, but miraculously continued to sing when the Virgin Mary placed grain in his mouth. He died soon afterwards and was buried as a martyr. The flower symbolism of the white lily represents purity, that of the red poppy consolation, the dwarf sunflower adoration and the wallflower fidelity in adversity.


1869-98 The Prioress's Tale
watercolour and gouache on paper mounted on linen
 103.5 x 62.8 cm
Delaware Art Museum, Wilmington, DE

1870  Hesperus, Evening Star
watercolour, bodycolour and gum arabic, on paper
 79.3 x 56.5 cm

1870 Head of a Young Woman
graphite on cream wove paper 22.7 x 20.9 cm
Harvard Art Museums
© President and Fellows of Harvard College

1870 Head of a Young Woman
graphite on white wove paper 27.8 x 21.9 cm
Harvard Art Museums
© President and Fellows of Harvard College

1870 Head study of Maria Zambaco for Nimue
graphite on paper 20.3 x 17.2 cm

1870 Morning (from "Night and Morning") 
watercolour, gouache and metallic paint on white paper mounted on very fine canvas originally attached to wooden panel 121.7 x 45.5 cm
Harvard Art Museums
© President and Fellows of Harvard College

1870 Night (from "Night and Morning")
 watercolour, and gouache on white paper mounted on very fine canvas 122.2 x 45.7 cm
Harvard Art Museums
© President and Fellows of Harvard College

1870 Night
watercolour 79 x 56 cm
Tate, London

1870 Portrait of Maria Zambaco
gouache 76.3 x 55 cm
Clemens-Sels-Museum, Neuss

1870 Study of a Woman’s Head 
graphite on paper 20.3 x 18.4 cm
Tate, London

1870-75 The Garden Court
graphite and watercolour, heightened with white gouache on white wove paper 32.3 x 60.2 cm
The Cleveland Museum of Art, Ohio

1870-98 Saint Nicholas
oil on canvas 140.4 x 55.6 cm
Tameside Museums and Galleries Service: The Astley Cheetham Art Collection, UK

1871c Study for Merlin and Nimue in "The Beguiling of Merlin"
black and white chalk on brown paper laid down on linen 70.3 x 52 cm
Harvard Art Museums
© President and Fellows of Harvard College

1872-73 The Beguiling of Merlin
oil on canvas 186 x 111 cm
Lady Lever Art Gallery, Port Sunlight, Merseyside, UK

c1872-77  Study for ‘The Beguiling of Merlin’
charcoal graphite on paper 21.2 x 23.5 cm
Tate, London

c1872-77 Three Studies for ‘The Beguiling of Merlin’
graphite on paper 32.3 x 22.2 cm
Tate, London
(on loan from Musée des Beaux-Arts de Lyon, France)


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