![]() ![]() ![]() Homes, and a second hearth to people." "I feel as if one might ![]() Kate Faulkner, "since they are as it were the very altar of "I have been wanting for years to reform pianos," he wrote to This had the simpler, squarer lines of a harpsichord (which heĪlso owned), with plain straight legs and a case stained green. Ing one for himself in 1878, with the help of William Benson. With the heavy, bulbous shape of the standard grand, design. Tion of pianos from an early date and had become dissatisfied That the artist had in mind a future application for the designs,Īnd he was given the opportunity in 1879, when William GrahamĬommissioned a decorated grand piano for his daughter Frances.īurne-Jones had been interested in the design and decora. Refined into a sequence of eleven bold but exquisite pencilĭrawings, all bearing the date 1875 (and all now in theĪshmolean Museum, Oxford). Morris that remained unpublished in his lifetime, 1 these were To The Story of Orpheus and Eurydtce y a poem by William 1879.ĭale, in 1906, notes that Burne-Jones sketched in the roundels and assistants finished them.įrances Graham sat for Eurydice and appears also as Eurydice in the roundels.ĭesigned the story of Orpheus" is one of the many entriesįor the immensely productive year of 1872, in Burne. The piano was briefly exhibited at the Broadwood warehouse just after its completion c. However the original drawings for the roundels now held in the Ashmolean are noted as being unused. The two roundels of Across the Flames 1 and 2 appear painted on wood in the 1907 Newnes second series book on Burne-Jones by A. 'Fresca rosa novella’ (Translated by A.S. The inside of the piano lid is the work of an assistant finished off by Burne-Jones. Executed by an assistant, possibly T M Rooke, who painted the majority of the Orpheus panels. ![]()
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