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Staff Sarah Hardy BA (Hons) (Dunelm), MA Manchester, [...]
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Staff Sarah Hardy BA (Hons) (Dunelm), MA Manchester, [...]
This painting is an allegory for the passing of time and the life cycle. The lovers in the foreground sit listening to the piping angel, with wonderful outstretched red wings. The male figures seems entranced, but the woman is distracted. The book open before them holds the key to her distress as it...
This post is part of our From The Archives blog series Our archive contains hundreds of letters and other correspondence, [...]
Volunteer Nikita Salt introduces William De Morgan's support of Women's Suffrage In 1912 William De Morgan [...]
Evelyn De Morgan’s Flora (1894) is internationally renowned as being one of the Pre-Raphaelite painter’s most accomplished pictures and a jewel in the [...]
The theme of love is one which Evelyn De Morgan was drawn to repeatedly over her 50-year career as a [...]
The study is based on a segment of a Flemish tapestry of the 16th Century entitled 'The Redemption of Man' (other names: The Seven Deadly Sins or Conflict of Virtues and Vice), which is located at Hampton Court Palace. In the study, Homo, accompanied by Luxuria, is assailed by Justitia with her sword. Justitia is held and restrained by Misericordia. Whilst the foreground figures and landscape are based on the tapestry the background of hills and trees has been altered significantly from the tapestry. The tapestry is believed to have been purchased by Cardinal Wolsey in 1522 and was one of a set which comprised nine pieces (six wall hangings and three window pieces). The 1522-23 inventory of Wolsey's goods suggests they were hung in Wolsey's chamber, the 'legates chamber', for which they were probably made given their unusual dimensions. However, during the 19th and 20th Centuries they are recorded as being located in the Great Watching Chamber. Royal Collections Trust inventory no: RCIN 1271.1. The gardens and state apartments at Hampton Court were opened to the public free of charge by Queen Victoria in 1838 and it is therefore very likely that Evelyn saw the tapestry in situ. Thanks to Calista Aston of the University of Auckland, New Zealand for her research to find the attribution of the study.
Archive Visits The De Morgan Collection In addition to the beautiful ceramics and paintings on [...]
Look Beneath the Lustre Discover More about the Exhibition Download the Exhibition Guide [...]
Decoration or Devotion? Discover More about the Exhibition Download Exhibition Pack William [...]