A Better, More Beautiful World

Night and Sleep be Evelyn De morgan

Discover our Malthouse gallery and its exhibition in partnership with the De Morgan Foundation.

The Exhibition

In the newly refurbished, purpose built Malthouse Gallery, Wightwick Manor proudly displays richly decorated ceramics by William De Morgan with visionary symbolic paintings by his wife, Evelyn, in a sumptuous display showcasing the artistic achievements of this extraordinary creative couple.

Entitled A Better, More Beautiful World? The exhibition examines the breadth of the De Morgans’ artistic achievements. Exploring the relationship between the artists, their social and creative inspirations, and their vision for a world without conflict, the exhibition also highlights the links between the works of the De Morgans, Morris & Co and the Pre-Raphaelites that are displayed in the house.

William De Morgan lustreware on display in the Gallery at Wightwick
De Morgan ceramics displayed in cabinets along side an oil painting of William De Morgan holding a vase
William De Morgan lustreware on display in the Gallery at Wightwick

The De Morgans and Wightwick Manor

The De Morgan Foundation was established by Wilhelmina Stirling, the younger sister of radical Victorian painter Evelyn De Morgan. She proudly displayed her vast collection of works by her sister and brother-in-law, ceramicist William De Morgan, at her home, Old Battersea House in London until her death in the 1960s.

Over her lifetime, Wilhelmina Stirling collected nearly 70 oil paintings and 600 pieces of ceramic by the De Morgans and was well-acquainted with other collectors of Victorian Art, including the Mander family of Wightwick Manor.

So close was her friendship with the Manders and such was their interest in safeguarding the collection, that they offered for the entire De Morgan Collection to be stored at Wightwick Manor – away from harm in the London Blitz – during the Second World War.

Since at least 1997, when Wightwick accepted a bequest of De Morgan pictures and ceramics from Wilhelmina and Evelyn’s niece, Phyllis Pickering, curators here have mooted the idea of a De Morgan Gallery being made from the old Malt House building.

In 2016, the De Morgan Foundation Trustees and the National Trust collaborated to realise decades of ambition to bring the collection to Wightwick Manor.

The old Malthouse at Wightwick is now home to some of the De Morgan Foundation's collection.
An exterior view of the De Morgan Gallery, housed in the old, brick malthouse at Wightwick Manor, featuring large windows and pointed roofs.
The old Malthouse at Wightwick is now home to some of the De Morgan Foundation's collection.

William De Morgan

The foremost ceramicist of the Arts and Crafts Movement, who delighted Victorian audiences with his fantastical beasts, Middle Eastern flora and fauna and wondrous iridescent lusterware. Over his long career, he won commissions for Leighton House, twelve P&O liners and the jewel-like home of Sir Ernest Debenham. His terrible business sense led to the eventual closure of the potteries in 1907 and his illustrious second career as a novelist.
Find out more about William De Morgan.

Evelyn De Morgan

Evelyn De Morgan was one of the most skilled and radical artists of the late Victorian period. Her work was inspired stylistically by movements contemporary to her practice, such as Aestheticism, the Pre-Raphaelite Brotherhood and Symbolism, but defies these by including narrative that satisfies her own socio-political concerns such as suffrage, spiritualism and pacifism. She began her artistic practice at the age of 17 and soon won a scholarship for the Slade School of Art. Later in her career, she held a solo exhibition in London in 1906 and in Wolverhampton in 1907, which was an unprecedented success for a female artist at that time.
Find out more about Evelyn De Morgan

Sarah Hardy, curator at the De Morgan Foundation, studies two paintings by Evelyn De Morgan
Sarah Hardy, the De Morgan Foundation curator, studies two oil paintings hanging on the wall by Evelyn De Morgan
Sarah Hardy, curator at the De Morgan Foundation, studies two paintings by Evelyn De Morgan

The De Morgan Foundation

Upon Wilhelmina Stirling’s death, the Foundation was formed and charged with the care and promotion of the De Morgan collection and has since worked to display the paintings and ceramics across the UK and through an ambitious programme of international loans.

A key part of the De Morgan Foundation’s aim is to provide access to the collection through a network of strategic partnerships with like-minded organisations. The exhibition at Wightwick Manor is the third of these partnerships and visiting the collection at Evelyn De Morgan’s family home, Cannon Hall, Barnsley, or at the De Morgans’ old haunt the Watts Gallery, Surrey, is a must for any Victorian art lover. 

Coming in Summer 2019

The Gallery will close on Tuesday 27 August until Saturday 31 August, and re-open to the public on Sunday 1st September with a new, colourful display of ceramics and paintings from the De Morgan FOundation’s collection, Wightwick’s own collection and loans from the V&A.

The re-hang will see old favourites like Night and Sleep, Helen of Troy, Cassandra, and Death of a Dragon leave to go on loan to highly anticipated exhibitions at the National Portrait Gallery and British Museum. These will be replaced with colourful new loans from the Foundation’s collection such as The Cadence of Autumn and The Garden of Opportunity. 

Curated by National Trust Curator, Hannah Squire, and De Morgan Foundation Curator, Sarah Hardy, the new display will include objects to bridge the gap between the house and gallery, such Evelyn De Morgan’s sketchbooks from Wightwick’s collection and photographs of Evelyn’s muse, Jane Hales, who was her sister’s nursery maid, to allow for discussions around social progression and artist’s models which begins in the house.

The V&A have confirmed the loan of the vase in the portrait of William De Morgan and his preparatory sketch for the design on the vase. These exciting loans will be displayed alongside Evelyn’s sketches for the portrait itself, inviting visitors to ‘unpick’ the artwork and understand the artists’ processes for their creations.