File:Portrait of William De Morgan holding lustre vase, 1909.jpg

Identifier: williamdemorgan00stir (find matches)
Title: William De Morgan and his wife
Year: 1922 (1920s)
Authors: Stirling, A. M. W. (Anna Maria Wilhelmina)
Subjects: De Morgan, William Frend, 1839-1917 De Morgan, Mrs. (Evelyn) De Morgan family
Publisher: New York : H. Holt and Company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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al request, Heinemann consented to brave the boycott of the libraries and risk its publication in two volumes in order to ensure better print; indeed, the whole was thus recast by him after it had already been printed in one. According to Heinemanns intention, both volumes were to have as a frontispiece a picture of the author; the first, a portrait of him painted by his wife in 1893, and the second, a more mature portrait which she was completing at this date. In the latter picture, De Morgan is depicted surrounded by tokens of his two professions. His hands are clasping alovely iridescent pot, one of the last he made; on the wall behind him shows a beautiful plate of his own designing; and along adjacent shelves stand the three books he had already published, while the unbound MS. of It Never Can Happen Again lies conspicuously upon the table placed beside an inkpot and pen. The face in the picture was a faithful likeness, save only that the look of bright animation and humour which was habitual
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PORTRAIT OF WILLIAM DE MORGAN painted 1909 by Evelyn De Morgan to the National portrait Gallery. BLIND JIM AND LUCINDA 317 to him was replaced by a most pitiful expression of weariness; for his wife, with the uncompromising accuracy for which her portraiture was remarkable, had caught the mood of the momentand—much to his subsequent amusement—reproduced unerringly the profound boredom which he was experiencing while having to sit to her! But in spite of Heinemanns representations, both the victim and his tormentor raised characteristic objections to the pubhcation of this picture. William De Morgan to William Heinemann. The portraits are not my property, but my wifes. My personal identity (as far as I retain the copyright) is at the disposal of any arrangement you and she are agreed about. I shall say nothing to bias her, one way or tother—but to you I feel bound to remark that two portraits in one work savours a little of egotism, and

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