Later Victorian Portraits Catalogue

William Morris (1834-1896), Poet, craftsman and socialist

Self-portraits
By other artists
Undated portraits
Rejected portrait
Posthumous portraits
Photographs

Self-portraitsback to top


For examples of self-portraits in designs for stained-glass windows, etc., produced in the 1860s, see MacCarthy 1994, plates IX, X. [1]

c.1855–7
Pencil drawing, head-and-shoulders, full-face, with light moustache and beard, same clothes as in daguerreotype c.1855–7 (see ‘Photographs’ below); V&A, London, E.377-1946. Repr. Parry 1996, G.4.

1856
Pencil drawing, inscr. ‘July 29th’, half-length to right, in smock, at drawing board; V&A, London, E.376-1946. Repr. Parry 1996, G.3; and Cruise 2011, p.178, fig.259.


By other artistsback to top


c.1857
Pencil caricature drawing by Dante Gabriel Rossetti, WM presenting Miss Burden with a Ring, half-length, profile to left, with Jane Burden at left; Birmingham MAG, 273'04 verso. Repr. Surtees 1971, vol.2, no.597, pl.435; MacCarthy 1994, p.140; Parry 1996, A.10, p.27.

Pencil caricature by Dante Gabriel Rossetti, inscr. ‘Cheap Morris by Rossetti’, whole-length, rear view, standing in front of canvas on easel; untraced; Spink-Leger, London, 1999 (14, where dated).

1858
Pencil caricature sketch by Dante Gabriel Rossetti, inscr. (in later hand) in pencil beneath ruled border ‘The author of the Earthly Paradise by / Dante Gabriel Rossetti. 1858’, head-and-shoulders slightly to right, eyes downcast, hands crossed holding maulstick and palette, lozenge-pattern wallpaper behind; Mark Samuels Lasner Coll. [2]

1860
Oil on canvas triptych by Edward Burne-Jones, The Annunciation and the Adoration of the Kings and Shepherds, profile, kneeling to left, as the foremost king in the Adoration; original version (1860) Tate, 4743; a second version (1861) sold by St Paul’s, Brighton, 1993. Repr. Parry 1996, H.4.

Fresco by Edward Burne-Jones, The Romance of Sir Degravaunt, half-length, seated to right, crowned, as Degravaunt in banquet scene; coll. Red House, Upton. Repr. Marsh 2005b, p.45.

1861
Oil on oak panel by unidentified artist, on King René’s Honeymoon Cabinet, an architect’s desk designed by John Pollard Seddon, seated to left at anvil, as a medieval blacksmith in ‘Ironwork’; V&A, London, W.10:1 to 28-1927.

c.1861
Two pencil drawings by Dante Gabriel Rossetti for triptych The Seed of David (1858–64; Llandaff Cathedral, Cardiff), as King David for right-hand panel:
(a) head only, three-quarters to left; Birmingham MAG, 261'04. Repr. Surtees 1971, vol.2, no.105 J, pl.144; and Parry 1996, G.12.
(b) whole-length, seated to left, in armour with harp; untraced. Repr. Surtees 1971, vol.2, no.105 I, pl.147. See Marillier 1901, facing p.56 for repr. of painting.

after 1861
Pen and ink caricature sketch, approx. 170 x 105mm, by Edward Burne-Jones, in Burne-Jones’s account book for Morris, Marshall, Faulkner & Co., prostrate, with Burne-Jones standing; Fitzwilliam M., Cambridge, Mss Dept. (passbook for the years 1861–82, f2r). Exh. Morris & Company in Cambridge, Fitzwilliam M., Cambridge, 1980 (107); and William Morris, V&A, London, 1996 (D5); repr. Robinson & Wildman 1980, p.90, no.107 (account book); and Parry 1996, D.5.

1862
Pen and ink drawing by Dante Gabriel Rossetti, The Parable of the Vineyard, cartoon for stained-glass window by Morris, Marshall, Faulkner & Co. (St Martin’s church, Scarborough, Yorks), head, framed in gate aperture; William Morris G., Walthamstow, London, A 265. Repr. Surtees 1971, vol.2, no.135, pl.204.

1863
Sepia and chalk drawing by Edward Burne-Jones, The Battle of Beth Horon cartoon for stained-glass window by Morris, Marshall, Faulkner & Co. (St Michael and All Angels, Lyndhurst, Hants), full-face at lower right of battle scene (sunflowers on sleeves); Birmingham MAG, 1898P54. Repr. Wildman & Christian 1998, no.21 (window repr. fig.7).

c.1865
Pencil, pen and ink caricature sketch by Edward Burne-Jones, whole-length, full-face, seated, reading from a paper to sleeping Burne-Jones; V&A, London, E.450-1976. Exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (10); repr. Parry 1996, fig.14 (where dated); Mancoff 1998, fig.15; Stuttgart 2010, p.29 and MacCarthy 2011, p.181.

Pen and ink caricature drawing, 92 x 126mm, by Edward Burne-Jones, inscr. ‘MR MORRIS reading poems to MR BURNE-JONES’, half-length, seated behind desk, with Burne-Jones dozing in chair; BM, London, 1939,0513.12, from an album of 60 caricature drawings. Exh. Pre-Raphaelite Drawings in the British Museum, BM, London, 1994–5 (63); William Morris, V&A, London, 1996 (A15); William Morris, Blackwell, Windermere (no number); repr. Gere 1994, no.63, p.92; and Parry 1996, A.15, p.28 (where dated).

1866
Pen and ink caricature drawing by unidentified artist, inscr. on reverse ‘Morris in 1866 at Queen Sqe’, whole-length, rear view, standing, smoking clay pipe, table with mugs of beer to right; BM, London, 1939,0513.53.

Pen and ink caricature drawing by Edward Burne-Jones, head-and-shoulders facing, crouched in boat heading across the Channel, with Jane Morris and two others; untraced. Repr. Burne-Jones 1904, vol.1, p.301; and MacCarthy 1994, p.215.

1868
Pen and ink caricature drawing by Dante Gabriel Rossetti, inscr. ‘The Bard / And Petty Tradesman’, two whole-length figures of Morris standing back-to-back, one profile to left with a harp, the other profile to right standing behind desk; BM, London, 1939,0513.5. Repr. Surtees 1971, vol.2, no.609, pl.443; Gere 1994, no.25, p.47; MacCarthy 1994, p.207; Parry 1996, A.16.

1868–70
Pencil caricature drawing by Edward Burne-Jones, inscr. with names and initials of sitters, whole-length to right, nude, reclining in a Turkish bath, with Luke Ionides and others; priv. coll. Repr. Sotheby’s, 29 June 1976 (212, ‘A Turkish Bath’); and MacCarthy 2011, p.449.
See also Burne-Jones, P.S. Webb.

1869
Pen and ink caricature drawing by Dante Gabriel Rossetti, inscr. ‘Resolution / or, The Infant Hercules’ and ‘14.8.69’, half-length, full-face, in a shower cubicle; BM, London, 1939,0513.8. Repr. Surtees 1971, vol.2, no.604, pl.438; Gere 1994, no.28, p.50; MacCarthy 1994, p.232; Parry 1996, A.18b.

Pen and brown ink caricature drawing, 179 x 113mm, by Dante Gabriel Rossetti, Rupes Topseia, c.July 1869, inscr. with title at bottom right, falling into hell from a precipice, preceded by his spectacles, below row of thumbnail figures in a ruin (Morris’s business partners, including C.J. Faulkner and P.P. Marshall); BM, London, 1939,0513.7, from an album of 60 caricature drawings. Exh. Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (274); Pre-Raphaelite Drawings, BM, London, 1994–5 (32); and William Morris, V&A, London, 1996 (D6); repr. Surtees 1971, vol.2, no.611, pl.445; MacCarthy 1994, pl.30; and Marsh 1998b, where dating is established. This caricature does not relate to the dissolution of the partnership in 1874–5, as previously conjectured.
See also F. Madox Brown, Burne-Jones, Rossetti, P.S. Webb.

Pen and ink caricature drawing by Dante Gabriel Rossetti, inscr. ‘The German Lesson’, whole-length to left, standing, holding up a pair of trousers, a maid in the doorway at left and Jane Morris lying on couch in background; BM, London, 1939,0513.2. Repr. Surtees 1971, vol.2, no.603, pl.437; Gere 1994, no.27, p.49; MacCarthy 1994, p.229; and Parry 1996, A.8c.

Pen and ink caricature drawing by Dante Gabriel Rossetti, inscr. ‘The M’s at Ems’, half-length, full-face, reading to Jane Morris who is sitting in a bath tub, drinking a glass of water; BM, London, 1939,0513.1. Exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (14); repr. Surtees 1971, vol.2, no.605, pl.439; Gere 1994, no.26, p.47; MacCarthy 1994, p.243; Parry 1996, A.18a; and Stuttgart 2010, no.14.

late 1860s
Pencil caricature drawing by Edward Burne-Jones, half-length, seated with daughters Jenny and May under each arm, cutting up food on a plate; untraced. Repr. MacCarthy 1994, p.193. Photograph of drawing by Emery Walker, NPG SB (Morris).

1870
Watercolour drawing by Charles Fairfax Murray, inscr. ‘JAN.1.1870’, three-quarter-length, profile to right, seated; Whitworth AG, Manchester, D.1921.31. Exh, The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (93); repr. Cruise 2011, p.109, fig.135.

Watercolour drawing by Charles Fairfax Murray, head-and-shoulders, profile to left, roundel for title-page of A Book of Verse; V&A, London, NAL L.131-1953. [3] See photograph by John Robert Parsons, ‘Photographs, 1870’, below.

Oil on canvas by George Frederic Watts; see NPG 1078.
This is the prime non-photographic portrait for Morris.
Copies or studies after Watts made at the NPG by K.M. Bishop, 1920; and Kenneth Robinson, 1949–50. Ref. Register of applications to copy portraits, NPG 77/5.

Pencil caricature drawing by Edward Burne-Jones, inscr. ‘W.M. by E.B.J. 1870’, whole-length to right, throwing skittle ball; Fogg AM, Harvard, 1964.105.

Pen and ink caricature drawing by Edward Burne-Jones, inscr. ‘Iceland 1870’, whole-length to right on pony; untraced; Sotheby’s, 31 Jan. 1990 (337, ill.). Repr. MacCarthy 1994, p.294.

c.1870
Oil on canvas by Charles Fairfax Murray, head-and-shoulders, slightly to left; William Morris G., Walthamstow, London, 22/1993. Repr. MacCarthy 1994, pl.V.

Watercolour drawing by Charles Fairfax Murray; see NPG 3652.

Pen and ink caricature drawing by Edward Burne-Jones, inscr. ‘SED POETA TURPITER SITIENS CANESCIT’, whole-length, full-face, seated, right arm resting on table with glass in hand; BM, London, 1939,0513.13. Ref. Parry 1996, A.17a (where dated); repr. Gere 1994, no.64, p.93

Pencil caricature drawing by Edward Burne-Jones, whole-length, rear view; V&A, London, E.449-1976. Repr. Parry 1996, p.378 (where dated).

Pen and ink caricature drawing by Edward Burne-Jones, head-and-shoulders, full-face, at table holding knife and fork before plate with small fish; BM, London, 1939,0513.14. Ref. Parry 1996, A.17b (where dated); repr. Gere 1994, no.65, p.94.

Pen and ink caricature drawings by Edward Burne-Jones, two images on one sheet:
(a) inscr. ‘Grace before meal’, whole-length, rear view, standing at table with food;
(b) inscr. ‘Disgrace after meal’, whole-length, prostrate, table bare of food;
BM, London, 1939,0513.15. Ref. Parry 1996, A.17c (where dated); repr. Gere 1994, no.66, p.94.

Pen and ink caricature sketch by Edward Burne-Jones, in Burne-Jones’s account book for Morris, Marshall, Faulkner & Co., whole-length, standing to left, full-face, raising glass in left hand, vines in background (drawn to resemble stained-glass window); Fitzwilliam M., Cambridge, Mss Dept. (passbook for the years 1861–82). Repr. Burne-Jones 1904, vol.1, p.291; see also photograph by Emery Walker, NPG SB (Morris). [4]

c.1870–3
Pencil drawing, 125mm x 75mm, by Edward Burne-Jones, whole length profile to left, dressed as an ancient poet, inscr. ‘W.M.’ and signed lower right ‘EBJ’; Birmingham MAG ,1927P554. Repr. Cruise 2011, fig.147, p.116.

c.1870–74
Pencil drawings by George Howard, 9th Earl of Carlisle, various profiles in George Howard sketchbook; coll. NT, Wightwick Manor, Wolverhampton.

Pencil drawing by George Howard, 9th Earl of Carlisle, whole-length, profile to left wearing hat, seated reading beside Rosalind Howard in background; coll. NT, Wightwick Manor, Wolverhampton. Repr. MacCarthy 1994, p.340.

Pencil drawing by George Howard, 9th Earl of Carlisle, head-and-shoulders, profile to right, with spectacles, offered NPG 1954 (21/54, declined); Tullie House MAG, Carlisle, CALMG:1954.68.2.1.

1871
Pen and ink caricature drawing by Dante Gabriel Rossetti, inscr. ‘Kelmscott / 11 Sept 1871 / Enter Morris, moored in a punt, / And Jacks and Tenches exeunt.’, whole-length, seated to left in a punt, reading a book; BM, London, 1939,0513.9. Repr. Surtees 1971, vol.2, no.608, pl.422; Gere 1994, no.31, p.53; MacCarthy 1994, p.319; Parry 1996, A.22.

Pen and ink caricature drawing by Edward Burne-Jones, inscr. ‘1871’, whole-length, seated to left in armchair, upturned wine glass at feet; priv. coll. Ref. Sotheby’s, 31 Jan. 1990 (336, ill.); repr. MacCarthy 1994, p.317; and Parry 1996, p.22.

Pencil caricature drawing by Edward Burne-Jones, inscr. ‘William Morris climbing a mountain in Iceland’, whole-length on a rock, rear view; untraced; offered NPG 2006 (141/06(1), declined). Exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (13); repr. MacCarthy 1994, p.301; and Stuttgart 2010, no.13.

1873
Pen and ink caricature drawing by Edward Burne-Jones, whole-length, seated in Icelandic landscape, dressed in furs and eating a large fish; untraced. Repr. Burne-Jones 1904, vol.2, p.45; and MacCarthy 1994, p.332.

1874
Pencil drawing by George Howard, 9th Earl of Carlisle, head-and-shoulders, three-quarters to left, lowered gaze, rumpled curly hair; page from large sketchbook, Castle Howard, York. Exh. George Howard, Artist & Aristocrat: A Centenary Exhibition, Castle Howard, York, 2011 (ill. in exhibition booklet, p.10). There are probably other portraits of Morris in two large sketchbooks at Castle Howard, awaiting cataloguing (Sept. 2011).

c.1875
Pencil drawing, 254 x 178mm, by George Howard, 9th Earl of Carlisle, inscr. lower left ‘WILLIAM MORRIS’, head-and-shoulders, profile to right, eyes lowered and head slightly bowed; Castle Howard, York, PWC0639.

publ. 1876
Woodcut by ‘C.R.’, The Eastern Question Conference at St James’s Hall – Gladstone Speaking, profile to left in front row; repr. ILN, 16 Dec. 1876, pp.576–7 (centre-page foldout); William Morris Soc. Newsletter, New Year, 2009, cover.

1877
Watercolour drawing by Robert Ponsonby Staples, dated 11 Apr. 1877, half-length to left, seated at desk, pipe in left hand; priv. coll. Repr. McBrinn 2004, p.40; also repr. as halftone in unidentified publications (cuttings New York PL, Digital Gallery ID 1704380 and ID 170438; and as wood-engr., Springfield Republican, 11 Oct. 1896, p.13 (obits).[5]

1870s
Portrait by ‘Richmond’; untraced. Ref. McBrinn 2004, p.39 (not ill.)

later 1870s
Pen and ink caricature drawing by Edward Burne-Jones, head-and-shoulders, rear view, in a carriage with Edward and Philip Burne-Jones, Stonehenge in distance; untraced. Repr. Burne-Jones 1904, vol.2, p.89; and MacCarthy 1994, p.367.

exh. 1882
Oil on canvas by William Blake Richmond; see NPG 1938.

1883
Pen and ink drawing by Walter Crane, Hommage to Morris: Morris and his friends in Elysium, preparatory sketch for the frontispiece to Living English Poets MDCCCLXXXII (London, 1883), full-face, reclining in foreground of group; William Morris G., Walthamstow, London, 2/1936(1). Repr. Tames 1972, p.37; for the frontispiece as publ. see Crane 1907, p.250; and Stetz 2007, p.135.

1885
Relief by James Pittendrigh Macgillivray, head, profile to left; untraced. Ref. Kelvin 1987, letters nos 406, 409.

publ. 1885
Caricature drawing by J.P. Stafford for ‘The Attitude of the Police’, whole-length, standing to right, having shoes polished by policeman; untraced. Repr. Funny Folks, week ending 10 Oct. 1885 (copy William Morris G., Walthamstow, London); Tames 1972, p.34; Parry 1996, p.61, fig.25; and MacCarthy 1994, p.529.

1886
Pencil drawings by John Butler Yeats:
(a) half-length, seated to right in armchair; NG Ireland, Dublin, NGI 6078.
(b) at the right of two elderly, unidentified men (the Morris identification rests on a later inscription added by Lily Yeats); coll. M.B.Yeats. See Marsh 2003, p.28 (not ill.).
The identity of a third drawing (NG Ireland, Dublin, NGI 6079) is accepted by Le Harivel (1983) and Pyle (1997, p.64), but is disputed by Marsh (2003).

Bust by Conrad Dressler, recorded by A.C. Swinburne, Nov. 1886. [6]
Bust exh. Dressler show, Dowdeswell & Dowdeswell, London, 1889 (no number); ref. Spielmann 1901, p.85. Almost certainly relates to a patinated plaster bust; coll. AWG, London. Repr. Massé 1935, pl.3.

publ. 1886
Drawing by Lisa Romana Stillman, head-and-shoulders, slightly to left; Columbia UL Special Colls, New York. Print by J.H.E. Whitney repr. Century Magazine, vol.32, issue 3, July 1886, p.389; William Morris Society in the United States Newsletter, Jan. 2011, cover; and MEPL, London, 10061040.

Pen and ink caricature drawing by Harry Furniss for ‘The Walnut Season’, with other characters including Walt Whitman and James McNeill Whistler; untraced. Repr. Punch, 7 Dec. 1886 (copy Dept of Special Colls, U. of Glasgow, Whistler PC8).

publ. 1887
Composite engr. by unidentified artist, after photographs of well-known individuals, A Memento of Her Majesty’s Jubilee Year – 1887, head-and-shoulders, slightly profile to left, centre left in background; repr. Graphic, 17 Dec. 1887, between pp.672 and 673 (supplement, double-page pullout), with a key to the figures on p.678.
See also Alma-Tadema, Leighton, Burne-Jones, Ruskin, Watts.

Composite engr. by unidentified artist, after photographs of well-known individuals, A Memento of Her Majesty’s Jubilee Year – 1887, half-length, profile to right, arm resting on banister, at lower left-hand corner; repr. Graphic, 17 Dec. 1887, between pp.672–3 (supplement, double-page pullout), with a key to the figures on p.678.
See also Alma-Tadema, Boehm, Leighton, Millais, Ruskin, Stanley, Tenniel, Watts.

c.1887
Oil on canvas attributed to Charles Fairfax Murray, half-length, head three-quarters to left (based on a photograph by Abel Lewis; see ‘Photographs, 1880, pose [a]’, below); priv. coll. Repr. Elliott 2000, p.109 (where dated).

Pencil drawing by Cosmo Rowe, head on right hand (based on a photograph by Frederick Hollyer; see ‘Photographs, 1884, pose [a]’, below); William Morris G., Walthamstow, London.
Photographic prints; colls William Morris G., Walthamstow, London; and NT, Wightwick Manor, Wolverhampton. Repr. Grey 1949, frontispiece; and Wiles 1951.
Another Rowe drawing, profile to left (based on a photograph by Frederick Hollyer; see ‘Photographs, 1884, pose [e]’, below); untraced. Photograph NT Photo Library, Swindon.

1888
Pencil caricature drawing by Edward Burne-Jones, whole-length, rear view, seated at loom giving a weaving demonstration at the Arts and Crafts Exh., Nov. 1888; William Morris G., Walthamstow, London. Exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 (19); repr. MacCarthy 1994, p.597; Parry 1996, fig.11; Arscott 2008, fig.96; Stuttgart 2010, no.19; and MacCarthy 2011, p.387.

publ. 1888
Drawing by unidentified artist, possibly ‘J.H.’ for The National Association for the Advancement of Art and its Application to Industry, three-quarter-length to left, left hand in pocket, looking down at notes in right hand, addressing a meeting (no.12 on key) at the Liverpool Congress, Dec. 1888; untraced. Repr. Graphic, 15 Dec. 1888, cover; Dorment 1985, p.94, fig.51.
See also Alma-Tadema, Crane, Ford, Gilbert, Hunt, Leighton.

late 1880s
Pen and ink caricature drawing by Edward Burne-Jones on undated letter to Mrs E. Lewis, sequence of three whole-length poses (struggling to tie bootlace in rain; losing his balance; and lying on back with foot still caught in railings); first letter in album of caricature drawings and sketches from correspondence between Burne-Jones and Katherine (Katie) Lewis; BM, London, 1960,1014.2.1. Repr. Christian 2011, pp. 42-4.

exh. 1891
Medallion by Arthur John Smith; untraced. Exh. RA 1891 (1994).
Plaster plaque by Arthur John Smith; untraced. Exh. William Morris Centenary Exhibition, V&A, London, 1934 (332, coll. Mr Morton Stephenson). This may be connected with a photograph of a plaque, head-and-shoulders, full-face, in NPG SB (Morris), and/or the plaster relief sold at Sotheby’s, 6 Dec. 1978 (59, not ill).
Framed, bronze-patinated version; William Morris G., Walthamstow, London, 32/73; formerly coll. May Morris.
A ‘plaque’; Huntington L., San Marino, CA, 2000.5.3354; and Conway Hall, London.
For a bust of Morris by A.J. Smith see also ‘Posthumous portraits, exh. 1901’, below.

c.1891
Oil on canvas by John Butler Yeats; untraced; ref. Pyle 1997, p.64.

1892
Pen and ink caricature drawing by Edward Burne-Jones, whole-length to left, with walking stick; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

1896
Pen and ink caricature sketch by Edward Burne-Jones, in a letter to Margaret Burne-Jones 2 May 1896, marking the completion of the Kelmscott Press edition of Canterbury Tales, inscr. ‘BLESS YE MY CHILDREN. MAY. 1896 / this is the nastiest pen that ever was’, whole-length, with Burne-Jones, leaning either side of figure of Chaucer, who has a hand on their shoulders; Bridwell L., Southern Methodist U., Dallas, Special Colls, 10363, from an album belonging to Margaret Mackail (née Burne-Jones). Repr. Harrison & Waters 1989, p.161; Mancoff 1998, fig.34; Wood 1998, p.114; Wildman & Christian 1998, p.310; and MacCarthy 2011, p.466.


Undated portraitsback to top


Pencil caricature sketch by Edward Burne-Jones, in Burne-Jones’s account book for Morris, Marshall, Faulkner & Co., whole-length, standing with bag of money in left hand, with halo inscr. ‘Judas Damn..’ (drawn to resemble stained-glass window); Fitzwilliam M., Cambridge, Mss Dept. (passbook for the years 1861–82, f1v). Repr. Parry 1996, D.5.

Pen and ink caricature drawing by Edward Burne-Jones, whole-length to right, looking into a steaming cauldron; BM, London, 1939,0513.16.

Pen and ink caricature drawings by Edward Burne-Jones, two figures of Morris as a classical Roman statue, on a sheet printed with the contents of The Earthly Paradise; BM, London, 1939,0513.18.

Pencil caricature sketches by Edward Burne-Jones, in margins of printed pamphlet, eight poses:
a) whole-length, standing with hands in pockets; BM, London, 1939,0513.19.1.
(b) whole-length, standing with harp; BM, London, 1939,0513.19.6.
(c) whole-length, rear view, standing, with wings; BM, London, 1939,0513.19.7.
(d) whole-length, standing to left, beside door; BM, London, 1939,0513.19.7v.
(e) whole-length, seated, with flying insects; BM, London, 1939,0513.19.8.
(f) whole-length, rear view, standing, hands clasped;
(g) whole-length, seated, with bottle and glass;
h) whole-length, standing, as St Sebastian); drawings (f) to (h) on one page, BM, London, 1939,0513.19.9.

The pamphlet is a loose insert in album BM, London, 1939,0513.19.1–56.

Pencil caricature drawing by Edward Burne-Jones, front view, seated at table working on woodblock; BM, London, 1939,0513.20. Repr. MacCarthy 1994, p.203.

Pencil caricature drawing by Edward Burne-Jones, whole-length, profile to right, holding a baby; BM, London, 1939,0513.21.

Pencil caricature drawing by Edward Burne-Jones, whole-length, seated to right, beside a wombat; BM, London, 1939,0513.22.

Pencil caricature drawing by Edward Burne-Jones, whole-length, lying to right in a hammock, insects buzzing around; BM, London, 1939,0513.24 (where sitter’s identity queried).

Pencil caricature drawings by Edward Burne-Jones, two figures, whole-length, rear view, in overalls; BM, London, 1939,0513.36 (where sitter’s identity queried).

Pencil, pen and ink caricature drawings by Edward Burne-Jones, whole-length to front, astride barrel, as Bacchus; BM, London, 1939,0513.38.

Pencil, pen and ink caricature drawings by Edward Burne-Jones, two figures, whole-length to right in boxing pose, and whole-length to front, holding glass of wine, as Bacchus; BM, London, 1939,0513.39.

Pencil caricature drawing by Edward Burne-Jones, bowling a ball at skittles; BM, London, 1939,0513.40 (verso).

Pencil caricature drawing by Edward Burne-Jones, whole-length, rear view, seated working at a tapestry; Fitzwilliam M., Cambridge, PD.58-1998.f.4. Repr. Arscott 2008, fig.95.

Pencil caricature drawing by Edward Burne-Jones, whole-length, seated to right, working at a tapestry; Fitzwilliam M., Cambridge, PD.58-1998.f.5. Ref. Sims Reed Ltd. cat. 1997–8 (409, ill.).

Pencil caricature drawing by Edward Burne-Jones, seated in a pair of oversize trousers; Fitzwilliam M., Cambridge, PD.58-1998.f.6.

Pencil caricature drawing by Edward Burne-Jones, three-quarter-length, full-face, in a bath tub; Fitzwilliam M., Cambridge, PD.58-1998.f.7. Repr. MacCarthy 1994, p.117; and MacCarthy 2011, p.235.

Pencil caricature drawing by Edward Burne-Jones, performing a cartwheel; Fitzwilliam M., Cambridge, PD.58-1998.f.9.

Pencil caricature drawing by Edward Burne-Jones, performing a cartwheel; Fitzwilliam M., Cambridge, PD.58-1998.f.10.

Pencil caricature drawing by Edward Burne-Jones, inscr. ‘Euston Sq:’, whole-length, front view, performing a cartwheel; Fitzwilliam M., Cambridge, PD.58-1998.f.11.

Pencil caricature drawing by Edward Burne-Jones, inscr. ‘Euston Sq:’, whole-length, rear view, performing a cartwheel, stars and moon in background; Fitzwilliam M., Cambridge, PD.58-1998.f.12. Repr. Arscott 2008, fig.86; and MacCarthy 2001, p.180 (detail).

Pencil caricature drawing by Edward Burne-Jones, bowling; Fitzwilliam M., Cambridge, PD.58-1998.f.13.

Pencil caricature drawing by Edward Burne-Jones, (?William Morris) hidden under a bed; Fitzwilliam M., Cambridge, PD.58-1998.f.14a.

Pen and ink caricature drawing by Edward Burne-Jones, lying in bed, a musical stave and a washbasin to the right; untraced; Sotheby’s, 29 June 1976 (219, ill.). Repr. MacCarthy 1994, p.328.

Pencil caricature drawing by Edward Burne-Jones, standing to right, looking at Jane Morris extended on a couch; untraced; Sotheby’s, 29 June 1976 (213, ill.).

Pencil caricature drawing by Edward Burne-Jones, whole-length to left, as Paris, offering apple to Aphrodite; untraced; Sotheby’s, 31 Jan. 1990 (339, ill.). Repr. MacCarthy 1994, p.272.

Caricature drawing by William Blake Richmond, inscr. (by ?Violet Hunt) ‘William Morris in a thunderstorm’, hiding under a bed, soles of boots visible; untraced; Christie’s, 6 Nov. 1995 (111A).

Drawing by W.H. Caffyn (after Watts portrait; see ‘By other artists, 1870’, above); untraced. Photograph coll. William Morris G., Walthamstow, London.

Sketch by Walter Crane, speaking from a wagon under the Hammersmith Socialist League banner, May Day rally in Hyde Park; untraced. Repr. Crane 1907, p.440; and Parry 1996, p.58.

Drawing by Walter Crane (based on photograph by Frederick Hollyer; see ‘Photographs, 1884, pose [e]’, below); Mark Ranney Memorial Coll., U. of Iowa L. Repr. Morris Online Edition website.

Drawing by C.M. Watts, half-length to left, seated at desk, with pen; Mansell Coll./Time Life Pictures (see Britannica).

Drawing by unidentified artist, head in roundel, three-quarters to left; untraced; formerly coll. Ethel Floersheim; Christie’s, 28 July 1950 (18). Photograph NPG SB (Morris).

Oil painting by Florence Weston after a photograph; Herbert AGM, Coventry, HAG 457.

Oil painting by unidentified artist/attributed to William Blake Richmond, head-and-shoulders, full-face, head on right hand (based on photograph by Frederick Hollyer; see ‘Photographs, 1884, pose [a]’, below); priv.coll.

Illustration by Bertha Newcombe, Socialist meeting at Kelmscott House, behind table; MEPL, London, 10061044.

Portrait (?reproduction) by unidentified artist; U. of Texas at Austin, Literary File Coll., P-1.

Section of plaster relief by unidentified artist, life-size, head-and-shoulders to right in roundel, swag of laurel and oak leaves, painted brown and damaged at top corners (based on photograph by Elliott & Fry; see ‘Photographs, 1888, pose [c], below): decoration for William Morris Labour Hall, Walthamstow, on loan to William Morris G., Walthamstow, London.

Plaster plaque by unidentified artist, head-and-shoulders, profile to left (possibly based on photograph by Frederick Hollyer; see below, ‘Photographs, 1884, pose [c]’); John J. Walsdorf Coll.

Bronze plaque by unidentified artist (based on photograph by Frederick Hollyer; see below, ‘Photographs, 1884, pose [a]’), inscr. at base ‘WILLIAM MORRIS’; Huntington L., San Marino, CA, 2000.5.3354 .


Rejected portraitback to top


Pencil drawing on buff paper by Charles Keene, inscr. ‘W. Morris’, half-length, seated at table, arms folded; Ashmolean M., Oxford, WA1950.178.317. Repr. Houfe 1995, p.26. Houfe’s identification of the sitter as W. Morris is refuted by Peter Cormack and Colin Harrison, personal communication, 2007.

Posthumous portraitsback to top


1896
Three pencil studies by Charles Fairfax Murray, on deathbed, 3 Oct. 1896:
(a) see NPG 3021.
(b) similar pose; coll. Soc. of Antiquaries, London (displayed at Kelmscott Manor).
(c) nearly full-face; Tate, 5001.

Drawing by William Blake Richmond, inscr. ‘Oct 4. /1896’, head three-quarters to left, on deathbed; untraced. Photograph coll. Hammersmith PL. (repr. Bradley 1978, p.107).

1897
Della Robbia-ware plaque after design by Harold Rathbone or ?Conrad Dressler, head-and-shoulders, profile to left, framed in foliage; Williamson AG, Birkenhead (photograph coll. William Morris G., Walthamstow, London).

publ. 1899
Woodcut by Robert Bryden, head-and-shoulders, full-face, head on left hand (based on photograph by Frederick Hollyer, in reverse; see ‘Photographs, 1884, pose [a]’, below), part of portfolio Men of Letters of the Nineteenth Century, pub. J.M. Dent & Co, 1899; copies colls Fitzwilliam M., Cambridge, P.194-1990; William Morris G., Walthamstow, London; and Soc. of Antiquaries, London (displayed at Kelmscott Manor). Repr. in supplement to Literature, 14 Sept. 1901; copy NPG D32473; Getty Images, 50699301; also repr. The Comrade, Jan. 1903, p.83 (cutting New York PL, Digital Gallery ID 1701602).

exh. 1900
Bronze bust by Henry C. Fehr; William Morris G., Walthamstow, London (foyer). [7] Exh. RA 1900 (2028).
White marble bust of ?Morris after Fehr; untraced; Bonhams, 28 Oct. 2008 (125, ill.)

exh. 1901
Sculpted bust by Arthur John Smith; untraced. Exh. RA 1901 (1802).
Plaster bust by Smith, heroic size, painted terracotta colour; William Morris G., Walthamstow, London, S36.
Another plaster cast coll. Glasgow Academy may have been destroyed during World War 2. For more portraits of W. Morris by Arthur John Smith see ‘By other artists, exh. 1891’, above.

1903–4
Stone carved relief by George Jack after design by Philip Webb, Morris in the Home Mead, whole-length, seated in profile to left; Morris Cottages (1902), Kelmscott village. Repr. Dufty 1977, p.33.

c.1904
Pen, ink and watercolour caricature drawing, 201 x 303mm, by Max Beerbohm, Dante Gabriel Rossetti in his Back Garden, whole-length, full-face, reading aloud, with ten others incl. A.C. Swinburne; Birmingham MAG, 1981P2. Exh. Carfax G., London, 1904; Artists and Writers, Parkin G., London, 1976 (36); Piccadilly G., London, 1980 (25); British Watercolours from Birmingham, Tokyo, 1992 (7); Visions of Love and Life, New York and Birmingham, 1995 (118); and The Poetry of Drawing, Birmingham MAG and AG of New S Wales, Sydney, 2011 (102); ref. Gallatin 1913a, p.46, no.168; Gallatin 1918, p.70, no.254; Hart-Davis 1972, no.1268, p.119 and Denker 1995, pp.157–8; repr. Beerbohm 1904 and 1943 (no number); Beerbohm 1922 (1987, supplementary pl.3); The Times, 1 Jan. 1972; Dunn 1984, pl.15; Walkley 1994, p.191, fig.154; Denker 1995, p.158; Hall 1997, p.209, fig.198; Dearden 1999, p.202, no.300; and Cruise 2011, p.111, fig.140.
See also Burne-Jones, Hunt, Rossetti, Ruskin, Scott, Whistler

1909
Stone sculpture by Arthur Walker, whole-length, full-face, holding book in left hand, part of set of British Craftsmen; west front (Exhibition Rd), V&A, London.

publ. 1912
Drawing by A.C. Michael for Gillington [1912], cover illustration; William Morris G., Walthamstow, London (copy of book); see also MEPL, London, 10023791.

exh. 1913
Mezzotint by Malcolm Osborne (based on portrait by George Frederic Watts; see ‘By other artists, 1870’, above); proof copies colls Fitzwilliam M., Cambridge, P.28-1937; and AG of Canada, Ontario; see also prints colls BM, London, 1924,0209.39; and Huntington L., San Marino, CA, 2002.4. Exh. RA 1913 (cat. p.45).

c.1915–16
Pencil sketch by Max Beerbohm, head, with study of Edward Burne-Jones and sketches of Dante Gabriel Rossetti, Elizabeth Siddal, A.C. Swinburne, and Jane Morris; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE.

1916
Caricature drawings by Max Beerbohm for Rossetti and his Circle, two images:
(a) pencil and watercolour on paper, 311 x 387mm (support), inscr. ‘Topsy and Ned Jones settled on the settle in Red Lion Square’, whole-length to front, holding paper and pencil, seated with Edward Burne-Jones at right; Tate, A01049. Exh. Chris Beetles Ltd, London, 1997 (517); ref. Hart-Davis 1972, no.1072; repr. Beerbohm 1922 and 1987, pl.6; Hall 1997, fig.201; and Mancoff 1998, fig.8.
(b) pencil and watercolour on paper, 292 x 394mm (support), inscr. ‘Mr William Bell Scott Wondering What It is Those Fellows Seem to See in Gabriel’, whole-length, head profile to left, wearing blue suit, standing in background holding hands with kangaroo, with other artists; Tate, A01056. Exh. Grosvenor G., London, 1917 (10); Leicester G., London, 1921 (19); Tate, London, 1923 (19); and Dante Gabriel Rossetti: Painter and Poet, RA, London, 1973 (377); ref. Hart-Davis 1972, no.1276, p.119; repr. Beerbohm 1922 and 1987, pl.14.
See also F. Madox Brown, Burne-Jones, Rossetti, Scott.

1920s
Pencil sketch by Bert Frith Dinelli (based on photograph by Elliott & Fry, 1888; see ‘Photographs, 1888, pose [b]’, below); Hammersmith PL., London.

publ. 1934
Wood-engr. by John Farleigh, printed by L.C.C. School of Arts & Crafts (ed. of 15), head, three-quarters to right, on black ground (pose loosely based on Emery Walker and Hollyer photographs); repr. Philobiblon, Vienna, June 1934; and Studio, special winter number, 1934, p.10. See repr. coll. William Morris G., Walthamstow, London.
Image made to mark the centenary of the birth of William Morris.

c.1934
Pen and ink drawing by Frits van den Berghe; untraced; Christie’s (Amsterdam), 1 June 1995 (30).

c.1936
Watercolour and bodycolour over pencil drawing, 250 x 290mm, by Douglas Percy Bliss, The Morrises, The Rossettis and the Burne-Joneses at the Red House, Upton, signed and inscr., whole-length, seated with legs crossed, reading, in group of six sitters, probably drawn for the Sketch in sequence ‘More Mockery of the Old Masters’; untraced. Repr. Sotheby’s, 14 June 1989 (384); and The Illustrators: The British Art of Illustration 1800–1997, exh. cat., Chris Beetles, London, 1997, no. 517.
See also Burne-Jones, Rossetti

?c.1930s
Watercolour caricature by Osbert Lancaster, inscr. ‘After Breakfast at Kelmscott’, seated on earth closet with Jane Morris and Dante Gabriel Rossetti; priv. coll. Repr. Knox 2008, p.194.

c.1938–42
Portland stone statue by John Francis Kavanagh, whole-length, figure in niche as ‘Fellowship’; rear façade, Walthamstow Town Hall (1942).

publ. 1947
Illustrations by Edward and Stephani Godwin for Godwin 1947, watercolour frontispiece (half-length, full-face in oval, with walking stick) and vignette line drawings.

1965
Colour woodcut by Percy Grassby, bust-length, head turned to left; BM, London, 1965,0917.8.

c.1968
Pen and ink caricature drawing by Nicholas Bentley, head-and-shoulders to left, stamped on verso for publication in Sunday Telegraph, c.1968; Peter Harrington Gallery, London. Exh. Nicolas Bentley Drew the Pictures, Peter Harrington Gallery, 2011 (130, ill.).

1974
Etching by Barry Moser (ed. of 50), head-and-shoulders, profile to right, wearing hat; untraced.

publ. 1976
Wood-engr. by Barry Moser, head-and-shoulders, three-quarters to right (based on photograph by Emery Walker, see below, ‘Photographs, 1889, pose [g]’); repr. J.J. Walsdorf, ed., Men of Printing: Anglo-American Profiles, Easthampton, MA, 1976 (300 copies); and William Morris Society in the United States Newsletter, Jan. 2011, p.22.

publ. 1981
Woodcut by Barry Moser; repr. B. Moser, Printers on Morris, Beaverton, OR, 1981 (326 copies), frontispiece.

publ. 1989
Coloured wood engraving by John DePol, head-and-shoulders, three-quarters to right (vignette based on photograph by Emery Walker, see below, ‘Photographs, 1889, pose [e]’, in reverse); repr. F. Colebrook, William Morris, Master-Printer, Council Bluffs, IA, 1989.

1991
Walnut wood bust by Michael Painter; coll. Queen Elizabeth the Queen Mother. Ref. S.P.A.B. News, vol.13, no.2, 1992.

c.1996
Stone-finished resin bust by John Ravera, head-and-shoulders in niche on clock tower designed by Walter M. Epps, Broadway, Bexley Heath.


Photographsback to top


c.1855–7
Whole-plate glass copy neg. by Emery Walker of an untraced daguerreotype by an unidentified photographer, ?Oxford, three-quarter-length, almost full-face, seated to left, right hand on table; NPG EW box no.804/1.
Photogravure by Walker & Boutall; loose copies colls NPG x3757; Getty Images, 3350940; and William Morris G., Walthamstow, London. Repr. Mackail 1899, vol.1, facing p.104 (‘aged 23’); Burne-Jones 1904, vol.1, facing p.96; and Morris 1910–15, vol.24; also repr. Maas 1984, p.108; MacCarthy 1994, no.16; and Parry 1996, fig.36; and repr. as halftone (coll. New York PL, Digital Gallery ID 1701593). Note the similarity of the daguerrotype to the drawing ‘Self-portraits, c.1855–7’, above.

1870
Albumen carte-de-visite by unidentified photographer, inscr. over photograph ‘Rough print / to be returned[?]’ and verso, on card (probably in S.C. Cockerell’s hand) ‘William Morris 1870 / Given to me by C. Fairfax Murray Dec. 1916’, head-and-shoulders, full-face, slightly to right; NPG x3720. This is a rarity, and an unpublished image. Wilfrid Blunt donated the carte to the NPG in 1972.

Albumen carte-de-visite by John Robert Parsons, publ. by Ellis & Green, head-and-shoulders, profile to left; NPG x3765 and NPG Ax38170; and whole-plate glass copy transparency of the photograph by Emery Walker, NPG EW TW166.[8] See also V&A, London, Ph.1780-1939 (repr. Parry 1996, A.13); and The Rob Dickins Coll., Watts G., Compton, COMWG2008.189, COMWG2008.551 (repr. Bills & Webb 2007, no.94). Photogravure; William Morris G., Walthamstow, London.
Caricature drawing by Frederick Waddy, whole-length to left, seated with cigar, pose derived from the photograph by Parsons; untraced. Repr. Once a Week, 17 Aug. 1872 (MEPL, London, 10061038); and Waddy 1873, p.29.
Wood-engr. by W. Biscombe Gardner after the photograph, publ. Illustrated Review, vol.4, no.47, 16 Sept. 1872; copy Getty Images, 50699300. See NPG 3652 for further details of Morris sitting to Parsons.

1874
Photographs by Frederick Hollyer, taken in the garden of Edward Burne-Jones's Home, The Grange, Fulham, four known poses:
(a) whole-length, seated to right, right hand on right knee; prints colls NPG x3762 (exh. Nationalmuseum, Stockholm 2009 [18]); and V&A, London, 7714-1938, Hollyer album vol.II. Cropped version, 382 x 298mm; NMM, Bradford, 2003-5001_2_23796. Photogravure by Walker & Boutall, three-quarter-length, repr. Mackail 1899, vol.1, facing p.304 (‘aet 41’); loose print NPG x3758; copy prints colls William Morris G., Walthamstow, London; and the William Morris Soc., London. Another repr. coll. New York PL, Digital Gallery ID 1701594.
(b) whole-length, full-face, seated, clasping left knee, with Edward Burne-Jones to his right; prints colls NPG x3763; V&A, London, 7711-1938 (exh. The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 [8]; repr. Stuttgart 2010, no.8); William Morris G., Walthamstow, London; and Getty Images, 2628914.
(c) head only visible, standing, holding pipe, at back of group of nine figures, the Morris and Burne-Jones families; prints colls NPG x11881; (platinotype, 150 x 135mm) and NPG x131265 (albumen cabinet card, 103 x 139mm); V&A, London, Ph.1813-1939 (platinotype, 140 x 131mm, exh. William Morris, V&A, London, 1996 [A.23], repr. Parry 1996, A.23; and The Earthly Paradise, Staatsgalerie Stuttgart and Kunstmuseum Bern, 2010 [15], repr. Stuttgart 2010, no.15); and William Morris G., Walthamstow, London
(d) closer view than (c), half-length, different group arrangement; prints colls NPG x131266 (albumen cabinet card, 102 x 139mm) and copyprint NPG EW box no.2453/4; V&A, London, Ph.7816-1938 and V&A, London, 1812-1939. Repr. MacCarthy 1994, pl.70 (reversed); Mancoff 2000, p.86, fig.11; and MacCarthy 2011, pl.15..
See also Burne-Jones, M. Morris.

publ. 1876
Woodburytype photograph by unidentified photographer, head-and-shoulders, three-quarters to left, hair combed back; V&A, London, 26.Y; and Getty Images, 2641904; and a print coll. St Bride L., London. Repr. University Magazine, 1876 (no further details). Whole-plate copy neg. by Emery Walker; NPG EW box no.549/15.
Photogravure by Walker & Boutall in Morris 1910–15, vol.7, frontispiece; repr. Parry 1996, p.11.

c.1876
Albumen print by unidentified photographer, three-quarter-length, full-face, seated with arms crossed, wearing round hat and smock; colls V&A, London, 1808-1939 (repr. Parry 1996, A.24); and William Morris G., Walthamstow, London, neg no.PP1/Z521; copy print coll. St Bride L., London.

1877
Albumen cabinet card by London Stereoscopic & Photographic Co., 14 Mar. 1877, two poses:
(a) over half-length, standing, full-face, with cane in left hand and hat in right; colls NPG x3727; William Morris G., Walthamstow, London; and Getty Images, 3423767. Carte-de-visite (half-length detail of this pose); colls NPG x3764; and William Morris G., Walthamstow, London. Wood-engr. by ‘R. Taylor & Co.’ (head-and-shoulders detail) repr. ILN, 15 Oct. 1892, vol.101, p.491.
(b) three-quarter-length, seated to left, right arm resting on table; NPG x3728 and NPG x3750; and Getty Images, 3423750. See also prints colls Harvard College L. (on loan to Fogg AM, Harvard, 119.1976.3225); and The Rob Dickins Coll., Watts G., Compton, COMWG2008.342. Repr. Bills & Webb 2007, no.92.

Albumen cabinet card by Elliott & Fry, 21 Mar. 1877, two poses:
(a) three-quarter-length, full-face towards right, seated, left arm on curved upholstered arm rest, hat in left hand; colls NPG x3724, NPG x3751; William Morris G., Walthamstow, London; and Getty Images, London, 50699302. A slightly cropped version; The Rob Dickins Coll., Watts G., London, COMWG2008.3471.
(b) three-quarter-length, seated, profile to left, hat in left hand; prints colls NPG x3725 and NPG x131223; and William Morris G., Walthamstow, London, PP1/Z2520 (copyprint).

1880
Cabinet cards by Abel Lewis, printed by J.E. Bruton, Douglas, Isle of Man, April 1880, three poses:
(a) head-and-shoulders, head three-quarters to left, eyes lifted (button of jacket clearly visible under lapel); colls NPG x3722 (platinotype, ex-coll. S.C. Cockerell), NPG x3753 (albumen cabinet card), NPG x3754 (albumen cabinet card), {NPG x3755mw129801} (albumen cabinet card), NPG x19611 (half-plate glass positive); and William Morris G., Walthamstow, London. Repr. Review of Reviews 1890, p.676;Bookman, Sept. 1896, p.168; and MacCarthy 2011, pl.27. This is one of the most frequently reproduced photographs of Morris.
(b) closer to camera than pose (a), head-and-shoulders, head three-quarters to left, eyes to left; NPG x3723 (platinotype), NPG x19608, NPG 19609 (half-plate glass positives). Repr. Connoisseur, 1901, vol.1, p.261; and in wood-engr. by ‘CK’ publ. Harper’s Monthly Magazine (European ed.), May 1888, p.818.
(c) closer to camera than pose (a), head-and-shoulders, head three-quarters to left, gaze slightly lowered; colls NPG x3726 (sepia cabinet card, ex-coll. S.C. Cockerell), NPG x3756 (photogravure by Walker & Boutall, c.1896), and NPG x19610 (half-plate glass neg.); and a copy William Morris G., Walthamstow, London. Repr. as halftone (coll. New York PL, Digital Gallery ID 1701595). See also print in album ‘Portraits of Old Brethren’, vol.2, Art Workers Guild, London.

1884
Platinotype cabinet cards by Frederick Hollyer, seven poses:
(a) head-and-shoulders, full-face, head on right hand; prints colls V&A, London, 7715-1938, Hollyer album vol.II; HRHRC, U. of Texas at Austin, Literary File Coll., P-1; and Bonhams, Roy Davids Coll., 3 Oct. 2005 (114). Repr. ILN, 10 Oct. 1896, p.455; Review of Reviews 1896, p.532; and in a wood-engr. by ‘MAN’ publ. L’Illustrazione Italiana, 25 Oct. 1896, p.271. Photogravure by Walker & Boutall repr. Mackail 1899, vol.2, frontispiece (‘aged 52’); colls NPG x3759; and William Morris G., Walthamstow, London. Another photogravure by Swan Electric Engraving Co; NPG x3760. See copy neg. by Emery Walker, NPG EW box no.876. Repr. as halftone (coll. New York PL, Digital Gallery ID 1701596). See also bronze plaque; coll. Huntington L., San Marino, CA, 2000.5.3354, based on this photograph. One of the most familiar images and the basis of several later portraits (see ‘Posthumous portraits’, above).
(b) nearly half-length, profile to left; NPG x3721.
(c) near-profile to left, eyes downcast; NPG x1514; repr. MA, 1896, p.56;
(d) half-length, head three-quarters to left; colls Hammersmith Central L.; and Bonhams, 15 Mar. 2005 (642).
(e) close to pose (b), head-and-shoulders, profile to left; colls V&A, London, 7717-1938, Hollyer album vol.II; NMM, Bradford, 2003-5001_2_20233; and Sheffield City L., Carpenter Coll., 8/86.
(f) half-length, profile to left, reading book on window ledge; V&A, London, 7716-1938, Hollyer album vol.II.
(g) half-length, full-face, left hand across chest; William Morris G., Walthamstow, London (two prints).
There is a collection of seven prints of the 1884 sitting coll. William Morris G., Walthamstow, London.

c.1885
Albumen prints by unidentified photographer, standing, in second row to right of group of the Hammersmith Branch of the Socialist League, probably in garden of Kelmscott House, two known poses:
(a) spectacles in right hand, raised to breast pocket; V&A, London, Ph.1817-1939 (repr. Parry 1996 [E.4]) and 1817A-1939 (damaged); Hammersmith and Fulham Archives, London (repr. MacCarthy 1994, fig.102); and Mark Samuels Lasner Coll., on loan to U. of Delaware (repr. Stetz 2007, p.84).
(b) right hand dropped; V&A, London, Ph.1820-1939; priv. coll. (2012); and William Morris Internet Archive/Photos.

1888
Albumen cabinet cards by Elliott & Fry, at least three poses:
(a) half-length, head three-quarters to left, collar half-obscured by white beard; NPG x81922 (original half-plate copy glass neg.). Repr. Hillier 1975, p.83.
(b) head-and-shoulders, head to right, eyes lowered; NPG x3735. Heliogravure by Frederick John Jenkins, Paris, publ. 1895; colls NPG x3752; Hammersmith Central L., London; William Morris G., Walthamstow, London; MEPL, London, 10061039; and New York PL, Digital Gallery ID 1701597. See also etching after this pose, 130 x 105mm, inscr. ‘S. Hollyer’; Huntington Art Colls, San Marino, CA, 41.5.892. For a sketch after this pose see ‘Posthumous portraits’ above.
(c) head-and-shoulders, turned to right; print Hammersmith Central L.

1889
Albumen cabinet cards by Emery Walker, Hammersmith, 19 Jan. 1889, at least seven (outdoor) poses:
(a) head-and-shoulders, head tilted to left, bust to left, eyes ahead, collar half-obscured by white beard; NPG x19615 (original half-plate glass positive) and cabinet card NPG x19698. Photogravure (green-toned) by Walker & Boutall repr. Vallance 1909, frontispiece; copy NPG Ax19697; and a negative, St Bride L., London.
(b) head-and-shoulders, bust to left, eyes slightly to left; NPG x19618 (original half-plate glass positive), NPG x3732, and NPG x3745 (two cabinet cards).
(c) head-and-shoulders, full-face, eyes ahead; colls NPG x19616 (original half-plate glass positive); and St Bride L., London (print).
(d) head-and-shoulders, profile to right; NPG x19612 (original half-plate glass positive), cabinet cards NPG x3729, NPG x3734 (inscr. on mount ‘Taken by Emery Walker at Hammersmith Jan 19 1889’) and NPG x3746–48, and NPG x3749 (platinotype). See also albumen print; V&A, London, Ph.1809-1939. Repr. as halftone (coll. New York PL, Digital Gallery ID 1701599). This pose repr. Burne-Jones 1904, vol.2, facing p.194.
(e) head-and-shoulders, three-quarters to right; NPG x19617 (original half-plate glass positive) and NPG x3730 (cabinet card). Photogravure publ. 1 Oct. 1897; HRHRC, U. of Texas at Austin, Helmut Gernsheim Coll., 964:0817:0001. See MEPL, London, 10023790. Further photogravures colls William Morris G., Walthamstow, London; and New York PL, Digital Gallery ID 1701601.
(f) head-and-shoulders, three-quarters to left, eyes slightly raised; NPG x19614 (original half-plate glass positive), and NPG x3731 and NPG x3744 (cabinet cards).
(g) head-and-shoulders, three-quarters to left; colls NPG x19613 (original half-plate glass positive); and St Bride L., London (print).

late 1880s
Albumen print by unidentified photographer, 141 x 167mm, whole-length, full-face, seated in front row at left, in group of 5 men against a brick and flint/ragstone wall; V&A, London, 1814.1939.

1890
Photograph by Frederick Hollyer, 27 July 1890, in the garden, The Grange, Fulham, three-quarter-length, seated, with Edward Burne-Jones standing behind bench, elbow far left probably that of Margaret Mackail (née Burne-Jones); colls William Morris G., Walthamstow, London (repr. MacCarthy 1994, fig.103); Hammersmith and Fulham Archives, London (prints); NPG x19619 (half-plate glass positive by Emery Walker); and Getty Images, 3070031. Also repr. Henderson 1967, fig.61; Bradley 1978, p.98; Mancoff 1998, fig.35; and Rosenblum, Stevens & Dumas 2000, p.373 (image reversed).

1890–91
Albumen print by unidentified photographer (?Emery Walker), seated, in front row to left in group from the Hammersmith Socialist Soc. in the garden of Kelmscott House; colls V&A, London, Ph.1821-1939; Hammersmith and Fulham Archives, London; and NPG x19650 (half-plate glass neg.). See the 1884 photograph of Morris by Hollyer pinned to the notice board in front of seated row.

c.1893
Photograph by unidentified photographer of the staff of the Kelmscott Press, Morris seated at centre of group of 15 figures, legs crossed with walking stick, Emery Walker standing behind, May Morris seated in front row; prints colls V&A, London, Ph.1819-1939; BL, London; and Huntington Art Colls, San Marino, CA, 2000.5.1873; NPG x32758 (whole-plate glass neg. by Emery Walker, NPG EW box no.333/2, damaged); and Bridgeman AL. Repr. Peterson 1982, p.109; MacCarthy 1994, fig.109; and Parry 1996, p.313. [9] For a close-up detail of Morris see NPG x3761; and the photogravure by Walker & Cockerell in Burne-Jones 1904, vol.2, facing p.260.

reg. 1894
Photograph by Francis Henry Hart for Elliott & Fry, three-quarter-length, full-face, sitting in chair, hands clasped on leg; reg. for copyright 1894 July 21: National Archives (copy 1/416/211).

early 1890s
?Platinum prints by Halliday Sparling, three-quarter-length, profile to right, seated at desk, at Kelmscott House, two similar poses; colls NPG x19620 and NPG x19621 (Emery Walker film neg. nos 2384/1 and 2384/2); and V&A, London, Ph.1811-1939. Repr. Sparling 1924 (copy New York PL, Digital Gallery ID 1701600); and Meynell 1947, frontispiece. For a photomontage of the two poses see prints, William Morris G., Walthamstow, London; and St Bride L., London. [10]

?mid-1890s
Photograph by unidentified photographer (?Emery Walker), half-length, seated to right in chair, at Kelmscott House; Cheltenham AGM, Emery Walker coll. Repr. MacCarthy 1994, fig.119.


Footnotes
1) ‘The Firm’ often used each other as models for figures in decorative schemes. For reproductions of other examples, see Parry 1996; and MacCarthy 1994.
2) The drawing, which is on the back of a scrap of paper printed with W.M. Thackeray’s verses ‘The End of the Play’ (first publ. 1848), has been attached to the title-page of a copy of Morris’s The Earthly Paradise. The title-page is inscr. ‘Louisa Crabbe’.
3) ‘A Book of Verse’, MSS (and drawing of Venus) by William Morris, with illustrations and ornamentation by Charles Fairfax Murray, Edward Burne-Jones and George Wardle, presented to Georgina Burne-Jones on her birthday, 26 Aug. 1870.
4) See pendant sketch self-portrait by Edward Burne-Jones, repr. Burne-Jones 1904, vol.1, p.290.
5) This or another drawing of W. Morris by R.P. Staples was exh. RSPP 1895 (191), and sold Phillips, 11 June 1991 (71).
6) Lang 1959–62, vol.5, p.262; and Journal of William Morris Studies, Winter 2004, p.71.
7) Originally commissioned by the AWG for Walthamstow Public L., the bust was transferred to the William Morris G. when it opened in 1950.
8) Frederick Startridge Ellis (see ODNB) and G.M. Green, a partnership of booksellers between 1871 and 1872. For Morris’s sitting to Parsons on 14 June 1870, see Kelvin 1984, p.121. NPG x3765 was donated to the NPG by Sir Bernard Partridge, 1961.
9) According to S.C. Cockerell’s diary, the photograph was taken at the annual ‘Wayzgoose’ (printers’ outing) in Taplow on 13 Sept. 1895 (Peterson 1982 p.109); Burne-Jones gives the same date but locates it in Hammersmith (Burne-Jones 1904, vol.2, facing p.260). However, Sparling (fourth from right in back row) stopped being secretary of the Press in spring 1894 so the photograph is unlikely to have been taken in 1895. MacCarthy dates the photograph ‘early 1890s’; MacCarthy 1994, fig.109.
10) In 1957 a collection of Emery Walker Ltd negatives was given to the St Bride L., London. It included 11 portraits of W. Morris after photographs by Walker himself, rephotographs of portraits by Hollyer and Abel Lewis, photographs of Kelmscott House, and rephotographs of various images of the Morris family. See Wodzicka 1970, pp.13–27.

Carol Blackett-Ord