Later Victorian Portraits Catalogue

By other artists
Possible portrait
Photographs

By other artistsback to top

late 1860s
Pencil caricature drawing by Burne-Jones, half-length, seated with sister Jenny, both children embraced by William Morris, cutting up food on a plate; untraced. Repr. MacCarthy 1994, p.193. Photograph of drawing by Emery Walker, NPG SB (Morris).

1870
Two pencil drawings by George Howard, 9th Earl of Carlisle:
(a) half-length, profile to right, head tilted up, torso lightly delineated;
(b) head-and-shoulders, profile to right;
in sketchbook; coll. NT, Wightwick Manor, Wolverhampton, 1288044.1. WIG/D/178/1. Pose (a) repr. NACF Annual Report 1980, no.2865.

Oil on canvas, 487 x 325mm, by George Howard, 9th Earl of Carlisle, signed and dated, whole-length, profile to left, kneeling on chair, to right of her sister Jenny; Soc. of Antiquaries, London (at Kelmscott Manor), KM 063. Ref. Society of Antiquaries Picture Catalogue, 2011 (no page ref.); repr. Kelmscott Manor: An Illustrated Guide, London, 1999, p.19, fig.5. Although a label on the back states that this double portrait was ‘painted by the Rt.Hon.George Howard and given to Mrs William Morris 1868’ the work was begun when the Morris daughters were staying with the Howards in summer 1870, and it was presented to their mother around the end of the year.

1871
Chalk drawing, 438 x 394mm, by Dante Gabriel Rossetti, signed and dated, head-and-shoulders, half-profile to left, loose hair; Soc. of Antiquaries, London (at Kelmscott Manor). Exh. Burlington Fine Arts Club, London, 1883 (63); ref. Surtees 1971, no.361; repr. Faxon 1989, p.179, pl.197; MacCarthy 1994, pl.63; and Bridgeman AL, London, KLM278237.

1872
Pastel drawing, 735 x 510mm, by Dante Gabriel Rossetti, signed in monogram and dated, inscr. on scroll ‘MM aetat X delt. 1872’, half-length, near-profile to left, leaning on a parapet or sill, holding heart’s-ease flower; untraced. Ref. Surtees 1971, no.362; repr. Christie’s, London, 29 Nov. 1985 (94), Christie’s Images, 866-3237; and Bridgeman AL, London, CH27093. This is presumably the work to which Rossetti referred in a letter to his brother, 3 Nov. 1872, stating ‘meanwhile I have done a very careful chalk drawing of May, which will be worth 100 guineas, I doubt not’ (Rossetti 1895, vol.2, p.265).

1873
Oil on canvas 1155 x 876mm, by Dante Gabriel Rossetti, La Ghirlandata, signed and dated, as two accessory angel heads, half-profile to right (top left), profile to left (top right); Guildhall AG, London. Exh. Rossetti Memorial exh., RA 1883 (298); Jubilee Exh., Bradford AG, 1930; and Lady Lever AG, Port Sunlight, 1948 (173); ref. letter from D.G. Rossetti to H. Treffry Dunn, 20 Aug. 1873, ‘The two heads of little May are at the top of the picture’ (Fredeman 2002–10, vol.4, letter 73:248, p.239); and Surtees 1971, no.232; repr. Surtees 1971, vol.2, pl.334; and Faxon 1989, p.185, pl.206. Neither head offers a convincing likeness, but both are derived from the sequence of photographs by Robert Faulkner (see below, ‘Photographs, early 1870s’).
Two preliminary studies:
(a) coloured chalk drawing, 915 x 762mm, signed in monogram and dated, heads only; untraced. Ref. Surtees 1971, no.232A (when in priv. coll.)
(b) pen and brown ink drawing, 150 x 105mm, heads only; untraced. Ref. Surtees 1971, no.232B (when owned by Lord Sherfield). ‘May Morris portrayed in the angel heads appears younger than in the finished picture’; Surtees 1971, vol.1, p.131.

c.1873-5
Chalk and pencil drawing 580 x 460mm, by Dante Gabriel Rossetti, quarter-length to front, with arms folded, almost profile left; private coll.; ref. Sotheby's, 10 Dec. 2014 (13).

1874
Watercolour drawing 480 x 578mm, by Dante Gabriel Rossetti, Rosa Triplex, signed and dated, with title on scroll within design, triple half-length portraits (half-profile to right; to front, looking to left; half-profile to right) as frieze; coll. Virginia Surtees. Exh. Rossetti Memorial exh., RA 1883 (352); New G., London, 1897 (43); and Dante Gabriele Rossetti e i Preraffaelliti, Rome, June 1958 (no no.); ref. letter from D.G. Rossetti to T.G. Hake, 20 Dec. 1874, ‘I completed a little picture called “The Triple Rose” – three views of May Morris’ lovely face – which I had begun at Kelmscott (Fredeman 2002–10, vol.6, letter 74:262, p.575); and Surtees 1971, no.238. All three poses are derived from the photographs by Robert Faulkner (see below, ‘Photographs, early 1870s’). Three earlier compositional studies, dating from 1865–7, cannot have been drawn from May Morris: ref. Surtees 1971, nos 238A–C.

1876–80
Oil on canvas, 2692 x 1168mm, by Edward Burne-Jones, The Golden Stairs, whole-length to front, holding violin, eighth figure from top in descending group of 18 women; Tate, N04005. Exh. Grosvenor G., London, 1880 (120); Manchester AG, 1887 (206); New G., London, 1892 (51) and 1898 (108); White City, London, 1908 (100); Burne-Jones, Hayward G., London, Southampton AG and Birmingham MAG, 1975–6 (138); The Pre-Raphaelites, Tate, London, 1984 (154); The Age of Rossetti, Burne-Jones & Watts, Tate, London, 1997–8 (68); and Burne-Jones: Victorian Artist–Dreamer, Met., New York, Birmingham MAG and M. d’Orsay, Paris, 1998–99 (109); repr. as engr. by Felix Jasinksi, Paris, 1894; Parris 1984, p.235; Wilton & Upstone 1997, pp.189–90, no.68 (in colour p.190); Mancoff 1998, p.79, pl.30; Wildman & Christian 1998, p.248; and Wood 1998, p.89.

An undated pencil drawing by Burne-Jones, head-and-shoulders profile to right; Emery Walker House, London, may be related to The Golden Stairs composition, although the pose is quite different from that in the painting.

1887
Design by ?T.Fanshaw, for A Scene from Mr William Morris’s Socialistic Play, half-length profile to left in courtroom, in costume as Mary Pinch; untraced. Repr. Pall Mall Budget, 3 Nov. 1887.

1890
Pen and ink drawing, 130 x 90mm, by Walter Crane, inscr. ‘From the Branch to its Flower June 1890’, head only, half-profile to right, as centre of flower at top of rose-stem, as bookplate for gift from Socialist League Hammersmith Branch marking May Morris’s marriage; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE, L-2010-4. Exh. Belief in the Power of Beauty, Delaware AM, 2010–11 (no cat no.); ref. Labourchere 1895, pp.135–6; repr. as engr. by W.H. Hooper, Labourchere 1895, p.133. ‘The plate drawn by Mr. Walter Crane and engraved on wood by W.H. Hooper for May Morris (Mrs. Sparling), is interesting both as a work of art and for its association. It was originally made and placed in the volume of the 1830 edition of the Waverley Novels, presented to Mrs. Sparling on the occasion of her marriage, by her fellow-members of the Hammersmith branch of the Socialist League.… In the corner of the plate Mr. Crane has placed three caps of liberty, and the initials are “H. S. L.” with the motto “From the Branch to its Flower, June, 1890.” The Socialist League no longer exists; when it disintegrated the branch in Hammersmith became the “Hammersmith Socialist Society,” of which Mrs. Sparling is still an active member.’

1897
Silverpoint drawing by William Rothenstein; see NPG 3049.

1910
Bronze bust, 450mm high, by Jo Davidson, New York; coll. Emery Walker Trust, London. Ref. letter from John Quinn to May Morris, 13 May 1910, ‘I was a little afraid that the bust might be scratched or injured in that small box. I am glad to know that you are as much pleased with it as you were’ (Londraville 1997, p.198 n.13).

c.1912
Watercolour drawing, 229 x 285mm, by Mary A. Sloane, ‘William Morris’s Bedroom at Kelmscott Manor’, as background figure seen in doorway; William Morris G., Walthamstow, London, W157 (31/1962). According to the sitter, writing to John Quinn on Easter Monday 1912, ‘I have a guest, who is painting just now, my colleague on the Women’s Guild of Arts [Mary Sloane]. She is doing for me a picture of Father’s bedroom and another of this room with me half in the picture, at work – her idea’ (Londraville 1997, p.110).

Watercolour drawing, 273 x 375mm, by Mary A. Sloane, ‘May Morris in the Tapestry Room at Kelmscott Manor’, whole-length, profile to right, seated with proofs of William Morris’s Collected Works; William Morris G., Walthamstow, London, W158 (32/1962). Exh. William Morris G., London, 1989; repr. Marsh 1986, p.273, pl.30.
Four pencil studies:
(a) 292 x 226mm, profile head; William Morris G., Walthamstow, London, D277 (41/1962).
(b) 165 x 133mm, William Morris G., Walthamstow, London, D278a (42/1962).
(c) 203 x 140mm, William Morris G., Walthamstow, London, D278b (42/1962).
(d) 165 x 114mm, William Morris G., Walthamstow, London, D278c (42/1962).

Possible portraitback to top

early 1870s
Chalk drawing 425 x 360mm, attributed to Ford Madox Brown, head-and-shoulders to front, facing front with shawl wrapped round wrapped round shoulders and long hair; coll. Scott Thomas Buckle.
Possibly based on the photographs by Faulkner & Co., listed below.

Photographsback to top

c.1864
Photograph by unidentified photographic studio, whole-length to front, standing on a low chair wearing pale dress over drawers, ankle socks and dark shoes; William Morris G., Walthamstow, London. Repr. MacCarthy 1994, pl.40.

early 1870s
Albumen cartes-de-visite by Robert Faulkner & Co., all head-and-shoulders in oval vignettes, with loose wavy hair, wearing dress with wide ruched neck and velvet band, some with fringed shawl knotted over shoulders and chest, seven known poses:
(a) 71 x 58mm, to front, looking to left, wearing shawl; NPG x29071 and NPG x129535.
(b) 65 x 52mm, looking left, head slightly tilted to left, wearing shawl; NPG x129534.
(c) 71 x 58mm, looking left, head slightly tilted to front, wearing shawl with dark ribbon visible; NPG x129530.
(d) 55 x 47mm, half-profile to right, wearing shawl with ribbon visible; NPG x129532.
(e) 65 x53mm, half-profile to right, head tilted, eyes looking right, no shawl; NPG x129531.
(f) 65 x 53mm, half-profile to right, head tilted, eyes looking right, no shawl; colls. NPG x129533; and Delaware AM Lib. Exh. Belief in the Power of Beauty, Delaware AM, 2010–11 (no cat. no.)
(g) 65 x 52mm, profile to right, looking down; NPG x3739.
Cartes (a) to (f) came from May Morris’s papers, via Robert Steele; carte (g) from the Watts G., Compton, and its sometime curator Wilfrid Blunt. The poses cover a full range of attitude, from frontal to right profile, looking down and up. They are thought to have been taken in relation to preparations for Rossetti’s works La Ghirlandata and Rosa Triplex (see above, ‘By other artists, 1873’ and ‘1874’).

1874
Photographs by Frederick Hollyer, taken in the garden of Edward Burne-Jones’s home, The Grange, Fulham, several known groups and poses (including [c] to [k] ten group poses with sister Jenny, and Philip and Margaret Burne-Jones):
(a) three-quarter-length, standing, fourth from right in group of 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.
See also Burne-Jones, Morris.

(b) whole-length, seated, right foot on step, far right of group of Morris and Burne-Jones families; 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, W. Morris.

(c) albumen cabinet card, 101 x 141mm, whole-length to front, seated in branches of a tree, second from left, embracing Margaret Burne-Jones; NPG x19860. Exh. Victorian Art World in Photographs, NPG, London, 1984 (22); repr. Maas 1984, p.186, no.344.

(d) albumen cabinet card, 103 x 139mm, whole-length, profile to left, seated in branches of a tree, far right; NPG x19861.

(e) albumen cabinet card, 102 x 139mm, whole-length, half-profile to right, seated in branches of a tree, far left, holding Margaret Burne-Jones’s hand; prints colls William Morris G., Walthamstow, London; and NPG x19862. Repr. Marsh 1986, p.99, pl.9; and MacCarthy 1994, pl.71.

(f) albumen cabinet card, 139 x 97mm, half-length, standing behind stone bench, far right; NPG x19863. Repr. Marsh 1998a, p.60.

(g) albumen cabinet card, 139 x 102mm, whole-length to front, seated on stone bench, second from right; NPG x19864.

(h) albumen cabinet card, 139 x 102mm, whole-length, profile to right, seated on stone bench, far left; NPG x19865.

(i) albumen cabinet card, 101 x 140mm, whole-length, profile to right, seated on stone bench, second from right; NPG x19866.

(j) albumen cabinet card, 104 x 140mm, whole-length to front, seated on stone bench, far right; NPG x19867.

(k) albumen cabinet card, 141 x 102mm, whole-length, profile to right, seated on stone bench, far left, with Margaret Burne-Jones on her knee; NPG x19868.

(l) albumen cabinet card, whole-length to front, seated cross-legged in grass, to right of group including Jenny and Jane Morris, and Philip, Margaret and Georgiana Burne-Jones; coll. Hammersmith & Fulham Archives, London.

c.1879
Photograph possibly by Frederick Hollyer, half-length, profile to right, wearing dress with puff sleeves, beads, elaborate cross on ribbon round neck and silver chatelaine at waist; William Morris G., Walthamstow, London. Repr. Marsh 1986, p.140, pl.11 (where dated to Oct. 1879). In this image May Morris appears to be in her teenage years.

1870s
Platinum print by unidentified photographer, 138 x 88mm, quarter-length vignette, profile to left, wearing large loose collar or scarf; NPG x76482.

1886
Platinum print, 148 x 98mm, by Frederick Hollyer, half-length, profile to left, wearing dark velvet dress, reading from paper held in left hand, right hand to cheek; prints colls William Morris G., Walthamstow, London; and NPG x19854 (where dated 22 Mar. 1886) Repr. Marsh 1986, pl.17, p.204; Levitt 1991, p.63; MacCarthy 1994, pl.87 (cropped); and Mancoff 2000, p.92, fig.36.
This is one of the most frequently reproduced portraits of May Morris; the print in the NPG Collection came from her own papers.

c.1889
Photograph by unidentified photographer, whole length to front, third from left in front row of seated women, in group portrait of Socialist League Hammersmith branch (seceded from League Nov. 1890), with William Morris and many others; prints colls William Morris G., Walthamstow, London; and Hammersmith and Fulham Archives, London. Repr. Marsh 1986, p.21, pl.19; and MacCarthy 1994, pl.102.

late 1880s
Photographs by unidentified photographer, wearing full-length cape over full-skirted gown, two known poses:
(a) whole-length, looking to left, seated, playing guitar with long ribbons attached to end of neck; William Morris G., Walthamstow, London. Repr. Marsh 1986, p.209, pl.18 (where costume conjecturally linked to her appearance in the Socialist League drama The Tables Turned, or Nupkins Awakened, autumn 1887).
(b) nearly whole-length, profile to right, right arm holding guitar upright on floor, on left of group with Henry Halliday Sparling, Emery Walker and G. Bernard Shaw; coll. Emery Walker archive, Cheltenham AGM. Repr. MacCarthy 1994, pl.101 (where identified as Socialist League rehearsal).

c.1880s–90s
Photographs by unidentified photographer, two known poses:
(a) platinum print, 104 x 81mm, signed by sitter on mount, quarter-length, profile to left, wearing dark bodice and jacket over thin scalloped collar, before figured curtain; NPG x3741.
(b) albumen cabinet card, 108 x 90mm, inscr. on mount ‘Affectionately yours / May Morris’, half-length, half-profile to left, leaning on right elbow, with hand to cheek before floral-patterned wallpaper; NPG x76483.

Half-plate glass negative by Emery Walker, half-length, looking to front, seated at piano in front of fireplace, mantelpiece and painting, probably at Kelmscott House, Hammersmith; NPG x19692.

c.1890
Photograph by unidentified photographer, three-quarter-length to left, seated, looking down, with clasped hands to chin; coll. William Morris Soc., London. In this image, a ring on the wedding finger is prominent, suggesting it may mark the sitter’s engagement or marriage.

Photographs by unidentified photographer, taken at 8 Hammersmith Terrace, London, three known poses:
(a) whole-length to front, wearing high-waisted sprigged muslin dress, right hand on rail of garden steps; William Morris G., Walthamstow, London. Repr. Marsh 1986, p.247, pl.243.
(b) whole-length, profile to right, looking down, right arm on rail; NPG x76479 (bromide print, 156 x 105mm).
(c) three-quarter length, profil perdu to right, right arm down; NPG x76480 (bromide print, 155 x 106mm).
According to May Morris writing to John Quinn, 1 July 1910, these were ‘some absurd photographs … done long ago. In the biggest you’ll see me walking down the garden steps here – Marie Antoinette going to execution someone called it ironically – rather posée, it looks to one now.’ (Londraville 1997, p.42).

c.1891–2
Glass plate negative, 305 x 254mm, by Emery Walker, whole-length, wearing a white blouse, seated in front row second from right, in group portrait of the Hammersmith Socialist Society (founded Dec. 1890) incl. William Morris; NPG x19650.

c.1892–3
Vintage snapshot by unidentified photographer, whole-length to front, wearing pince-nez and small trilby hat, standing with Henry Halliday Sparling, Anna Oscara Steffen and Gustaf Steffen, cast-iron bridge in background; NPG x32598. Repr. Levitt 1991, pl.91, p.95 (where dated 1892–4); and MacCarthy 1994, pl.88. Anna and Gustav Steffen, from Sweden, were resident in London from around 1892 to 1897; May Morris married Sparling in 1890 and separated from him in 1894.

c.1893
Photograph by unidentified photographer, whole-length to front, seated with hands in lap, in garden, third from right in front row, in group portrait of the staff of the Kelmscott Press, with 14 men incl. William Morris; prints colls V&A, London, Ph.1819-1939; BL, London; 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, London, STC130686. Repr. Peterson 1982 p.109; MacCarthy 1994, pl.109; and Parry 1996, p.313.

early 1890s
Platinum cabinet cards by Frederick Hollyer, four known poses:
(a) 146 x 90mm, half-length, profile to left, seated, hands clasped; NPG x19855.
(b) 145 x 90mm, half-length, profile to right, standing, left arm raised behind head, right hand to waist; NPG x19856.
(c) 147 x 92mm, half-length, profile to right, wearing thin fur tippet; NPG x19857.
(d) 147 x 92mm, half-length to front, eyes to left, hands clasped to left, wearing fur tippet and jewelled cross; NPG x19858.
Although these images have been dated to the 1870s, and from the sitter’s appearance could have been taken at any date between c.1885 and 1895, the leg-of-mutton sleeves seen only became fashionable around 1893.

Vintage prints by unidentified photographer, at embroidery frame, three known poses:
(a) 78 x 70mm, half-length to front, seated behind frame, looking down, holding scissors in right hand; NPG x44650. Repr. MacCarthy 1994, pl.117.
(b) half-length, profile to right, bent over embroidery; NPG x76473 and NPG x76478. Repr. L. Parry, ‘May Morris, Embroidery and Kelmscott’ in William Morris: Art and Kelmscott, ed. L. Parry, Woodbridge, Suffolk, 1996, [pp.57–68] p.58, pl.41.
(c) half-length, nearly profil perdu to left, seated by window, stitching at large embroidery frame; prints colls William Morris G., Walthamstow, London; and NPG x76474 (cyanotype, 80 x 73mm). Repr. Elliott & Helland 2002, p.50, pl.2.1.

Platinum print, 111 x 109mm, by unidentified photographer, quarter-length, profile to left, wearing pale summer blouse with large flat collar, before planked fence or door with clematis leaves; prints NPG x29070, NPG x76475 and NPG x76486.

late 1890s
Photograph by unidentified photographer, taken at 8 Hammersmith Terrace, whole-length to front, looking down, wearing Middle Eastern dress and holding prayer beads; William Morris G., Walthamstow, London. Repr. Marsh 1986, p.235, pl.22. Presumably taken following her visit to Egypt in 1896–7.

Photograph by unidentified photographer, head-and-shoulders, profile to left, wearing dark velvet cap tied beneath chin; William Morris G., Walthamstow, London. Repr. Marsh 1986, p.255, pl.27.

Bromide print, 76 x 67mm, by unidentified photographer, three-quarter-length, profile to right, seated, wearing light-coloured blouse with fichu over dark high-waisted skirt, holding cup and saucer in left hand; NPG x76476.

Snapshot prints, 76 x 73mm, by unidentified photographer, taken in garden with two unknown women, all seated on bench, May Morris far right, wearing dark dress with leg-of-mutton sleeves, stirring cup of tea, two poses:
(a) central woman turned to right; NPG x76488.
(b) central woman turned to left; NPG x76489.

1905
Albumen cabinet card, 112 x 142mm, by Carter & Co., Bristol, whole-length, profile to right, seated on left of group outside Kelmscott Manor, Oxon., with Jane Morris, Jenny Morris and a female companion; prints colls William Morris G., Walthamstow, London; and NPG x33259 (very faded print, inscr. verso ‘Kelmscott c.1910’) and NPG x33260 (where dated to Summer 1905). Repr. Marsh 1986, p.267, pl.29; MacCarthy 1994, pl.121; and Mancoff 2000, p.106, fig.44.

Vintage snapshot by unidentified photographer, seated on ground, Jane Morris lying in a hammock, Jenny Morris to far right, female companion to left and two other women; NPG x76490 and NPG x76491. Another group image, showing the same personnel and apparently from the same period as the item above.

c.1906–09
Photograph by George Charles Beresford, nearly whole-length to front, seated in high-backed carved armchair, wearing full-length dress with patterned edging and flounce, muslin chemisette and under-sleeves, holding beads in left hand; prints colls William Morris G., Walthamstow, London; Mark Samuels Lasner Coll., on loan to U. of Delaware L., Newark, DE, L-2010-39 (exh. Belief in the Power of Beauty, Delaware AM, 2010–11, where dated to c.1909); and Smithsonian Archives, Washington, DC (captioned ‘Miss May Morris of England’). Repr. on leaflet issued by the Civic Forum Lecture Bureau, New York, advertising Morris’s lecture tour in North America, 1909–10 (4 pages); and Londraville 1997, p.89 (where dated ‘c.1895’, but a later date is indicated, especially as Beresford began his photographic career around 1902).

Photograph by unidentified photographer (indecipherable studio stamp to left), three known poses:
(a) whole-length, profile to left, seated, looking down, hands on knee, wearing long skirt and long silk cape; coll. William Morris Soc., London.
(b) half-length to front, head turned to profile right, wearing hat with jewelled clasp and long veil behind, necklace, chemisette under bodice with velvet trim and silk cape; coll. William Morris Soc., London.
(c) head-and-shoulders, profile to right, wearing hat with clasp and veil as in (b); coll. William Morris Soc., London.

c.1910–14
Snapshot, 75 x 100mm, by unidentified photographer, three-quarter-length, half-profile to right, wearing sun hat, seated at spinning wheel in garden at Kelmscott Manor, Oxon.; NPG x76487.

1913
Snapshot by unidentified photographer, whole-length to front, hands on rope, in group at village event with her mother Jane Morris, folklorist Cecil Sharp and others; William Morris G., Walthamstow, London.

c.1915–20
Photograph by unidentified photographer, whole-length, profile to left, playing recorder, standing before hedge in garden at Kelmscott Manor, Oxon.; William Morris G., Walthamstow, London. Repr. Londraville 1997, p.90.

Vintage postcard print, 135 x 85mm, by unidentified photographer, whole-length, profile to left, standing before hedge in garden at Kelmscott Manor, Oxon., wearing knee-length velvet coat and gaiters; NPG x36246. Repr. Rolley & Aish 1992, p.131.

Bromide snapshot, 78 x 78mm, by unidentified photographer, half-length, profile to left, amid foliage, leaning out of upstairs window at Hammersmith Terrace; NPG x76477.

c.1919
Vintage snapshot print, 96 x 46mm, by Philip Edward Morrell, inscr. on card ‘May Morriss[sic]. O[ttoline]’, half-length to front, standing behind flower bed at Kelmscott Manor, Oxon., with Ottoline Morrell; NPG Ax140667.

c.1920
Snapshot by unidentified photographer, whole-length, standing holding cat on far left of group with four unidentified women in yard outside Kelmscott Manor, Oxon.; William Morris G., Walthamstow, London. Repr. Londraville 1997, p.91.

Snapshot print, 75 x 100mm, by unidentified photographer, three-quarter-length, profile to right, hands behind back, standing in garden, probably at Kelmscott Manor, Oxon., wearing short jacket with large rounded lapels and beret (cf. fashions of 1920); NPG x76484 and NPG x76485.

before 1921
Postcard print, 138 x 87mm, by unidentified photographer, inscr. on verso ‘Greetings and best wishes for 1921 / from May Morris’, whole-length, profile to right, seated on settle beside tall upright loom; NPG x1105.

1924
Vintage snapshot, 79 x 126mm, possibly by Mary Frances Lobb, inscr. verso ‘Love and best wishes to all, Christmas 1931, from May Morris / me, crossing a snow-mountain in Iceland’, whole-length to right, seated on horseback in glacial terrain with snowfield and mountains in background; NPG x3740. May Morris and Miss Lobb visited Iceland in summer 1924.

mid-1920s
Vintage snapshot by unidentified photographer, whole-length, looking to right, standing with Mary Frances Lobb in a field, wearing linen jacket and straight striped skirt; William Morris G., Walthamstow, London. Repr. Marsh 1986, p.282, pl.31 (where located ‘probably in Wales’); MacCarthy 1994, pl.122 (cropped top and bottom); and Londraville 1997, p.92 (where dated 1926).

Bromide print, 112 x 76mm, by unidentified photographer, whole-length, profile to right, standing in garden at Hammersmith Terrace, wearing dark full-length dress, left arm outstretched; NPG x29073.

1920s
Bromide snapshot, 71 x 72mm, by unidentified photographer (possibly Mary Frances Lobb), head-and-shoulders on pillow, loose hair, reading book, bed-head rails and door behind; NPG x29072.

1935
Vintage snapshot by unidentified photographer, whole-length, profile to right, seated on stone bench in garden at Kelmscott Manor, Oxon., wearing full-length patterned or brocade dress; William Morris G., Walthamstow, London (where dated to June 1935). Repr. Marsh 1986, p.290, pl.32.

Dr Jan Marsh