Voyages of Discovery: De Morgans and the Sea
3rd February - 25th August 2012
The sea was a major source of inspiration for the De Morgans, as evidenced by William's galleons, dolphins and sea monsters, and the prevalence of seascapes in Evelyn's paintings. Join us for a journey of ships, sea monsters, shells, sirens and sea monsters in this vibrant exhibition, curated in conjunction with National Trust Standen.
The superlative Galleon tile panel, designed for the P&O ship S.S.Malta in 1895, will be exhibited alongside key pieces from the De Morgan collection, including a spectacular moonlight lustre punch bowl depicting fanciful fish which represents the pinnacle of De Morgan’s technical prowess, and a very rare, early seahorse tile whose production techniques mirror the matt quality of Morris and Co. tiles. Among Evelyn’s exhibited works are the nude male figures of Phosphorous and Hesperus, which, imbued with potent sexual symbolism in the form of phallic torches and conch shells, caused scandal and controversy when first exhibited, and the allegorical ‘S.O.S’ with its symbolic sea monsters representing evil and death.
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FLOCK
November 16th 2011 - January 14th 2012
Flock to the De Morgan Centre this winter for a mixed media exhibition which will include an enchanting selection of bird inspired crafts made from ceramics, driftwood, textiles, glass and paper.
The exhibition will include ceramics by Laurence McGowan, driftwood sculptures by Sid Burnard, slipware by Prue Cooper, glasswork by Heather Konschuh, ceramics by Anthony Theakston and bird drawings exclusively made for the De Morgan Centre by jeweller Wendy Ramshaw.
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The De Morgan Centre has now re-opened!
Refurbished, re-configured restored and re-hung, visitors are once again able to experience the stunning collection of William De Morgan’s ceramics and Evelyn De Morgan’s paintings – the largest collection of each anywhere in the world.
While William De Morgan was the most important ceramicist of the Arts and Crafts Movement and a close friend and collaborator of William Morris, his wife Evelyn was a talented and acclaimed artist and symbolist painter.
Together they were actively involved in a number of social movements of their day; including prison reform and women’s suffrage and so the Centre is also a rich resource for students of late 19th Century art, social and political history.
Once again the Centre will host a lively and wide ranging programme of temporary exhibitions, many featuring the work of contemporary crafts-people thus promoting craft education and the best craft practices of today. Our aim is to ensure that the Arts and Crafts Movement goes on into the future and that the Centre remains a focus of relevance and interest.
For our re-opening, we will present an exhibition of Fine Cell’s work in the re-designed temporary exhibition space. The charity trains prisoners in highly skilled and paid needlework, using William De Morgan’s tile designs for many of their cushion ranges. The De Morgan Centre has had a long-standing relationship with Fine Cell Work and now once again visitors will have a chance to see and purchase from a range of cushions, bags and small items.
The De Morgan Centre is re-opening alongside Wandsworth Museum which launched in 2010. The two small independent museums will support each other by sharing expertise and resources such as a fabulous cafe. Co-existing in the same building, we aim to provide an exciting and varied visitor destination in the heart of Wandsworth.
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William De Morgan & Fine Cell Work
September 16th - November 3rd 2011
For our re-opening, we will present an exhibition of Fine Cell Work in the re-designed temporary exhibition space. The charity trains prisoners in highly skilled and paid needlework, using William De Morgan’s tile designs for many of their cushion ranges. The De Morgan Centre has had a long-standing relationship with Fine Cell Work and now once again visitors will have a chance to see and purchase from a range of cushions, bags and small items.
The charity currently brings skilled craftwork to a sector of the population which would otherwise have no access to it, and shares De Morgan’s commitment to making craftwork a day to day practice in the modern world. Victorian philanthropy embraced these dual interests and William De Morgan’s mother campaigned alongside Elizabeth Fry, who first brought paid needlework into prisons in the 19th Century.
The sense of continuity with the past and connection to the outside world is of great value to men and women separated from society, and they frequently express the self worth it gives them:
“It opens up another world, one that is long-forgotten. It is reinventing the craftsmanship of yesteryear. Then there is the pride and usefulness in seeing something of beauty come together, and the thought that my cell work will bring pleasure, now and hopefully long into the future…”
More information on Fine Cell Work
