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Mrs Margaret Desenfans
Reynolds, Sir JoshuaAyoub, Moussa1930
Dulwich Picture Gallery
London, United Kingdom
Margaret Morris (1737-1814): sister of Sir John Morris of Clasemont, Glamorganshire; married Noel Desenfans (see Northcote DPG28) in 1776. She inherited a life interest in the Desenfans-Bourgeois collection in 1811, but surrendered it to Dulwich College; contributing substantially to the cost of Soane's new gallery. She bequeathed to the Gallery much of the furniture now on display, together with plate and linen and a sum of £500 for the entertainment of members of the Royal Academy on their annual visitations. DPG627 is a copy by Moussa Ayoub of Reynolds's original of 1757.
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Details
- Title: Mrs Margaret Desenfans
- Creator Lifespan: 1723Active 1903-1938 - 1792
- Date: 1930
- Physical Dimensions: w635 x h759 cm
- Type: Painting
- Medium: Oil
- Work Notes: A copy by M. Ayoub of the original, which belonged to Agnew's in 1930. Reynolds painted the portrait in 1757 and it was one of a series of six catalogued by Mannings and Postle, 2000, pp. 343-4, of the daughters of Robert Morris of Tredegar, Glamorgan. These were the sisters of John Morris of Clasemont, Glamorgan (created a baronet 1806). Five of the pictures are by Reynolds, one perhaps by John Astley: unnamed sister (Princeton University Art Museum, see Mannings and Postle, no. 1297); 'Bridget Morris' (Richard L. Feigen & Co., see Mannings and Postle, no. 1298); 'Bridget Morris' (location unknown, see Mannings and Postle, no. 1299); Margaret Morris (private collection, see Mannings and Postle, no. 1300); Mary Morris (location unknown, see Mannings and Postle, no. 1301). A final portrait of 'Bridget Morris', attributed to John Astley, was sold at London, Sotheby's, 25 May 1988 (see Mannings and Postle, under no. 1299).According to Mannings and Postle, 2000, p. 343, Reynolds' appointment book records sittings with Miss Morris on Apr. 1757 on 12 (two o'clock), 13 (nine o'clock and one o'clock), 14 (eleven and one), 15 (three appointments at ten o'clock, at twelve and at two), 16 (eleven, one, three) and 20 (at ten). These appointments were connected by Waterhouse with the portrait of Mary Mary (Mannings and Postle, no. 1301) but, although that may be correct, it seems unprovable. Another (perhaps identical) Miss Morris had three appointments in 1766: Aug. 29 (at eleven o'clock), Sep. 1 (no time indicated) and 15 (at nine). Another Miss Morris had an appointment on 7 Jan. 1768 (at nine) and it is possible this may have been Jane, who married Dr George Baker on 28 June 1768.Three pictures by Reynolds of the Morrises were in the collection of Noel Desenfans, appearing in the 1791-2 inventory of his Charlotte Street House. Hung in the Breakfast Room, they were described as a 'Portrait of Mrs Desenfans', a 'Portrait of Mrs Lockwood, her sister', and a 'Portrait of Miss Morris'. As they do not appear in the 1804 Insurance List the pictures presumably left the Desenfans' possession before that date. Margaret Desenfans and Miss Morris' portraits reappear in a subsequent sale held by Col. Charles Morris at Christies' on 1 Mar. 1873 as lot 39 ('Portrait of Miss Morris (afterwards Mrs. Desenfans), in a blue dress with pearls and bouquet of flowers. Engraved'). Bt Agnew (subsequent provenance: London, John Heugh sale, 17 Mar. 1877, lot 59. Bt Cowan [bt in?]; London, Agnew's, 1930; sold to J. Connell & Sons Ltd) and lot 40 ('Portrait of Miss Morris, in a white dress with pink bow and pearls, pearl necklace and head dress. Engraved') Bt 'Heugh'. Presumably John Heugh pursued Mrs Desenfans' portrait in order to have the pair by Reynolds. As Elizabeth Bridget Morris married Thomas Lockwood on 14 Apr. 1762 the picture recorded in 1791-2 is probably identical or similar to one of the portraits tentatively identified as her (Mannings and Postle, either no. 1298 or no. 1299). The description of the 'Miss Morris' given in the 1873 sale Ð presumably an unmarried sister or perhaps a cousin of Margaret Desenfans Ð is close to another by Reynolds of Mary Morris (Mannings and Postle, no. 1301). The provenance of this picture, however, shows that it stayed within the Morris family until 1938, so the painting mentioned in 1791-2 may have been a replica. That the sitter is still referred to in 1791-2 as 'Miss Morris' suggests she was unmarried. It is perhaps significant that the portraits of 'Bridget Morris' (Mannings and Postle, no. 1299), Margaret Morris (Mannings and Postle, no. 1300), and Mary Morris (Mannings and Postle, no. 1301) all show the sitters in similar dress and are of almost identical size.[CHECK IF THERE WERE ANY UNMARRIED SISTERS. THE PROVENANCE OF MARY MORRIS' PORTRAIT IS GIVEN BY MANNINGS AND POSTLE IS AS FOLLOWS: Col. Charles Morris 1864; executors of Sir Robert Morris, Bt, sale 29 Apr. 1938, lot 45. Bt J. Mitchell; with John Mitchell, Picadilly, 1950. PRESUMABLY IT DIDN'T GO OUT OF THE FAMILY, UNLIKE THE WORK BT BY HEUGH. DID SHE MARRY? MORE THAN ONE COPY? NB. THAT BOTH MARGARET AND MARY'S PORTRAITS WERE ENGRAVED BY G. H. EVERY IN 1865 AND 1864 RESPECTIVELY (THE PORTRAIT OF MARGARET AS IN THE COLL. OF COLONEL MORRIS. CHECK THESE)]
- Work Nationality: British
- Support: Canvas
- Provenance: Commissioned by Dulwich College, 1930.
- After Artist: Reynolds, Sir JoshuaAyoub, Moussa
- Acquisition Method: Dulwich College (Commissioned by Dulwich College, 1930)
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