What did William De Morgan and Evelyn De Morgan blue plaque do at 127 Old Church Street?

The Story

# 127 Old Church Street Standing before this Chelsea townhouse, you're looking at the final home of one of Victorian London's most creatively formidable couples, where William De Morgan—master ceramicist and late-blooming novelist—and his wife Evelyn De Morgan, the visionary painter whose Art Nouveau canvases commanded spiritual and political attention, spent their most productive years together in quiet collaboration. It was within these walls that William, having already revolutionized ceramic tile design across decades, undertook his unexpected second career as a novelist in his sixties, crafting fantastical tales while Evelyn continued painting her dreamlike mythological works in the studio light that Old Church Street's proximity to the Chelsea Arts world afforded them. The address represents not a beginning for either artist but rather a sanctuary where two already-accomplished creators could work side by side, undiminished by age or society's expectations, supporting each other's vision until their deaths just two years apart in 1917 and 1919. This modest-seeming Victorian building thus marks the place where one of London's great artistic partnerships reached its full maturity—a space where experimental ceramics and Pre-Raphaelite-influenced painting existed in the same household, each feeding the other's imagination.