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Composition of children

  • Object:

    Oil painting

  • Place of origin:

    London (painted)

  • Date:

    1870 (painted)

  • Artist/Maker:

    Morgan, Alfred, born 1836 - died 1924 (artist)

  • Materials and Techniques:

    oil on canvas

  • Credit Line:

    Conserved with the support of The Pilgrim Trust, with additional thanks to The Worshipful Company of Grocers

  • Museum number:


  • Gallery location:

    Photography Centre, Room 101, The Sir Elton John and David Furnish Gallery, case Lunette, shelf 2 []

Physical description

Decorative lunette painting of five children with sheafs of wheat and four profiles of busts.

Place of Origin

London (painted)


1870 (painted)


Morgan, Alfred, born 1836 - died 1924 (artist)

Materials and Techniques

oil on canvas

Marks and inscriptions

A.M. 1870
Signed and dated


Height: 143.5 cm measured from highest point of lunette, Width: 263.5 cm

Object history note

This decorative painting was commissioned to decorate one of eighteen lunette-shaped recesses in the upper portion of rooms 100 and 101 (at that time the National Competition Gallery). The lunettes were removed just before the Second World War and placed in store. This painting, along with the eight others made for the west wall of room 101, was conserved and reinstalled in its original location in August 2010.

Historical significance: The National Competition Gallery (now rooms 100 and 101) in the East Ranges of the Museum was completed in 1864-65. At that time it was formed of two parallel top-lit rooms; these were used for the marking and display of work by art students in Department of Science and Art-run schools across the country. Richard Redgrave, who was placed in charge of the decoration of the gallery in 1863, proposed to commission paintings for the eighteen lunettes along the upper sections of the walls. The project, managed jointly by Redgrave and Henry Cole, continued for thirteen years; several lunettes were completed and in position by 1868, although work was not completed fully until 1876.

Broadly speaking, there were two stages in the production of the lunettes. Most of those created towards the beginning of the period were decorative, allegorical paintings carried out by art students from designs by Godfrey Sykes, Frank Moody, Alfred Morgan and Redgrave. A second stage was initiated in November of 1867 by William Frederick Yeames who contacted Cole and suggested that he should be commissioned for the project. Initial plans to commission other artists of the stature of Leighton, Watts and Poynter were scaled down, and the core of those chosen were historical genre painters from the loose association of artists known as the St John's Wood Clique: Yeames himself, G.D. Leslie, Henry Stacy Marks and D.W. Wynfield. Cole held a meeting with the artists to establish a theme for the lunettes, and, appropriately for a gallery in which students' work was displayed and judged, it was decided that the paintings should represent the practices of drawing, painting and sculpture in a programmatic representation of Redgrave's curriculum for art schools, the National Course of Art Instruction. The resulting subjects treated by the compositional canvases included life drawing, modelling from the life, study of anatomy, landscape painting, flower painting and still life drawing.

The various artistic activities represented in the paintings are set within relevant historical contexts; each takes place within the period and place considered to have fostered its inception or its apogee. So drawing the skeletal structure of the body is set in Renaissance Florence; still-life drawing is given a 17th-century Flemish setting; and landscape sketching takes place in 19th-century England.

The compositional canvases were interspersed with eight decorative lunette paintings, four for each side of the gallery. Each of these is divided into segments, providing five main compositional areas with a semicircular area at the bottom. All feature infants in allegorical schemes. This lunette is decorated with an allegory of summer, with large sheaves of wheat or corn and a central cartouche design incorporating a sickle.

Alfred Morgan (fl.1862-1904) had a long association with the South Kensington Museum. He was a student at the South Kensington School of Art, and he later executed a portrait of Inigo Jones for the Kensington Valhalla project, which was made in English ceramic mosaic by W. B. Simpson and Sons and placed in position in 1868.

Morgan exhibited at the Royal Academy and elsewhere between 1862 and 1904. His subjects were wide-ranging: still life (dead game, fruit and flowers), genre pictures, portrait, landscape, historical and Scriptural subjects.

Descriptive line

Decorative lunette painting, commissioned for the National Competition Gallery (now Rooms 100 and 101). A. Morgan, 'Allegory with putti: Harvest'. Lunette 2 for Room 101, west wall (commencing from south end).

Bibliographic References (Citation, Note/Abstract, NAL no)

John Physick, The Victoria and Albert Museum: the History of its Building, London 1982, pp. 83-87.
Jim Dimond, Susan Owens and Sophie Reddington, 'The conservation of twenty paintings for the V&A's National Competition Gallery', The Picture Restorer, no. 38, Spring 2011, pp. 14-16.


Oil paint; Canvas


Oil painting

Subjects depicted

Wheat; Birds' nests; Infants; Harvest; Putti; Allegory


Paintings; History of the V&A; Fabric of the Building


Prints, Drawings & Paintings Collection

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