Husband Philip Morrell

Queer Places:
Welbeck Abbey, Worksop S80, Regno Unito
Garsington Manor, Garsington, Oxford OX44, Regno Unito
44 Bedford Square, Bloomsbury, London WC1B, Regno Unito
10 Gower St, Bloomsbury, London WC1E, Regno Unito
St Mary, 17 Southend, Garsington, Oxford OX44 9DH, Regno Unito
St Winifred, Holbeck, Regno Unito

Lady Ottoline Violet Anne Morrell (16 June 1873 – 21 April 1938) was an English aristocrat and society hostess. Her patronage was influential in artistic and intellectual circles, where she befriended writers including Aldous Huxley, Siegfried Sassoon, T. S. Eliot and D. H. Lawrence, and artists including Mark Gertler, Dora Carrington and Gilbert Spencer. She has been romantically linked to Maria Nys, Dora Carrington.

Morrell was known to have had many lovers. Her first love affair was with an older man, the doctor and writer Axel Munthe,[2] but she rejected his impulsive proposal of marriage because her spiritual beliefs were incompatible with his atheism. In February 1902, she married the MP Philip Morrell,[3] with whom she shared a passion for art and a strong interest in Liberal politics. They shared what would now be known as an open marriage for the rest of their lives.[4]

Philip's extramarital affairs produced several children who were cared for by his wife, who also struggled to conceal evidence of his mental instability.[4] The Morrells themselves had two children (twins): a son, Hugh, who died in infancy, and a daughter, Julian;[4] whose first marriage was to Victor Goodman and second marriage was to Igor Vinogradoff.[5]

Morrell had a long affair with philosopher Bertrand Russell,[6][7] with whom she exchanged more than 3,500 letters.[8] Her lovers may have included the painters Augustus John, and Henry Lamb,[7][9] the artist Dora Carrington, the art historian Roger Fry,[4][7] and in her later years there was even a brief affair with a gardener, Lionel Gomme, who was employed at Garsington.[7] Her circle of friends included many authors, artists, sculptors and poets.[7] Her work as a patron was enduring and influential, notably in her contribution to the Contemporary Art Society during its early years.

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