This sample book of 130 wallpapers shows the different colourways of wallpaper patterns produced by Morris & Co., after their move to George Street in 1917. A small section of the papers are machine printed (sample nos. 2-17), the rest are hand printed (sample nos. 19-130). Printing technique for sample nos. 1 and 18 are not specified. The colourway number is listed after the pattern name:
1. Myrtle, no.511, William Morris, 1899. Two shades of light green and ochre on white.
2. Carnation, no.500, Kate Faulkner, 1880. Pale green, turquoise, yellow, beige on white.
3. Carnation, Kate Faulkner, 1880. Pale turquoise, pale blue, green, pink, and light brown on white.
4. Oak Tree, no.330, J. H. Dearle, c. 1896. Two shades of green on white.
5. Oak Tree, no.331, J. H. Dearle, c. 1896. Two shades of turquoise on white.
6. Oak Tree, no.333, J. H. Dearle, c. 1896. Two shades of salmon pink on white.
7. Oak Tree, no.506, J. H. Dearle, c. 1896. Two shades of mid-blue on white.
8. Oak Tree, no.507, J. H. Dearle, c. 1896. Yellow ochre and brown on cream.
9. Thistle, no.345, J. H. Dearle, 1897. Green-yellow on white.
10. Thistle, J. H. Dearle, 1897. Pale blue on white.
11. Thistle, no.346, J. H. Dearle, 1897. Pastel green on white.
12. Thistle, no.347, J. H. Dearle, 1897. Salmon pink on white.
13. Thistle, no.348, J. H. Dearle, 1897. Jade on pale green.
14. Thistle, no.502, J. H. Dearle, 1897. Mid-blue on white.
15. Thistle, no.503, J. H. Dearle, 1897. Pale gold on white.
16. Thistle, no.504, J. H. Dearle, 1897. Pale mushroom on pale pink white ground.
17. Thistle, no.505, J. H. Dearle, 1897. Pale yellow on gold yellow ground.
18. Tom Tit (Tomtit), no.340, J. H. Dearle, late 19th century. Pastel green with darker green outline, two shades of pale lime green, yellow and brown on white flecked with lime.
19. Loop Trail, no.95, (attributed to) Kate Faulkner, c. 1877. Yellow ochre and dark cream on light ground.
20. Loop Trail, no.94, (attributed to) Kate Faulkner, c. 1877. Light and dark blue on white.
21. Loop Trail, no.169, (attributed to) Kate Faulkner, c. 1877. Deep salmon pink and pink on cream.
22. Mallow, no.107, Kate Faulkner, 1879. Pale yellow on white.
23. Mallow, no.145, Kate Faulkner, 1879. Grey-green on cream.
24. Mallow, no.105, Kate Faulkner, 1879. Pale yellow on deeper gold yellow.
25. Mallow, no.106, Kate Faulkner, 1879. Pale yellow on deeper gold yellow.
26. Ceiling, no.292, William Morris, c. 1877. Pale yellow on white.
27. Ceiling, no.151, William Morris, c. 1877. Dusty pink on white.
28. Ceiling, no.136, William Morris, c. 1877. Pale green on white.
29. Borage ceiling, no.252, William Morris, 1888-89. Pale yellow on white.
30. Borage ceiling, no.254, William Morris, 1888-89. Duck-egg blue on white.
31. Borage ceiling, no.253, William Morris, 1888-89. Pale salmon pink on cream.
32. Borage ceiling, no.255, William Morris, 1888-89. Pale green on white.
33. Venetian,no.11, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Pale gold on white.
34. Venetian, no.10 (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Pale green on white.
35. Venetian, no.54, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Dusty pink on white.
36. Venetian, no.12, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Dull blue on white.
37. Venetian, no.57, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Pink on lighter pink.
38. Venetian, no.56, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Dull pastel green on lighter ground.
39. Diaper, no.18, William Morris, c. 1868-70. Pale lime yellow with pale brown outline on cream.
40. Diaper, no.40, William Morris, c. 1868-70. Pale grey-green with darker outline on lighter ground.
41. Diaper, no.249, William Morris, c. 1868-70. Deep brown-pink with darker outline on lighter ground.
42. Marigold, no.139, William Morris, 1875. Pale yellow on cream.
43. Marigold, no.402, William Morris, 1875. Pale green and white.
44. Larkspur, no.30, William Morris, 1872. Pale yellow on white.
45. Sunflower, no.274, William Morris, 1879. Pale grey-green and cream.
46. Sunflower, no.115, William Morris, 1879. Cream on pale brown-yellow.
47. Larkspur, no.28, William Morris, 1872. Grey-blue on white.
48. Larkspur, no.64, William Morris, 1872. Two shades of pale grey-green.
49. Poppy (Pink and Poppy), no.131, William Morris, 1880. Sea-blue on white.
50. Poppy (Pink and Poppy), no.129, William Morris, 1880. Reddish-tan on very pale tinted ground.
51. Poppy (Pink and Poppy), no.137, William Morris, 1880. Grey-green with deeper outline.
52. Venetian, no.55, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Two shades of pale duck-egg blue.
53. Mallow, no.170, Kate Faulkner, 1879. Deep salmon pink and pink.
54. Branch, William Morris, no.24, 1871. Grey-green on olive ground.
55. Pink and Rose, no.279, William Morris, 1891. White on pale turquoise.
56. Pink and Rose, no.280, William Morris, 1891. Cream on pale dull gold.
57. Pink and Rose, no.276, William Morris, 1891. Pale grey-green on white.
58. Pink and Rose, no.277, William Morris, 1891. Pink on white.
59. Merton, no.232, (attributed to William Morris), c. 1888. Two shades of mid-blue on white.
60. Marigold, no.320, William Morris, 1875. Blue on white.
61. Marigold, no.44, William Morris, 1875. Light pink on dusty pink ground.
62. Marigold, no.401, William Morris, 1875. Pale green on darker ground.
63. Willow Bough, no.418, William Morris, 1887. Gold, pale gold and yellow on white.
64. Willow, no.417, William Morris, 1871-74. Two shades of pale yellow on white.
65. Willow, no.379, William Morris, 1871-74. Two shades of green on white.
66. Willow, no.58, William Morris, 1871-74. Purple-pink and pink for leaves on lighter pink ground.
67. Queen Anne, no.22, (attributed to) William Morris or Chambrey Corker Townshend, c. 1868-70. Pale duck-egg blue on pastel blue.
68. Horn Poppy, no.171, May Morris, c. 1885. Yellow ochre and light brown on cream.
69. Horn Poppy, no.378, May Morris, c. 1885. Mid-green on white on pale green ground with pastel green stippling.
70. Horn Poppy, no.113, May Morris, c. 1885. Red-brown outline and cream on dusty pink ground stippled with lighter pink.
71. Sunflower, no.110, William Morris, 1879. Very pale blue on dark blue.
72. Merton, no.231, (attributed to William Morris), c. 1888. Light and dark salmon pink on white.
73. Arcadia, n.195, May Morris, c. 1886. Cream, pale pink, reddish brown outline on lighter tone of reddish brown.
74. Meadow Sweet, no.394, J. H. Dearle, c. 1904. Pale green, two shades of pastel green on light green ground.
75. Willow, no.70, William Morris, 1871-74. Two shades of blue-grey on lighter ground.
76. Marigold, no.42, William Morris, 1875. Two shades of grey-blue.
77. Sunflower, no.275, William Morris, 1879. Pale grey-green on darker ground.
78. Larkspur, no.29, William Morris, 1872. Two shades of blue-grey.
79. Pink and Rose, no.285, William Morris, 1891. Pale grey-green on darker ground.
80. Acorn, no.112, William Morris, 1879. Pastel blue on blue-grey ground.
81. Horn Poppy, no.178, May Morris, c. 1885. Tan, light salmon pink on light salmon pink ground with tan stippling.
82. Willow Bough, William Morris, no.210, 1887. Three shades of green and brown on cream.
83. Wallflower (Wallflowers), no.270, William Morris, 1890. Mid-blue, white on mid-blue with pale blue stippling.
84. Wallflower (Wallflowers), no.269, William Morris, 1890. Two shades of lime green on cream.
85. Wallflower (Wallflowers), no.268, William Morris, 1890. Two shades of ochre on cream.
86. Wallflower (Wallflowers), no.267, William Morris, 1890. Tan outline, white, deep pink and red stippling.
87. Marigold, no.84, William Morris, 1875. Two shades of pale turquoise.
88. Marigold, no.81, William Morris, 1875. Two shades of pale duck-egg blue.
89. Indian, no.15, G. G. Scott, c. 1868-70. Pale yellow on white.
90. Indian, no.14, G. G. Scott, c. 1868-70. Dull blue-grey on white.
91. Horn Poppy, no.307, May Morris, c. 1885. Mid-blue outline, white on pale blue with turquoise stippling.
92. Horn Poppy, no.174, May Morris, c. 1885. Pale yellow, light brown outline on pale ochre with lighter stippling.
93. Arcadia, no.197, May Morris, c. 1886. Mid-blue outline, cream and white on dull turquoise blue.
94. Arcadia, no.196, May Morris, c. 1886. Very pale pink, pastel pink on deep rose ground.
95. Willow, no.49, William Morris, 1871-74. Two shades of grey on mottled blue-grey ground.
96. Meadow Sweet, no.392, J. H. Dearle, c. 1904. Yellow, dull green, brown on dark olive ground.
97. Sunflower, no.135, William Morris, 1879. Dull pink-red on brown.
98. Willow, no.483, William Morris, 1871-74. Mushroom and white on silvered ground.
99. Willow, no.484, William Morris, 1871-74. Pale ochre on white on silvered pink ground.
100. Branch, no.452, William Morris, 1871. White on silvered ground.
101. Bachelor’s Button, no.294, William Morris, 1892. Two shades of green for outline and detail, pale blue background on white.
102. Bachelor’s Button, no.301, William Morris, 1892. Yellow, yellow ochre outline, pastel green ground on white.
103. Bachelor’s Button, no.300, William Morris, 1892. Mid-blue outline, grey-blue and cream on dull blue ground.
104. Bachelor’s Button, no.298, William Morris, 1892. Yellow ochre, cream, light brown outline on pale tan ground.
105. Bachelor’s Button, no.296, William Morris, 1892. Pale yellow, yellow ochre outline on mid-yellow ground.
106. Bachelor’s Button, n.297, William Morris, 1892. Maroon outline, cream, tan detail on tan ground.
107. Willow, no.60, William Morris, 1871-74. Three shades of pale green-blue.
108. Willow, no.54, William Morris, 1871-74. Three shades of grey-green-blue.
109. Willow Bough, no.230, William Morris, 1887. Three shades of green, olive, and light brown on light green ground.
110. Willow Bough, no.229, William Morris, 1887. Three shades of green, olive, and brown on pale blue-green.
111. Horn Poppy, no.172, May Morris, c. 1885. Red-brown outline, deep pink on deeper ground with stippling.
112. Venetian, n.350, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Pale lemon yellow on deeper lemon yellow mica ground.
113. Blackberry, no.397, J. H. Dearle, early twentieth century. Two shades of pale green, white, ochre, and tan on light green ground.
114. Indian, no.13, G. G. Scott, c. 1868-70. Two shades of blue-grey on lighter ground.
115. Sprig, no.142, (attributed to) William Morris, late nineteenth century. Pale green on dull green ground (textured paper).
116. Venetian, no.416, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Dull purple-blue on deep grey-blue ground (textured paper).
117. Venetian, no.415, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Light pink on darker pink ground (textured paper).
118. Indian, no.349, G. G. Scott, c. 1868-70. Pale lemon yellow on lemon yellow mica ground.
119. Scroll (or Scroll and Flower), no.23, William Morris, c. 1871-72. Dull olive, tan, light grey-green on two shades of darker grey-green.
120. Bruges, no.407, William Morris, c. 1887-87. Deep crimson on dark red-pink (textured paper).
121. Bruges, no.405, William Morris, c. 1887-87. Mid-green on lighter ground (textured paper).
122. Bruges, no.406, William Morris, c. 1887-87. Scarlet on dark crimson ground (textured paper).
123. Foliage, no.354 J. H. Dearle, late nineteenth century. Light green, mid-green, dark green outline on green ground.
124. Brentwood, no.496, J. H. Dearle, early 20th century. Light green, mid-blue, dull rose on white.
125. Michaelmas Daisy, no.490, J. H. Dearle, 1912. Pale blue and green on white.
126. Michaelmas Daisy, no.491, J. H. Dearle, 1912. Pale pink and light green on white.
127. Michaelmas Daisy, no.492, J. H. Dearle, 1912. Purple and grey-green on white.
128. Apple, no.97, William Morris, 1877. Two shades of blue, tan on white.
129. Apple, no.99, William Morris, 1877. Brown, dusty pink and orange on cream.
130. Apple, no.98, William Morris, 1877. Light green, pastel green, and olive on white.
