This Morris & Co. wallpaper sample book dates to after 1917 when the shop moved from Oxford Street to George Street. The book is bound in beige linen. Stamped in black on front cover: ‘Morris & Co. Ltd. / 17 George Street, Hanover Square / London W. / Art Wallpapers’. Stencilled on spine and inside cover: ’60’. Printed label stuck on inside of front cover: ‘This is the only firm founded by William Morris, the Artist-Poet, and our customers are warned against other firms trading under a similar name. The wallpapers shown in this were all designed by William Morris and his associates. Morris and Company make a large variety of furnishing fabrics to go with these wallpapers, including the well-known MORRIS CRETONNES, and they will be pleased to send patternes of appropriate colourings. The prices are: CRETONNES – 36 inches wide, from 4 s per yard; DAMASKS – 50 inches wide, from 11 s 6d per yard. Morris and Company, Ltd., 17 George Street, Hanover Square, London, W. 1. Telephone: Mayfair, 1664-1665.’
135 samples in different colourways of wallpaper patterns designed by William Morris, Kate Faulkner, May Morris, J. H. Dearle, and others. Each sample: 28 x 36.8 cm. A small section of the papers are machine printed (sample nos. 2-17), the rest hand printed (sample nos. 19-135). Printing technique for sample nos. 1 and 18 are not specified:
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, no.501, 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.334, J. H. Dearle, 1897. Green-yellow on white.
10. Thistle, no.345, 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. Venetian, attributed to William Morris or George Frederick Bodley, c. 1868-71. Silver grey on shiny white.
20. Willow, William Morris, 1871-74. White and grey on beige silvered ground.
21. Willow, William Morris, 1871-74. Pale ochre on white on silvered pink ground.
22. Branch, William Morris, 1871. White on silvered ground.
23. Bruges, William Morris, c. 1887-87. White on beige-pink lustred ground.
24. Ceiling, William Morris, c. 1877. Pale yellow on white.
25. Borage ceiling, William Morris, 1888-89. Pale yellow on white.
26. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Pale yellow on white.
27. Mallow, Kate Faulkner, 1879. Pale yellow on white.
28. Larkspur, William Morris, 1872. Pale yellow on white.
29. Mallow, Kate Faulkner, 1879. Pale yellow on deeper gold yellow.
30. Marigold, William Morris, 1875. Pale yellow on cream.
31. Diaper, William Morris, c. 1868-70. Pale lime yellow with pale brown outline on cream.
32. Sunflower, William Morris, 1879. Cream on dull gold yellow.
33. Pink and Rose, William Morris, 1891. Cream on pale dull gold.
34. Indian, G. G. Scott, c. 1868-70. Pale yellow on white.
35. Willow, William Morris, 1871-74. Two shades of light yellow on white.
36. Willow Bough, William Morris, 1887. Gold, pale gold yellow on white.
37. Wallflower (Wallflowers), William Morris, 1890. Two shades of ochre on cream.
38. Horn Poppy, May Morris, c. 1885. Yellow ochre and light brown on cream.
39. Bachelor’s Button, William Morris, 1892. Yellow ochre, cream and light brown outline on pale tan ground.
40. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Light gold yellow on lemon.
41. Sunflower, William Morris, 1879. Pale yellow on deep yellow.
42. Horn Poppy, May Morris, c. 1885. Pale yellow ochre outline on pale ochre with lighter stippling.
43. Bachelor’s Button, William Morris, 1892. Pale yellow, yellow ochre outline on mid-yellow ground.
44. Borage ceiling, William Morris, 1888-89. Very pale duck-egg blue on white.
45. Loop Trail, (attributed to) Kate Faulkner, c. 1877. Light and dark blue on white.
46. Poppy (Pink and Poppy), William Morris, 1880. Sea blue on white.
47. Larkspur, William Morris, 1872. Grey-blue on white.
48. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Dull blue on white.
49. Merton, (attributed to William Morris), c. 1888. Two shades of mid-blue on white.
50. Mallow, Kate Faulkner, 1879. Mid-blue on white.
51. Marigold, William Morris, 1875. Blue on white.
52. Wallflower (Wallflowers), William Morris, 1890. Mid-blue, white on mid-blue ground with pale blue stippling.
53. Flowering Scroll, J. H. Dearle, early twentieth century. Yellow ochre and two shades of dull blue on white.
54. Bachelor’s Button, William Morris, 1892. Two shades of green for outline and detail on pale blue on white.
55. Arcadia, May Morris, c. 1886. Mid-blue outline, cream and white on dull turquoise ground.
56. Bachelor’s Button, William Morris, 1892. Mid-blue outline, dull blue detail, cream on dull blue ground.
57. Indian, G. G. Scott, c. 1868-70. Dull blue-grey on white.
58. Sunflower, William Morris, 1879. Very pale blue on dark blue ground.
59. Mallow, Kate Faulkner, 1879. Grey-blue and pale grey-blue.
60. Marigold, William Morris, 1875. Two shades of pale turquoise.
61. Marigold, William Morris, 1875. Two shades of pale duck-egg blue.
62. Venetian, no.55, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Two shades of pale duck-egg blue.
63. Queen Anne, no.22, (attributed to) William Morris or Chambrey Corker Townshend, c. 1868-70. Pale duck-egg on pastel blue.
64. Willow, no.60, William Morris, 1871-74. Three shades of pale green blue.
65. Willow, no.54, William Morris, 1871-74. Three shades of grey-green-blue.
66. Willow Bough, no.229, William Morris, 1887. Three shades of green, olive, and brown on pale blue-green.
67. Marigold, no.42, William Morris, 1875. Two shades of grey blue.
68. Larkspur, no.29, William Morris, 1872. Two shades of blue-grey.
69. Indian, G. G. Scott, c. 1868-70. Two shades of blue-grey on lighter ground.
70. Willow, William Morris, 1871-74. Two shades of grey, on ground of mottled blue-grey.
71. Queen Anne, (attributed to) William Morris or Chambrey Corker Townshend, c. 1868-70. Two shades of dull turquoise with blue stippling.
72. Borage ceiling, William Morris, 1888-89. Pastel green on white.
73. Ceiling, William Morris, c. 1877. Pale green on white.
74. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Pale grey-green on white.
75. Mallow, Kate Faulkner, 1879. Grey-green and cream.
76. Mallow, Kate Faulkner, 1879. Pale moss green and white.
77. Sunflower, William Morris, 1879. Pale moss green and white.
78. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Grey-green on white.
79. Marigold, William Morris, 1875. Pale green and white.
80. Poppy (Pink and Poppy), William Morris, 1880. Green and white.
81. Pink and Rose, William Morris, 1891. Pale grey green on white.
82. Sunflower, William Morris, 1879. Pale light olive and cream.
83. Willow, William Morris, 1871-74. Two shades of green on white.
84. Willow Bough, William Morris, 1887. Three shades of green and brown on cream.
85. Flowering Scroll, J. H. Dearle, early twentieth century. Pale green, pale dull turquoise blue and yellow ochre on white.
86. Flowering Scroll, J. H. Dearle, early twentieth century. Two shades of green, yellow ochre on white.
87. Diaper, William Morris, c. 1868-70. Light green, dark green outline on cream.
88. Wallflower (Wallflowers), William Morris, 1890. Two shades of lime green on cream.
89. Horn Poppy, May Morris, c. 1885. Mid-green and white on pale green ground stippled with pastel green.
90. Bachelor’s Button, William Morris, 1892. Yellow, ochre outline, and white on pale pastel green.
91. Diaper, William Morris, c. 1868-70. Pale grey-green with deeper outline on lighter ground.
92. Poppy (Pink and Poppy), William Morris, 1880. Grey green with deeper outline.
93. Larkspur, William Morris, 1872. Two shades of pale grey-green.
94. Willow, William Morris, 1871-74. Two shades of blue-grey on lighter ground.
95. Sunflower, William Morris, 1879. Pale grey-green on darker ground.
96. Pink and Rose, William Morris, 1891. Pale grey-green on darker ground.
97. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Pastel green on darker ground.
98. Marigold, William Morris, 1875. Pale green on darker ground.
99. Sunflower, William Morris, 1879. Light green on dark green.
100. Larkspur, William Morris, 1872. Green on paler textured ground.
101. Bruges, William Morris, c. 1887-87. Mid-green on lighter textured ground.
102. Flowering Scroll, J. H. Dearle, early twentieth century. Green, olive green on lighter ground.
103. Willow Bough, William Morris, 1887. Four shades of green, olive, and light brown on light green ground.
104. Foliage, J. H. Dearle, late nineteenth century. Light green, mid-green, dark green outline on green ground.
105. Bruges, William Morris, c. 1887-87. Two shades of pale green on darker green ground.
106. Ceiling, William Morris, c. 1877. Dull pink on cream.
107. Borage ceiling, William Morris, 1888-89. Pale salmon pink on cream.
108. Merton, (attributed to William Morris), c. 1888. Light and dark salmon pink on white.
109. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Dusty pink on white.
110. Mallow, Kate Faulkner, 1879. Deep pink and white.
111. Horn Poppy, May Morris, c. 1885. Red outline, dark salmon pink with pink stippling on white.
112. Flowering Scroll, J. H. Dearle, early twentieth century. Deep pink, red, and orange on cream.
113. Wallflower (Wallflowers), William Morris, 1890. Tan outline, white, deep pink and red stippling.
114. Horn Poppy, May Morris, c. 1885. Red-brown outline, cream on dusty pink ground stippled with lighter pink.
115. Bachelor’s Button, William Morris, 1892. Maroon outline, cream, tan detailing and background.
116. Marigold, William Morris, 1875. Light pink on dusty pink ground.
117. Willow, William Morris, 1871-74. Purple-pink and pink for leaves on lighter ground.
118. Poppy (Pink and Poppy), William Morris, 1880. Reddish tan on very pale tinted ground.
119. Mallow, Kate Faulkner, 1879. Deep salmon pink and pink.
120. Venetian, (attributed to) William Morris or George Frederick Bodley, c. 1868-71. Light pink on darker textured ground.
121. Diaper, William Morris, c. 1868-70. Deep brown-pink with darker outline on lighter ground.
122. Arcadia, May Morris, c. 1886. Very pale pink, pastel pink on deep rose ground.
123. Horn Poppy, May Morris, c. 1885. Red-brown outline, deep pink on deeper ground with stippling.
124. Sunflower, William Morris, 1879. Dull pink-red on brown ground.
125. Poppy (Pink and Poppy), William Morris, 1880. Dull crimson outline on deep pink-purple ground.
126. Pink and Rose, William Morris, 1891. Deep pink-purple on dull crimson.
127. Larkspur, William Morris, 1872. Mid pink-red on darker textured ground.
128. Bruges, William Morris, c. 1887-87. Scarlet on dark crimson textured ground.
129. Apple, William Morris, 1877. Two shades of blue and tan on white.
130. Apple, William Morris, 1877. Light green, pastel green and olive on white.
131. Apple, William Morris, 1877. Brown, dusty pink and orange on cream.
132. Michaelmas Daisy, J. H. Dearle, 1912. Pale blue and green on white.
133. Michaelmas Daisy, J. H. Dearle, 1912. Pale pink and light green on white.
134. Michaelmas Daisy, J. H. Dearle, 1912. Purple and grey-green on white.
135. Brentwood, J. H. Dearle, early 20th century. Light green, mid-blue and dull rose on white.
