Kelmscott Press Leaflet

Details

Date: 1872
Dimensions: 73 x 75.6
Object Type: drawing
Material: chalk on paper
Catalogue number: D184
Artist: Rossetti | Dante Gabriel | 1828 | 1882
Sitter: Wilding, Alexa (1845 - 25.04.1884)
Credit notes: Cecil French Bequest, 1954

Alexa Wilding, the subject of this drawing posed for many of Gabriel Dante Rossetti’s paintings in the 1870s. The artist and model’s relationship (unusually for Rossetti) remained entirely professional and Rossetti paid for a retaining fee to ensure she did not sit for any other artist. Nethertheless, his obsession with Jane Morris, with whom he had an affair in the 1870s meant other models were often endowed with her distinctive features- as here, where the mouth is more reminscent of Jane Morris that Alexa Wilding.

Details

Date: c. 1880s
Dimensions: 22.6 x 31.1
Object Type: watercolour
Material: pencil and watercolour on paper
Catalogue number: D294x
Artist: Morris | May | 1862 | 1938
Credit notes: WMG purchase, 1963

This watercolour by May Morris shows a bedroom at The Grange, Fulham- the family home of Edward and Georgiana Burne-Jones. The bedroom is their daughter Margaret’s. On the mantlepiece are candlesticks designed by Philip Webb (for same design see WMG objects: H2, L20&a) and lustre vases, probably by William De Morgan. A pair of candlesticks acquired from Edward Burne-Jones are in the V&A, possible the same as the ones depicted here.

Details

Dimensions: 22 x 21
Object Type: drawing
Catalogue number: D221
Artist: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Credit notes: WMG purchase, 1954

This sketch. which may depict the daughters of Hesperus, keepers of the Tree of Gilden Apples in Greek mythology, has an unusually animated character. There are echoes of William Blake – whose work was especially admired by Rossetti and whose biography was written in the 1860s by Swinburne, both friends of Burne-Jones. The drawing may be connected with the projected series of illustrations to William Morris’s cycle of poems The Earthly Paradise (eventually published unillustrated 1868-70) of which one of the tales, The Golden Apples, is a re-working of the classical legend of Hercules’s voyage to the land of Hesperus to steal the fruit of the Tree of Golden Apples, guarded by a serpent and the daughters of Hesperus. There is however, a somewhat similar drawing in a mid-1880s sketchbook at the British Museum, so the present drawing may well be related to a later, unidentified project.

Details

Date: c.1896
Dimensions: 10.1 x 15.9
Object Type: drawing
Catalogue number: D280b
Artist: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Designer: Catterson-Smith, Robert (1853 - 1938)
Credit notes: WMG purchase, 1962

One of three drawings in the same series. For two others see D280 and D280a. They were designed by Burne-Jones as illustrations for a prose version of The Hill of Venus which Morris had intended to write and publish in a Kelmscott Press edition.
The tale had already been written in verse form by Morris in The Earthly Paradise, and when Morris was planning to produce a fine printing of this work in the 1860s, Burne-Jones designed a number of illustrations for this story which were never used as the projected edition was abandoned. However, when Morris began his prose version of this tale in 1896, these original designs were taken up and developed by Burne-Jones for the Kelmscott press edition. The story remained unfinished at Morris’s death and hence the book never appeared. The borders which Morris had designed for the Kelmscott Press edition were later used in the small folio of the Story of Sigurd the Volsung published by the Press in 1898 (for a copy see K694). Burne-Jones’s illustrations were thus never printed, though some of them had been prepared for engraving by Robert Cattermole-Smith, using the same techniques as for the Chaucer illustrations. For three such prepared designs see D281, a and b.

Details

Date: c.1896
Dimensions: 10.1 x 15.9
Object Type: drawing
Catalogue number: D280a
Artist: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Designer: Catterson-Smith, Robert (1853 - 1938)
Credit notes: WMG purchase, 1962

One of three drawings in the same series. For two others see D280 and D280b. They were designed by Burne-Jones as illustrations for a prose version of The Hill of Venus which Morris had intended to write and publish in a Kelmscott Press edition.
The tale had already been written in verse form by Morris in The Earthly Paradise, and when Morris was planning to produce a fine printing of this work in the 1860s, Burne-Jones designed a number of illustrations for this story which were never used as the projected edition was abandoned. However, when Morris began his prose version of this tale in 1896, these original designs were taken up and developed by Burne-Jones for the Kelmscott press edition. The story remained unfinished at Morris’s death and hence the book never appeared. The borders which Morris had designed for the Kelmscott Press edition were later used in the small folio of the Story of Sigurd the Volsung published by the Press in 1898 (for a copy see K694). Burne-Jones’s illustrations were thus never printed, though some of them had been prepared for engraving by Robert Cattermole-Smith, using the same techniques as for the Chaucer illustrations. For three such prepared designs see D281, a and b.

Details

Date: c.1896
Dimensions: 10.1 x 15.9
Object Type: drawing
Catalogue number: D280
Artist: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Designer: Catterson-Smith, Robert (1853 - 1938)
Credit notes: WMG purchase, 1962

One of three drawings in the same series. For two others see D280a and D280b. They were designed by Burne-Jones as illustrations for a prose version of The Hill of Venus which Morris had intended to write and publish in a Kelmscott Press edition.
The tale had already been written in verse form by Morris in The Earthly Paradise, and when Morris was planning to produce a fine printing of this work in the 1860s, Burne-Jones designed a number of illustrations for this story which were never used as the projected edition was abandoned. However, when Morris began his prose version of this tale in 1896, these original designs were taken up and developed by Burne-Jones for the Kelmscott press edition. The story remained unfinished at Morris’s death and hence the book never appeared. The borders which Morris had designed for the Kelmscott Press edition were later used in the small folio of the Story of Sigurd the Volsung published by the Press in 1898 (for a copy see K694). Burne-Jones’s illustrations were thus never printed, though some of them had been prepared for engraving by Robert Cattermole-Smith, using the same techniques as for the Chaucer illustrations. For three such prepared designs see D281, a and b.

Details

Dimensions: 528.3 x 119
Object Type: textile
Technique: power-loom jacquard woven
Catalogue number: F420
Designer: Dearle, John Henry (1859 - 1932)
Retailer: Morris & Co.
Manufacturer: Alexander Morton & Co.
Credit notes: WMG purchase, 2000

Helena was designed by Henry Dearle and registered in 1891. It was woven for Morris & Co. by Alexander Morton & Co. of Darvel, Scotland. The pattern combines artichoke flowers with a background of acanthus leaves and fritilliary. This length was purchased by the poet John Betjaman at the 1939 sale of Kelmscott Manor (the Morris family’s country retreat in Gloucestershire). The original design is also in the Gallery’s collection (see A471); another working drawing is in the Huntington Museum, California.

Details

Dimensions: 44.5 x 95.5
Object Type: textile
Material: cotton
Technique: block-printed
Catalogue number: F410
Designer: Morris, William, 1834, 1896
Manufacturer: Morris & Co.
Credit notes: Purchased from Haslam & Whiteway, 1998

‘Eyebright’ was designed by William Morris in 1883. The pattern was achieved using the indigo-discharge process, whereby the cotton was dyed in indigo blue and the pattern then extracted and over printed. The small ‘net’ repeat is formed of white eyebright flowers and yellow buttercups dyed with weld, a natural dye derived from a flower. The pattern was also available in just blue and white. The pattern was initailly intended to be used as a lining for Morris & Co.’s heavy wool curtains (two widths matched the width of a curtains) but was used as a furnishing fabric in its own right. May Morris claimed that Eyebright, and another pattern Borage ‘were small patterns intended for dress’, revealing Morris’s intention to expand the business beyond interior fabrics. A dress of Eyebright made around 1900 is in the The Art Gallery of Australia’s collection (996A38).

Details

Date: 1880
Dimensions: 190.5 x 68.6
Object Type: design
Catalogue number: A40
Designer: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1940

Morris designed this wallpaper especially for the Grand Staircase at St James’s Palace. It was personally approved by Queen Victoria in November 1880. Despite Morris’s reservations about the Royal Family (he disliked the Queen, and was disrespectful about her in his private correspondence), this represented an extremely prestigious commission for Morris & Co., and Morris clearly worked hard on this design, shown through the repeated pencil reworkings. In comparison with some of Morris’s more modest, domestic patterns, this design is monumental in scale, with large acanthus leaves and flowers arranged against a relatively plain ground. Each vertical repeat is 119.4cm and sixty-eight blocks were needed to create the paper, which was produced by the Islington-based company Jeffrey & Co. Following its use in the royal residence, this pattern was also made commercially available through Morris & Co.’s catalogue.

Details

Date: 2.4.1892
Dimensions: 21 x 15 x 2 cm.
Object Type: book
Catalogue number: K255
Author: Morris, William, 1834, 1896
Designer: Morris, William, 1834, 1896
Publisher: Kelmscott Press | 1891 | 1898
Seller: Reeves & Turner
Credit notes: WMG purchase, 1952

‘The Defence of Guenevere’, Morris’s first volume of poems, was originally published by Bell & Daldy 1858. Owing to a number of errors in this first edition an errata slip was included in this first edition. However, when the book was reprinted by Ellis & White in 1875, these errors were not wholly corrected and many of them also appear in the text of the Kelmscott Press edition. This was the first Kelmscott Press book to be bound in limp vellum and the only one in which the title was inscribed by hand on the spine. This copy was given by William Morris to his good friend Georgian Burne-Jones and is inscribed by him with the date 22nd May 1892. 300 copies were printed on paper at 2 guineas, 10 on vellum at about 12 guineas and sold by Reeves & Turner.

Details

Date: 12.04.1853
Dimensions: 36.5 x 28.3
Object Type: drawing
Material: pencil on paper
Catalogue number: BrD34
Artist: Millais, John Everett, Sir (08.06.1829 - 13.08.1896)
Sitter: Munro, Alexander (26.10.1825 - 01.01.1871)
Credit notes: Frank Brangwyn gift, 1935

John Everett Millais drew this portrait of the sculptor Alexander Munro on 12 April 1853, when members of the Pre-Raphaelite circle met at Millais’ studio in Gower Street, London to draw portraits of each other to send to Thomas Woolner (1825-92), the sculptor and one of the original members of the Pre-Raphaelite Brotherhood who had emigrated to Australia.
The occasion was prompted by Rossetti who had written in a letter to Woolner “Last night at my party, it was agreed that all your intimates should meet at a certain day and hour, the equivalent of which was to be found by you Australians…for some act of communication the nature of which was left to me to decide. I therefore fix that on the 12th of April…at 12 o’clock in the day, we shall each of us, wheresoever we be, make a sketch of some kind (mutual portraits preferable) – or for any who do not draw, some verses or a letter – and immediately exchange them by post.”
Those present at the gathering were Holman Hunt, Dante Gabriel Rossetti, William Michael Rossetti, F.G. Stephens and Millais. Alexander Munro happened to call and according to Arthur Hughes “Millais, having finished his Pre-Raphaelite Brotherhood subject, got Munro to sit, and drew him and afterwards accompanied him to the door with drawing in his hand, to which Munro was making some critical objection that Millais did not agree with. There happened to be passing at that time a couple of rough bricklayers fresh from their work- short pipes and all. Millais suddenly reached out from the doorstep and seized one, to his great surprise, and there and then constituted them judges to decide upon the merits of the likeness, while Munro , rather disconcerted, had to stand in the street with his hat off for identification.”
Unlike Millais’ other drawing of F.G. Stephens from that day, or Holman Hunt’s drawings of Rossetti and Millais, this drawing is not inscribed with a dedication to Woolner, so it seems likely that Rossetti did not send it to Woolner with the others.

Details

Date: c.1866-68
Object Type: print
Technique: wood engraving
Catalogue number: K719
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

This is one of a series of illustrations to ‘The Story of Cupid and Psyche’ for the projected edition of ‘The Earthly Paradise’ begun in September 1865. The illustrations were engraved on wood by Morris and his friends and associates in the Firm. Burne-Jones did illustrations for some of the other tales in ‘The Earthly Paradise’, but the Cupid and Psyche wood engravings were the most completed part of the project which was abandoned in 1868 after trial pages, set in Basle and Caslon types at the Chiswick Press, did not prove satisfactory.

In 1881, a few copies of these sets of illustrations were made, apparently by Morris himself, by friction printing. A second series (numbering about 8 sets according to Sydney Cockerell) was pulled for Morris by Emery Walker at his premises at 16 Cliffords Inn during the Kelmscott Press years; all these were on Kelmscott Press paper. One of these sets, given to Cockerell by Jane Morris c.1898, is bound into a single volume (K775) owned by the William Morris Gallery. Other sets are in the Pierpont Morgan Library (Gift of John M. Crawford) and the Fitzwilliam Museum (J.R. Holliday Bequest 1927).

Drawings related to the Cupid and Psyche illustrations and other tales from ‘The Earthly Paradise’ are in the following collections: A volume of 86 preliminary drawings of various sizes executed in pencil, pen and ink or chalk, is now in Birmingham Museum and Art Gallery (648’27). A series of 47 finished designs in pencil on tracing paper was given by Burne-Jones to Ruskin, who presented them to Oxford University in 1875 (now in the Ashmolean). Another volume of 39 drawings formerly in the collection of F.S. Ellis is in the Pierpont Morgan Library, New York; 36 of these are on tracing paper, the remaining 3 on drawing paper; 21 relate to the Cupid and Psyche story though some are variants of scenes which were never engraved on wood; others are for the Story of Pygmalion and The Hill of Venus.

Details

Date: c.1866-68
Dimensions: Framed dimensions: 36 x 30
Object Type: print
Technique: wood engraving
Catalogue number: K712
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

Details

Date: c.1866-68
Object Type: print
Technique: wood engraving
Catalogue number: K716
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

Details

Date: c.1866-68
Dimensions: 10.5 x 15.6
Object Type: print
Technique: wood engraving
Catalogue number: K714a
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1956

This version is inscribed in Cockerell’s hand in ink ‘Early proof before the margin was trimmed’.

Details

Date: c.1865-68
Dimensions: 16.1 x 15.7
Object Type: book
Technique: wood engraving
Catalogue number: K730a
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1956

‘The Entry into Paradise’ is an early proof on a sheet of paper with 8 other illustrations to ‘The Story of Cupid and Psyche’ for projected edition of ‘The Earthly Paradise’ begun in September 1865. The illustrations were engraved on wood by Morris and his friends and associates in the Firm. Burne-Jones did illustrations for some of the other tales in the Earthly Paradise, but the Cupid and Psyche wood engravings were the most completed part of the project which was abandoned in 1868 after trial pages, set in Basle and Caslon types at the Chiswick Press, did not prove satisfactory.

In 1881 a few copies of these sets of illustrations were made, apparently by Morris himself, by friction printing. A second series (numbering about 8 sets according to Cockerell) was pulled for Morris by Emery Walker at his premises at 16 Cliffords Inn during the Kelmscott Press years; all these were on Kelmscott Press paper. One of these sets, given to Cockerell by Jane Morris c.1898, is bound into the volume K775 owned by the William Morris Gallery. Other sets are in the Pierpont Morgan Library (Gift of John M. Crawford) and the Fitzwilliam Museum (J.R. Holliday Bequest 1927).

Drawings related to the Cupid and Psyche illustrations and other tales from The Earthly Paradise are in the following collections:
A volume of 87 preliminary drawings of various sizes executed in pencil, pen and ink or chalk, is now in Birmingham Museum and Art Gallery (648’27). A series of 47 finished designs in pencil on tracing paper was given by Burne-Jones to Ruskin, who presented them to Oxford University in 1875 (now in the Ashmolean). Another volume of 39 drawings formerly in the collection of F.S. Ellis is in the Pierpont Morgan Library, New York; 36 of these are on tracing paper, the remaining 3 on drawing paper; 21 relate to the Cupid and Psyche story though some are variants of scenes which were never engraved on wood; others are for the Story of Pygmalion and The Hill of Venus.

K730a is a continuation of ‘Entry among the Gods I, which shows a group of gods and godesses against the same background; the two subjects were evidently intended to face each other and form a kind of frieze across the double page opening with the text printed in columns below. For a similar arrangement, see the two scenes forming the subject ‘The Procession to the Hill’. The paper has the watermark Michallet

For another early proof on Michallet paper, see K730. For a later proof of the same subject on Kelmscott Press paper, see K775.

Details

Date: c.1865-68
Dimensions: 16.1 x 15.7
Object Type: book
Technique: wood engraving
Catalogue number: K730
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

Details

Date: c.1865-68
Dimensions: 16.1 x 15.7
Object Type: book
Technique: wood engraving
Catalogue number: K792
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1956

Details

Date: c.1865-68
Dimensions: 10.5 x 15.8
Object Type: book
Technique: wood engraving
Catalogue number: K791
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1956

Details

Date: c.1868
Dimensions: 10.9 x 16
Object Type: book
Technique: wood engraving
Catalogue number: K726a
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Burden, Elizabeth (13.12.1841 - 22.08.1924)
Credit notes: WMG purchase, 1954

This is one of a series of illustrations to ‘The Story of Cupid and Psyche’ for the projected edition of ‘The Earthly Paradise’ begun in September 1865. The illustrations were engraved on wood by Morris and his friends and associates in the Firm, this particular illustration was engraved by Elizabeth Burden, it was the only one she did for the series. Burne-Jones did illustrations for some of the other tales in ‘The Earthly Paradise’, but the Cupid and Psyche wood engravings were the most completed part of the project which was abandoned in 1868 after trial pages, set in Basle and Caslon types at the Chiswick Press, did not prove satisfactory.

For another early proof on proof paper see WMG: K726.

Details

Date: c.1868
Dimensions: 10.8 x 16
Object Type: book
Technique: wood engraving
Catalogue number: K726
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Burden, Elizabeth (13.12.1841 - 22.08.1924)
Credit notes: WMG purchase, 1954

This is one of a series of illustrations to ‘The Story of Cupid and Psyche’ for the projected edition of ‘The Earthly Paradise’ begun in September 1865. The illustrations were engraved on wood by Morris and his friends and associates in the Firm. This particular illustration was engraved by Elizabeth Burden, it was the only one she did for the series. Burne-Jones did illustrations for some of the other tales in ‘The Earthly Paradise’, but the Cupid and Psyche wood engravings were the most completed part of the project which was abandoned in 1868 after trial pages, set in Basle and Caslon types at the Chiswick Press, did not prove satisfactory.

For another early proof on proof paper see WMG: K726a.

Details

Date: c.1868
Dimensions: 10.4 x 15.8
Object Type: book
Technique: wood engraving
Catalogue number: K720
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

Details

Date: c.1868
Dimensions: 10.7 x 16.6
Object Type: print
Technique: wood engraving
Catalogue number: K717
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

This version is inscribed in Cockerell’s hand in ink ‘Early proof before the margin was trimmed’.

Details

Date: 1888
Dimensions: 140 x 94
Object Type: textile
Material: linen
Technique: block-printed
Catalogue number: F403
Designer: Dearle, John Henry (1859 - 1932)
Manufacturer: Morris & Co.
Credit notes: Purchased from Michael Whiteway, 1998

Trent is one of series of textile designs produced by Morris & Co in the late 1880s named after rivers. John Henry Deale designed ‘Trent’ in 1888, the pattern features tulips, sunflowers and roses on an indigo background. This example is the end of a bolt of fabric and so is possible to see how the pattern was handprinted with woodblocks to form the pattern repeat. The edge and selvedges are printed with Morris & Co’s stamp.

Details

Date: c.1866-68
Dimensions: 10.5 x 7.6
Object Type: print
Technique: wood engraving
Catalogue number: K715
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

Details

Date: c.1868
Dimensions: 10.7 x 16.6
Object Type: print
Technique: wood engraving
Catalogue number: K718
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker: Morris, William, 1834, 1896
Credit notes: WMG purchase, 1954

Details

Date: c. 1880
Dimensions: 127 x 160
Object Type: design
Catalogue number: A32b
Artist: Morris, William, 1834, 1896
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Credit notes: WMG purchase, 1940

This is the only repeating pattern designed by William Morris in collaboration with Sir Edward Coley Burne-Jones. Burne-Jones’s work record for 1875 lists his drawings of the two mermaids, which were incorporated in Morris’s designs of scrolling foliage and flower-heads. Although the fabric was never woven, both Morris and Burne-Jones made use of the design for other works; the background pattern became the ‘Wreath’ wallpaper of 1876 and the mermaid figures were adapted by Burne-Jones for both gesso panels and paintings in the 1880s. The uppermost of the two mermaids – the one holding two fishes – is a re-working of Burne-Jones’s painting “The Sea Nymph’ (1878-1881). The design may have been intended to decorate the room in Burne-Jones’s house at Rotingdean which he furnished as a tavern nicknamed ‘The Merry Mermaid’. See also a pencil version, WMG A32a.

Details

Date: c. 1880
Dimensions: 99 x 93.9
Object Type: design
Catalogue number: A32a
Designer: Morris, William, 1834, 1896
Designer: Burne-Jones | Edward Coley | Sir | 1833 | 1898
Credit notes: WMG purchase, 1940

This is the only repeating pattern designed by William Morris in collaboration with Edward Burne-Jones. Burne-Jones’s work record for 1875 lists his drawings of the two mermaids, which were incorporated in Morris’s design of scrolling foliage and flower-heads. Although the fabric was never woven, both Morris and Burne-Jones made use of the design for other works: the background pattern became the ‘Wreath’ wallpaper of 1876 by Morris and the mermaid figures were adapted by Burne-Jones for both gesso panels and paintings in the 1880s. This design was likely drawn by a Morris & Co. draughtsman from the original watercolour cartoon by William Morris, see WMG A32b.

Details

Date: c.1868
Dimensions: 85.1 x 233.7
Object Type: textile
Material: woven wool
Technique: block-printed
Catalogue number: F399
Retailer: Morris, Marshall, Faulkner & Co.
Manufacturer: Thomas Clarkson of Bannister Hall
Credit notes: Transfer from Victoria and Albert Museum, 1980

This was the first textile design to be sold by Morris’s firm, Morris, Marshall, Faulkner and Co., around 1868. Morris copied the pattern from a traditional Bannister Hall print of the 1830’s. The blocks were printed with aniline dyes by Clarksons of Bannister Hall for Morris, and sold throughout the life of Morris & Co. In the twentieth century the design saw a revival in the increased popularity of floral chintz patterns and there is evidence that the design was available until 1940. This is an early example printed onto wool and cotton and made into a curtain, a companion piece is in the Victoria and Albert Museum, London (T.37-1979).

Details

Date: printed 1917-1940
Dimensions: 761 x 97
Object Type: textile
Material: cotton
Technique: block-printed
Catalogue number: F398b
Designer: Morris, William, 1834, 1896
Credit notes: Presented by Mrs Lee, 1998

William Morris design Willow Bough as a wallpaper in 1887. It was adapated for fabric around 1895. This example is printed with the Morris & Company mark, which they used after moving to retail premises in George Street, Hanover Square, London in 1917.

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