textile Archives - William Morris Gallery

textile Archives - William Morris Gallery
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© William Morris Gallery, London Borough of Waltham Forest
Details
Date
early 1860s
Dimensions
185.5 x 127.5
Object Type
textile
Material
wool on linen
Technique
hand-embroidered
Catalogue number
F390i
Designer
Morris, William (1834 - 1896)
Credit notes
Purchased with assistance of the MGC/V&A Purchase Grant Fund and the Friends of the William Morris Gallery, 1997
This embroidered hanging was designed by William Morris and probably hung in his first home, Red House in Bexleyheath. It was most likely stitched by a small team that may have included Morris’s wife Jane and her sister Elizabeth Burden. In the early days of their marriage Morris and Jane often worked on embroideries together. They enjoyed unpicking old pieces of embroidery that they admired to learn the different stitching techniques. Morris’s enthusiasm for medieval art is clear in his early embroidery designs, such as this one. The tree, banner and bird motif was inspired by an illustration in a fifteenth-century manuscript that he had been studying in the British Museum. The French inscription, ‘Qui Bien Aime Tard Oublie’, translates as ‘who loves best forgets slowly’ and is taken from Geoffrey Chaucer’s poem ‘Parliament of Fowls’. In simple terms it means ‘one never forgets true love’.
The embroidery was one of a set of identical hangings installed at Penkill Castle in Ayrshire, Scotland by the late 1860s. The castle belonged to Alice Boyd, mistress of the painter William Bell Scott, who was closely connected to Dante Gabriel Rossetti and the Pre-Raphaelite circle. In a letter to Boyd in 1868, Rossetti referrers to the embroideries as “the Topsaic tapestries” a reference to Morris’s nickname ‘Topsy’. The hangings were likely an early product produced by Morris, Marshall, Faulkner & Co after it was founded in 1861. A very similar pattern can be seen on the hanging in the background of William Morris’s only easel painting, ‘La Belle Iseult’, painted in 1858.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1874-1876
Dimensions
88 x 582
Object Type
textile
Technique
embroidery
Catalogue number
F140d
Designer
Morris, William (1834 - 1896)
Designer
Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker
Bell, Margaret (1820 - 1886)
Maker
Johnson, Florence
Credit notes
Presented by Sir Hugh Bell, Bart., 1953
This embroidery was part of a frieze of five parts commissioned by Sir Isaac Lowthian Bell and his wife Margaret for the dining room of Rounton Grange, Northallerton, Yorkshire. The panels depict the story of The Romaunt of the Rose by Geoffrey Chaucer and were based on original pictures drawn by Edward Burne-Jones c.1874-76. The exquisite embroidery was executed by the wife and daughter of Sir Isaac Lowthian Bell, Margaret Bell and Florence Johnson, respectively.
William Morris Gallery, London Borough of Waltham Forest
© William Morris Gallery, London Borough of Waltham Forest
© William Morris Gallery, London Borough of Waltham Forest
© William Morris Gallery, London Borough of Waltham Forest
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1874-1876
Dimensions
96.5 x 126.4
Object Type
textile
Technique
hand-embroidered
Catalogue number
F140e
Designer
Morris, William (1834 - 1896)
Designer
Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker
Bell, Margaret (1820 - 1886)
Maker
Johnson, Florence
Credit notes
Presented by Sir Hugh Bell, Bart., 1953
This embroidery was part of a frieze of five parts commissioned by Sir Isaac Lowthian Bell and his wife Margaret for the dining room of Rounton Grange, Northallerton, Yorkshire. The panels depict the story of The Romaunt of the Rose by Geoffrey Chaucer and were based on original pictures drawn by Edward Burne-Jones c.1874-76 (see
D187
). The exquisite embroidery was executed by the wife and daughter of Sir Isaac Lowthian Bell, Margaret Bell and Florence Johnson, respectively.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1874-1876
Dimensions
92.1 x 123.2
Object Type
textile
Technique
hand-embroidered
Catalogue number
F140b
Designer
Morris, William (1834 - 1896)
Designer
Burne-Jones | Edward Coley | Sir | 1833 | 1898
Maker
Bell, Margaret (1820 - 1886)
Maker
Johnson, Florence
Credit notes
Presented by Sir Hugh Bell, Bart., 1953
This embroidery was part of a frieze of five parts commissioned by Sir Isaac Lowthian Bell and his wife Margaret for the dining room of Rounton Grange, Northallerton, Yorkshire. The panels depict the story of The Romaunt of the Rose by Geoffrey Chaucer and were based on original pictures drawn by Edward Burne-Jones c.1874-76 (see
D187
). The exquisite embroidery was executed by the wife and daughter of Sir Isaac Lowthian Bell, Margaret Bell and Florence Johnson, respectively.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed in 1882
Dimensions
95.3 x 73.7
Object Type
textile
Material
printed cotton
Technique
indigo discharge and block-printed
Catalogue number
F8
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG, 1940
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1900
Dimensions
188 x 296
Object Type
textile
Material
silk on hessian canvas
Technique
hand-embroidered
Catalogue number
F101
Designer
Morris | May | 1862 | 1938
Maker
Battye (née Bibby), Frances, Mrs (15.12.1846)
Credit notes
Donated by Miss M Audrey Battye and Mrs Bibby, 1950
The design for this embroidery was commissioned from Morris & Co. by Mrs Frances Battye. It was designed by May Morris and worked by Battye herself. Frances Battye (neé Bibby) was the daughter of James Jenkinson Bibby, a self-made millionaire and founder of the Bibby Shiping Line. She married her husband, a barrister called Richard Battye in 1866 however he died just a few years later in 1873. The Battye family coat of arms was incorporated into this embroidery. Two of May’s designs for this embroidery are in the V&A’s collection (E.30 and 30A-1940).
Frances Batteye was a skilled embroider and completed this large hanging with the help of her two daughters, Audrey and Norah. She also completed two other hangings around 1898, now in the V&A (T.369&A-1982).
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1880s - 1890s
Dimensions
22.8 x 15.4
Object Type
textile
Material
silks and gold thread on linen
Technique
hand-embroidered
Catalogue number
F337
Designer
Morris | May | 1862 | 1938
Maker
Morris, Jenny (1861 - 1935)
Credit notes
Purchased 1986
This bag was designed and made by William Morris’s two daughters, May and Jenny. It was designed by May to contain a ‘Psalter’ (a book of psalms), from William Morris’s extensive collection of medieval manuscripts. The bag is made of indigo linen and embroidered by Jenny in silk with the word “Psalterium” in Gothic script. Stitches include back stitch, stem stitch, long & short stitch, loop stitch, satin stitch, couching and buttonhole stitch round edges with words filled in with chain stitch, pomegranate is padded laid work, surface couched in gold thread.
© William Morris Gallery, London Borough of Waltham Forest
© William Morris gallery, London Borough of Waltham Forest
Details
Date
Designed 1875-1880
Dimensions
101.6 x 79.4
Object Type
textile
Material
woven wool
Technique
machine-woven
Catalogue number
N14
Designer
Morris, William (1834 - 1896)
Manufacturer
Heckmondwike Manufacturing Co. Yorkshire
Credit notes
Presented by Worcestershire County Museum, Hartlebury Castle, Kidderminster, 1970
Kidderminster machine wool carpet with design of artichoke heads, stylised anemones and other flowers in an overall net pattern, with a border showing the same motifs and a narrow band of small pairs of birds and flowers, in green, pink and pale blue on dark blue ground. Section from a larger carpet. For original design see WMG: BLA449.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
c.1890s
Dimensions
127 x 163.8
Object Type
textile
Technique
hand-embroidered
Catalogue number
F205
Designer and maker
Morris | May | 1862 | 1938
Credit notes
Presented by Mary Annie Sloane, 1962
Wrap or cloak made from fine navy blue woven wool cloth with broad band of Chinese embroidery around neck and down one side along front opening and around cuffs and sleeves with pink chrysanthemums and butterflies. Coloured silk and metal thread worked in satin, stem, long and short, French knots and running stitches. The wrap is thought to have been made by May Morris and the embroidery is likely to be 19th century and of Chinese origin. It was acquired by May’s friend the artist Mary Sloane at the Kelmscott Manor Auction in 1938, Lot 124, for £2.6s.
Details
Date
1990s
Dimensions
23 x 15
Object Type
textile
Material
cotton
Catalogue number
F396.20a
Designer
Morris & Co.
Manufacturer
Arthur Sanderson and Sons Ltd
Credit notes
Presented by Sanderson, 1998
Willow Bough Minor pattern. Green leaves on cream colourway. Repeat 23 cm. Screenprinted on 100% cotton. Sanderson catalogue no. PR7296/1. Width 122/127 cm.
William Morris Gallery, London Borough of Waltham Forest
Details
Date
design registered 15 April 1875
Dimensions
112.4 x 97.2
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F193
Designer
Morris, William (1834 - 1896)
Retailer
Morris & Co.
Manufacturer
Wardle and Co. (1872 - 1908)
Credit notes
Presented by Miss Elinor Pugh, 1961
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1875
Dimensions
20.3 x 40
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F46a
Designer
Morris, William (1834 - 1896)
Credit notes
Presented by Mrs Newman, 1958
Indian Diaper was designed by William Morris in 1875. The colour and quality of printing suggests this fragment may have been an experimental piece – compare with another example in the gallery’s collection (F46).
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1876, manufactured post 1917
Dimensions
64.7 x 96.5
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F366
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1994
This printed fabric shows how Morris learnt from contemporary cottons imported from India, particularly in the strongly contrasting reds and blues, and the way the three-dimensional forms of flowers and leaves could be transformed into flat patterns.
Morris admired the fact that Indian cottons were hand-printed with natural, rather than chemical, dyes. In Britain knowledge of how to produce dyes from plants and vegetables was fast disappearing; most textile manufacturers found chemical dyes cheaper and easier to use. But Morris felt natural colours had a richness lacking in chemical dyes, and spent ten years working with a Staffordshire silk dyer named Thomas Wardle to revive their use.
Seven printing blocks (the pattern required four blocks) used to print this fabric are in the Gallery’s collection.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
Designed 1876, printed 1877-1917
Dimensions
94 x 98
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F401
Designer
Morris, William (1834 - 1896)
Manufacturer
Wardle and Co. (1872 - 1908)
Retailer
Morris & Co. Decorators Ltd, 449 Oxford Street, London
Credit notes
Presented by Michael Whiteway, 1998
Snakeshead was designed by William Morris in 1876. It was printed by Thomas Wardle at his factory in Leek, Wardle continued to print this design for Morris & Co., after Morris opened his own textile printing factory at Merton Abbey. The pink and blue on pink ground is  colourway no. 1573. The selvedge is printed with Morris 7 Co’s Oxford Street address.
© Paul Tucker for William Morris Gallery
Details
Date
c.1857
Dimensions
134.6
Object Type
textile
Material
cotton
Technique
woven
Catalogue number
H12
Attributed designer
Morris, William (1834 - 1896)
Owner
Morris, William (1834 - 1896)
Owner
Morris (née Burden) | Jane | 1839 | 1914
Credit notes
Presented by Central School of Arts and Crafts (London County Council), 1954.
This woven white cotton sideless gown is part of a group of costume items that also includes a dress and cloak, both also in the collection. They were all reputed to have been designed by William Morris for use as costume props to be worn by models, notably his wife Jane, at the time of the decoration of the Oxford Union murals in 1857. The gown has been linked to a 1858 study by Morris for ‘La Belle Iseult’, his only easel painting which is now in the Tate collection.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
Designed c.1888
Dimensions
65 x 65
Object Type
textile
Material
silk and linen
Technique
hand-loom jacquard woven
Catalogue number
F406
Attributed designer
Dearle, John Henry (1859 - 1932)
Attributed designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss A McEwan, 1998
Described by May Morris as ‘fit for a
queen’s
chamber
’,
this luxurious fabric is one of the
last
textile
designs attributed to her father.
oven at Merton Abbey on hand
-activated Jacquard loom
its shimmering texture is created by the contrast
between
the
linen ground and silk pattern.
In addition to
its use
within
wealthy
homes,
Golden Bough
was also
popular
for church furnishing,
a profitable aspect of Morris’s business.
Details
Date
design registered 15 April 1875
Dimensions
83.2 x 68.5
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
BlF246
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Trial piece. Omits small background sprays; faint stencil outlines of pattern on edges.
Details
Date
design registered 15 April 1875
Dimensions
26.6 x 94
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
BlF244
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
reg 15 April 1875, printed 1917-1940
Dimensions
184.8 x 97.2
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F211
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Mary Annie Sloane bequest, 1962
Tulip
was designed by William Morris in 1875 and manufactured by Wardle & Co. in Leek, Staffordshire. The design features horizontal rows of variagated tulips and acanthus leaves. The Gallery holds the original design and wood blocks used to print the cotton. Morris advised would-be designers to create forms of flowers and leaves ‘
that are obvioulsy fit for printing with a block; to mask the construction of our pattern enough from counting the repeats
‘ (Some Hints on Pattern Designing, 1880)
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1882
Dimensions
27.9 x 71.1
Object Type
textile
Material
printed cotton
Technique
indigo discharge and block-printed
Catalogue number
F8a
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss Frances .J. Lefroy, 1951
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1875-80
Dimensions
29.2 x 87.6
Object Type
textile
Material
woven treble cloth
Catalogue number
F49
Designer
Morris, William (1834 - 1896)
Manufacturer
Heckmondwike Manufacturing Co. Yorkshire
Credit notes
Presented by Miss B. Goshawk, 1953
3-Ply machine woven Kidderminster carpet, designed by William Morris, c.1875-80. The design for this is in the William Morris Gallery’s collection
Details
Date
1870s - 1880s
Dimensions
93 x 72.5
Object Type
textile
Technique
hand-embroidered
Catalogue number
F146
Exhibitor
Orrinsmith (née Faulkner), Lucy (1839 - 1910)
Credit notes
Presented by Mrs Hitch, 1954
Embroidery by Lucy Faulkner. Rust-coloured wool serge embroidered in satin and split stitches with rows of leaf sprays enclosing flower heads in fawn and yellow wool , pink and dark red wools, yellow and buff silks, the centres of some flowers with wool pom-poms, with random clusters of berries worked in red and pink-buff silk. Three brass loops for hanging along top edge. Dark red quilted silk lining.
Details
Date
1870s - 1880s
Dimensions
32 x 54
Object Type
textile
Technique
hand-embroidered
Catalogue number
F145a
Designer
Orrinsmith (née Faulkner), Lucy (1839 - 1910)
Maker
Orrinsmith (née Faulkner), Lucy (1839 - 1910)
Credit notes
Presented by Mrs Hitch, 1954
Night drewss case embroidered by Lucy Falkner. Natural cotton twill embroidered with background of apricot wool on top half, yellow wool on bottom half; the top half decorated with flowers in buff-pink wools and silks with central wool pom-poms or rosettes enclosed in running scroll of leaves, the bottom half decorated with horizontal band of sheaf of lilies with overall pattern of clumps of leaves in background; the edge of the top decorated with plaited woolen braid and tassels.
Lining of pink silk printed with white flowers.
© William Morris Gallery, London Borough of Waltham Forest
Details
Dimensions
30.2 x 169.5
Object Type
textile
Catalogue number
F235a
Designer
Mackmurdo | Arthur Heygate | 1851 | 1942
Credit notes
Miss E. Pugh bequest, 1963
Piece of dull gold brown Roman satin stamped with a design in Century Guild style in white of a frieze of large ribbon-like leaves intertwining with small round berries, presumably for an embroidered runner.
© William Morris Gallery, London Borough of Waltham Forest
Details
Dimensions
Object Type
textile
Technique
hand-embroidered
Catalogue number
F207
Owner
Morris | May | 1862 | 1938
Attributed artist
Morris, May
Credit notes
Miss M.A. Sloane bequest, 1962
Embroidery owned by May Morris, and given to her friend Mary Annie Sloane. Narrow panel with vertical design of tree with flowers and leaves worked in beige, tan, orange, bright yellow, lime green and dark green, salmon pink, red, turquoise and mauve blue wools with decorative arabesques in background in dark green. Chain stitch for outline and infilling.
© William Morris Gallery, London Borough of Waltham Forest
Details
Dimensions
85.6 x 54.6
Object Type
textile
Material
silks on silk
Technique
hand-embroidered
Catalogue number
F323
Manufacturer
Morris & Co.
Credit notes
Presented by Mrs Newsom Davis, 1975
Embroidery by Morris & Co. Rectangular panel with embroidered border round central plain pale turquoise silk panel; border design worked in silk thread depicting pink peonies, with greens, pinks and blues in stems and leaves on pale lime green ground; silk piping cord edge. Stem stitch for outlines with running stitch infilling.
© William Morris Gallery, London Borough of Waltham Forest
Details
Dimensions
85.6 x 83.8
Object Type
textile
Material
silks on silk
Technique
hand-embroidered
Catalogue number
F322
Manufacturer
Morris & Co.
Credit notes
Presented by Mrs Newsom Davis, 1975
Table cloth with embroidered border around central plain light turquoise silk panel; border design of pink peonies, green leaves and brown stems on pale turquoise ground; silk piping edge. Cotton backing. Stem stitch for outlines with running stitch infilling, laid and couched inner edge onto central silk panel.
The embroidery design for this is in the Ashmolean.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
Designed in 1883-4
Dimensions
84.4 x 96.5
Object Type
textile
Material
cotton
Technique
indigo discharge and block-printed
Catalogue number
F194
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Retailer
Morris & Co. Decorators Ltd, 449 Oxford Street, London
Credit notes
Presented by Miss E. Pugh, 1961
‘Wey’ pattern, cotton chintz printed by indigo discharge method at Merton Abbey, Morris & Co.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
Designed 1883-4
Dimensions
48.2 x 32.7
Object Type
textile
Material
cotton
Technique
indigo discharge and block-printed
Catalogue number
F183
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Mrs Peter Latham, 1959
William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed c.1883
Dimensions
64.2 x 99
Object Type
textile
Material
printed cotton
Technique
indigo discharge and block-printed
Catalogue number
F19
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1940
Designed by William Morris in 1883, the printed cotton Wey was named after a river in Surrey. The yellow sunflower-like flowers and marigolds are set against a mid-ground of blue and green leaves and highlighted against the dark indigo background. Purchased from Morris & Co. in 1940 after the Firm closed.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
c.1885
Dimensions
25 x 12.5
Object Type
textile
Material
silk on cotton
Catalogue number
F454
Maker
Burden, Elizabeth (13.12.1841 - 22.08.1924)
Credit notes
The widow of Tim Langley, purchased with assistance from the Friends of the William Morris Gallery and the Art Fund, 2018
This embroidery is a part of a chalice cover or pall- used to cover the chalice cup for holy communion. It is stitched by Elizabeth (Bessie) Burden, the sister-in-law of William Morris. The figurative design of a young winged angel minstrel, clothed in medieval style dress holding two clashing cymbals is based on Morris’s c.1867 design for stained glass. A design drawing for a chalice cover from from the same series, depicting an angel with a harp, is in the William Morris Society collection (D213)
Burden’s innovative application of Morris’s design appears to have been inspired by medieval embroidery. The figure is embroidered in silk, using the eponymous ‘Burden Stitch’, applied here to great effect, particularly in the fine features of the angel’s face. The background is intricately embroidered with couched gold thread to create a three dimensional pattern of flowers. At some point in the embroidery’s history it has been framed and Burden’s signature affixed below.
Burden, along with her sister Jane, Morris’s wife, was to play a central role in the production of many of Morris’s finest embroideries. She helped stitch the medieval inspired hangings that furnished William and Jane’s first home, Red House and would later play a central role in his firm’s embroidery department. Although Morris and Burden had a fractious personal relationship, Morris described her as ‘a First-rate needle-woman’ with a ‘complete mastery of the theory & practice of all kinds of needlework’.
In addition to working for Morris, Marshall, Faulkner & Co., Burden supplemented her income by teaching embroidery at the home she shared with her sister and brother-in-law at 26 Queen Square in Bloomsbury and later became an instructor at the Royal School of Needlework (RSN). Whilst at the School she popularised a type of tapestry stitch that could be used to great effect for embroidery figures, as exemplified in this embroidery. The stitch was renamed ‘Burden Stitch’ in the School’s Handbook of Embroidery in recognition of Bessie’s contribution; a woodcut showing the stitch was also included in the volume on the grounds that the RSN was frequently asked to describe it.
Most interestingly, it bears a striking resemblance to c.1890s embroidery ‘Minstrel with Cymbals’ by Morris’s daughter May, now in the collection of the William Morris Society. Although there are noticeable differences- Burden’s Angel is winged and set against a gold couched background, whereas May’s figure is without wings and the background is of an orange tree, the similarities, from the folds in the Angel’s clothes, to the details in the hands, makes it possible that this example by Burden, the older and more experienced embroider, inspired her niece May to create her own later version of the design.
© William Morris Gallery, London Borough of Waltham Forest
© William Morris Gallery, London Borough of Waltham Forest
William Morris Gallery, London Borough of Waltham Forest | ©
© Paul Tucker for William Morris Gallery
Details
Date
early 1860s
Dimensions
185.5 x 66.3
Object Type
textile
Material
wool on linen
Technique
embroidery
Catalogue number
F390ii
Designer
Morris, William (1834 - 1896)
Credit notes
Purchased with assistance of the MGC/V&A Purchase Grant Fund and the Friends of the William Morris Gallery, 1997
This embroidered hanging was designed by William Morris and probably hung in his first home, Red House in Bexleyheath. It was most likely stitched by a small team that may have included Morris’s wife Jane and her sister Elizabeth Burden. In the early days of their marriage Morris and Jane often worked on embroideries together. They enjoyed unpicking old pieces of embroidery that they admired to learn the different stitching techniques. Morris’s enthusiasm for medieval art is clear in his early embroidery designs, such as this one. The tree, banner and bird motif was inspired by an illustration in a fifteenth-century manuscript that he had been studying in the British Museum. The French inscription, ‘Qui Bien Aime Tard Oublie’, translates as ‘who loves best forgets slowly’ and is taken from Geoffrey Chaucer’s poem ‘Parliament of Fowls’. It simple terms it means ‘one never forgets true love’.
The embroidery was one of a set of identical hangings installed at Penkill Castle in Ayrshire, Scotland by the late 1860s. The castle belonged to Alice Boyd, mistress of the painter William Bell Scott, who was closely connected to Dante Gabriel Rossetti and the Pre-Raphaelite circle. In a letter to Boyd in 1868, Rossetti referrers to the embroideries as “the Topsaic tapestries” a reference to Morris’s nickname ‘Topsy’. The hangings were likely an early product produced by Morris, Marshall, Faulkner & Co after it was founded in 1861. A very similar pattern can be seen on the hanging in the background of William Morris’s only easel painting, ‘La Belle Iseult’, painted in 1858.
William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1876, manufactured before 1940
Dimensions
66 x 97.8
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F5
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1940
William Morris designed ‘African Marigold’ in 1876, the design was registered 7th October 1876 but probably not produced until a few years later. The pattern features small marigolds, with larger stylised lilies and curling ribbons of willow and acanthus leaves. The original design is in the gallery’s collection (see BlA464) as well as 23 original printing blocks. Morris worked with the master-dyer Thomas Wardle in Leek, Staffordshire when first manufacturing this design on silk in 1880-81. However, a letter from Morris to Wardle on 8 February 1881 shows that Morris was not pleased with the Wardle’s attempts:
‘I am sorry to say that the last goods African marigold and red marigold sent are worse instead of better: they are infact unsaleable; I should consider myself disgraced by offering them for sale: I laboured hard on making good designs for these and on getting the colour good; they are now so printed & coloured that they are no better than caricatures of my careful work.’
Although Wardle and Morris’s relationship started out well, by the early 1880s Morris’s exacting standards took on a strain on the working relationship. Later in 1881, Morris took over the dyeing and block-printing process of his fabrics at his own factory, Merton Abbey.
This example was acquired by the Gallery from Morris & Co. in 1940 when the business closed.
Details
Date
designed 1876
Dimensions
78.7 x 31.7
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
BlF256
Designer
Morris, William (1834 - 1896)
Retailer
Morris & Co.
Manufacturer
Wardle and Co. (1872 - 1908)
William Morris designed ‘African Marigold’ in 1876, the design was registered 7th October 1876 but probably not produced until a few years later. The pattern features small orange marigolds, with larger stylised lilies and curling ribbons of acanthus leaves. The original design is in the gallery’s collection (see BlA464) as well as 23 original printing blocks. Morris worked with the master-dyer Thomas Wardle in Leek, Staffordshire when first manufacturing this design on silk in 1880-81. However a letter from Morris to Wardle on 8 February 1881 shows that Morris was not pleased with the Wardle’s attempts:
‘I am sorry to say that the last goods African marigold and red marigold sent are worse instead of better: they are infact unsaleable; I should consider myself disgraced by offering them for sale: I laboured hard on making good designs for these and on getting the colour good; they are now so printed & coloured that they are no better han caricatures of my careful work.’
Although Wardle and Morris’s relationship started out well, by the early 1880s Morris’s exacting standards took on a strain on the working relationship. Later in 1881, Morris took over the dyeing and block-printing process of his fabrics at his own factory, Merton Abbey.
© William Morris Gallery, London Borough of Walthamforest
Details
Date
late 1890s - early 1900s
Object Type
textile
Catalogue number
F142
Owner
Housman, Clemence (23 November 1861 - 6 December 1955)
Credit notes
WMG purchase, 1954
This dress originally belonged to the woodcut artist and suffragette Clemence Hausman (1861-1955). The dress is of the Aesthetic style, in green velvet (now faded) with gathered bodice, bell shaped sleeves and neckline and sleeves embroidered in scarab design in silk thread. Hausman was sister of the painter, illustrator and author Laurence Hausman and together they co-founded the Suffrage Atelier, producing propoganda for the women’s suffrage movement. The dress was given by Clemence Hausman to the amateur dramatic society the Street Players, which was founded by Laurence Hausman. The dress was later purchased by the Gallery from the The Street Players in 1954.
The dress is made of green-grey velvet with gathered bodice caught in at waist with green and gold cord with 3 tassels at either end; bell-shaped sleeves; neckline and sleeves embroidered in art nouveau style motifs in satin stitch in violet, blue and green silks.  Deep oval neckline in-filled with white silk chiffon; undersleeves, gathered at the wrist, also of similar white chiffon. The bodice is lined with green silk fabric. There are 7 metal stays. The central back opening is fastened with metallic hooks and eyes.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1917-1925
Dimensions
21.6 x 27.9
Object Type
textile
Material
printed cotton
Catalogue number
F182
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Designer
Dearle, John Henry (1859 - 1932)
Owner
Morris | May | 1862 | 1938
Credit notes
Presented by Miss Mary Ann Sloane, 1958
Morris &Co. pattern book containing 104 samples of 45 designs for printed cottons (several not designed by Morris) in various colourways. Bound in blue ‘Borage’ chintz. Stamped in gilt on front cover: MORRIS / 17, GEORGE ST. / HANOVER SQUARE / LONDON, W1. The pattern book was owned by May Morris.
Labels on inner front and back cover:
TO BE RETURNED TO
Morris & Company / Decorators, Ltd / 17 George Street, Hanover Square, / London, W1/
Hand Printed Cottons, / Linens and Taffetas. /
Larger Patterns of any of the enclosed will / be sent on application, should Customers wish / to see the full colouring and design. The Books / are to enable a first selection to be made. (underlined)
In Ordering please quote Numbers. Do not cut Patterns.
also inscribed in ink and pencil on inside of front cover:
No. 220
Contains the following samples:
African Marigold (x5)
Bird & Anemone (x7)
Bluebell (x2)
Bourne
Flowerpot (x2)
Brother Rabbit (x4)
Cherwell
Compton (x2)
Colling Trail
Corncockle
Cray (x4)
Daffodil (x3)
Eden (x2)
Evenlode (x2)
Eyebright (x2)
Haddon (x2)
Holkham
Honeysuckle (x7)
Kennet (x5)
Large Stem Twill (x2)
Lea (x3)
Little Chintz
Lodden (x4)
Marigold
Medway
Peony (x2)
Powdered
Rose (x2)
Rose & Thistle (x5)
Small stem Twill
Snakehead (x3)
Strawberry Theif
Sweet Briar
Tangley
Trent (x2)
Tulip (x7)
Tulip and Willow
Wandle
Wey
Willow Bough
Windrush (x6)
Yare (x2)
Large Stem Linen (x2)
© William Morris Gallery, London Borough of Waltham Forest
© Paul Tucker for William Morris Gallery
Details
Date
designed 1876, made 1880s
Dimensions
267 x 150
Object Type
textile
Material
silk and linen
Technique
hand-embroidered
Catalogue number
F434
Designer
Morris, William (1834 - 1896)
Maker
Morris (née Burden) | Jane | 1839 | 1914
Maker
Morris, Jenny (1861 - 1935)
Credit notes
Purchased with support from The Art Fund and The Friends of the William Morris Gallery, 2013
Jane Morris was a skillful embroiderer but this is one of very few surviving pieces that can be definitively attributed to her hand. She worked it with her eldest daughter, Jenny basing the design on an original 1876 design by William Morris.
The design was sold through the Royal School of Art Needlework in London in the late 1870s. This version was exhibited at the first Arts and Crafts exhibition in 1888. Later it was sent by May Morris, the younger daughter of Jane and William Morris, to Paris for the Louvre exhibition of British and Irish decorative work in 1914. The remains of the exhibition label was stitched to the reverse.
© Paul Tucker for William Morris Gallery
© Paul Tucker for William Morris Gallery
© Paul Tucker for William Morris Gallery
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1883
Dimensions
96.5 x 71.1
Object Type
textile
Material
printed cotton
Technique
indigo discharge and block-printed
Catalogue number
F7
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Mackmurdo bequest, 1942
Designed by William Morris in 1883. Red, pink, yellow, blue on dark green background, indigo ground.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1873, printed after 1883
Dimensions
58.4
Object Type
textile
Material
linen
Technique
indigo discharge and block-printed
Catalogue number
F3
Designer
Morris, William (1834 - 1896)
Credit notes
WMG purchase, 1940
Tulip and Willow was designed by William Morris in 1873. It was first block-printed with analine dyes by Clarkson’s, but after 1883 it was printed at Morris’s factory Merton Abbey using indigo. This example is discharged printed on indigo.
Details
Date
c.1980
Dimensions
Object Type
textile
Material
cotton and linen
Catalogue number
F397
Designer
Morris & Co.
Manufacturer
Jonelle
Retailer
John Lewis
Credit notes
Presented by Norah Gillow, Keeper WMG, 1998
Details
Dimensions
48.2 x 97.2
Object Type
textile
Material
cotton
Technique
indigo discharge
Catalogue number
BLF253
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1898
Dimensions
66 x 167.6 excluding fringe
Object Type
textile
Material
woollen pile on cotton warp
Technique
hand-knotted
Catalogue number
N11
Designer
Morris, William (1834 - 1896)
Credit notes
Presented by Miss M.L. Wooldridge, 1955
Small hand-knotted ‘Hammersmith’ rug with narrow line border enclosing central panel of rose trees in red and lilies in yellow, cream and green on blue ground. Hand-knotted fringe of 6.5 cm at each end.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1880s
Dimensions
185.4 x 94 including fringe
Object Type
textile
Material
woollen pile on cotton warp
Technique
hand-knotted
Catalogue number
N10
Designer
Morris, William (1834 - 1896)
Credit notes
Presented by Miss M.L. Wooldridge, 1955
This small ‘Hammersmith rug’ was designed by William Morris. The border of peonies and pastel colouring shows the influence of Chinese design. This rug was given to the Gallery by Martha Wooldridge, (1863-1958) a classical dancer who purchased it around 1898 for her home, the Arts & Crafts House called ‘Wavertree’ in St Margarets, Twickenham, with whom she shared with the radical preacher Stewart Headlam (Headlam is perhaps most famous for putting up half of Oscar Wilde’s bail when he was tried for ‘gross indecency’ in 1885).
A similar example was given by Morris to Margaret Mackail (nee Burne-Jones) on the occassion of her wedding in 1888, this is now in the Victoria and Albert Museum (T.104-1953). Another small rug to the same design was lent by Mrs. Lucius Gubbins to the Victoria & Albert Museum William Morris centenary exhibition in 1934 (94). It is reproduced in Gerald H. Crow’s “William Morris – Designer” published by ‘The Studio’ 1934 p. 81.
The same design was later woven at Wilton (their no. 6213).
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1874-1876
Dimensions
86.3 x 628.7
Object Type
textile
Material
wool on linen
Technique
hand-embroidered
Catalogue number
F140c
Designer
Burne-Jones | Edward Coley | Sir | 1833 | 1898
Designer
Morris, William (1834 - 1896)
Maker
Johnson, Florence
Maker
Bell, Margaret (1820 - 1886)
Credit notes
Presented by Sir Hugh Bell, Bart., 1953
This embroidery was part of a frieze of five parts commissioned by Sir Isaac Lowthian Bell and his wife Margaret for the dining room of Rounton Grange, Northallerton, Yorkshire. The panels depict the story of The Romaunt of the Rose by Geoffrey Chaucer and were based on original pictures drawn by Edward Burne-Jones c.1874-76 (see
D187 and D299
). The exquisite embroidery was executed by the wife and daughter of Sir Isaac Lowthian Bell, Margaret Bell and Florence Johnson, respectively.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
c. 1900
Dimensions
274.3 x 213.4
Object Type
textile
Technique
machine-woven
Catalogue number
N5
Designer
Dearle, John Henry (1859 - 1932)
Retailer
Morris & Co.
Manufacturer
Wilton Royal Carpet Factory Ltd
Credit notes
Presented by Miss M.L. Wooldridge, 1955
One of a number of patterned carpets designed by John Henry Dearle around 1900 for Morris & Co. to be made by machine; the pattern emulated the effect of the more expensive hand-knotted Hammersmith carpets. Another example is in the collection of the Society of Antiquaries, Kelmscott Manor. The carpet was given to the Gallery by Martha Wooldridge, (1863-1958) a classical dancer who had been left it by the radical preacher Stewart Headlam, whom she lived with in an Arts & Crafts House called ‘Wavertree’ in St Margarets, Twickenham (Headlam is perhaps most famous for putting up half of Oscar Wilde’s bail when he was tried for ‘gross indecency’ in 1885).
William Morris Gallery | © David Brangwyn
Details
Date
1930
Dimensions
411.5 x 320
Object Type
textile
Technique
machine-woven
Catalogue number
N18
Designer
Brangwyn, Frank, Sir (1867 - 1956)
Manufacturer
James Templeton and Company, Glasgow, Scotland
Credit notes
Presented by Mrs Doris Locke, her children Heather and Ian and grandson Stephen Maitland-Oxley, 2013
Carpet design by Frank Brangwyn. Machine-woven carpet with beige ground and border. Pink, green, blue and yellow swirling abstracted floral patters radiating out from the center. Fragile with several holes, fraying but colours well preserved. Initialled twice in border. Produced by Templeton & Co. for Pollard Exhibition.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1877
Dimensions
36.5 x 44
Object Type
textile
Catalogue number
F370
Designer
Morris, William (1834 - 1896)
Attributed designer
Faulkner, Kate
Manufacturer
Heckmondwike Manufacturing Co. Yorkshire
Credit notes
WMG purchase, 1995
Woven 3-ply carpeting textile with Vine and Pomegranate pattern in tones of red, ginger and cream. Designed for Morris & Co. by William Morris or Kate Faulkner and woven by Heckmondwike Manufacturing Co. Yorkshire.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
Designed 1879
Dimensions
66 x 91.4
Object Type
textile
Material
wools and silks on silk
Catalogue number
F28
Designer
Morris, William (1834 - 1896)
Manufacturer
Alexander Morton & Co.
Retailer
Morris & Co.
Credit notes
Mackmurdo bequest, 1942
Dove and Rose was produced in silk and wool double cloth. The design is formed of leaves, stems, rose sprays, acorns and doves in green and red. According to Morris, writing in a letter to Rosalind Howard, the structure of double cloth made it suitable only for curtains and hangings rather than upholstery.
The cloth was first woven by outworkers at Alexander Morton & Co., Darvel, Scotland. Later, at Merton Abbey, Morris & Co.’s textile workshop, Morris installed hand-operated jacquard looms, which partly automated the weaving process. Large orders were sub-contracted to companies that used steam-powered looms. Morris welcomed technological progress that genuinely saved repetitive labour without compromising the quality of the final product. He believed that “it is the allowing of machines to be our masters and not our servants that so injures the beauty of life nowadays”.
To weave the ‘Dove and Rose’ textile, Morris’s original design was painted on point-paper (see original design in WMG: BLA451). This was used to make a series of punch cards, which were fed into the loom and controlled the production of the pattern. Morris felt uneasy about subjecting his employees to the “deafening clatter” of the weaving shed, but accepted it as a necessary evil to produce fine fabrics in silk and wool. According to Morris, writing in a letter to Rosalind Howard, the structure of this fabric made it suitable only for curtains and hangings rather than upholstery.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1883, manufactured from 1899
Dimensions
63 x 68.9
Object Type
textile
Material
silk damask
Catalogue number
F29
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Mackmurdo bequest, 1942
Kennet was first designed for a printed cotton by William Morris in 1883. It is the only pattern that Morris designed for both a printed cotton and a woven fabric, the woven version was first exhibited in the 1899 Arts & Crafts Exhibition Society. The design for this is in the Gallery’s collection: BLA461
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1880s
Dimensions
163 x 102
Object Type
textile
Material
woollen pile on cotton warp
Technique
hand-knotted
Catalogue number
N9
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss M.L. Wooldridge, 1955
Hand knotted Hammersmith rug with border of pairs of birds. The border featured on a plain carpet, now in the collection of Peterhouse College, Cambridge. The pairs of birds have similarities to embroidery designs by May Morris, and Linda Parry has suggested it may point to her involvement in the Firm at that time. The original design for this border is in the V&A (E.301-1939).
This rug was given to the Gallery by Martha Wooldridge, (1863-1958) a classical dancer who purchased it around 1898 for her home, the Arts & Crafts House called ‘Wavertree’ in St Margarets, Twickenham, with whom she shared with the radical preacher Stewart Headlam (Headlam is perhaps most famous for putting up half of Oscar Wilde’s bail when he was tried for ‘gross indecency’ in 1885).
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1875-1876
Dimensions
79 x 106.9
Object Type
textile
Material
wool on linen
Technique
embroidery
Catalogue number
F430
Designer
Morris, William (1834 - 1896)
Designer
Webb | Philip | 1831 | 1915
Manufacturer
Morris & Co.
Credit notes
Purchased with grants from the V&A Purchase Grant Fund and Friends of the William Morris Gallery, 2004
This embroidered panel was designed by Philip Webb and William Morris and produced by Morris & Co.’s embroidery department. The panel is cut from a larger embroidery and depicts a peacock (designed by Webb) surrounded by a repeating pattern of grapes and vines (designed by Morris). Webb’s full-size drawing for the central peacock is also in the Gallery’s collection (see A209). Webb was primarily an architect, notably designing Morris’s Red House, but was also a gifted draughtsman with a particular interest in the natural world. As a young boy, he studied the illustrations of Thomas Bewick, the influence of whom remained evident throughout Webb’s artistic output. William Morris would often ask Webb to draw the animals within his designs for wallpapers, tapestries and textiles, recognising his superior skill. See for example ‘Trellis’, Morris’s first wallpaper design (William Morris Gallery BLA472), and ‘The Forest’, a large tapestry woven at Merton Abbey in 1887, which also incorporates a peacock into its design alongside Morris’s swirling acanthus leaves.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1878
Dimensions
838.2 x 137.2
Object Type
textile
Material
woven wool
Catalogue number
F26e
Designer
Morris, William (1834 - 1896)
Credit notes
WMG purchase, 1940
Hand-loom jacquard woven woollen twill in shades of buff pink, orange, brown, green and pale blue on a dark indigo ground.
William Morris Gallery, London Borough of Waltham Forest
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1876
Dimensions
63.5 x 133.4
Object Type
textile
Material
woven wool
Technique
woven
Catalogue number
F27
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1940
Woven wool treble cloth with warp in shades of dark & light blues and weft in cream with dark & light blue and pale green. The pattern was produced in range of materials, such as 3-ply carpeting and fabric, woven silk and wool, woven wool and cotton. This 3-ply woven wool was originally manufactured for Morris & Co by Heckmondwike Manufacturing Company, Yorkshire, England, and later at Merton Abbey.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
Registered 15 May 1879
Dimensions
88.3 x 62.2
Object Type
textile
Technique
hand-loom jacquard woven
Catalogue number
F156
Designer
Morris, William (1834 - 1896)
Credit notes
WMG purchase, 1955
This design was first woven in silk on a jacquard hand loom at Queen Square, and later at Merton Abbey. From 1924, this cotton and silk version was manufactured by the East-Anglia Weaving Co., Macclesfield, England.
Details
Date
designed 8 February 1876
Object Type
textile
Material
woven treble cloth
Catalogue number
F455
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
The widow of Tim Langley
Woven wool treble cloth with shades of green and blue, with faded fringe around edge
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1887
Dimensions
190.5 x 411.5
Object Type
textile
Material
printed velveteen
Technique
block-printed
Catalogue number
F178
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
Presented by Lady Daniel, 1957
Velveteen curtain in yellow colourway. Cherwell was designed by John Henry Deale for Morris & Co in 1887. It is the same design as “Double Bough” wallpaper.  The design was also used on chintz by Morris & Co. and madras muslin made by Alexander Morton & Co. at Darvel.
William Morris Gallery, London Borough of Waltham Forest
Details
Dimensions
29 x 45
Object Type
textile
Technique
hand-loom jacquard woven
Catalogue number
F408
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Purchased from Haslam & Whiteway, 1998
This is one of two trial samples of Dove and Rose in silk brocade, an almost identicle piece is in the Victoria and Albert Museum (T.26-1919). Dove and Rose was normally produced in silk and wool double cloth. The design is formed of leaves, stems, rose sprays, acorns and doves in green and red. According to Morris, writing in a letter to Rosalind Howard, the structure of double cloth made it suitable only for curtains and hangings rather than upholstery.
The cloth was first woven by outworkers at Alexander Morton & Co. Later, at Merton Abbey, Morris & Co.’s textile workshop, Morris installed hand-operated jacquard looms, which partly automated the weaving process. Large orders were sub-contracted to companies that used steam-powered looms. Morris welcomed technological progress that genuinely saved repetitive labour without compromising the quality of the final product. He believed that “it is the allowing of machines to be our masters and not our servants that so injures the beauty of life nowadays”.
To weave the ‘Dove and Rose’ textile, Morris’s original design was painted on point-paper (see original design in WMG: BLA451). This was used to make a series of punch cards, which were fed into the loom and controlled the production of the pattern. Morris felt uneasy about subjecting his employees to the “deafening clatter” of the weaving shed, but accepted it as a necessary evil to produce fine fabrics in silk and wool. According to Morris, writing in a letter to Rosalind Howard, the structure of this fabric made it suitable only for curtains and hangings rather than upholstery.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1876
Dimensions
53.3 x 122
Object Type
textile
Technique
woven
Catalogue number
F360
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1994
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1912-14
Dimensions
61.5 x 71.2
Object Type
textile
Material
silk damask
Technique
hand-loom jacquard woven
Catalogue number
F362
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
Purchased with the aid of a grant from the MGC/V&A Purchase Grant Fund, 1994
Design adapted by John Henrey Dearle from William Morris’s
St James’s
wallpaper pattern, designed in 1880 as part of a decorative scheme for St James Palace.  Apart from small samples in a pattern book at the V&A Museum, this is the only known example of the silk damask.
Details
Object Type
textile
Catalogue number
BlM28
Owners
Morris & Co.
Details
Object Type
textile
Material
silk
Catalogue number
BlM28.7
Owners
Morris & Co.
Wooden bobbin holding mediumweight cream silk thread for weaving tapestries, from Merton Abbey Workshops.
Details
Object Type
textile
Material
silk
Catalogue number
BlM28.41
Owners
Morris & Co.
Wooden bobbin holding mediumweight dark teal wool thread for weaving tapestries, from Merton Abbey Workshops.
Details
Object Type
textile
Material
silk
Catalogue number
BlM28.33
Owners
Morris & Co.
Wooden bobbin holding mediumweight dark green and blue wool thread for weaving tapestries, from Merton Abbey Workshops.
Details
Object Type
textile
Material
silk
Catalogue number
BlM28.16
Owners
Morris & Co.
Wooden bobbin holding mediumweight red thread for weaving tapestries, from Merton Abbey Workshops.
Details
Object Type
textile
Material
silk
Catalogue number
BlM28.29
Owners
Morris & Co.
Wooden bobbin holding mediumweight light green wool thread for weaving tapestries, from Merton Abbey Workshops.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1890-1910
Object Type
textile
Technique
embroidery
Catalogue number
F461
Attributed designer
Morris | May | 1862 | 1938
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 2025
This Morris & Co. design is currently the only known example of
Squirrel
. It was originally set into a firescreeen (now removed) and features two squirrels collecting hazelnuts. The design bears similarities to May Morris’s embroidery designs for the Firm. Another design by May Morris to feature squirrels, is the William Morris Gallery’s large panel
Battye Embroidered Wall Hanging
(F101), which was designed by May but executed by Frances Battye around 1900. The animals in this smaller panel are more refined and may reflect the work of a skilled embroiderer such as May or one of the employees in the Firm’s embroidery section.
The design is embroidered onto Morris & Co’s
St James’s
silk damask.
May also embroidered on damask for the
Spring and Summer
panels (c. 1895–1900, private collection), which are applied to a ground of Morris & Co.
Oak
damask as well as
Fruit Garden
portières. These pieces are recorded in the Firm’s
Embroidery Day Book
(1892-1896) now in the National Art Library (V&A:86.CC.31). The choice of Morris & Co. damask for the background made these works more costly than those with a more common cotton background.
Details
Date
designed in 1876
Dimensions
132 x 91.5
Object Type
textile
Technique
block-printed
Catalogue number
F423
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Maker
Wardle and Co. (1872 - 1908)
Credit notes
Presented by the Victoria and Albert Museum Department of Textiles and Dress, 2001
Honeysuckle was registered as a design by William Morris in on 11 October 1876. It was printed onto a number of different fabrics, inclusing linen, cotton, combed cotton, challis, silk, tusser silk and velveteen;. This example is challis, a type of lightweight woven fabric. It was printed for Morris & Co by Thomas Wardle & Co., Leek.
Details
Date
1876
Dimensions
86.4 x 100.4
Object Type
textile
Material
pen on paper
Technique
block-printed
Catalogue number
F363
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Maker
Wardle and Co. (1872 - 1908)
Credit notes
WMG purchase, 1994
Honeysuckle was registered as a design by William Morris in on 11 October 1876. It was printed onto a number of different fabrics, inclusing linen, cotton, combed cotton, challis, silk, tusser silk and velveteen;. This example is challis, a type of lightweight woven fabric. It was printed for Morris & Co by Thomas Wardle & Co., Leek.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1887
Dimensions
43.2 x 36.8
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F45
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1940
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1887
Dimensions
40 x 161.3
Object Type
textile
Material
velvet
Technique
block-printed
Catalogue number
F336
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
Presented by Mrs Jane Ireson, 1981
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1887
Dimensions
55.9 x 52.8
Object Type
textile
Material
printed velveteen
Technique
woven and printed
Catalogue number
F357
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1994
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1887
Dimensions
181 x 147.3
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F281
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
Presented by Mrs Margaret I. Miller, 1979
Curtain made up from 3 widths of ‘Cherwell’ fabric in a turqouise colourway, with Morris & Co. lining fabric. ‘Cherwell’ was designed by John Henry Dearle in 1897 as a velveteen and a cotton, from 1891 it was also used as a design for a wallpaper. The curtains have a label from Morris & Co.’s Oxford Street shop, dating the curtain to between 1887-1917, when the firm moved to George Street.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c. 1884
Dimensions
102.5 x 52
Object Type
textile
Material
woollen pile on cotton warp
Technique
hand-knotted
Catalogue number
N1b
Designer
Century Guild
Maker
Morris & Co.
Artist
Mackmurdo | Arthur Heygate | 1851 | 1942
This small Hammersmith Rug was probably designed by Herbert Horne or Arthur Heygate Mackmurdo for the Century Guild. Between 1884 and 1888, Morris & Co. were responsible for manufacturing a small group of rugs for the Century Guild, which were exhibited at Arts and Crafts exhibitions, sold through the Morris & Co. shop and advertised in the Century Guild’s publication Hobby Horse.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1878
Dimensions
202 x 186
Object Type
textile
Material
woven wool
Catalogue number
F424
Credit notes
Gift of Douglas Schoenherr, 2001
Birds in pale green, pale blue and pale pink and cream against midgreen foliage with dark blue background. Two pieces joined, one full width, one half width.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1884
Dimensions
71.1 x 97.8
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F24
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1940
Cray was designed by William Morris in 1884, one of a series of patterns created at this time named after tributaries of the River Thames and other rivers. The cray is a chalk stream, and a tributary of the River Darent, in south-East London. The pattern consists of large stem and peony-like flowers with a secondary network of flowers and leaves against a background of curling small leaves, stems and flowerheads. The size of the repat and complexity of the pattern meant that 34 different printing blocks were required to print one pattern repeat, making it Morris’s most expensive blockprinted fabric.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1884
Dimensions
94 x 94
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F402
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1998
Cray was designed by William Morris in 1884, one of a series of patterns created at this time named after tributaries of the River Thames and other rivers. The cray is a chalk stream, and a tributary of the River Darent, in south-East London. The pattern consists of large stem and peony-like flowers with a secondary network of flowers and leaves against a background of curling small leaves, stems and flowerheads. The size of the repat and complexity of the pattern meant that 34 different printing blocks were required to print one pattern repeat, making it Morris’s most expensive blockprinted fabric.
This version is an in unusual colourway with yellow and green on dark green ground. Colourway no. 2109.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1884
Dimensions
109.8 x 89.5
Object Type
textile
Material
cotton
Technique
indigo discharge and block-printed
Catalogue number
F208
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Miss Mary Ann Sloane bequest, 1962
Cray was designed by William Morris in 1884, one of a series of patterns created at this time named after tributaries of the River Thames and other rivers. The cray is a chalk stream, and a tributary of the River Darent, in south-East London. The pattern consists of large stem and peony-like flowers with a secondary network of flowers and leaves against a background of curling small leaves, stems and flowerheads. The size of the repat and complexity of the pattern meant that 34 different printing blocks were required to print one pattern repeat, making it Morris’s most expensive blockprinted fabric
William Morris Gallery, London Borough of Waltham Forest | ©
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1884
Dimensions
152.4 x 96.5
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F373
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss Helen Brooks, 1997
Cray was designed by William Morris in 1884, one of a series of patterns created at this time named after tributaries of the River Thames and other rivers. The cray is a chalk stream, and a tributary of the River Darent, in south-East London. The pattern consists of large stem and peony-like flowers with a secondary network of flowers and leaves against a background of curling small leaves, stems and flowerheads. The size of the repat and complexity of the pattern meant that 34 different printing blocks were required to print one pattern repeat, making it Morris’s most expensive blockprinted fabric
William Morris Gallery, London Borough of Waltham Forest | ©
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1884
Dimensions
365.8 x 96.5
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F392
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1998
Cray was designed by William Morris in 1884, one of a series of patterns created at this time named after tributaries of the River Thames and other rivers. The cray is a chalk stream, and a tributary of the River Darent, in south-East London. The pattern consists of large stem and peony-like flowers with a secondary network of flowers and leaves against a background of curling small leaves, stems and flowerheads. The size of the repat and complexity of the pattern meant that 34 different printing blocks were required to print one pattern repeat, making it Morris’s most expensive blockprinted fabric.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
designed 1884
Dimensions
98.4 x 96.5
Object Type
textile
Material
cotton
Technique
indigo discharge and block-printed
Catalogue number
F50
Designer
Morris, William (1834 - 1896)
Credit notes
WMG purchase, 1940
William Morris Gallery, London Borough of Waltham Forest | ©
© William Morris Gallery, London Borough of Waltham Forest
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.
© William Morris Gallery, London Borough of Waltham Forest
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1875-1877
Dimensions
92.1 x 95.9
Object Type
textile
Material
cotton
Catalogue number
F308
Designer
Morris, William (1834 - 1896)
Retailer
Morris & Co. Decorators Ltd, 449 Oxford Street, London
Manufacturer
Wardle and Co. (1872 - 1908)
Credit notes
Presented by Whitworth Art Gallery, 1969
© Liberty London
Details
Date
1968
Dimensions
183.5 x 127
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F278a
Designer
Morris, William (1834 - 1896)
Manufacturer
Liberty & Co, Ltd
Credit notes
Presented by Liberty & Co, 1968
Adapted from William Morris’s original design, from 1876.  Liberty reprinted this pattern in 1968, enlarging the scale of the original by approximately 25%.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1892
Dimensions
28 x 33.6
Object Type
textile
Material
velveteen
Catalogue number
F243
Designer
Liberty & Co, Ltd
Manufacturer
Wardle and Co. (1872 - 1908)
Credit notes
Miss Elinor Pugh bequest, 1963
Printed red velveteen of produced by Wardle & Co. The design appears as a black and white block print proof on paper in the Whitworth’s Thomas Wardle and Co ‘Sample Book, Block Records (1880-1884), T.14007.60. A note alongside the proof in the sample book details:
No.30 The block belongs to Thomas Wardle
Original design No. in Catalogue Registered, No.389715 Nov 9th 82 for 2 years
Size of block 11 3/8″ wide 14 3/8″ long
Size of repeat 5¾” wide 4¾” long
The block will repeat on O (in blue pencil)
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1884
Dimensions
44.1 x 30.5
Object Type
textile
Material
velveteen
Catalogue number
F242
Manufacturer
Wardle and Co. (1872 - 1908)
Credit notes
Miss Elinor Pugh bequest, 1963
‘Papara’ is a printed red velveteen of pomegranates, carnations and palmettes produced by Wardle & Co. A two-colour (dark blue outline with a indigo filling) block print proof on paper is in the Whitworth’s Thomas Wardle and Co ‘Sample Book, Block Records – Page 6’ (1909-1930), T.14008.6. A note alongside the proof in the sample book details that it was based upon plate 118 from Fischbach’s ‘Ornamente der Gewebe’ which shows an illustration in black and white, described as a 17th woven silk, probably from Lyons or Tours “in the museum in Nuremberg”. The full transcript of Wardle’s sample book reads:
109
No.109.Two Blocks. To fit Velvet. 26″ width
Size 13 inches square
Original design No.118 Fishbach. (sic) Registered 12146, 30 August 1884
Size of repeat 13 inc x 13 inc
No.13’s.
According to the Whitworth, the code 13,s indicates the pattern was produced on commision to an external company.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
1892
Dimensions
28 x 40.6
Object Type
textile
Material
cotton velvet
Catalogue number
F241
Retailer
Liberty & Co, Ltd
Manufacturer
Wardle and Co. (1872 - 1908)
Credit notes
Miss Elinor Pugh bequest, 1963
Printed red velveteen of strawberries produced by Wardle & Co. The design appears as as a black and white block print proof on paper in the Whitworth’s Thomas Wardle and Co ‘Sample Book, Block Records (1880-1884), T.14007.28. A note alongside the proof in the sample book details:
No.14 P.C. 14 rows
The block belongs to Thomas Wardle
Original design No. 468 in Catalogue Registered No.389710 Nov. 9th 82 for 2 years
Size of block 10″ wide 15″ long
Size of repeat 2½” wide 2½” long
The block will repeat onO (in blue pencil)No.1 prints outline of the whole pattern.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
design registered 15 April 1875
Dimensions
140 x 97
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F210
Designer
Morris, William (1834 - 1896)
Credit notes
Miss M A Sloane bequest, 1962
At Morris’s factory in Merton Abbey the printer pressed the printing block into a dye-pad and then positioned it on the fabric. The block was then tapped with a mall (a led weighted mallet) to ensure an even impression on the cloth. The printer then lifted the block, applied more colour and repeated the process down the whole length of the fabric. When the first colour had dried, the second colour was applied.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
c.1885-1900
Dimensions
52.1 x 52.1
Object Type
textile
Material
silks and gold thread on linen
Technique
hand-embroidered
Catalogue number
F154
Designer
Morris, William (1834 - 1896)
Maker
Morris | May | 1862 | 1938
Credit notes
Presented by Marie Lyndon Lang, 1954
‘Flowerpot’ was designed by William Morris for Morris & Co., c.1876. This fine example was embroidered by May Morris, using satin, stem, darning, herringbone, French knots and couched gold. The gold is so vibrant it is likely to be Japanese gold which doesn’t tarnish. Japanese gold thread was recommended by May Morris in her instructional book ‘Decorative Needlework’. The panel is edged with a handmade buttonhole braid. This version was gifted to May’s friend and neighbour Dorothy Walker, the daughter of the printed Emery Walker. Another example of ‘Flowerpot’, also embroidered by May is in the V&A (T.68-1939). William Morris’s original design drawing is in the Gallery’s collection (see A1061) and another version in the William Morris Society’s collection. Morris based the design on two Italian seventeenth-century lacis-work panels acquired by the South Kensington Museum in 1875. Lacis is a handmade net onto which a design is darned.
‘Flowerpot’ was available to buy in kit form from Morris & Co.; as a tracing pattern to be embroidered at home, partly started, or as finished version worked by the Firm’s embroidery department. According to the Firm’s ‘Embroidery Day Book 1894-1896’ (V&A), a tracing of ‘Flowerpot’ cost 5 shillings, whilst a started version on cotton or linen cost 14 shillings. The square shape meant it was adapted into cushions and mounted into firescreens. Other worked examples are in collections of National Museums Liverpool, Birmingham Museum and the Embroiderers’ Guild.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c. 1900
Dimensions
31.1 x 21.6
Object Type
textile
Material
velveteen
Technique
woven and block-printed
Catalogue number
F355
Designer
Morris & Co.
Manufacturer
Morris & Co.
Credit notes
WMG purchase, 1994
Book with dark maroon red cloth binding, stamped with Morris & Co address at 449 Oxford street on front cover.  Contains 10 samples of printed velveteen in different colourways each sample approx 26.7 x 19.7cm.  All pieces have Morris & Co. printed labels with pattern name, colourway, width & price.
List of Samples:
a) Acanthus (designed by Morris 1876; red colourway)
b) Acanthus (designed by Morris 1876; blue colourway)
c) Acanthus (designed by Morris 1876; yellow colourway)
d) Cherwell (designed by J H Dearle 1887; cream/buff pattern on green ground)
e) Cherwell (designed by J H Dearle 1887; white, yellow, dark green pattern on mid-blue ground)
f) Florence (designed by J H Dearle 1890; white, pink on deep rose ground)
g) Florence (designed by J H Dearle 1890; ochre, pink, green on mid -green ground)
h) Wey (designed by Morris c. 1883; two shades pink on dark red ground)
i) Severn (designed by J H Dearle 1887-90; cream, buff, brown, red and slate green on cream ground stippled brown)
j) Mole (designed by J H Dearle after 1892; pink on rose ground)
© William Morris Gallery, London Borough of Waltham Forest
Details
Object Type
textile
Material
painted and embroidered silk
Catalogue number
F462
Maker
Leek Embroidery Society
Credit notes
Bequest Estate of Elisabeth Broadhurst, 2025
Marigold embroidery by Leek Embroidery Society
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c. 1890
Dimensions
101.6 x 228.6
Object Type
textile
Material
wool on cotton
Technique
hand-knotted
Catalogue number
N7
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss M. L. Wooldridge, 1955
Hand-knotted Hammersmith rug with stylised floral border enclosing a central panel of scrolling flowers and leaves. A version was exhibited at the 1899 Arts & Crafts exhibition and another commissioned from Morris’s friend by A.A. Ionides, for his house at 1 Holland Park, London. Another example is in the Museum of Applied Arts, Budapest. The border design of ‘Little Tree’ also features on a number of other carpet designs made by Morris & Co.
This rug was given to the Gallery by Martha Wooldridge, (1863-1958) a classical dancer who purchased it around 1898 for her home, the Arts & Crafts House called ‘Wavertree’ in St Margarets, Twickenham, which she shared with the radical preacher Stewart Headlam.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1875
Dimensions
27.3 x 95.9
Object Type
textile
Material
printed cotton
Technique
block-printed
Catalogue number
F46
Designer
Morris, William (1834 - 1896)
Credit notes
WMG purchase, 1940
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
c.1909-10
Dimensions
70.5 x 278.7
Object Type
textile
Material
wool on linen
Technique
hand-embroidered
Catalogue number
F102
Designer and maker
Morris | May | 1862 | 1938
Credit notes
WMG purchase, 1951
This embroidered panel was made as a hanging for May Morris’s sitting room at 8 Hammersmith Terrace. A photograph survives of the embroidery in situ (Cheltenham Art Gallery and Museums). The central motif shows Kelmscott Manor, the Morris family country retreat in Oxfordshire, linked to Hammersmith Terrace by the river Thames which flows past both houses. May gave the embroidery to Sydney Cockerell in September 1923, when she was leaving Hammersmith Terrace for good to live at Kelmscott Manor (see letters from May to Cockerell in the Gallery’s collection and related correspondence in British Library (BL Add.MSS 52740). May was dissipointed that the wool embroidery had faded but described the little picture of Kelmscott as ‘rather amusing’.
The first seven lines of the text in Gothic script are from the central verse of the poem
June
, which prefaces the story of
The Love of Alcestis
in Morris’s epic poem
Earthly Paradise
See, we have left our hopes and fears behind
To give our very hearts up unto thee;
What better place than this then could we fin
By this sweet stream that knows not of the sea,
That guesses not the city’s misery,
This little stream whose hamlets scarce have names,
This far-off, lonely mother of the Thames?
Additional lines are attributed to the scholar and poet Sir Walter Raleigh:
Though our songs cannot banish ancient wrong
Though they follow where the rose goes
And their sounds swooning over hollow ground
Fade and leave the enchanged air bare,
Yet the wise say that not unblest he dies
Who has know a single May Day.
© William Morris Gallery, London Borough of Waltham Forest
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
design registered 1875
Dimensions
97 x 170
Object Type
textile
Material
cotton
Catalogue number
F343
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss Helen Brooks
Marigold printed cotton in red colourway. designed by William Morris in 1875.
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
Design registered 15 April 1875
Dimensions
41.6 x 99
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
BlF251
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
© William Morris Gallery, London Borough of Waltham Forest
Details
Dimensions
14.9 x 13.9
Object Type
textile
Material
wool on canvas
Technique
hand-embroidered
Catalogue number
F231
Designer and maker
Pugh, Elinor M., Miss, 1962
Credit notes
Miss Elinor Pugh bequest, 1963
Square table mat by Elinor Pugh, worked in coloured wool cross stitch, comprising a pattern of lozenge shapes alternating with small flower heads. Lined with black chiffon.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
Design registered 11 May 1883
Dimensions
62.2 x 94
Object Type
textile
Material
cotton
Technique
indigo discharge and block-printed
Catalogue number
F195
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss E. Pugh, 1961
© William Morris Gallery, London Borough of Waltham Forest
Details
Date
designed 1876
Dimensions
29.2 x 97.8
Object Type
textile
Material
linen
Technique
block-printed
Catalogue number
BlF248a
Designer
Morris, William (1834 - 1896)
Manufacturer
Morris & Co.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
Designed 1893
Dimensions
65 x 65
Object Type
textile
Material
silk
Technique
hand-loom jacquard woven
Catalogue number
F407
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
Presented by Miss A McEwan, 1998
Floral design arranged in ogee-shaped pattern in pink, yellow and green on cream ground.  Showroom sample.
William Morris Gallery, London Borough of Waltham Forest | ©
Details
Date
c. 1887-1890
Dimensions
23.2 x 67.3
Object Type
textile
Material
cotton
Technique
block-printed
Catalogue number
F328
Designer
Dearle, John Henry (1859 - 1932)
Manufacturer
Morris & Co.
Credit notes
Purchased from Mrs F.M. Greenfield, 1978
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