Enski fjöllistamaðurinn William Morris, sem var í fararbroddi í list- og handíðahreyfingunni (Arts and Crafts) á 19. öld, er sérstaklega þekktur fyrir veggfóðurshönnun sína. Áherslur hans voru á náttúruleg form og lífræna hönnun í daglegu lífi almennings, með stílfærðum blómum, plöntum, fuglum, ávöxtum og fleiri náttúrumótífum. Þessi mikli hugsjónamaður skildi eftir sig um 50 mynstur sem höfðu mikil áhrif á innanhússhönnun almennt, t.d. gætir áhrifa hans greinilega í Art Nouveau, sem er beinn forveri Art Deco stílsins. Fingraför Morris eru greinileg í mynsturgerð enn þann dag í dag enda hefur hann oft verið nefndur faðir veggfóðursins. Veggfóðursmynstrið Bird var upphaflega hannað fyrir textíl og sýnir kyrrláta stemningu af fuglapörum sem ýmist sitja á grein eða hefja sig til flugs. Mynstrið er innblásið af veggteppi sem William Morris gerði árið 1878 og prýddi teiknistofu hans í Kelmscott House. Bird fæst í fjórum sterkum litasamsetningum sem gefa öllum rýmum mikinn karakter. Athugið að mælt er með að setja límið á bakhlið veggfóðurs, ekki beint á vegginn. Þrífið límbletti af með hreinu vatni og mjúkum svampi ÁÐUR en límið þornar. Lesið leiðbeiningar vel eða fáið fagmann í verkið. Leiðbeiningar fyrir veggfóður með pappírsbaki
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detail of a William Morris tapestry, c.1850
Portion of 'Leicester' wallpaper, scrolling acanthus leaves with an underlay of smaller flowers and foliage (including carnations), with a dark ground; Print on paper; Designed by William Morris; Produced by Morris & Co.; Reprinted by Arthur Sanderson & Sons Ltd.; England; ca. 1955.
In doing research about Jane Morris and those around her in her life, I’ve stumbled upon journal articles containing the will of May Morris with some interesting footnotes and quotes about her father, William Morris and his time at Kelmscott Manor. I just wanted to share some excerpts here, because they provide a good perspective on William Morris’s thoughts and ideas during 1871. His years spent there with his wife and daughters; seem to be some of the most joyous and the most disappointing of his life. For instance, struggling with his eldest daughter Jenny Morris’s epilepsy and lifetime of nurse’s care to the overabundant work he did through Morris & Co. Let’s begin with William Morris and Kelmscott… I have been looking about for a house for the wife and kids, and whither do you guess my eye is turned now? Kelmscott, a little village about two miles above Radcott Bridge a heaven on earth; an old stone Elizabethan house like Water Eaton, and such a garden! Close down on the river, a boat house and all things handy. I am going down there again on Saturday with Rossetti and my wife: Rossetti because he thinks of a sharing it with us if the thing looks likely… (William Morris to C.J. Faulkner, 17 May 1871) We have taken a little place deep down in the country…a beautiful and strangely naïf house, Elizabethan in appearance though much later in date, as in that out of the way corner people built Gothic till the beginning or middle of last century. It is on the S.W. extremity of Oxfordshire, within a stone’s throw of the baby Thames, in the most beautiful grey little hamlet called Kelmscott. (William Morris to (?), August-September 1871) Perhaps my most favorite description of Kelmscott came again from Morris himself, “A house that I love with a reasonable love I think: for though my words may give you no idea of any special charm about it, yet I assure you that the charm is there; so much has the old house grown up out of the soil and the lives of those that lived on it: some thin thread of tradition, a half-anxious sense of the delight of meadow and acre and wood and river; a certain amount (not too much let us hope) of common sense, a liking for making material serve one’s turn, and perhaps at bottom some little grain of sentiment: this I think was what went to the making of the old house.” (Birmingham Guild of Handcraft, Magazine, 1896) William Morris with his daughter May Morris, 1890s, in the garden at Kelmscott, Cheltenham Art Gallery & Museum, from the Emery Walker Library William Morris with May on his left, Jane sitting center and Jenny Morris to the right. In the corner peeking out is Lady Burne-Jones. For instance, I didn’t realize that Morris’s very good friend, Dante Gabriel Rossetti, paid jointly for Kelmscott. I did know about his visits there and his affair with Jane Morris, of course, but this footnote by Morris sheds a bit of light on this turbulent time for him and his family, “Another quite selfish business is that Rossetti has set himself down at Kelmscott as if he never meant to go away; and not only does that keep me from my harbor of refuge (because it is really a farce our meeting when we can help it) but also he has all sorts of ways so unsympathetic with the sweet simple old place, that I feel his presence there as a kind of slur on it: this is very unreasonable though when one thinks why one took the place, and how this year it has really answered that purpose: nor do I think I should feel this about it if he had not been so unromantically discontented with it and the whole thing, which made me very angry and disappointed…” (William Morris to Mrs. Coronio, 25 November 1872) Furthermore, William Morris and Dante Gabriel Rossetti took Kelmscott on a joint tenancy, in 1871, with the intention, according to Morris that he provides a summer place for his family. It was Rossetti who professed intention to stay there permanently but he left for good in 1874. Morris died in 1896 at the age of 62 and was buried in Kelmscott churchyard, ‘carried thither on a farm cart with yellow body and bright red wheels, wreathed with vine leaves and flowers and strewn with willow boughs and a carpeting of moss.’ Study of William Morris on his Death-Bed by Charles Fairfax Murray, 1896 Housed at Tate Gallery I stumbled upon May Morris’ will and a very interesting letter between herself and Dr. Farnell, Vice Chancellor of Oxford University. They shed light on May’s perspective concerning her father’s life and accomplishments as well as providing a rare glimpse into her own thoughts: Mary (May) Morris’s will is dated 10th January 1929 proved in the Principal Probate Registry on 27th January 1939, three and a half months after her death on 16th October. The Kelmscott Estate was given to the University and also the furniture, chattels and effects specified included in the Probate. Probably not the most exciting of documents to read but the importance of it is paramount. So, provided below are as many details from her will as I could find. Included below is May Morris's goddaughter and her companion, Miss Lobb: Jenny Morris, first born daughter of William and Jane Morris and May's older sister is mentioned briefly here,
Jane Morris, William Morris, May Morris, Jenny Morris, Pre Raphaelite, Dante Rossetti
William Morris und die Arts and Crafts-Bewegung in England von Hannah Gerten
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A slight departure from the traditional top 10 but I couldn't stand to leave out any of these roses from the list. I saw them all at the David Austen Roses Plant Centre which is in full bloom at the moment and well worth a visit. 1. Graham Thomas CLG 'Ausmas' (English Musk Hybrid) David Austin page This was planted against a wall and has a lovely variety of colours in the flowers, from pale cream to vibrant sunny yellow. 2. Ferdinand Pichard (Old Rose) David Austin page This was one of only a few variegated colours I saw so it stood out amongst the others. 3. Lady Emma Hamilton 'Ausbrother' (English Musk Hybrid) David Austin Page This has a fantastic fruity fragrance and the new foliage is a deep burgundy. 4. James Galway 'Auscrystal' (English Leander Hybrid) David Austin page A climbing rose that can be trained along a wall or over an arch. The flowers are perfect. 5. Crown Princess Margareta 'Auswinter' (English Rose) David Austin page 6. Jubilee Celebration 'Aushunter' (English Rose) David Austin page The colour of the flower is what attracted me. It is an unusual dusky pink with hints of gold. 7. Tranquillity 'Ausnoble' (English Musk Hybrid) David Austin page 8. William Morris 'Auswill' (English Leander Hybrid) David Austin page My favourite is the side of the flower when it is half open; layered and with pointed petals. 9. Spirit of Freedom 'Ausbite' (English Leander Hybrid) David Austin page This literally smells like turkish delight! 10. Scarborough Fair Rose 'Ausoran' (English Rose) David Austin page 11. Jacqueline du Pre 'Harwanna' (Modern Shrub Rose) 12. Sir John Betjeman 'Ausvivid' (English Rose) David Austin page 13. Queen of Sweden 'Austiger' (English Musk Hybrid) David Austin page
Tapeten Golden Lily - WM8556/3 från William Morris är en tapet med måtten 0,52 m x 10,05 m. Tapeten Golden Lily - WM8556/3 tillhör den populära tapetkollektionen Volume 2 som du kan beställa enkelt och prisvärt hos oss. Tapeter från William Morris är enkla att sätta upp. För bästa slutresultat av din tapetsering rekommenderar vi dig att ta del av våra råd som ger dig bra tips på vad som är viktigt att tänka på innan du börjar tapetsera och vilka eventuella förberedelser du behöver genomföra innan du påbörjar din tapetsering. Vi önskar dig mycket nöje och glädje med dina nya tapeter från William Morris.
Another great William Morris Birthday Symposium has come and gone. On Saturday, March 22, sixty members came out to University College on the University of Toronto campus and enjoyed an excellently programmed event, all in honour of the man himself, William Morris, on his 180th birthday. Five lecturers - Florence Boos, Veronica Alfano, Letitia Henville, Victor Shea and Christine Bolus-Reichert - made us think, wonder and question. Bill Whitla provided an illustrated treat (regarding The Water of the Wondrous Isles). Congratulations to the WMSC board and the program committee for all their hard work. And... in exciting news, just before the afternoon session began, members heard from David Lillico on the initial plans for our trip to California next year. I don't think some of us can bear to wait, but we'll have to! The dates are roughly mid-April to early May, 2015. A reminder that WMSC members will get priority to sign up (click on "Become a Member" if you'd like to join us). WMSC trips (which have included Iceland, Britain, France and the U.S.) are always excellent, and always fill up quickly. And... of course, to end the day in tribute to Morris, Florence Boos gave a lovely toast and cut the cake. This year's offering was based on Strawberry Thief, and the flavour was chocolate. Thanks to member Lera Kotsyuba for tweeting pics of the cake! For those of you interested in the cake-making process, visit this blog to read about how the cake was made.
This exhibition explores how Art Nouveau, characterised by its curvilinear elegance and organic forms inspired by nature, dominated the cultural scene.
'Story of the Glittering Plain' By William Morris. Illustrated by Walter Crane. Kelmscott Press, 1894.
On the heels of my post about The Highest Level of all Fantasy Wargaming , I thought I'd post some really old old-school art from Scottish a...
For the first time in almost 40 years, Melbourne’s National Gallery of Victoria exhibits its substantial collection of pre-Raphaelite work together
