William (1834) Morris Paintings & Artwork for Sale | William (1834) Morris Art Value Price Guide

Jul. 21, 2026
William Morris (1834-1896): A long 'Bird' curtain
Est: £500 - £800
William Morris (1834-1896): A long 'Bird' curtain, designed in 1878, 20th century, woven woollen double cloth, 222cm drop x 362cm wide (approx.). Provenance: Mr and Mrs Curling Glunfer, 9 Westbourne Terrace, London and thence by descent; Private collection: United States and United Kingdom; Literature: 'William Morris Textiles', Linda Parry, George Weidenfeld and Nicholson Ltd, London, 1983 p.152
Gorringes
Jun. 17, 2026
MARIS, WILLEM (1834-1896). (UNTITLED LANDSCAPE)
Est: €250 - €500
Charcoal drawing, signed in ink in lower right corner, 34 x 26 cm. Mounted under passe-partout. Sl. foxed.
Zwiggelaar Auctions
Jun. 11, 2026
Morris & Co, William Morris (1834-1896) and May Morris (1862-1938) Interest Firescreen with Embroidered Panel
Est: £200 - £400
Morris & Co, William Morris (1834-1896) and May Morris (1862-1938) Interest Firescreen with Embroidered Panel mahogany frame with pierced panel on turned stretcher, with crewel work foliate embroidery unmarked/unsigned 112cm high x 48cm diameterAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Mallams
Jun. 10, 2026
A pair of Morris Marshall Faulkner & Co
Est: £400 - £600
A pair of Morris Marshall Faulkner & Co Sussex ebonised ash armchairs possibly designed by Philip Webb, with rush seat, 85.5cm. high, 52.5cm. wide (2) Provenance Richard & Hilary Myers collection. Literature Linda Parry (edited), William Morris 1834-1896, Victoria & Albert Museum exhibition catalogue, page 160 figure 74 for the range illustrated from Morris & Co's catalogue. Anna Mason (edited), William Morris, Thames & Hudson, page 199 figure IX.12 for a comparable example illustrated.
Kinghams Auctioneers
May. 19, 2026
[Double Crown Club]. William Morris 1834-1934. The forty-third Dinner of the Double Crown Club, held at the Cafe Royal, 2nd May 1934.
Est: €60 - €80
[Double Crown Club]. William Morris 1834-1934. The forty-third Dinner of the Double Crown Club, held at the Cafe Royal, 2nd May 1934. London, printed by Walter Lewis, 1934, (5)p., printed in a limited number, orig. clothbacked boards, 12mo. = Invitation and menu of the 43rd Dinner of the prestigious Double Crown Club. Printed with the Kelmscott Type designed by William Morris. Very rare. Double Crown Club. Rules of the Club. Roll of Past and Present Members. List of Dinners. Ibid., printed by Bernard Roberts at the John Roberts Press, 1969, 104,(1)p., printed in 130 copies, orig. giltlettered hcl. w. marbled boards. - AND 14 others related to the Double Crown Club, i.a. invitations to dinners no.130 (w. an essay by Stanley Morrison), 276, 313, 310, 322, 323, 327, 337, 339 and W. RITCHIE, Ashendene and the Double Crown Club. Some remembrances by - (London, 1979, printed by Ward Ritchie in ±60 copies, marbled wr.).
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
May. 14, 2026
[FOLIO SOCIETY]. [MORRIS, William (1834-1896), association]. HORACE (65-8 B.C.). The William Morris Manuscript of The Odes of Horace... London: Folio
Est: $400 - $600
[FOLIO SOCIETY]. [MORRIS, William (1834-1896), association]. HORACE (65-8 B.C.). The William Morris Manuscript of The Odes of Horace... London: Folio Society, 2014. 8vo and 4to. 2 volumes, including the 8vo facsimile of the Horace manuscript owned by Morris in full leather, and the 4to volume of commentary by Clive Wilmer, in green boards, gilt. Publisher's bindings, green cloth clamshell case.
Potter & Potter Auctions Inc.
May. 14, 2026
[Fine Press - Kelmscott Press]. Morris, William (1834-1896) and A.J. Wyatt (b. 1858), translators. The Tale of Beowulf. Hammersmith: Kelmscott Press, 1895.
Est: $6,000 - $8,000
[Fine Press - Kelmscott Press]. Morris, William (1834-1896) and A.J. Wyatt (b. 1858), translators. The Tale of Beowulf. Hammersmith: Kelmscott Press, 1895. 4to. Printed in Troy type (with Argument, glossary, and other parts in Chaucer type) in black and red, woodcut title-page, facing page with full woodcut page-border, numerous three-quarter and smaller woodcut page-borders, 8-line and smaller initial capitals; inserted "note to reader" slip. Original limp vellum, yapp edges, silk ties. LIMITED EDITION, one of 300 copies on Perch paper, of an edition of 308. One of Morris's favorite poems in the English language. "The borders in this book were only used once again, in the Jason." Cockerell 32; Peterson A32. A FINE COPY. This lot is located in Chicago.
Freeman’s
Apr. 15, 2026
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £600 - £800
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'OLIVE AND ROSE' EMBROIDERED PANEL, CIRCA 1880 coloured silks 56cm square (frame size 58cm square) Literature: Mason, A. (et al.), May Morris: Arts and Crafts Designer, Thames & Hudson, 2017, p.72-73, pl. 57-58 illus.
Lyon & Turnbull
Apr. 15, 2026
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £300 - £500
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'BRER RABBIT' PANEL, CIRCA 1882 printed cotton 33.5cm x 43cm (frame size 50.5cm x 70.5cm) Literature: Parry L. William Morris Textiles, V&A; 2013, p. 229, pl. 45Note: This pattern was named after a character in 'Uncle Remus, His Songs and His Sayings', published in 1882, by J. C. Harris, which was being read to Jenny and May Morris at the time.
Lyon & Turnbull
Apr. 15, 2026
WILLIAM MORRIS (1834-1896) AND JOHN HENRY DEARLE (1859-1932) FOR MORRIS & COMPANY
Est: £30,000 - £50,000
WILLIAM MORRIS (1834-1896) AND JOHN HENRY DEARLE (1859-1932) FOR MORRIS & COMPANY LARGE ARTS & CRAFTS 'HAMMERSMITH' CARPET, CIRCA 1890-95 hand-tufted wool on a linen and wool warp, with ‘Soumak’ knotted fringe 508cm x 335cm (without fringe), 520cm x 335cm (including fringe) Probably made for Stanmore Hall, MiddlesexRobert Kime, Dene House, Lockeridge, MarlboroughPrivate collection, London Literature: Parry L. Hammersmith Carpets, HALI, October/December 1985, p. 17 and p. 16, pl. 8 where the Bullerswood version of this design is illustrated.Kirkham P. The Firm: Morris & Company, within Diane Waggoner D. (ed.), The Beauty of Life, William Morris & the Art of Design, (ex. cat.), New York, 2003, p. 54Parry L. William Morris Textiles, V&A; 2013, p. 114William Morris began producing hand-knotted Hammersmith rugs in 1878–79. At that time, no other British manufacturer was working at the scale he envisaged. Morris had planned the initiative for many years and had collected historical Eastern carpets since at least the late 1850s. These were used extensively at Red House, designed for him by Philip Webb in 1859, where they covered both floors and walls.In 1878 Morris established a carpet frame in an attic at Queen Square. With the assistance of a hand weaver from Glasgow, he learned the techniques required for knotting carpets. Additional frames were later installed in the coach house and stable loft at Kelmscott House, where Morris trained workers in the methods he had acquired. By 1880 his intentions were articulated in a circular announcing an exhibition of carpets and rugs. In this document he stated his aim “to make England independent of the East for carpets which may claim to be considered as independent works of art.” Morris argued that, although appreciation of Eastern design was increasing, the quality of Eastern carpet production was declining. In his view, Western production of handmade carpets would therefore be necessary to maintain high standards. At the same time, he maintained that such carpets should equal Eastern examples in materials and durability but should not imitate Eastern design. Instead, they should express contemporary Western artistic principles.Carpet weaving was transferred to Merton Abbey Works in 1881, although the term “Hammersmith rugs” continued to be used to distinguish hand-knotted carpets from the firm’s machine-woven products. Carpets produced at Merton during the 1880s and 1890s were among the firm’s largest and most expensive works, costing approximately £4 per square yard. It took one day to weave 2 inches on a loom and a 16 by 13 feet carpet cost over £100. The high cost meant that they were only made to commission and were not kept as stock items. Together with the firm’s tapestry production, they represented the costliest output of Morris & Co.Morris outlined his principles of carpet design in his 1883 paper “Textiles.” He described carpet weaving as analogous to tapestry in being “wholly unmechanical,” although its function as a floor covering, particularly in northern climates, diminished its artistic status. Because the technique was relatively coarse, he advised that designs should be simple in form and composed of stylised references to foliage, flowers, and animals. He rejected tonal shading and argued that variation in colour should instead be achieved through the juxtaposition of distinct tints, clearly outlined to maintain legibility. When executed effectively, he suggested, this method produced strong and coherent patterns in which motifs appeared visually flat and integrated within the overall composition.Few designs for Hammersmith carpets survive, and the absence of day books makes precise dating difficult. Surviving examples are often identified by the houses for which they were commissioned—such as the “Clouds,” “Hurstbourne,” or “Bullerswood” carpets—or by the names of their patrons, such as the “McCulloch.” Many designs may derive from earlier work. The design and original owner of the carpet discussed here has a field and border which display stylistic affinities with both the “Holland Park” carpet (1883) and the “Clouds” carpet (1887). Linda Parry, the textile expert who curated the V & A’s definitive William Morris exhibition in 1996, describes the Holland Park carpet as “probably Morris’s most original carpet design,” noting that it reflects Morris’s principal influences: medieval art, naturalistic floral study, and Eastern design conventions. Between 1883 and approximately 1889 Morris often adopted a more classical and symmetrical compositional approach, frequently using quartered layouts with a central medallion, as seen in this example.The design of the present lot was first used at Bullerswood House near Chislehurst in Kent in 1889. It was designed as part of the interior decoration which Morris & Co. carried out for their client Ernest Newton and was one of three new designs for carpets produced for this scheme. The interior decoration constituted an important commission for the firm and was likely the final decorative scheme personally supervised by William Morris.The composition features four large palmettes radiating from a central rosette which was a suitable design for its placement in the Hall. These elements demonstrate a clear influence from sixteenth- and seventeenth-century Mughal and Safavid carpets, which Morris both collected and would have studied at the South Kensington Museum. When combined with floral motifs characteristic of Morris’s own design vocabulary, these elements create a carpet distinguished by visual harmony, balance, and aesthetic refinement.The same carpet design was subsequently reused for another significant commission: the interior decoration of Stanmore Hall, Middlesex, undertaken between 1890 and 1896. A contemporary photograph of the Small Drawing Room at Stanmore Hall, one of a series of photographs taken of the house by Bedford Lemere Ltd., shows this carpet in situ. No other version of this design is known to exist or has been documented. Stanmore Hall was originally built in 1847 by John Macduff Derick in the Victorian Tudor-Gothic style. In 1888 the house was purchased by the mining entrepreneur William Knox D'Arcy, who had accumulated his wealth during the Australian gold rush. D’Arcy commissioned the architect Brightwen Binyon to renovate the house and engaged Morris & Co. to furnish and decorate the interiors.Although Morris expressed reservations about the house, its architect, and its owner, he nevertheless contributed to what became one of the firm’s most substantial commissions. The work carried out by Morris & Co. at Stanmore Hall included textiles, wallpapers, carpets, furniture, mosaic flooring, the Holy Grail tapestries (1890–95) designed by Edward Burne-Jones with Morris and John Henry Dearle, and the Stanmore Hall piano (1891–94), decorated by Kate Faulkner, Philip Webb, and Morris himself.
Lyon & Turnbull
Apr. 15, 2026
WILLIAM MORRIS (1834-1896), DANTE GABRIEL ROSSETTI (1828-1882) AND FORD MADOX BROWN (1821-1893) FOR MORRIS, MARSHALL, FAULKNER & CO. (1861–1875)
Est: £20,000 - £30,000
WILLIAM MORRIS (1834-1896), DANTE GABRIEL ROSSETTI (1828-1882) AND FORD MADOX BROWN (1821-1893) FOR MORRIS, MARSHALL, FAULKNER & CO. (1861–1875) FOUR 'LABOURS OF THE MONTHS' TILE PANELS, CIRCA 1865 painted and glazed earthenware, later mounted together in one frame (4) each tile 15.5cm square (frame size 43cm x 84cm) From The Rectory in Cavendish Literature: Myers, Richard and Hilary William Morris Tiles, Richard Dennis 1996, pp. 62-66, back cover illustrationRobinson, Duncan and Wildman, Stephen, Morris & Company in Cambridge, September 30th-November 16th 1980, Fitzwilliam Museum Cambridge, Cambridge University Press 1980, pp. 26-28Produced by Morris & Co., these remarkable four Labours of the Months tiles come from a Rectory in Cavendish, Suffolk. Removed prior to the demolition of the building, they were given by the vicar to the current vendor's grandfather, and thence by descent. They represent one of three known partial sets of the Labours of the Months. Working left to right they comprise February (ploughing), November (sowing), July (reaping) and August (threshing). The February tile depicts William Morris as the ploughman and is thought to be a self-portrait as Morris makes a comment on his lot in life.Another set of Morris & Co. ‘Labours of the Months’ tiles was installed 1862-3 in the Old Hall of Queens' College, University of Cambridge. Commissioned by architect G. F. Bodley as part of the fireplace and overmantel, they constitute an early important job for the new firm, only founded in 1861. Each of the twelve-month panels has a latinised label and the group are set amongst representations of the college's two patron saints and the Angels of Night and Day. Comparisons have been drawn between the medieval style of the tiles and the Books of Hours, the Morris & Co. sketchbooks referring to these fifteenth century calendars strengthening this tie. Regarding the forms of the months, the 1857 publication of the twelfth-century mosaic floor in Aosta Cathedral, North-west Italy has been suggested as possible inspiration. Morris and Co. contributed again to the Old Hall decorative scheme, providing ceiling painting designs around 1875. A further full Labours set predates the Cambridge iteration, differing in some of the subjects and featuring inset Zodiac signs. Morris and Co. kept this earlier set until at least 1934. They were then bought by the great patron of the firm, Mrs Lucius Gubbins of Eastbourne, before eventually being offered in October 1995 at Phillips Auctioneers, Glasgow and now held at the William Morris Gallery, Walthamstow. A third set was destined for the home of Lord Justice and Lady White who lived on Unthank Road, Norwich, and is noted as being set with a blue and white pattern, perhaps a similar arrangement to the four tiles being sold. It is not known whether the four tiles offered here were initially part of a full set or were made as a special commission. A lone January tile currently sits in the Ashmolean Museum Oxford and the top half of a representation of April has also been documented, but whether the remaining months were made and then lost is unresolved. Similarly, the Morris & Co. Minute Book does not record which of the designers was responsible for each month. The scheme was certainly a collaborative effort, with stylistic analysis leading to the following attributions: July by Rossetti or Morris, August by Rossetti, November by Madox Brown and February by Morris.
Lyon & Turnbull
Mar. 05, 2026
WILLIAM MORRIS (1834-1896). Rare and Early 'Hammersmith' Rug with 'Flowerpo
Est: $2,000 - $3,000
WILLIAM MORRIS (1834-1896). Rare and Early 'Hammersmith' Rug with 'Flowerpot' design, circa 1878-1881. 2 ft. 6 in. x 3 ft. 6 in. (79.8 x 110.5 cm) (with fringe).
Christie's
Feb. 26, 2026
William Morris' The Life and Death of Jason, Kelmscott Press, 1895
Est: $4,000 - $6,000
Heading: (Kelmscott Press) Author: Morris, William Title: The Life and Death of Jason, A Poem Place Published: [Hammersmith] Publisher:[Kelmscott Press] Date Published: [1895] Description: Printed in Morris' Troy type in black and red. 2 full-page woodcuts from designs by Edward Burne-Jones, a few leaves with elaborate woodcut border design, plus initials and border decorations. (Large 4to) 29x21 cm (11½x8¼"), full vellum, gilt-lettered spine, gold ties, yapp edges, fore and bottom edges untrimmed. Presented in supplied green cloth-covered slipcase with paper spine label. One of 200 copies. Kelmscott version of Morris' The Life and Death of Jason, A Poem which had first been published in 1867 by the Chiswick Press. Morris' version of the Argonautica had originally been conceived as a section within The Earthly Paradise but the poem grew beyond the walls of Paradise, so to speak, and established its own place within the poet's canon. Like Blake and his illuminated works, the Kelmscott editions of Morris' own writings show the author's selection of what he considered his most important work. Peterson A34; Tomkinson 34. Return address label of previous owner on front pastedown.
PBA Galleries Auctions & Appraisers
Dec. 17, 2025
WILLIAM MORRIS (BORN 1957) 'Standing Stone'1985mold-blown and internally decorated glass, engraved 'William Morris 1985'height 29 1/4in (74.3cm); width 18in (45.7cm); depth 6 1/2in (16.5cm)
Est: $6,000 - $8,000
WILLIAM MORRIS (BORN 1957) 'Standing Stone' 1985 mold-blown and internally decorated glass, engraved 'William Morris 1985' height 29 1/4in (74.3cm); width 18in (45.7cm); depth 6 1/2in (16.5cm)
Bonhams
Dec. 16, 2025
William Morris 'Suspended Artefact', 1993
Est: £8,000 - £12,000
William Morris 'Suspended Artefact', 1993 Blown glass, decorated with Neolithic motifs of deer, one side painted with a flock, the other with a single stag, suspended on a naturalistically modelled cast glass antler, raised on a wrought iron base. 58 cm high, 64 cm wide, 14 cm deep Pontil incised with artist's signature.
Bonhams
Oct. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £400 - £600
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. FRAMED ‘LEA’ FABRIC PANEL, CIRCA 1885 printed cotton 94.5cm x 81cm (frame size 103cm x 89.5cm) Literature: Parry, L. William Morris Textiles, V&A; Publishing, London 2013, p.243, pl.64
Lyon & Turnbull
Oct. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £1,000 - £1,500
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890 coloured silks 56cm x 55cm (frame size 64.5cm x 64.5cm) Literature: Parry l. William Morris Textiles, 1983, p. 28 where a similar design for an embroidery is illustrated.
Lyon & Turnbull
Oct. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £2,000 - £3,000
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF 'TULIP & ROSE' PATTERN CURTAINS, CIRCA 1876 woven woollen 3-ply cloth, unlined (2) 253cm x 169cm Literature: Parry L. William Morris Textiles, V&A; 2013, p. 210, fig. 18 illus.
Lyon & Turnbull
Oct. 15, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £2,000 - £3,000
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ARTS & CRAFTS HAMMERSMITH RUNNER, CIRCA 1880 hand-knotted wool 268cm x 121cm Private collection, London Literature: Haslam M. Arts & Crafts Carpets, 1991, p. 50, 52 and 53, figs. 31 and 32 where similar carpets are illustrated. Morris designed the borders for this type of runner.
Lyon & Turnbull
Oct. 15, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £400 - £600
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'OLIVE AND ROSE' EMBROIDERED PANEL, CIRCA 1880 coloured silks on a blue linen ground, later applied to a quilted lining, with fabric border, velcro hanging strip panel 58.5cm x 57.5cm, total 72cm x 71cm Private collection, London
Lyon & Turnbull
Oct. 08, 2025
Morris, William: Kelmscott Chaucer. 1 Blatt. Schriftraum. Hammersmith, Kelmscott Press, 1896
Est: €200 - €300
Morris, William. Kelmscott Chaucer. 1 Blatt. Schriftraum: 29 x 21 cm. Format: 42,5 x 28,5 cm. Mit Passepartout unter Glas gerahmt in vergoldeter Holzprofilleiste 56,5 x 45 cm. Hammersmith, Kelmscott Press, 1896. The Artist & the Book 45. Clark Library 46-48. Peterson A40. Ransom 329, 40. Sparling 40. Tomkinson117, 40. – Das originale, in schwarz und rot gedruckte Blatt 541 "Troilus and Criseyde. Liber V." aus dem berühmten "Kelmscott Chaucer", dem absoluten Höhepunkt der Druckkunst von William Morris als Typograf und Designer. "The Works of Geoffrey Chaucer represents the culmination of Morris’s lifelong search for the Ideal Book; it is the kind of book that he and Burne-Jones dreamed of creating when they were undergraduates and that they attempted unsuccessfully to produce during the 1860s and 1870s: It should have come out when Morris and I were at Oxford in our first term." (aus dem Nachwort zur Faksimile-Ausgabe 2008). – Etwas gebräunt, mit zwei helleren Montageflecken und leichtem Durchschlag.
Bassenge Auctions
Sep. 27, 2025
William Morris, 1834-1896, The Story of Sigurd the Volsung and the Fall of the Niblungs
Est: $5,000 - $7,000
William Morris, 1834-1896, The Story of Sigurd the Volsung and the Fall of the Niblungs Hammersmith: Kelmscott Press 1898, one of 160 copies of a limited edition of 166
Abell Auction
Jul. 10, 2025
Kelmscott Press--William Morris | The Earthly Paradise, 8 volumes, 1896-97
Est: £6,000 - £8,000
Kelmscott Press--William Morris. The Earthly Paradise. Hammersmith: Kelmscott Press, 1896-1987 8 volumes, 8vo (23.5 x 16.4cm), printed in red and black, ornamental woodcut borders, title and initials, original limp vellum, yapp edges, silk ties, light spotting to edges, light warping to covers of volume three One of 225 copies (on paper) of an edition of 231. The ten borders and four half borders found within this eight-volume set were not used in any other Kelmscott volume. Morris himself oversaw completion of the first two volumes, while the remaining six were printed by the trustees of the estate after his death in 1896. PROVENANCE: Edward John Power (1858-1916), collector of oriental works of art, books and paintings; thence by descent LITERATURE: Peterson A41; cf. Peterson, Kelmscott Press History (1991), pp.219-221
Sotheby's
Jun. 07, 2025
William MORRIS (1834-1896), dans le goût de Donegal Ireland
Est: €600 - €800
William MORRIS (1834-1896), dans le goût de Donegal Ireland Tapis en laine tissé main à grands motifs d’orchidées et fleurs sur fond rouge Travail contemporain Tâches, accidents aux franges 296 x 244 cm
Osenat
Apr. 16, 2025
WILLIAM MORRIS (ENGLISH, 1834-1896), 'PEACOCK AND DRAGON' WALL HANGING; DESIGNED 1878
Est: £1,000 - £1,500
WILLIAM MORRIS (ENGLISH, 1834-1896)'PEACOCK AND DRAGON' WALL HANGING; DESIGNED 1878; EARLY-MID 20TH CENTURYWoven woollen double cloth, in blue, green, cream and russet.243cm drop, 124cm wide; excluding blue border and backing fabricProvenance:Mr. & Mrs. Curling Hunter, 9 Westbourne Terrace, London; and thence by descent
Dreweatts 1759 Fine Sales
Apr. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £2,000 - £3,000
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF 'BIRD AND VINE' PATTERN CURTAINS, CIRCA 1880 hand-loom jacquard woven woollen fabric, with later lining (2) each 258cm x 152cm Literature: Parry L. William Morris Textiles, V&A; 2013, p.225, no.39Note: A large quantity of this fabric was ordered by Edward Burne-Jones in 1880 and 1881 for his own use.
Lyon & Turnbull
Apr. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £300 - £500
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'BRER RABBIT' PERIOD TEXTILE PANEL, CIRCA 1890 printed cotton, later framed and mounted 33cm x 43cm (frame size 50.5cm x 70cm) Literature: Parry L. William Morris Textiles, V&A; 2013, p. 229, pl. 45Note: This pattern was named after a character in 'Uncle Remus, His Songs and His Sayings', published in 1882, by J. C. Harris, which was being read to Jenny and May Morris at the time.
Lyon & Turnbull
Apr. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £600 - £800
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'OLIVE AND ROSE' EMBROIDERED PANEL, CIRCA 1880 coloured silks, framed 54cm x 52cm (frame size 63cm x 61cm) Literature: Mason, A. (et.al), May Morris: Arts and Crafts Designer, Thames & Hudson, 2017, p.72-73, pl. 57-58 illus.
Lyon & Turnbull
Apr. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £800 - £1,200
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'DOVE AND ROSE' PATTERN HANGING, CIRCA 1879 woven silk, blue colourway, with later silk lining and border with applied hanging rings panel 176cm x 84cm (with border 199.5cm x 103cm) Literature: Parry L. William Morris Textiles, V&A; 1983, p.153, pl. 34This cloth was woven by Morris & Co. at Merton Abbey.
Lyon & Turnbull
Apr. 16, 2025
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £2,000 - £3,000
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. GROUP OF THREE ‘TULIP & ROSE’ PATTERN TEXTILE PANELS, CIRCA 1880 woven woollen 3-ply cloth, to include a large SINGLE PANEL, 237cm x 149cm; and a PAIR OF PANELS, each 224cm x 73cm (3) Literature: Parry L. William Morris Textiles, V&A; 2013, p. 210, fig. 18 illus.
Lyon & Turnbull
Mar. 19, 2025
WILLIAM MORRIS (BRITISH 1834–1896)
Est: £20,000 - £30,000
WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.
Lyon & Turnbull
Mar. 11, 2025
WILLIAM MORRIS (1834-1896). 'Minstrel' Two-Tile Panel, designed circa 1865,
Est: $5,000 - $7,000
WILLIAM MORRIS (1834-1896). 'Minstrel' Two-Tile Panel, designed circa 1865, these tiles circa 1870-1875. 14 7/8 x 8 ¾ x 1 3/8 in. (37.5 x 22 x 3.5 cm) (framed).
Christie's
Mar. 11, 2025
WILLIAM MORRIS (1834-1896). Rare and Early 'Hammersmith' Rug with 'Flowerpo
Est: $4,000 - $6,000
WILLIAM MORRIS (1834-1896). Rare and Early 'Hammersmith' Rug with 'Flowerpot' design, circa 1878-1881. 2 ft. 6 in. x 3 ft. 6 in. (79.8 x 110.5 cm) (with fringe).
Christie's
Feb. 08, 2025
A Morris & Co. 'Redcar' Carpet, after a design by William Morris (1834-1896), England, Circa 1890
Est: $40,000 - $60,000
approximately 187 in. x 145 in. 475 cm x 368 cm
Sotheby's
Jan. 30, 2025
A William Morris, England (1834-1894) Embroidered Silk & Timber Fire Screen
Est: $1,000 - $2,000
A William Morris, England (1834-1894) Embroidered Silk & Timber Fire Screen, depicting Tulip & florals in blue vase
Theodore Bruce Auctioneers & Valuers
Jan. 23, 2025
WILLIAM BRIGHT MORRIS (1844-1896); watercolour, portrait study of man, signed lower right, 54 x 38cm, framed and glazed.
Est: £40 - £60
WILLIAM BRIGHT MORRIS (1844-1896); watercolour, portrait study of man, signed lower right, 54 x 38cm, framed and glazed.
Adam Partridge Auctioneers
Jan. 16, 2025
[FINE PRESS]. MORRIS, William (1834-1896). The Art and Craf...
Est: $150 - $300
[FINE PRESS]. MORRIS, William (1834-1896). The Art and Craft of Printing; A Note by William Morris on His Aims in Founding the Kelmscott Press… [New Rochelle, NY: The Elston Press, 1902]. 8vo. Woodcut decorations. 44; [27], [1, blank] pp. Publishers’ quarter buckram over blue boards, printed paper label on spine (spine toned, some light soiling to binding, light edgewear to boards, bookplate residue on fp., ffep. chipped at upper corner, light toning to text, a few gutters starting). Very good. FIRST EDITION THUS, ONE OF 210 COPIES PRINTED.
Potter & Potter Auctions Inc.
Dec. 17, 2024
William Morris (1834-1896) & Marie Morris (1862-1938) Vase with flowers
Est: €1,000 - €1,500
William Morris (1834-1896) & Marie Morris (1862-1938) Vase with flowers Embroidered silk Created around 1900 Frame forming a solid wood fire screen Label on back of frame 'Compo Straw Boards' Without frame H 51 x W 40 cm Framed H 98 x W 47 x D 11 cm William Morris (1834-1896) & Marie Morris (1862-1938) Vase aux fleurs Soie brodée Modèle créé vers 1900 Encadrement formant un pare-feu en bois massif Etiquette au dos du cadre 'Compo Straw Boards' Sans le cadre H 51 x L 40 cm Encadré H 98 x L 47 x P 11 cm
Piasa
Nov. 21, 2024
WILLIAM MORRIS (ENGLISH, 1834-1896); PAIR OF 'BIRDS' CURTAINS; DESIGNED IN 1878; 20TH CENTURY
Est: £1,000 - £1,500
WILLIAM MORRIS (ENGLISH, 1834-1896)PAIR OF 'BIRDS' CURTAINS; DESIGNED IN 1878; 20TH CENTURYWoven woollen double cloth.Each curtain; 222cm drop, 362cm wide (approximately)Provenance:Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent Literature:Linda Parry, William Morris Textiles, George Weidenfeld & Nicolson Ltd, London, 1983, p.152
Dreweatts 1759 Fine Sales
Nov. 21, 2024
WILLIAM MORRIS (ENGLISH, 1834-1894); 'OLIVE AND ROSE' FIRESCREEN; DESIGNED CIRCA 1880
Est: £800 - £1,200
WILLIAM MORRIS (ENGLISH, 1834-1894) 'OLIVE AND ROSE' FIRESCREEN; DESIGNED CIRCA 1880; LATE 19TH CENTURYEmbroidered panel, coloured silks on silk, glazed in footed mahogany frame.Frame; 82cm high, 63cm wideSilk panel; 57cm x 57.5cmProvenance: Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent Literature:Mason/Marsh/Lister/Bain/Faurby, May Morris; Arts & Crafts Designer, Thames & Hudson/V&A Museum, 2022, p.72
Dreweatts 1759 Fine Sales
Oct. 16, 2024
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. A 'BIRD' PATTERN TEXTILE HANGING, CIRCA 1890
Est: £2,000 - £4,000
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. A 'BIRD' PATTERN TEXTILE HANGING CIRCA 1890 Original design circa 1877 and 1878, jacquard-woven woollen double cloth approximately 150cm long by 125cm wideProvenance:Sir Edward Coley Burne-Jones (1833-1898); By descent to his daughter Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. Literature: Parry, L., William Morris Textiles, V&A 2013, pp. 222-223, illus. This textile was the first hand-loom jacquard woven at Queen Square in London and later at Merton Abbey. In November 1879, Edward Burne-Jones ordered a set of bed hangings in this pattern and it is possible that this hanging may have formed part of this order.
Dreweatts 1759 Fine Sales
Oct. 16, 2024
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £300 - £500
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'TULIP AND ROSE' FRAMED PANEL, CIRCA 1880 woven wool 3-ply cloth, framed 86cm x 78cm, (frame size 90.5cm x 82.5cm) Literature: Parry L. William Morris Textiles, V&A; 2013, p. 210, no. 18
Lyon & Turnbull
Oct. 16, 2024
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £300 - £500
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. THREE PANELS OF 'DOVE AND ROSE' PATTERN FABRIC, CIRCA 1879 woven silk, blue colourway (3) 204cm x 108cm; 50cm x 87cm; 40cm x 87cm
Lyon & Turnbull
Oct. 16, 2024
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO.
Est: £1,000 - £1,500
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ‘THE APPLE TREE’ EMBROIDERED PANEL, CIRCA 1890 coloured silks on a linen ground, period frame 60cm x 60cm (frame size 67.2cm x 67.2cm) Literature: Parry L. William Morris Textiles, London 1998, p.28 where this design illustrated.
Lyon & Turnbull
Oct. 05, 2024
William Morris, British (1834 - 1896), page from The Kelmscott Chaucer, 1896, engraving, 15 1/4"H x 10 1/2"W (sight), 21 1/2"H x 16 1/4"W (frame)
Est: $250 - $350
William Morris British, (1834 - 1896) page from The Kelmscott Chaucer, 1896 engraving The Works of Geoffrey Chaucer published by William Morris at his Kelmscott Press. Wood engraved illustrations were made after designs by Edward Burne-Jones. Border designs and large initials were designed by Morris. From the private collection of Bret Waller and Mary Lou Dooley Waller, Indianapolis, Indiana. Biography from the Archives of askART: "Meet William Morris: The Most Celebrated Designer of the Arts & Crafts Movement", by Emma Taggart on January 28, 2018, Website of My Modern Met. Elegant swirls of vines, flowers, and leaves in perfect symmetry, William Morris' iconic patterns are instantly recognizable. Designed during the 1800s, Morris' woodblock-printed wallpaper designs were revolutionary for their time, and can still be found all over the world, printed for furniture upholstery, curtains, ceramics, and even fashion accessories. But do you know the history of how they came to be? The Arts and Crafts Movement Beginning in Britain around 1880, the Arts and Crafts movement was born from the values of people concerned about the effects of industrialization on design and traditional craft. In response, architects, designers, craftsmen, and artists turned to new ways of living and working, pioneering new approaches to create decorative arts. One of the most influential figures during this time was William Morris, who actively promoted the joy of craftsmanship and the beauty of the nature. Having produced over 50 wallpaper designs throughout his career, Morris became an internationally renowned designer and manufacturer. Other creatives such as architects, painters, sculptors and designers began to take up his ideas. They began a unified art and craft approach to design, which soon spread across Europe and America, and eventually Japan, emerging as its own folk crafts movement called Mingei. Who was William Morris? Born in Walthamstow, East London in March 1834, William Morris was a poet, artist, philosopher, typographer, political theorist, and arguably the most celebrated designer of the Arts & Crafts movement. He strived to protect and revive the traditional techniques of handmade production that were being replaced by machines during the Victorian era's Industrial Revolution. Although he dabbled in embroidery, carpet-making, poetry and literature, he mastered the art of woodblock printing, and created some of the most recognizable textile patterns of the 19th century. Born into a wealthy middle-class family, Morris enjoyed a privileged childhood, as well as a sizable inheritance, meaning he would never struggle to earn his own income. He spent his childhood drawing, reading, and exploring forests and grand buildings, which triggered his fascination with natural landscapes and architecture. Having developed his own particular taste from a young age, he began to realize the only way he could have the beautiful home he wanted was if he designed every part of it himself. As he famously once said, "Have nothing in your houses that you do not know to be useful or believe to be beautiful." While studying at Oxford, Morris met his lifelong friend, architect Philip Webb. His dear friend helped him design and construct his Medieval-inspired, Neo-Gothic style family home in Bexleyheath, where he lived with his wife, Jane Morris, and his two children, Jane "Jenny" Alice Morris and Mary "May" Morris. Built in 1860, it became known as the Red House, and is now one of the most significant buildings of the Arts and Crafts era. Today, the house is owned by the National Trust and is open to visitors. A number of Morris' creative friends spent a lot of time at the Red House, including Pre-Raphaelite painters Edward Burne-Jones and Dante Gabriel Rossetti, who both helped him elaborately decorate the abode. While he envisioned living there for the rest of his life, Morris' perfectionism caused him to move on after only five years. Over the course of his short stay, he discovered a number problems with the property. However, he enjoyed the process so much that he decided to set up his own design company, with a desire to create affordable "art for all." Featuring swirling leaves, thieving birds, rose-filled trellises, and fruit tree branches, the designs of William Morris have a unique timeless quality. He began designing wallpapers in 1862, but their sale was delayed by several years while he experimented with printing from zinc plates. Inspired by nature, Morris' designs feature leaves, vines, and flowers that he observed in his gardens or on walks in the countryside. Rather than life-like illustrations, his drawings are subtly stylized versions. Daisy, a simple design featuring meadow flowers, was the first of Morris' wallpaper designs to go on sale in 1864. Morris had his wallpapers printed by hand, using carved, pear woodblocks loaded with natural, mineral-based dyes, and pressed down with the aid of a foot-operated weight. Each design was made by carefully lining up and printing the woodblock motifs again and again to create a seamless repeat. Morris once spoke about the precise process, saying, "Remember that a pattern is either right or wrong. It cannot be forgiven for blundering, as a picture may be which has otherwise great qualities in it. It is with a pattern as with a fortress, it is no stronger than its weakest point." He employed the printers Jeffrey & Co. to print his wallpapers up until his death in 1896, when the Merton factory took over production until the company's voluntary liquidation in 1940. Provenance: Purchased from Colin C. Smith, Modern Design, Omaha, Nebraska, February, 1997
Ripley Auctions
Jun. 18, 2024
WILLIAM MORRIS (BORN 1957) 'Urn'2000blown and applied glass, engraved 'William Morris 00'height without stand 19in (48.3cm); diameter 12in (30.5cm)
Est: $30,000 - $50,000
WILLIAM MORRIS (BORN 1957) 'Urn' 2000 blown and applied glass, engraved 'William Morris 00' height without stand 19in (48.3cm); diameter 12in (30.5cm)
Bonhams
Jun. 18, 2024
WILLIAM MORRIS (BORN 1957) 'Idolito'2003blown and heat formed glass, with a metal stand, engraved 'William Morris 2003' height 7 1/4in (18.4cm); length 7 1/2in (19cm); depth 3 3/4in (9.5cm)
Est: $5,000 - $7,000
WILLIAM MORRIS (BORN 1957) 'Idolito' 2003 blown and heat formed glass, with a metal stand, engraved 'William Morris 2003' height 7 1/4in (18.4cm); length 7 1/2in (19cm); depth 3 3/4in (9.5cm)
Bonhams
Jun. 18, 2024
WILLIAM MORRIS (BORN 1957) 'Standing Stone'1985mold blown and internally decorated glass, engraved 'William Morris 1985'height 29 1/4in (74.3cm); width 18in (45.7cm); depth 6 1/2in (16.5cm)
Est: $8,000 - $12,000
WILLIAM MORRIS (BORN 1957) 'Standing Stone' 1985 mold blown and internally decorated glass, engraved 'William Morris 1985' height 29 1/4in (74.3cm); width 18in (45.7cm); depth 6 1/2in (16.5cm)
Bonhams