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SET OF FOUR ARTS AND CRAFTS EMBROIDERED PANELS £40,000 Code: 6538 A set of four embodied panels entirely worked in pale couched floss silks showing heavily stylised roses closely interwoven together in various pale hues attributed to Mary "May" Morris (25th March 1862 - 17th October 1938). May was an English artisan, embroidery designer, jeweller & socialist was the daughter of the of the famous Pre- Raphaelite artist and designer William Morris. English, circa 1900 This set of four panels were designed by John Henry Dearle (22nd August 1859 - 15th January 1932) a British textile and stained-glass designer trained by and who worked closely with William Morris Dearle designed embroidery panels for screens and portieres in the Art Needlework style under the tutelage of May Morris, including Anemone (1895-90), and the well-known Owl and Pigeon (or Partridge) (c. 1895). Examples of the latter two designs worked on "Oak" silk damask grounds by Mrs.Battye are in the Victoria and Albert Museum. From 1880 onwards Dearle and May collaborated extensively when Dearle began designing repeating patterns for wallpapers and textiles, and it is likely that his designs for large-scale embroideries date from this period like those which we Rose Uniacke 76-84 Pimlico Road, London SW1W 8PL T +44 (0)20 7730 7050 [email protected] www.roseuniacke.com see. The set of four panels may well have been produced through the Leek Embroidery Society. Founded in 1880 by Thomas and Elizabeth Wardle the society produced domestic and ecclesiastical needlework, most of the materials where produced, dyed or printed in Leek, Staffordshire. Dimensions: H 214cm x W 61cm H 84.29" x W 24.03" Rose Uniacke 76-84 Pimlico Road, London SW1W 8PL T +44 (0)20 7730 7050 [email protected] www.roseuniacke.com.

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Making Their Mark 17
Making Their Mark 17 A CELEBRATION OF GREAT WOMEN ARTISTS Susan Mary "Lily" Yeats, in a 1901 portrait by Photograph of Susan Mary "Lily" Yeats (left) and Elizabeth Corbet "Lolly" Yeats (right). Elizabeth Corbet "Lolly" Yeats, in an 1887 Jack Butler Yeats. National Gallery of Ireland. portrait by Jack Butler Yeats. Sisters Susan Mary "Lily" Yeats (1866-1949, above, left) and Elizabeth Corbet "Lolly" Yeats (1868-1940, above, right) were pivotal figures in the advancement of the Arts and Crafts style in Ireland. Founded in England by the British designer William Morris, the Arts and Crafts Movement advocated traditional, handcrafted objects as a rebellion against soulless factory-made furnishings. The Yeats sisters were from a preeminent Irish family--their father John and brother Jack were noted painters, and their other brother was the renowned poet William Butler Yeats. Born in Enniscrone, County Sligo, Ireland, Lily Yeats was a frequent visitor to William Morris when her family moved to London in the 1870s; she would learn embroidery from his daughter, May Morris. Younger sister Lolly Yeats, also in the Morris circle, was more interested in painting and printing; by the end of the century she had written and illustrated four instructional books on sketching directly with a brush. Upon returning to Ireland, both sisters would co-found the Dun Emer Guild, a Arts and Crafts group in Dublin managed and staffed entirely by women, with the textile designer Evelyn Gleeson (1855-1944). Guilds, as opposed to factories, were a return to the Medieval and Renaissance guilds that once served as the primary centers of art production.
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Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
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LIBRARY BOOKS.Xlsx
Cat No. Title Author Type 476 2,286 traditional stencil designs Roessing, H APPLIQUE 13 Afternoon Tea with May Morris Hill, Michele APPLIQUE 1094 Applique 12 Borders & Medallions Sienkiewicz, Elly APPLIQUE 1444 Applique 12 Easy Ways Sienkiewicz, Elly APPLIQUE Rodale's Successful Quilting 455 Applique made easy Library APPLIQUE 4 Applique Mastery Naylor, Philippa APPLIQUE 382 Applique outside the lines with Piece O' Cake Designs Goldsmith, Becky & Jenkins, Linda APPLIQUE 774 Applique, Applique, Applique Sinema, Laurene APPLIQUE 657 Artful applique II Townswick, Jane APPLIQUE 656 Artful applique the easy way Townswick, Jane APPLIQUE 251 At Play with Applique Fronks, Dilys A APPLIQUE Back to Front & New Approach to Machine Applique 1369 (2nd copy) Scouler, Larraine APPLIQUE 585 Baltimore Beauties & Beyond Vol 2 Sienkiewicz, Ely APPLIQUE 702 Baltimore blocks for beginners; a step-by-step guide Dietrich, Mimi APPLIQUE 404 Barbara Brackman's encyclopedia of applique Brackman, Barbara APPLIQUE Beautiful botanicals: 45 applique flowers & 14 quilt 520 projects Kemball, Deborah APPLIQUE 1751 Best of BaLtimore Beauties Sienkiewicz, Elly APPLIQUE 1783 Best of Jacobean Applique Campbell, Patricia B & Ayars, Mimi APPLIQUE Best-ever applique sampler from Piece O' Cake 684 Designs Goldsmith, Becky & Jenkins, Linda APPLIQUE 1842 Blossoms in Winter Eaton, Patti & Mostek, Pamela APPLIQUE 1795 Bouquet of Quilts Rounds & Rymer APPLIQUE 1594 Celtic Style Floral Applique Rose, Scarlett APPLIQUE 1998 Classic Four-Block Applique Quilts Marston, Gwen APPLIQUE 235
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The Transformation of Tusser Silk
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Pre-Raphaelites and the Book
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'How the Corpse of a Most Mighty King…' the Use of the Death and Burial of the English Monarch
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Caroline Arscott, Morris Carpets, RIHA Journal 0089
RIHA Journal 0089 | 27 March 2014 | Special Issue "When Art History Meets Design History" Morris Carpets Caroline Arscott Editing and peer review managed by: Anne Puetz, The Courtauld Institute of Art, London and Glenn Adamson, Museum of Arts and Design (MAD), New York City Reviewers: Martina Droth, Jules Lubbock Abstract William Morris's carpet designs have been discussed in terms of design scheme, historical sources, naturalism and abstraction. This essay revisits some of these aspects in order to consider Morris's intimations of action. Action was associated by Morris with the pictorial and considered by him to be one of the great resources of oriental carpet design. The article considers the specific historical carpets with which Morris was familiar and discusses the terms used by Morris in assessing the intellectual and aesthetic value of historical carpets. It discusses the way that the knot in the fabric of the carpet might have been understood by Morris as analogous to knots and interlacements in the design. It goes on to propose that the knot was also understood in relation to linkages, contests, cultural exchange and forms of interconnection in human history. There is a discussion of common ground between Morris's discussion of ornament (in terms of cultural transmission) and ideas set out by Alois Riegl. The carpet Clouds, made by Morris & Co. in 1885 for Clouds, East Knoyle, Wiltshire is the central example. * * * * * * * [1] In this article I will argue that the ornamental zone of the carpet represented for Morris something more than an area of geometrical pattern and stylisation. The discussion of his ornament has generally focused on the overall schema adopted, his historical sources and his stylisation of natural form.
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FREE THE DESIGNS OF WILLIAM MORRIS PDF Phaidon Press,William Morris,Editors of Phaidon Press | 160 pages | 19 Oct 1995 | Phaidon Press Ltd | 9780714834658 | English | London, United Kingdom + Best William Morris patterns images | william morris, morris, william morris designs William Morrisa founder of the British Arts and Crafts movementsought to restore the prestige and methods of hand-made crafts, including textilesin opposition to The Designs of William Morris 19th century tendency toward factory-produced textiles. With this goal in mind, he created his own workshop and designed dozens of patterns for hand-produced woven The Designs of William Morris printed cloth, upholstery, and other textiles. The first textile designs Morris made were created in the s. Furthermore, it is not worth doing unless it is either very copious and rich, or very delicate - or both. His first The Designs of William Morris designs were primitive, but later, working with his wife Jane, he created a set of wall hangings for his residence in the London suburbs, Red House. One of his designs in this historical style, stitched by Jane Morris, won the Morris company an award in an international competition in Morris and his workshop began making embroideries for the households of his friends as well as larger panels for some of the many new churches being constructed in England. In these designs, Morris created the decorative elements, while his friend Edward Burne-Jones drew the figures, and a team of embroiderers manufactured the work by hand. Other wall hangings were designed to be sold off the shelf of the new Morris and Company shop on Oxford Street which owned in Later, he and his daughter May made designs for panels for "embroider yourself" kits for cushion covers, fireplace screens, doorway curtains, bedcovers and other household objects.
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