This is a repository copy of Westerwald Stoneware at Kelmscott Manor : Morris, pottery and the politics of production. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/148418/ Version: Accepted Version Article: Chitty, Gillian Shirley orcid.org/0000-0001-6521-3785 and Stocker, David (2020) Westerwald Stoneware at Kelmscott Manor : Morris, pottery and the politics of production. The Antiquaries Journal. pp. 363-397. ISSN 1758-5309 https://doi.org/10.1017/S0003581519000027 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing
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[email protected] https://eprints.whiterose.ac.uk/ WESTERWALD STONEWARE AT KELMSCOTT MANOR Morris, Pottery and the Politics of Production Gill Chitty, FSA, and David Stocker, FSA Gill Chitty Centre for Conservation Studies, Department of Archaeology, University of York, Kings Manor, York YO1 7EP
[email protected] David Stocker Institute for Medieval Studies, Parkinson Building, University of Leeds, LS2 9JT
[email protected] Kelmscott Manor, the country home of William Morris, houses a remarkable collection of ceramics bearing a singular relationship to one of the most influential figures in Victorian cultural history.