William Morris:an annotated bibliography1988-89

David and Sheila Latham

This bibliography is the fifth instalment of a biennial feature of The Journal. Someitems inadvertently omined from the 1986-87 bibliography are added here. Thoughwe exclude hook reviews, we include reviews of exhibitions as a record of temporalevents. We give each original entry a brief annotation meant more to describe itssubject than to evaluate its importance.

We have arranged the bibliography in seven subject categories, followed by anauthor index. The entries in Part I include new editions, reprints, and translations ofMorris's own publications. and are arranged alphabetically by title. The entries inParr II include books, pamphlets, arricles, exhibition catalogues, and dissertations onMorris, arranged alphabetically by author within each of the following six categories:

BibliographiesGeneralLiteratureDecorative ArtsBook DesignPolitics

5-910-3031-70

71-106107-115116-123

The General category includes biographical surveys and miscellaneous details as wellassrudies that bridge twO or more subjects. The Author Index provides an alphabeticalorder as an alternative means for searching through the 123 items of the bibliography.Though we still believe that each of Morris's interests is best understood in the conrextof his whole life's work, we hope that the subject categories and author index willsave the impatient specialist from having to browse through descriptions of woventapestries in search of critiques of "The Haystack in the Floods".

PART I: PUBLICATIONS BY MORRIS

J. La Terra Cava e Aftr; Raccont; del Medioevo rautastico.(Documenri da Nessun Luogo, vol. 5). Preface Oriana Palusci. Postscript StefanoManferlotti. Milano: Editrice Nord, 1988. xiii, 164 pp.

An Italian translation of "The Hollow Land", "The Story of the UnknownChurch", '"A Dream", and "Lilldenborg Pool".

2. William. Morris by Himself: Designs and Writings. Ed. Gillian Naylor. London:Macdonald Orbi', 1988. 328 pp.

Over 200 beautiful illustrations of wallpapers, fabrics, embroideries, tapestries,carpets, tiles, stained glass, typography, and preliminary drawings complementletters, poems, stories, and lectures arranged to show Morris's develof)ment as awriter, designer, and socialist.

3. William Morris: Full Colour Patterns and Designs. London: Constable; New York:Dover, 1988. 41 pp.

Forty plates from Aymer Valiance's The Art ofWilliam Morris (George Bell, 1897)are reprinted.

4. Wil/iam Morris Wallpapers: 1989 Desktop Postcard Calendar. Corte Madera,Calif.: Pomegranate, 1988. 13 pp.

Twelve designs by Morris and Dearle are reproduced from a wallpaper samplebook in the Brooklyn Museum.

PART 11: PUBLICATIONS ON MORRIS

BIBLIOGRAPHIES

5. Ellison, Ruth. "Icelandic Obituaries of William Morris". The Journal of theWilliam Morris Society, 8 (Autumn -1988),35-41.

Seven obituaries from six Icelandic newspapers and one journal are translated,including substantial ones by poet Matthias Jochumsson in Stetnir and by scholarJon Stefansson in Eimreidin.

6. The Estelle Doheny Collection from The Edward Laurence Doheny MemorialLibrary, St. john's Seminary, Camarillo, California. Part VI: Printed Books andManuscripts concerning William Morris and His Circle. New York: Christie's, 1989.105pp.

The illustrated auction catalogue of this major collection includes the illuminatedcalligraphic Aeneid ($1,320,000 U.S.) and Frithiof the Bold ($132,000), aKelmscott Chaucer on vellum ($330,000), a drawing for a Chaucer border($27,000), and the copy-text manuscript of News from Nowhere.

7. Koehler, Corms T. Innovators in Urban Planning: A Research Bibliography withAnalytic Framework. Vol. 2, British. Chicago: Council of Planning Librarians, 1987,52-58.

A list of selected books and articles by and about Morris.

8. Latham, David and Sheila Latham. "William Morris: An Annotated Bibliography1986-87". The Journal of the William Morris Society, 8 (Autumn 1989), i-xvi, 39.

Future instalments will be forthcoming in The Journal in the Autumn issues ofodd~numberedyears.

11

9. Watson, Peter. "Designs on William Morris." ObserverlLondonl, 14 May 1989,70.Christie's sale in New York of the Doheny collection of manuscripts. calligraphy.drawings, and Kelmscott vellum editions offers a chance to re/Jotriate some ofBritain's heritage.

GENERAL

10. Armstrong, Anne. "The William Morris SOl..:iety." Traditional Homes, 5 (.Jut)'1989), 108.

A bnef note on the" Kelmscotf Fellowshi/J ,. foun4ed by May MorriS in 1918 is(ollowed by in(ormation ahout the Morris Society and its ac/ill/ties.

1t. Boos, Florence.... Morris, Williall1." Victorian Britain: An t-:ncYI.:lopedia. Eel. ~a lIyMirchel!. New York: Garland, 1988, S12-14.

Morris's aehie/lemenls in poetry. decoration, socialism. and prmtmg are succinctlysummarized.

12. Daly, Gay. Pre-Raphaelitrs in Love. New York: Ti,kllor & Field... 19H9. 468 rp./n this study o( male artists and the'r female models. the relatumslnps of Morns.Rosselti. Blullt. Bume-lones. and Georgiallo figure prommentl)'. IlIl1h Janry in therole of Proserpiue.

13. Ellison, R.e. "The Alleged bllline inlccland." Saga-Book, 12 (1988),165-79.Recognizing that "no blame can he attached to Morns and his (riends /oraccepting the apparently authoritative reports (rom the Danish government 0/Iceland and (rom British diplomatic sources ", 1-.//isoll prollld,'s (actualinformation about the actual condition of Iceland at the time o( MorriS 's faminerelief e((orts.

14. Faulkner, Perer. "Morris and the Working Men's College:' Tbe Jot/mal o{ tbeWilliam Morris Society, 8 (Autumn 1989), 24-27.

Although Rossetti, Ruskill, and other friends of Morris taught at tbe College asearly as the 1850s, Morris did 1I0t lecture there until the 1880s. (Includes five letlersfrom Morris.)

t 5. Goddard, Lily. "Quest after Beauty and Truth. '" Heritage: The British Relfielo,May/June 1987,16-19.

All illustrated summary of Morris's Ii(e and work.

16. Holroyd, Michae!' Bemard Shaw. Vo!' I. London: Charm & Wind us, 1988.486pp. Vo!' 11,1989.422 pp.

Morris was Shaw'sgod, a heroic "model for his own life",leadillg Show by examplefrom poetry into prophecy. This rellerence was responsible for Show'suncomfortable love affair with the gods daughter. May.

'10

17. "International Report." Museum News, 66 (March/April1988), 14.A colour illustration of the embroidered Artichoke hanging accompanies a reporton the threat to close the Wil/iam Morris Gallery despite the economic importanceof museums.

18. Ionides, Luke. "Memories." The Journal ofthe William Morris Society, 7 (Spring1988),27-8. Reprint from Transatlantic Review, 1 (February 1924),36-41.

Personal stories and anecdotes about Morris capture his kindness and sensitivity,honesty and humour, and his attitude towards women.

19. jane Morris 1839-1914, A Biographical Exhibition. London, William MorrisGallery, 1987. 29 pp.

The catalogue of the November 1986-March 1987 London exhibition provides arecord of lane's life, with birth, marriage, and death certificates; photographs,drawings, and paintings oflane, her family, friends, and homesj her embroideries,i/Juminated books, miniature books and bindings; and letters to friends.

20. Kelvin, Norman. "Patterns in Time: The Decorative and the Narrative in theWork of William Morris:' Nineteenth-Century Lives: Essays Presented to JeromeHamilton Buckley. Ed. Laurence S. Lockridge,john Maynard, and Donald D. Stone.Cambridge U.P., 1989, 140-68.

The relation between content and frame, socialism and decoration, typeface andwood-block, history and magic is a competition between violence and rest whichis resolved only through the pervasive decoration of the frameless La Belle Iseult,]ason, and Kelmscott title pages resembling carpets and tapestries.

21. May Morris 1862-1938. Helen Sloan. London, William Morris Gallery, 1989. 22 pp.The catalogue of the january-March 1989 London exhibition focuses on May'swork as the leading embroiderer in the Arts and Crafts movement, a designer ofjewellry and wallpapers, and a social activist for village renewal.

22. Millbrandt, Roger Douglas. "Three Late Victorian Models of Artistic Production:A Study of Arnold, Pater and Morris." Diss. Syracuse U., 1989.

Morris's prerequisites for artistic production- "a just social order, unspoiled Nature,and duly trained artists"-reflect the mechanization and technological innovationcentral to late Victorian economics.

23. 6skarsson, Ami and Orn D. ]6nsson. "Af hverju aetrum vi5 a5 framleioa lelegtrauovin?" Timarit Mdls og Menningar, 49 (January 1988), 13-23.

What attracted Morris to Iceland and what attracted Icelanders to pursue Morris'spolitical concerns elicit several answers.

24. Poulson, Christine. William Morris. London, Apple Press, 1989. 128pp.This colourful, profusely illustrated survey documents Morris's life and art fromhis birth at Walthamstow, through his Oxford years, the development of the firm,and socialist activities. Portraits of Morris's family, friends, and contemporariesare included.

IV

25. Preston, Peter. "A Future for the Past: Fighting for the William Morris Gallery."And: Journal of Art & Art Education, 15/16 (1988),49.

The Morris Gallery is threatened with staff reduction and exploitation as acommercial enterprise.

26. Richardson, Linda. "Louise Michel and William Morris." The journal of theWilliam Morris Society, 8 (Spring 1989), 26-29.

The French political activist since the Paris Commune Jived in London in the 1890sand may he a model for the woman warriors of his historical romances.

27. Schonfield, Zuzanna. The Precariously Privileged: A Professional Family inVictorian London. London: Oxford U.P., 1987. 266 pp.

Diaries written by jeannette Marshall from 1870 to 1891 offer some gossip aboutthe Morris family and the Arts and Crafts circle.

28. Shaw, George Bcrnard. Collected Letters. London: Reinhardt, Penguin,1965-1988. 4 vols.

Letters to Morris provide Fabian invitations and describe a trip to Venice. Lettersto others tell of Shaw's relationship with May, of janey serving the vegetarianpudding containing suet, of his editing Morris's lectures, and of Morris's view ofBritish theatre. Morris considered Shakespeare "enormously overratedintellectually," respected Rossetti ;'1 youth but disliked him, disrespectedSwinburne, and found "the Fabian middle~cJass PhiJistinism...unelldurable".Through Morris, Shaw learned to regard printing as a fine art, and to distrustarchitects.

29. Ward, Colin. "'People & Ideas: News from Somewhere." Town and CountryPlanning, 58 (April 1989), 103.

The three factors that earn buildings a high News from Nowhere quotient for anenvironmental appraisal are plantedgreenery, cherished maintenance, and wealthyresidents.

30. Watkinson, Ray. "Philip Webb's Master." The journal of the WilJiam MorrisSociety,8 (Autumn 1988),24-5.

Webb was fortunate to have begun his career in 1849 under john BiJJing, a culturedarchitect with Gothic interests.

LITERATURE

31. Albinski, Nan. Women's Utopias in British and American Fiction. London:Routledge, 1988, 18, 88, 95-97.

News from Nowhere influenced the fiction of EtheJ Mamtin, Marghanita Laski,and Katherine Burdekin.

v

32. Baker, Lesley. "The Forces of Destiny and of Doom: William Morris, 'The Storyof Kormak' and the Heroic Ethic." The Journal of the William Morris Society, 8(Aurumn 1988),29-34.

Ten lines of his manuscript verse express what Morris loved in the Sagas anddemonstrated in his trallslation of "The Story of Kormak": that earth's voicesreflect mankind's ordinariness, but that spiritual triumph over physical misfortunecan provide "the spell" that melts away the "mist of fear".

33. Bentley, D.M.R. "A Wizard to the Northern Poets: Notes on William Morris inNineteenth-Century Canadian Poetry." Victorian Studies Association NewsletterIOntariol, 44 (Fall 1989),8-19.

The medieval poet of The Defence of Cuenevere inspired Charles Roberts, BlissCarman, and Francis Sherman in Fredericton, while the utopian socialist of Newsfrom Nowhere inspired Archibald Lampman in Ottawa.

34. Boos, Florence, .. Love 15 Enough as Secular Theology." Papers on Language andLiterature, 24 (Winter 1988), 53-80.

Paralleling Morris's personal struggle to reconcile love with loneliness, thispolyphonic elegy replaces God with love as the ineluctable force whose victimsremain faithful to their tmrequited love as a process of devotion.

35. Cochran, Rebecca. "Swinburne's <Lancelot' and Pre-Raphaelite Medievalism."Victoria/1 Newsletter, 74 (Fall 19881,58-62.

That Swinbume lIsed .. King Arthurs Tomb" as his model for" La"celot" is shownby the similar emphases on oppressive heat, Guenevere's hair, human sin harmingnature, guilt diminishing beauty, fear mingling with love, and altering states ofconsciousness, making Paters critique of Morris equally relevant to Swinburne.

36. Coleman, Srephen. "The Economics of Utopia: Morris and Bellamy Contrasred."The jOl/mal of the William Morris Society, 8 (Spring 1989),2-6.

In Morris's utopia, work is a creative pleasure, social appreciation replacesmonetary exchange. a11d economic control is decentrahzed to "a sort ofanarcho~Taoism"; h1 Bellamys, work is a compulsory conscription to an industrial armyof segregated sexes, labour-credit pretends to eliminate monetary exchange, andcontrol is centrahzed in a bureaucratic, state capitalism.

37. Culler, A. Dwight. "The Engli~h Pre-Raphaelites: Rossetti and Morris." TheVictorian Mtrror of History. New Haven: Yale U.P., 1985,233-40.

Morris found in the medieval mirror "an outlook that lUas revolutionary andmodern, .. showing through history and vision that the process ofcontinuous changewithin continuity provides the hope for our future.

38. Daly, Macdonald. "News from Nowhere... Being the Book that Prophesied aSocialist Future." New Internationalist ITorontoJ, ·198 {August 1989),31.

Despite its vision of a socialist world "advanced beyond anything Karl Marxever described," a book without conflict runs "aground on long stretches ofevelltlessness. "

VI

39. Duckworth, Alistair M. «Gardens, Houses, and the Rhetoric of Description inthe English Novel." Studies in the History of Art, 25 (1989), 406--{)8.

News from Nowhere reiects the"conservative and patemalist uses of" landscapedparks and country houses.

40. Dworken, Holly Ann. "William Morris and the Fictions of Pre-Raphaelite Art."Diss. Case Western Reserve, 1988.

With medieval symbols permeating his whole life, Morris fused art and life bymodelling his art on medieval landscapes and his life on Arthurian characters.

41. Ennis, Jane. "The Role of Grimhild in Sigurd the Volsung." The Joumal of theWilliam Morris Society, 8 (Autumn 1989), 13-23.

Using hints from the V6lsunga Saga, Morris gives Grimhild a untraJ role in BooksI11 and IV of Sigurd the Volsung as an ambitious witch who spins and weavesdeception which leads to the destruction of her own family.

42. Faas, Ekbert. Retreat into the Mind: Victorian Poetry and the Rise of Psychiatry.Princeton: Princeton U.P., 1988, 17, 179-83.

In poems like "Geffray Teste Noir" and "The Wind, " Morris changes the dramaticmonologue by creating a stream of consciousness that submerges readers Ht

emotiorw! imagery rather than distanci,lg them for a critical response.

43. Foisner, Sabine. The Redeemed Loser: Art World and Real World in WilliamMorris. Salzburg: U. Salzburg P., 1989. 2 vols. 370 pp.

This published dissertation contrasts Morris s early poems and prose tales(1856-73) with his later lectures, News from Nowhere, and Clitteri"g Plain todemonstrate the thematic and stylistic unity of his work: an antithetical dualismof heroic dream and villainous reality, of hopeful visions and apprehensions ofdestruction.

44. Freedman,Jonathan. "Ideological Battleground: Tennyson, Morris, and the Pasrnessof rhe Past." In The Passing of Arthur: New Essays in the Arthurian Tradition. Ed.Chrisropher Baswell and William Sharp. New York: Garland, 1988,235-48.

Whereas Tennyson distances the past from the present, Morris rea/J/nupriales theold models to demo"strate and demolish their hidden assumptions, proving i""The Defence of Guenevere" that history is "a trial, a contestation, a clash ofinterpretations" ideologically detemlined by the socially powerful censoriolls court.

45. Fyrth, Jim. "Looking Backward-Even Further." The Journal of the WilliamMorris Society, 7 (Spring 1988),25-6.

Bellamy's Equality is a sequel to Looking Backward with additional projectionsofsocialist America in the twentieth century as a conservative and philistine worldwith no sense ofart or fellowship.

46. Honnighausen, Lothar. The Symbolist Tradition in English Literature: A Studyof Pre-Raphaelitism and Fin de Siecle. Trans. Gisela Honnighausen. Cambridge:Cambridge U.P., 1988,97, 122-24, 139-40.

VII

In "Golden Wings" and "Two Red Roses across the Moon" Morris abandonsconventional narrative for a progression of symmetrical and contrapuntal coloursymbolism.

47. Julian, Linda Anne. "William Morris: The Icelandic Influence on his Writing."Diss. Boston V., 1989.

Morris's translations of Icelandic sagas poetically influenced his diction andpolitically taught him the importance ofart to society.

48. Lerner, Laurence. "Literary Revolutions and Real Revolutions." Essays by DiversHands, 45 (1989), 16'1-73.

The conventional diction and nostalgia of"A Garden by the Sea" are contrastedwith the poetry o( Hopkins to "show that the political revolutionary may be theliterary conservative, and vice-versa" and thereby disprove Julia Kristeva's claimfor the "identity between challenging official linguistic codes, and challengingofficial law ".

49. Levitas, Ruth. "Marxism, Romanticism and Utopia: Ernest Bloch and WilliamMorris." Radical Philosphy, No. 51 (Spring 19891,27-36.

'<The transcendence of alienation and the centrality o( art are features of bothBloch's and Morris's thought," but whereas Bloch considers the consumption ofart important, Morris recognizes the production o(art as its utopian (unction.

50. Mallcoff, Debra N. "William Morris." In The Arthurian Encyclopedia. Ed. NorrisL. Lacy. New York: Garland, 1986, 396-98.

Morris's Arthurian poems combine the "modern poetic concerns" of the Pre­Raphaelites with "profound respect (or their traditional source".

51. Marsh, Jan. "Knight and Angels: The Treatment of 'Sir Galahad' in the Work ofGabriel Rossetti, Elizabeth Siddal and William Morris." The Journal o( the WilJiamMorris Society, 8 (Fall 1988), 14-23.

Though nearly as mild as Tennyson's, Morris's Galahad poem is like Siddal's andRossetti's paintings - "an image of faith surrounded by gloom "- as the Pre­Raphaelites combined chivalric romance with Christian piety.

52. Miller, Jane M. "Some Versions of Pygmalion." In Qvid Renewed: OvidianInfluences on Literature and Art from the Middle Ages to the Twentieth Century.Ed. Charles Marrindale. Cambridge: Cambridge V.P., 1988,213.

Concerned with the "problem of Time's destructiveness and how to achieveimmortality" in The Earthly Paradise, Morris believed that"art, no matter howperfect, cannot replace life".

53. Mitchell, Jack. "Tendencies in Narrative Fiction in the London-based SocialistPress of the 1880s and 1890s." In The Rise of Socialist Fiction 1880-1914. Ed. H.Gustav Klaus. New York: St. Martin's, 1987,49-72.

In "Pilgrims of Hope," contemporary realism is suptJlanted by a bourgeois lovetriangle and a dream of the future; in Dream ofJohn Ball, historical realism is

VIII

supplanted by a stylized pageantry of ideal fellowship; but News from Nowhereprojects an "anticipatory realism" which gives it "the power to convert",

54. Mooney, Susan. "William Morris: Biographical GleaniQgs, 1865-1875." ]oumalof the William Morris Society, 8 (Autumn 1989), 2-12.

Rather than expressing his love for Jane, Morris's poems reveal his love forGeorgionQ Bunle·Jones: his hopes for returned love, his confusion and despairover her rejection. and his eventual acceptance of failure.

55. Munich, Adrienne Auslander. "Domesticated Annunciations." Andromeda'sChains: Gender and Interpretation in Victorian Literature and Art. New York:Columbia U.P., 1989, 108-18.

Demonstrating how love domesticates hIS!, Morris compares Cuenevere's adulterywith the Annunciation and compares i,., "The Doom of King Acrisius" the sexualdimensions of rape and rescue as Perseus saves Andromeda by displacing Danaiiand Medusa.

56. Ramcl, Annic and Maric-Therese Blanchon. "Le Bonheur par la mise en jeu dela difference: Lcs Eglises ritualistes dans leur ellvironnement." Cahiers Vic/orier's &Edouardiens, 27 (April 1988),11-25.

In "Ar/ and Industry in the Fourteenth Century," Morris cDrlsiders majesticcathedral relics as offering escape from the drab squalor of the present.

57. Reaves, Catherine Anne. "A Triptych to the Sovereign Lady: William Morris's'The Defence of Gucnevcre, and Other Poems"" Diss. U. of Texas at Austin, 1989.

"All of the poems are structurally linked in diptychs or triptychs" wherein Morriscontrasts aspects of the sovereign lady of courtly love as a liberator or destroyer.

58. Richards, Bernard. English Poetry of the Victorian Period, 1830-1890. London:Longman, 1988, 71, 74-76, 103,170-74,234-5.

A prosodic master of the 14-syllabic line as well as the octosyllabic couplet andterza rima, Morris wrote a satire of capitalist «London as a living hell, ., as wellas escapist lyrics with historic settings.

59. Sander, Hans-Jochen. "'News from Nowhere' (1890): William Morris'kommunistiche Zukunftsvision als utopischer Diskurs neuen Typs."Wissenschaftliche Zeitschrift der Friedrich·Schi/ler· Universitiit Jena.Gesellschaftswiss. Reihe, 38, No. 1 (1989),98-103.

Morris introduced a new type ofutopian discourse by establishing the importanceof a subjective factor in classless society, thereby motivating a desire foremancipation.

60. Schul'e, Edvige. 5aggi, Saghe e Utopie ne/l'Opera di Wi/liam Morris. Naples:Liguori Editore, 1987. 203 pp.

This study of the life·long development of Morris's utopian vision focuses on hisIcelandic sagas, his prose romances (including A Dream ofJohn Ball and Newsfrom Nowhere), and the aesthetic, architectural, ecological, and political concernsof his lectures.

IX

61. Silver, Ca role. "Victorian Spellbinders: Arthurian Women and the Pre-RaphacliteCircle." In The Passing of Arthur: New Essays i" Arthurian Tradition. Ed.Chrisropher Baswell and William Sharpe. New York: Garland, 1988,249-63.

Ifrfluenced by Southey's edition of Malory, Morris depicts Guenevere as "proudand unapologetic." sensuous and supernatural, dismissing «her marriage as oneof convenience" and identifying with Christ. The oil painting Guinevere (sic]presents "a pensive moment after love. ..

62. Smith, Lindsay. "'The Enigma of Visual Perception in the Early Poetry of \VilliamMorris and in the Work of Ruskin and the Pre-Raphaelites." Diss. U. ofSouthampton,1989.

The Defence ofGuenevere is discussed in the context of Ruski,,'s optical discourseon the Noble Grotesque and "Of Modern Landscape" and is thereby influencedby photography and the sister arts analogy.

63. Spitrles, Brian. "'Twentieth-Century Perception in News from Nowhere." TheJournal of the William Morris Society, 7 (Spring 1988), 19-24.

By demonstrating in News from Nowhere how language is a social construct andhow popular culture can formulate and maintain the social hierarchy, Morrisanticipated the direction of twentieth-ce11tury Marxist thought.

64. Sutherland, John. The Longman Companion to Victorian Fictiou. London:Longman. 1989. The Stanford Companion to Victorian Fiction. Stanford, Calif.:Stallford U.P., 1989,447.

Morriss fiction is categorized as political utopias, near science fiction, and dreamyprose romances.

65. Swcnarton, M:Hk, "The Architectural Theory of William Morris." Artisans andArchitects: The Ruskin Tradition in Architectural Thought. London: Macmillan,1989,61-95.

Morrriss lectures on art and society reveal the enduring influence of Ruskin, ofthe Oxford history school, and of Pugin's and Coles design rationalism, as wellas distinguish;'lg his theories (rom those of Ruskin and Marx.

66. Talbor, Norman. "'Whilom, as tells the tale': The Language of the ProseRomances." The ]oumal of the William Morris Society, 8 (Spring 1989), 16-25.

Though The Waterofthe Wondrous Isles is told in a northern idiom wherein wordslike 'mirror' and 'prison' are alien to Birdalone, Atla's frame-description ofa churchmural shows how characters are individualized within the unified tone of atapestried prose.

67. Ti1110, Helen. '" A Not so Goldcn Age: The Genesis of Morris's 'A King's Lesson ...•The ]oumal of the William Morris Society, 7 (Spring 1988), 16-18.

The first example of his transforming an historical incident into a politicallyrelevant and entertaining tale. "A King's Lesson" shoUJs through its recollectionofhis boyhood reading (1852) and its anticipation ofA Dream ofJohn Ball (1888)Morriss life/oug social COl1cenlS.

x

68. Timo, Helen A. "'The Widow's House by the Great Water': A Literary Enigma."The Journal of the William Morris Society, 8 (Spring 1989), 7-16.

A comparison of the aborted "Widow's House" with its finished version, TheWater of the Wondrous Isles, suggests that Morris preferred a more marvelloustale whose heroine shows more initiative but is less romantically involved with theclergy.

69. Tompkins, J. M. S. William Morris: An Approach to the Poetry. London: CecilWoolf, 1988. 368 pp.

The continuity in Morris's poetry provides a biography ofhis imaginative life. Theemphasis is on the narrative strategies in The Defence and Earthly Paradisl! bywhich he ohjectifies his personal struggles and on his notion ofhistory as an organiccreation to which each must contribute a sense of growth or loss.

70. Woodring, Carl. Nature into Art: Cultural Transformations in Nineteenth­Century Britain. Cambridge, Mass.: Harvard U.P., 1989, 136, 163-70, 236-39.

The Defence of Guenevere poems show that our failure to protect women from"men's unnatural horrors" threatens to destroy the order of nature.

DECORATIVE ARTS

71. Adams, Sreven. The Arts and Crafts Movement. London: Apple Press, 1987.128 pp.

Morris is the central figure in the English and American communal crafts societieswhich began as romantic refuges from industrialism and ended with German andAmerican design factories embracing a mechanized industry.

72. Amery, Colin. "Wightwick Manor near Wolverhampton, England." Antiques,133 (June 1988), 1364-75.

Twelve photographs illustrate the description of this "Pre-Raphaelite" house sorich with Morris & Co. decorations.

73. Bosomworth, Dorothy. "True to Form." Traditional Interior Decoration, 1(Spring 1987): 150-9.

A survey ofthe work ofPhilip Webb includes references to his collaborative designswith Morris, and his involvement with the Firm.

74. Briggs, Asa. Victorian Things. London: B. T. Barsford, 1988. 448 pp.Disgusted by the unbeautiful things that cluttered the "age of shoddy, .. Morristurned from the "master art" of architecture to the "minor arts" of decoration.

75. Christian, John. The Last Romantics: The Romantic Tradition in British Art:Burne-Jones to StanJey Spencer. London: Lund HumphrieslBarbican, 1989, 82.

The catalogue of the February-April 1989 London exhibition at the Barbican ArtGallery describes five Kelmscott Press books.

Xl

76. Crown, Patricia. '''A Language That All Can Understand': William Morris,William Hogarth and the Decorative Arts." TheJournal ofthe William Morris Society,8 (Autumn 1988), 5-13.

Morris shared Chippendale's business practices and Hogarth's interest inundulating surface patterns and the social function of art; the "breezy, flowery,open meadow of Rococo was the sunny sister of Morris's darker, tangledwoodland".

77. Depas, Rosalind. "The Bensons: a Family in the Arts and Crafts Movement."Journal of Pre-Raphaelite and Aesthetic Studies, 1 (Fall 1988),75-85.

A metalworker whom Morris inspired and encouraged, W A. S. Benson in 1905became a director of Morris & Co.

78. Duval, l. "Manufacture Morris and Co." Connaissance des Arts, 452 (October1989),141-2.

The sixth copy (1902) of "The Adoration of the Magi" tapestry (orginally wovenfor Exeter College in 1890) is in the Musee de I'Ermitage.

79. Faxon, Alicia Craig. Dante Gabriel Rossetti. New York: Abbeville Press, 1989,103-11,171-97.

Rossetti's relationship with Morris is discussed from their early friendship andcollaboration on the Oxford Union murals and with the Morris firm to the loveaffair with Jane and the shared residence at Kelmscott Manor until their final break.

80. Gere, Charlotte. Nineteenth-Century Decoration: The Art ofthe Interior. London:Weidenfeld and Nicolson, 1989, 275-93.

Morris's transformation ofKelmscott House and preservation ofKelmscott Manorshow how he "achieved the trmtsformation in taste dreamt of by Holman Huntand Rossetti". A Froissart manuscript inspired his Daisy paper, while an Easterncarpet inspired his Bullerswood carpet.

81. Gillow, Norah. Wil/iam Morris Designs and Patterns. London: Bracken Books,1988.87 pp. William Morris Muster und Entwiirfe. Trans. Steffen Seibert. Stuttgart:Parkland Verlag, 1988.

Forty coloured plates of wallpapers, chintzes, woven wools, carpets, tapestries,and embroideries accompany the briefsummary of Morris's principles for patterndesign.

82. Greenhalgh, Paul. "Art and Craft: A Dichotomy of Falsehood." Ceramic Review,116 (March/ApriI1989), 18-21.

Misled by Vasari, Morris exaggerated the rift between art and craft by alleging thatthe crafts were weakened by industrial mass production and by elitist fine artpractice.

83. Greenwood, Martin. The Designs of William De Morgan. I1minster, Somerset:Dennis and Wiltshire, 1989. 256 pp.

De Morgan was strongly influenced by Morris. He began his own business in 1872,

XII

producing lustreware and pottery that are "ceramic counterparts ofMorris's fabricsand wallpapers".

84. Guild, Robin. The Complete Victorian House Boo.k. London: Sidgwick &Jaekson, 1989,34-38,188-97.

There are Morris & Co. designs appropriate for every room of the house. Morrisfollowed Pugin's example by f;'1ishing his carpets with a fringe.

85. Haslam, Malcolm. "An Arts and Crafts Movement Carpet." Hali, 11 (October1989), 14-5.

A Donegal carpet designed at the turn ofthe century by C. E A. Voysey was inspiredby Morris's words and art.

86. Hay, S. A. "Departmenrof Costume and Tc.::xriles. n Rhode Island School ofDesignMuseum Notes, 76 (Oerober 1989), 18.

Canadian teacher Stuart Michie purchased in 1911 this sample of cotton.. Honeysuckle ... whose tumover "mirror image" pattern was designed in 1876.

87. Hepburn, lan. "William Morris's Message for Craftsmen. n CraftNews, 12(January 1987), 10-1!.

Morris's interests in the "effect of industrial technology on the individual" and its"relation to the larger society" have been pursued by Gandhi Q11d E. f. Schumacher.

88. Kieffer, Bruce. "Conremporary Comfort." The Family Handyman, 39 (Ocrober1989), 74-80.

The instructions for making a "modem version of the Morris Chair" with theadjustable back follow a step-by-step process with measurements andphotographs.

89. Lambert, Elizaberh. "Historic Houses: William Morris. Red House in Kent."Architectural Digest, 46 (April 1989),126,130,132.

Birthplace of the Arts and Crafts movement, Red House was revolutionary for itsinterior design rather than its outer architecture.

90. Marsh, Jan. "Kelmseocr Manor." History Today, 39 (April 19891, 62-3.The rustic traditions invoked by Morris's rural paradise provided inspiration tothe Arts and Crafts movement.

91. Muthesius, Hermann. The English House. Ed. Dennis Sharp. Trans. JaneSeligman. New York: Rizzoli, 1987. 320 pp.

A paperback reprint of the 1979 translation of the 1904 Berlin edition.

92. Nelson, Megan. "Revolutionary Style." Ontario Living, 2 (November 1986),26-27.

Equating beauty with utility, Morris replaced the dark Victorian clutter with the"light. bright English country-house look that remains popular today."

XIII

93. Parry, Linda. Textiles of the Arts and Crafts Movement. London: Thames andHudson, \988. 160 pp.

From its revolt from the Royal Academy in 1888 to its return in 1916, the Artsand Crafts Exhibition Society provides the parameters of this study of the textileindustry that owes much to Morris's return to traditional British flowers~ wildergardening fashions, and book illustration.

94. Parry, Linda and Gillian Moss. William Morris and the Arts and Crafts Movement:A Design Source Book. London: Studio Editions, \989.222 pp.

Two briefintroductions accompany the 100 full-colour plates ofdesigns by Morris,Dear/e, Crane, Voysey, Horne, and the American Arts and Crafts movement.

95. Patton, Phil. "Wall Flowers." Esquire, 110 (August 1988), 28.Morris created classic patterns suspended between nature and abstraction, depthand {latness, melodic swirl and firm grid.

96. Paul, Tessa. Tiles for a Beautiful House. London: Merehurst Press, J989,56-62, 127.

A colour illustration of the "Sunflower" tile accompanies an account of Morris'sgift for ornamentation and influence on De Morgan mzd Voysey.

97. Pinkney, Tony. "The Pre-Raphaelites in Oxford." The Journal of the WilliamMorris Society, 7 (Spring 1987), 5-9.

A review of the 1987 Tokyo exhibition of "The Pre-Raphaelites in Oxford"considers how the indusivist and democratic politics of Pre-Raphaelitism turnfrom the exclus;v;sl and hierarchic classicism toward post·structuralist interest inmargins infiltrating the hegemonic centre.

98. Ponder, Srcphen. "Ould English." Traditional Interior Decoration, 2 (Summer1987),82-95.

An illustrated tour of Wightwick Manor provides a glimpse of Morris & Co.furnishings collected by the Manders.

99. Poulson, Christine... Arthurian Legend in Fine and Applied Art of the Nineteenthand Early Twentieth Centuries: A Catalogue of Artists." In Arthurian Literature IX.Ed. Richard Barber. Cambridge: D. S. Brewer, 1989, 81-142.

The descriptions of the Arthurian subiects of 4 paintings, 4 stained glass designs,and 2 embroideries by Morris. and of 13 stained glass designs and 6 tapestries byMorris & Co. include dimensions and locations.

100. Russell, 80th. Victorian Needlepoint. London: Anaya, 1989. 112 pp.Following background information on the Arts and Crafts movement, this practical"how-to" book provides patterns and instructions for needlepoint based onMorris's designs for chintzes, wallpapers, woven wools, carpets and tiles.

XIV

10 l. Spours, Judy... Brick and Polish.» Traditional Interior Decoration, 1 (Spring1987),133-45.

A well-illustrated tour of Standen describes how furnishings designed andmanufactured by Morris & Co. effectively complement Webb's architecture.

102. Taylor, John Russell. "Get Out of Town." The Times, 31 January 1989, 16d.A review of the Birmingham Museum and Art Gallerys 1989 exhibitions of"Pre-Ra(Jhaelite Drawings", "The Holy GraiJ Tapestries", and "William Morris- Pattern Designer".

103. Vanee, Peggy. William Morris Wallpapers. London: Bracken Books, 1989.88 pp.

A brief introduction accompanies the 40 full-colour plates of Morris's wallpapers.

104. Warkinson, Ray. "Morris's Beginnings in Embroidery." The Journal of theWilliam Morris Society, 8 (Autumn 1988),25-28.

A tracing ofan embroidered pomegranate motiffrom Hardwick Hall with Morris'spenned inscription is similar to an embroidery that hangs from the dressing tablein his oil portrait of "La Belle Iseult".

105. Warkinson, Ray. "Red House Decorated." The Journal of the William MorrisSociety, 7 (Spring 1988), 10-15.

Mackail's misleading generalizations about the furnishings at Red House includehis confusion ofa painting on the Red Lion Square settle by Burne-Jones with theRed House hall cupboard painted by Morris whose frieze-like scene projects theidyllic life of Red House by suggesting references to Malory, King Rene, andChaucer.

106. Watkinson, Ray. William Morris as Designer, 2nd Ed. London: Trefoil, 1989.11481 pp.

A reprint of the 1967 Studio Vista edition.

BOOK DESIGN

107. Check land, Sarah Jane. "Saleroom." The Times, 20 May 1989, 3.Morris's illuminated text of Virgil's Aeneid sold for $1.]2 million, <'a record notonly for Morris but for any modern illuminated manuscript".

108. Colebrook, Frank, William Morris: Master-Printer. Ed. William S. Peterson.Council Bluffs, Iowa: Yellow Barn Press, 1989. vii-ix, 34 pp.

A reprint of the informative lecture first published in The Printing Times andLithographer (November 1896) and separately by Lewis Hepworth printers inTunbridge Wells (J 897).

109. Dreyfus, John. Morris and the Printed Book: A Reconsideration of his Viewson Type and Book Design in the Light of Later Computer-aided Techniques.

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Kelmscott Lecture. London: William Morris Society, 1989. 32 pp.An outsider who brought his love ofmedievahsm and design to the printing trade.Morris believed the artist's design must be interpreted by the craftsman who cutsthe punch, and now might predict that the digital systems ofdesk-top publishingmay mean new outsiders will invigorate typography.

1 la. Dunlap, Joseph. "Emery Walker and 'Letter-press Printing': A CentennialCelebration." Printing History 10, No. 2 (1988), 34-37.

The text of WaLker's influential November 1888 iLLustrated Lecture is introducedand accompanied by accounts of it by Oscar Wilde and May Morris.

1] 1. Franklin, Colin. "Kelmscott Books in the S. A. Library." Quarterly Bulletin ofthe South African Library, 4] (1987), ] 65-68.

Five donated Kelmscott books occasion this review ofMorris's pLace in the eccentrichistory of private presses.

112. Labuz, Ronald. Typography and Typesetting. New York: Van NostrandReinhold, 1988, 44-47, 72.

The typographical giants of the 20th century are unified in their debt to Morrisand his theory of evocative printing with type compLementing subject matter.

113. Quon, Megan Nelson. "William Morris: Contradiction and Achievement."AmIJhora,77 (September 1989), 12-16.

Morris's theoreticaL Lectures on cLarity in book design revolutionized modernpublishing while his practice of producing cLuttered but exquisite Gothic bookscontinues to excite collectors.

114. Peterson, William S. "The Type Designs of William Morris." Journal of thePrinting Historical Society, 19/20 (1985-87),5-6].

BiLLs by cutter Prince and caster Reed and 48 illustrations document how Morrisadapted and transformed the types of Jenson, Rubeus, Schoeffer, Zainer, etc. bytracing and free-hand drawing photographic enLargements and reductions of theirtypes and his drawings.

] 15. Spading, H. Halliday. The Kelmscott Press and William Morris, Master­Craftsman. London: Nottingham Court Press, ] 988. 202 pp.

A reprint of the 1924 Macmillan edition.

POLITICS

116. Blanchon, Marie-Therese. "William Morris, Gothique et Socialisme." CahiersVictoriens & Edouardiens, 28 (Ocrober 1988), 53-63.

The importance of gothic architecture and medieval arts and crafts to Morris'svision ofsocialism is explored with reference to Ruskin and Marx, and to Morris'svisits to the cathedrals of northern France.

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117. Briggs, Asa. "The Appeal of William Morris." The Collected Essays of AsaBriggs, Vol. 2, Images, Prohlems, Stand-points, Forecasts. Champaign, Ill., U. ofillinois P., 1985, 116-26.

Like and unlike Ruskin and Marx. Morris criticized industrialism and the qualityof life in ways which condemn the directions of both capitalism and communismin the twentieth century.

118. Coleman, Roger. "Useful Work Versus Useless Toil." The Art of Work, AnEpitaph to Skill. London, Pluro, 1988, 111-23.

In his political writings. Morris presents a "democratic theory of art" which ­grounded in his thinking about commonplace popular art, the quality of everydaysurroundings, and unalienated work - influenced the craft revival and art schoolsystem, and has continuing relevance today.

119. Fuller, Peter. Theoria: Art and the Absence of Grace. London: Charta andWindus, 1988, 130-43.

Misreading Ruskin in an effort to reconcile him with Marx, Morris glorified labour,ignored the spiritual. and pursued socialism as a "sentimental, aestheticized andimpossible dream ".

120. Gerard, David. John Ruskin and William Morris: The Energies of Order andLove. London, Nine Elms, 1988.23 pp.

Though they agreed that ugliness was a moral. economic, and environmentaldisease, Ruskin urged private philanthropy and aesthetic analyses. whereas Morrisbelieved that art could be regenerated only by politically attacking the socio­economic system.

121. Gonz<ilez De Durana, Javier. "Arte Y Socialismo Segun 'La Lucha de Clases' deBilbao, 1894-1905." Kobie,3 (1985-86), 7-56.

Morris's strong influcence on Miguel de Unamuno is shown in the many articlesUnamuno wrote for La Lucha de Clases magazine on the relation between art andsocialism.

122. MacCarrhy, Fiona. Eric Gill. London, Faber, 1989,63-4, 71-2, 293.Although they had much in common, Gill "bypassed William Morris in his list ofallegiances, judging him lacking in spiritual qualities as well as short-sighted in hispolitical activism ".

123. Smith, Peter. "William Morris: Art, Politics and the Future." And: Journal ofArt & Art Education, 15/16 (1988), 50-1.

Art historians who depoliticize Morris have overlooked his programme of actionfor developing a social order based upon purposeful and pleasurable labour.

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AUTHOR INDEX

Adams, Steven 71Albinski, Nan 31Amery, Colin 72Armsrrong, Anne 10Baker, Lesley 32Bendey, D. M. R. 33Blanchon, Marie-Therese

56, "116Boos, Florence 11,34Bosomworth, Dororhy

73Briggs, Asa 74, "117Check land, Sarah Jane

107Chrisrian, John 75Cochran, Rebecca 35Colebrook, Frank 108Coleman, Roger 118Coleman, Stephcn 36Crown, Parricia 76Culler, A. Dwighr 37Daly, Gayl2Daly, Macdonald 38Dcpas, Rosalind 77Dreyfus, John 109Duckworrh, Alisrair M.

39Dunlap, Joseph 1 10Duval, I. 78Dworken, Holly Ann 40Ellison, RlIrh 5, 13Ennis, Jane 41Faas, Ekberr 42Faulkner, Peter "14Faxon, Alicia Craig 79Foisner, Sabinc 43Franklin, Colin 111Freedman, Jonathan 44Fuller, Peter 119Fyrth, Jim 45Gerard, David 120Gere, Charlotte 80Gillow, Norah 81

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Goddard, Lily 15Gonzalez De Durana,

Javier 121Greenhalgh, Paul 82Greenwood, Martin 83Guild, Robin 84Haslam, Malcolm 85Hay, S. A. 86Hepburn, (an 87Holroyd, Michael16Honnighausell, Lothar

46Ionides, Luke 18J6I1S5011, Orn D. 23Julian, Linda Anne 47Kelvin, Norman 20Kieffer, Bruce 88Kochler, Cortus T. 7Labllz, Ronald 112Lambert, Elizabeth 89Larham, David 8Latham, She;la 8Lerner, I.aurence 48Levitas, Ruth 49MacCarthy, Fiona 122Mancoff, Oebra N. 50Manferlotti, Stefano 1Marsh, Jan 51,90Marshall, Jeannerre 27Millbrandt, Roger

Douglas 22Miller, Jane M. 52Mitchell, Jack 53Mooney, Susan 54Morris, William 1-4Moss, Gillian 94Munich, Adrienne

Auslander 55Muthesius , Hermann 91Naylor, Gillian 2Nelson, Megan 92, 113Otton, Megan Nelson

92, 113

6skarsson, Arni 23Palusci, Oriana 1Parry, Linda 93-4Patton, Phil 95Paul, Tessa 96Peterson, William S.

108,114Pinkney, Tony 97Ponder, Stephen 98Poulson, Christine 24, 99Preston, Peter 25Ramel, Annie 56Reaves, Catherine Anne

57Richards, Bernard 58Richardson, Lincia 26RlIssell, Berh 100Sander, Hans-Jochen 59Schonfield, Zuzanna 27Schulte, Edvige 60Seibert, Sttffen 81Shaw, George Bernard 28Silver, Carole 61510an, Helen 21Smith, Lindsay 62Smith, Peter "123Sparling, H. Halliday

115Spittles, Brian 63Spours, Judy 101Sutherland, John 64Swenanon, Mark 65Talbot, Norman 66Taylor, John RlIssell 102Timo, Helen A. 67,68Tompkins, J. M. S. 69Valiance, Aymer 3Vance, Peggy 103Ward, Colin 29Watkinson, Ray 30,

104-06Watson, Peter 9Wood ring, Carl 7

'The Novel on Blue Paper':An Additional Page.

Richard PearsonSince Pcnclope Firl.gerald's editing of the British Library manuscript of Morris'sunfinished novel. 'The Novel on Blue Paper'. an addirionallcaf of the manuscript (p.96) has been uncovered in the Huntingron Library, California: Mss. HM 369717.

How or when this leaf of the novel became separated from the bulk of themanuscript (which consists of pages 1-95 and seven supplemenrary pages) is llorknown. The fragment, the Associate Curaror informs mc, was purchased by theHunringron Library from a Sothcby's auction in July 1972, and had previollsly beenowned by Sir Sydney C. Cockerel!. Cockerell sold his collection of Morris materialin 1956 and so this fragment may have been a late acquisition or been overlooked atthe earlier sale. If the former, it was possibly first lost when Morris sent the wholemanuscript co Louisa Baldwin on 22 June 1872, or may have hccn given away to acollector as a sample of Morris's handwriting. That Cockerel! (whose autograph notesadorn many of Morris's manuscripts and who was moreover an inveterate organiser)should not choose to rc*unite the fragmcnt with the rest of the 'novel' would sccm tosuggest that he had not identified the leaf.

The page is printed here with the kind permission of the Huntingron Library andthc Society of Antiquaries.

Morris did nor punctuate his manuscript, except by using dashes to indictatc breaks,and therefore all full-stops, speech-marks, and paragraphing arc editorial additions.The page ends in mid-sentence; thus, evidently, Morris continucd his story, and it isto be hoped that further pages may surface in the future. The following continucs theletter printed on p.72 of the published version, The Novel on Blue Paper (London:Wi Iliam Morris Society, 1982), before the editor's note referring to the supplementaryleaves of the manuscript.

The fragment begins with John, in the presence of his brother Arthur, reading aletter from their father; square brackets indicate deletions:

...one of the Saints and I don't think you are either: yct if things had gone betterwith me I should have been a better man. But what does it all matter? I hopeArthm's better - give him my love.

I am, yours & c.

"What shall you do, John?"

"Go at once," said he, "'this afternoonl tomorrow morning. I always meant totake this offer."

He trembled with excitement. Heaven knows what a vista of new life lay beforethe lad's eyes.

"It's a pity, though, that you'll lose all the Summer," said Arthur.

XIX

"Well," quoth the other, '" am glad it's turned out so; 1 hate the draggling tailendof a thing that's all alllsicJ going away. But you'll be dull, old fellow."

"0 no," said Arthur. "I shall do. 11 shall I:' and he coloured slightly as he spoke."J shall be going to school soon, you know - and then' suppose something willturn up after Xmas." "Perhaps you'll come up to London, too, soon, old fellow,"said John.

"No, that I won't," said his

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