The Journal of William Morris Studies

Art and Design

Articles on Morris’s Art and Design in the JWMS, 1961-2019

TitleSummaryCategoriesTagsLink
Vol. 1 No. 1 p. 04-06 Morris and Calligraphy

Alfred Fairbank

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Vol. 1 No. 1 p. 22-24 Notes on Morris & Co.’s Domestic Stained Glass

A. C. Sewter

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Vol. 1 No. 1 p. 28-31 Morris and Trafalgar Square

R. C. H. Briggs

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Vol. 2 No. 1 p. 04-08 The Paintings of William Morris

Janet Camp Troxell

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Vol. 2 No. 2 p. 14-18 The Kelmscott Press: An Album for the Nineties

Colin Franklin

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Vol. 2 No. 3 p. 24-31 William Morris’s ‘New and Lighter Design’

K. L. Goodwin

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Vol. 3 No. 1 p. 22-26 Morris and Cobden-Sanderson

John Randle

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Vol. 3 No. 2 p. 02 Ilustration: The Woodpecker Tapestry

Illustration for K.B. Valentine’s “The Woodpecker Tapestry” article on p. 07

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Vol. 3 No. 2 p. 07 The Woodpacker Tapestry

K. B. Valentine

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Vol. 3 No. 4 p. 20-34 The Symbolism of William Morris

Ralph Berry

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Vol. 4 No. 3 p. 02-06 Memories of Morris & Co

Edward Payne

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Vol. 4 No. 3 p. 25-28 William Morris’s Early Furniture

Pat Kirkham

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Vol. 5 No. 1 p. 16-24 Medievalism in Morris’s Aesthetic Theory

Michael Naslas

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Vol. 5 No. 1 p. 25-30 The Earthly Paradise of Morris and Burne-Jones

Lesley A. Baker

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Vol. 5 No. 3 p. 16-22 The Revival of the Merton Abbey Tapestry Works

Linda Parry

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Vol. 5 No. 3 p. 42 First Appearance of ‘The Firm

reprint from London Society, 1862

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Vol. 5 No. 4 p. 60-66 Architects and Masons

Richard S. Smith

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Vol. 5 No. 4 p. 77 Another day at the Exhibition

An extract from London Society from 1862 and two letters by James Smetham

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Vol. 6 No. 2 p. 34 A footnote to a footnote

R. W. Raymond Watkinson

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Vol. 6 No. 4 p. 04-10 A New Art of Environmental Design

John Hanna

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Vol. 6 No. 4 p. 11-16 Morris and Company in the Twentieth Century

Linda Parry

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Vol. 6 No. 4 p. 16-17 Some Words on Indigo

R. W. (Raymond Watkinson)

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Vol. 7 No. 2 p. 01-08 The Morris and De Morgan Collections at Wightwick Manor

Stephen Ponder

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Vol. 7 No. 4 p. 10-15 Red House Decorated

Ray Watkinson

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Vol. 8 No. 1 p. 05-13 “A Language That All Can Understand”: William Morris, William Hogarth and the Decorative Arts

Patricia Crown

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Vol. 8 No. 1 p. 14-23 Knight and Angels: the Treatment of “Sir Galahad” in the Work of [Dante] Gabriel Rossetti, Elizabeth Siddal and William Morris

Jan Marsh

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Vol. 8 No. 1 p. 25-28 Morris’s Beginnings in Embroidery

Ray Watkinson

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Vol. 8 No. 4 p. 28-31 Charles Gere and William Morris

Edmund Penning-Rowsell

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Vol. 9 No. 1 p. 35-42 Ananda Coomaraswamy and William Morris

Larry D. Lutchmansingh

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Vol. 10 No. 2 p. 09-15 A Lesson in International Relations: Morris and the SPAB

Frank C. Sharp

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Vol. 10 No. 3 p. 06-09 Morris and Music

Lesley Baker

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Vol. 10 No. 4 p. 10 The Roadmenders

Ray Watkinson

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Vol. 10 No. 4 p. 13-19 Morris and Early Music: the Shaw/Dolmetsch Connection

Andrew Heywood

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Vol. 10 No. 4 p. 40-47 A Bristol Printing House: Edward Everard’s Monument to Gutenberg, Morris and the Printer’s Art

Charles Harvey and Jon Press

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Vol. 11 No. 1 p. 31-44 William Morris and the Royal Commission on Technical Instruction, 1881-84

Charles Harvey and Jon Press

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Vol. 11 No. 2 p. 05-09 Morris & Co. in a Baroque Setting

Eeyan Hartley

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Vol. 11 No. 2 p. 20-24 The Impact of Morris and the Kelmscott Press in Germany

Hans Eckert

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Vol. 11 No. 2 p. 24-25 A Note on Gimson and Morris

Godfrey Rubens

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Vol. 11 No. 3 p. 06-07 A Note on Morris and Van Eyck

Jan Marsh

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Vol. 11 No. 3 p. 08-17 Morris and Indigo Discharge Printing

Virginia Davis

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Vol. 11 No. 4 p. 48-49 Morris and the ‘White-line’ Method

Ray Watkinson

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Vol. 12 No. 2 p. 36-38 The Kelmscott Press: To What Purpose?

Lesley A. Baker

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Vol. 12 No. 2 p. 39-45 A Japanese William Morris: Yanagi Sôetsu and Mingei Theory

Yuko Kikuchi

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Vol. 12 No. 3 p. 20-25 Living Dyeing: Morris, Merton & the Wardles

Ray Watkinson

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Vol. 12 No. 4 p. 04-06 ‘Rupes Topseia’: A New Suggestion

Jan Marsh

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Vol. 12 No. 4 p. 21-28 A Revaluation of Morris’s Influence in Japan

Chiaki Ajioka

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Vol. 13 No. 2 p. 54-55 ‘Rupes Topseia’, Further Thoughts

David Rodgers

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Vol. 13 No. 3 p. 14-25 The Gospel of Intensity: ‘harry, William Morris & The Aesthetic Movement

Andrew Heywood

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Vol. 13 No. 4 p. 21-29 The ‘Sympathetic Translation’ of Patterns: William Morris as Singer, Scribe, and Printer

Isolde Karen Herbert

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Vol. 13 No. 4 p. 30-34 The Morris Reredoses at St. John the Baptist Church, Findon, and The Church of the Blessed Virgin Mary, Clapham, West Sussex

Tessa Kelly

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Vol. 13 No. 4 p. 35-40 The Topsaic Tapestries and Penkill Castle

Jan Marsh

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Vol. 14 No. 1 p. 030-036 John Ruskin, William Morris, and the Illuminated Manuscript

Evelyn J. Phimister

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Vol. 14 No. 1 p. 067-075 “A Funny Childish Thing”: The Flodden Field Bas Relief and the Redesign of the Library at Naworth Castle

Katherine Haslam

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Vol. 14 No. 1 p. 082 Rossetti and the Findon Tile

Jan Marsh

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Vol. 14 No. 2 p. 054-058 William Morris and Gustav Hoist’s Fantasia on the Dargason

Paul Johnson

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Vol. 15 No. 1 p. 17-37 Class Consciousness in the Design of William Morris

Stephen F. Eisenman

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Vol. 15 No. 3 p. 30-33 William Morris and Ray Watkinson: Wood Engravers

Peter Lawrence

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Vol. 15 No. 4 p. 055-73 The Kelmscott Shelley and Material Poetics

Damian Judge Rollison

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Vol. 15 No. 4 p. 074-90 A Book Arts Pilgrimage: Arts and Crafts Socialism and the Kelmscott Chaucer

Jessica DeSpain

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Vol. 15 No. 4 p. 091-93 A Note on Burne-Jones’s Â’Pocket Cathedral’ and Ruskin

Douglas E. Schoenherr

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Vol. 15 No. 4 p. 094-108 Saint Morris: The Last Days of the Kelmscott Press in the Late-Victorian Media

Thomas J. Tobin

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Vol. 16 No. 1 p. 10-21 As It Might Be: The Radical Legacy of William Morris in the Work of David Mabb

Dave Beech

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Vol. 17 No. 1 p. 05-26 Red House and Asia: A House and its Heritage

Sonia Ashmore and Yasuko Suga

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Vol. 17 No. 1 p. 49-72 Pevsner’s Morris

Peter Faulkner

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Vol. 17 No. 2 p. 073-88 Collections and Collectivity: William Morris in the Rare Book Room

Elizabeth Carolyn Miller

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Vol. 17 No. 2 p. 089-98 Taking Our Eyes Out of Our Pockets: Teaching William Morris’s Ideal Book

Susan Jaret McKinstry

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Vol. 17 No. 3 p. 57-73 Peter Paul Marshall’s Tottenham Well — copy or prototype?

Jan Marsh

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Vol. 17 No. 4 p. 033-51 The Glazed Screen at Red House

Olive Mercer and Jane Evans

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Vol. 17 No. 4 p. 052-64 The Attainment: The ‘Doubled Troubled’ Conclusion of William Morris and Edward Burne-Jones’s ‘Holy Grail’ Series

Kathleen O’Neill Sims

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Vol. 17 No. 4 p. 065-80 The history of a commission: Eleanor Leighton-Warren and the Burne-Jones window in Tabley Chapel, Cheshire (1897)

Rosalyn Gregory

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Vol. 18 No. 3 p. 056-63 The Briar Rose

Peter Faulkner

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Vol. 19 No. 1 p. 066-80 The Kelmscott Chaucer and The Golden Cockerel Canterbury Tales

Peter Faulkner

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Vol. 19 No. 2 p. 09-19 La Belle Iseult

Jan Marsh

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Vol. 19 No. 4 p. 040-62 Morris and Pre-Raphaelitism

Peter Faulkner

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Vol. 19 No. 4 p. 074-84 Morris’s Late Style and the Irreconcilabilities of Desire

Ingrid Hanson

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Vol. 20 No. 2 p. 013-15 Books in Bottles? William Morris and the demise of printing

Jan Marsh

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Vol. 21 No. 1 p. 22-34 Elizabeth Burden and the Royal School of Needlework

Lynn Hulse

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Vol. 21 No. 1 p. 49-69 ‘A Vestibule of Song’: Morris and Burne-Jones in Chicago

Elizabeth Helsinger

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Vol. 21 No. 2 p. 067-75 The Dixton Paintings: vision of News from Nowhere or dream?

Patrick O’Sullivan

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Vol. 21 No. 4 p. 50-73 William Morris: An Annotated Bibliography 2012–2013

David and Sheila Latham

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Vol. 22 No. 1 p. 42-53 A Provisional Memorial to Nuclear Disarmament

David Mabb

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Vol. 22 No. 3 p. 56-84 William Morris: An Annotated Bibliography 2014–2015

David and Sheila Latham

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Vol. 23 No. 1 p. 15-38 Pissarro’s Curtains: A French View on Morris, Ruskin and Pre-Raphaelitism

Lieske Tibbe

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Vol. 23 No. 2 p. 09-32 The ‘Lost’ Gifts from Dante Gabriel Rossetti to Jane Morris: The 1939 Kelmscott Sale

Anne Anderson

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Vol. 23 No. 4 p. 11-30 Art against Alienation: William Blake, William Morris and the British New Left

John P. Murphy

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