Showing posts with label A Morris Tapestry. Show all posts
Showing posts with label A Morris Tapestry. Show all posts

Friday, January 21, 2011

Michele Hill's More William Morris Applique

Michele Hill's second book on William Morris applique is out!

Here's the cover quilt Morning Glory.
She certainly made good use of the reds in The Morris Workshop line.

The border, featured on the cover, uses the Iris print
by John Dearle from that 2010 Morris Workshop collection for Moda.
Read more about the print here at my blog post

Thanks, Michele.

The subtitle is
"Spectacular Quilts and Accesories for the Home"
Here's a specatacular quilt
Floral Fantasy.
Not in the usual Wm. Morris range

And some accessories Willie woulda loved

See Michele's blog
William Morris and Michele

She has information about her fabrics and publications.

The new book is Australian so it will be awhile before
 it's at your local quiltshop if you're in another hemisphere.
Keep checking
and ask your quilt shop owner to check with her usual distributors.

Here's Michele's first book.

My current William Morris reproduction collection in shops now is A Morris Tapestry.

Monday, December 20, 2010

The River Wey

Wey, a reproduction from the Moda collection A Morris Tapestry

Nature was William Morris's muse. His careful observation of plants and birds are one reason his fabric designs remain so current today. He captured the essence of the bloom and worked it into a complex repeat of layers of curving lines.

Design for Wey by William Morris

The lines in the repeat also reflected his feeling for nature with stems and branches standing for the rivers and streams of England. He created several designs named after waterways. The Wey is a river that runs through Surrey, Hampshire and West Sussex, joining the Thames River at Weybridge.

The River Wey

The interlaced lines in the pattern are thought to represent the river and its tributaries. The major line in Wey is a strong diagonal with stems interlaced behind it.

Morris's drawing for Wey,  partially colored

The Wey has long been a navigational river.

Wey was designed by William Morris about 1883, originally meant to be blockprinted on cotton broadcloth and on velveteen (the red piece above is on velveteen).
In recoloring Wey for A Morris Tapestry I toned down that diagonal line. Directionality that works well for upholstery and wallpaper is often too strong for patchwork.

For the border and setting triangles on my pineapple log cabin
 I'm using Wey in the damask black colorway .

Right now I am handquilting along the diagonal lines, the tributaries.

See more information about the River Wey by clicking here:

And see the Textile Blog for more information about Morris's other prints named for rivers---Windrush, Cray, Wandle, Medway, Evenlode and Kennet:

One can take a boat tour of the River Wey.  

Thursday, December 16, 2010

J.H. Dearle's Daffodil

Daffodil from my new Moda collection
A Morris Tapestry
Damask Black Colorway

As William Morris aged he turned over the supervision of Morris and Company to John Henry Dearle (1860-1932), known as Henry. Dearle had begun as a showroom assistant when he was an 18 year-old art student and graduated to designer. After Morris's death in 1896 he became Art Director. Linda Parry, the expert on Morris design, has counted 25 Dearle designs in repeating textiles (Morris did 36).*

Morris's Wey design, also in A Morris Tapestry

For his early designs Dearle tended to copy flowers and leaves from Morris's patterns, combining them in new repeat, not much different from Morris's characteristic designs. He gradually developed his own style, typified by Daffodil from 1891. Morris had often used a diagonal set to his florals, but Dearle alternated the flowers here with a bold vertical stripe.

We've done the Daffodil print in seven colorway,
above Wardle's Sky Blue and Fennel Green, left and center.

Morris's line is often subtle; in this piece the stripe dominates.

An original print or document print
Morris would not have used the bright pinks, blacks and bitter yellows in this version of Henry Dearle's Daffodil. As the Arts and Crafts Movement style evolved into Art Nouveau unusual color combinations obtainable with synthetic dyes became the fashion.
Dearle adapted Morris's emphasis on nature to new Art Nouveau sensibilities and color. The block print for Daffodil required ten blocks for the color combinations, which came from synthetic dyes. Dearle understood the changing direction of the Arts and Crafts movement. His Daffodil design for wallpaper and print was one of the firm's most popular sellers.

Poster by Alphonse Mucha (1860-1939).
Mucha, Henry Dearle's contemporary, 
pushed Art Nouveau principles
 and color to create a popular style. 

Prints were one facet of Henry Dearle's interests. He also designed carpets, tapestries and embroideries as well as stained glass. His son Duncan W. Dearle (1893-1954) specialized in glass and when Henry died on January 15, 1932, Duncan took over the firm. But by the 1930s modernism ruled and the Morris firm went into decline, going into liquidation in 1940.

See more of Dearle's work by searching for "Dearle" on the search page of the Victoria and Albert Museum's website. Click here:

And see an earlier post about him by clicking here:

The Textile Blog has a post about his tapestries

*Linda Parry, William Morris Textiles, Viking Press, New York, 1983. There is a picture of Henry Dearle on page 70, a sketch showing him looking exactly like an Edwardian gentleman who lived into the modern age.

Friday, December 10, 2010

Morris Tapestry Project

It's hard to believe my patio ever looked like this picture taken in early November.
Fall is over! Annuals are gone and the hostas are asleep.
On the fence is Roseanne Smith's unfinished top of Morris Tapestry prints from Moda.

She's pieced squares inside of squares from precut Layer Cakes
 (10" squares) and added yardage for the setting.

Here's the plan drawn in Electric Quilt.
The quilt awaits a border.

For the setting strips she's using the print called Bachelor's Buttons.
 For the Morris Tapestry collection we've done it in six colorways.

William Morris designed it for wallpaper. Why this print is called Bachelor's Buttons I cannot tell.
It certainly doesn't look like the familiar cornflower, also called Bachelor's Button.

The leaves are much more like an acanthus leaf, a traditional image we find in classical Greek design, and in several other designs by William Morris.

Acanthus Leaf by William Morris
(this print is in The Morris Workshop collection from Moda)

Acanthus mollis:  leaves above and flowers below

The scrolling acanthus leaf is one of the basic images in ornament found in this 19th-century painted box and 18th-century tapestry below.

The leaf is found in columns from ancient Greece

and classical revival architecture everywhere.

Kevin did some searching and found a ranunculus (a good word and a good garden plant)
that is called Bachelor's Button.

Here's another variety of ranunculus that looks a lot like the fabric.
So now I guess I'll reword this:

Morris's inspiration for Bachelor's Button might have been a ranunculus drawn with the traditional curving lines seen in classical acanthus leaves.

Thanks, Kevin!

See a piece of the original wood-block printed wallpaper in the Bachelor's Buttons pattern at the Victoria and Albert Museum's website by clicking here:

And read more about the acanthus leaf in William Morris's designs at the Earthly Paradise blog by clicking here:

Saturday, December 4, 2010

Morris Tapestry Blues

I'm thinking snow
And indigo blue.

Variable Star block from about 1850 in an indigo blue print

Wey in the Kelmscott Indigo colorway
We're offering lots of blues in my William Morris reproduction collection A Morris Tapestry---a snowstorm of blues.

Designer William Morris loved indigo. He and his dyer Thomas Wardle (right) worked hard
to produce a variety of blues with the old fashioned dye.

Although we use synthetic dyes today we've also worked hard to get a good range
 of blues from light to dark in A Morris Tapestry.

You might want to start a winter project with a traditional star and a wintery mix of blues.

The blocks in these sketches are 10 inches. See rotary cutting directions below.
In both quilt designs the stars are set next to a second pieced block and use a variety of the blue prints.

Drifting Snow
82" x 82"

The alternate block is a square pieced of 2 half-square triangles, turned in 2 directions.
For 10" finished blocks cut squares 10 7/8" and cut in half diagonally.
You need 24 of these blocks, so cut 12 light squares and 12 dark squares.

82" x 82"
Same star arrangement but the alternate block is pieced of 4 triangles.

For 10" finished blocks cut squares 11 1/4" and cut into 4 triangles.
You need 25 of these blocks, so cut 12 light squares and 12 dark squares.

The lovely Japanese prints are from the Library of Congress collection. They have a large collection of 19th-century woodblock prints online.
Click here:

And see other posts about indigo blue and Thomas Wardle by clicking here:

Cutting the 10" finished star blocks:
For each quilt you will need 12 light stars and 13 dark stars.
For each star....
A Cut 4 squares 3".
B Cut 1 square 6 1/4". Cut into 4 triangles with 2 diagonal cuts.
C Cut 4 squares 3 3/8". Cut into 2 triangles with 1 diagonal cut.
D Cut 1 square 5 1/2".

Cutting the 6 inch finished border:
I'd use one of the large-scale prints.

Wey has a diagonal direction;

 Daffodil runs parallel to the quilt's edge and

Bachelor's Button is less directional.
You'll need 2 1/3 yards. Cut the borders before the blocks and you'll have left-overs for the blocks.
Cut 4 strips 82 1/2" by 6 1/2".
Miter the border corners.