Always arty, never crafty

The book Kelmscott Chaucer was the culmination of the life’s work of designer, poet and Arts & Crafts originator William Morris who lived in the now iconic Red House in Bexleyheath. 125 years after the publication of that seminal work, Alexandra Warren tells his story.

William Morris was born to a wealthy middle-class family in Walthamstow, Essex, in 1834.

At the age of six, the family moved to Woodford, where Morris enjoyed an idyllic childhood, riding his pony around the countryside, fishing with his brothers, and exploring Iron Age earthworks in Epping Forest.

Even at this age, Morris had a keen interest in architecture, especially churches, which he visited around the county.

This interest in medievalism followed Morris to Oxford University, which he entered in 1952.

Although he chose to study classics, he was bored by the subject and disliked Exeter College, where he resided.

His time at university was fruitful in other ways, though, as it was there he met his lifelong friend and collaborator Edward Burne-Jones, who shared a passion for medievalism and, on a trip to France, the two decided to commit themselves to a “life of art”.

After graduating, Morris moved to Bloomsbury, in central London, where he started a short-lived architectural apprenticeship, before quitting to focus on other artistic pursuits.

At the same time, Burne-Jones became a student of Pre-Raphaelite artist Dante Gabriel Rossetti, who encouraged Morris to take up painting.

In these early years in London, Morris dabbled in painting and poetry.

Morris’ contributions to the Arthurian Murals at the Oxford Union were regarded as inferior to the other artists’ and a book of poems failed to have financial success.

Living in London had a strong effect on him, particularly the pollution and the expansion into the surrounding countryside which he called a “spreading sore.”

He married Jane Burden in 1859, and moved with her to Red House in Bexleyheath, which was designed by Morris and Philip Webb – a friend from the architecture firm.

It was in the years living at Red House when Morris founded his decorative arts company, Morris, Marshall, Faulkner & Co.

They called themselves “the Firm” and ran on values of anti-elitism and affordability, hoping also to elevate decorative arts to the status of fine arts.

They quickly became successful, especially their stained-glass windows.

In 1861, Jane gave birth to their first daughter, Jenny, and in 1862 to their second, Mary, but there soon were problems in Morris’ marriage, as Jane became increasingly close to Rossetti, who had also been in love with her when she met Morris.

Their affair continued for many years, and it is supposed that eventually Morris grew to know and accept it.

Indeed the Morris family took a joint lease with Rossetti of Kelmscott Manor in Oxfordshire in 1871, which Morris adored and Rossetti hated, leading to a mental breakdown.

From this point, Morris and his decorative arts company, now called Morris & Co, gained more success, becoming a household name by 1880.

He continued his other passions alongside this work, publishing translations of the Aeneid and Icelandic tales, and becoming involved in politics.

Morris moved his family in 1879, this time to a 18th century mansion in Hammersmith, which he named Kelmscott House.

It was near here, at 16 Upper Mall in Hammersmith, that he set up the Kelmscott Press in 1891.

In contrast to the books being made at the time, which Morris regarded to be ugly and badly made, the books produced by the Kelmscott Press were works of art.

Inspired by mediaeval manuscripts, Morris took great care over every detail of each publication.

He created three typefaces for the press, and was careful that each type avoided creating white space around the letter, which in his opinion formed “those ugly rivers on lines running about the page which are such a blemish to decent printing.”

He also preferred a double page opening, with the title page on the left and the beginning of the book on the right.

Morris was particular about materials, and got from Germany and paper from Kent, which was based on 15th century Italian paper and made from linen rags.

Over the eight years it ran, the Kelmscott Press published 1,8000 volumes of more than 50 titles, many written by Morris, and symbolised a culmination of Morris’ life work and values.

The press brought together his love of mediaeval literature and his socialist philosophy.

The magnum opus of the press was the Kelmscott Chaucer, illustrated by Burne-Jones and designed by Morris.

The book contains 556 pages printed in black and red, 87 woodcut illustrations, 14 large borders, 18 borders and frames for pictures and 26 initials.

The double title page took Morris two weeks to design, and the whole project took four years to complete.

On seeing the first copy, Burne-Jones wrote: “When Morris and I were little chaps at Oxford, if such a book had come out then we should have just gone off our heads, but we have made at the end of our days the very thing we would have made then if we could.”

The press produced 425 copies on paper, which were sold at £20 each, and a further 13 copies on vellum at £126.

Just four months later, on October 4, 1896, Morris died of tuberculosis aged 62.

In honour of the 125 year anniversary of the Kelmscott Chaucer, the William Morris Society is running the following online talks:

April 17: The Mirror of Everyday Life: Morris’s Book Collecting and the Kelmscott Press; Dr Yuri Cowan

May 15: A Kelmscott Chaucer for our times: Creating a contemporary artistic binding for a copy of the Kelmscott Chaucer; Dominic Riley, President of the Society of Bookbinders

June 19: Emery Walker, Typographer; Simon Loxley, writer and graphic designer

Go to https://williammorrissociety.org