Illustration: William Morris. Daisy wallpaper design, 1864.
The Daisy pattern, along with Pomegranate were the first William Morris wallpapers to be produced, appearing in 1864. Daisy was in fact designed in 1862, but was not released on that date because of problems Morris was having in achieving a high enough standard of production. Eventually he had to admit defeat and the printing of wallpapers was taken over by the very reliable wallpaper manufacturers Jeffrey & Co. However, Daisy was a strictly hand-produced wallpaper using the block print method and Jeffrey & Co never wavered from Morris strict and closed instructions.
The use of and insistence by Morris of hand production wherever available, had the inevitable result of raising the cost of manufacturing the wallpapers involved. This had a direct and inevitable effect on the price of Morris wallpapers in general, which resulted in limiting their access, with only the small wealthy upper class being able to afford to buy from Morris. This was in direct conflict with Morris initial attempt to produce high quality interior products for all classes and ranges of budget. It appears that Morris exacting demands and his insistence on perfection which were always a large part of his character, won the battle between quality and the masses.
Illustration: Brussels tapestry in wool and silk, 16th century.
The Daisy pattern itself was derived from late medieval styled tapestry motifs. The sixteenth century example above should give some idea as to the origin of one of Morris most successful decorative works. It was a conscious decision on the part of Morris to use both a medieval styled pattern and one that was much more naturalistic in content than was perhaps usual for the time period. Daisy fuelled Morris desire to achieve a medieval simplicity along with a form of synchronicity with the era, that while accepting the contemporary world that Morris lived in, also recognised the relevant and superior points of decorative pattern work from the late medieval, at least as Morris saw it.
Daisy came in a number of colourways and proved to be hugely successful, still being printed fifty years after its initial printing in 1864. Although perhaps less involved than some of his later wallpaper creations, Daisy has a charm all of its own. Its defined, yet easily accessible late medievalism made it an extremely attractive proposition and was particularly popular with artistic and creative circles who often saw it as both refined and naively refreshing. Morris kept over-stylisation to a gentle minimum, although the daisy motifs are far from any strict form of realism. The compositional parameters of the pattern work are both harmonious and seemingly effortless. Along with its clear, concise and well balanced colours and tones, it is easy to see why it proved to be so effective and enduring.
Illustration: William Morris. Daisy wallpaper design, 1864.
Morris himself was never convinced as to the legitimacy of wallpaper and often referred to it as a poor substitution for fabric covered walls. In his estimation of the importance and effectiveness of the different interior products that Morris & Co produced over the decades, wallpaper was consistently at the bottom. There was a certain element of snobbery on Morris part as fabric wallcoverings were always perceived, particularly in the eighteenth century as infinitely superior to that of wallpaper. However, in the nineteenth century even those wealthy enough to afford fabric wallcoverings, were buying smart and fashionable contemporary wallpapers in which to decorate their homes. That Morris continued throughout his career to both design and sell wallpaper pattern work, shows that despite his reservations he was pragmatic enough to understand both the appeal and the money it accrued for the company.
Daisy is an interesting example of Morris early work and shows clearly where his ideas and initial interests and enthusiasm lay. These became more indistinct and complex as his career progressed, but at this early stage a love of nature as seen through the lens of late medievalism, is as obvious as his very direct inspirational copying from late medieval and early renaissance textile works shows.
Further reading links:
William Morris Wallpapers and Chintzes
Wallpaper: A History of Style and Trends
Wallpaper: The Ultimate Guide
Wallpaper in America: From the Seventeenth Century to World War I
Fabrics and Wallpapers for Historic Buildings
The Papered Wall: The History, Patterns and Techniques of Wallpaper, Second Edition
Pimpernell, Design For Wallpaper, Morris, William Giclee Poster Print by William Morris, 18x24
William Morris Wallpapers
"Chrysanthemum" Wallpaper Design, 1876 Giclee Poster Print by William Morris, 18x24
"Garden Tulip" Wallpaper Design, 1885 Giclee Poster Print by William Morris, 18x24
"Acanthus" Wallpaper Design, 1875 Giclee Poster Print by William Morris, 12x16
"Trellis" Wallpaper Design, 1864 Giclee Poster Print by William Morris, 24x32
"Rose-90" Wallpaper Design Artists Giclee Poster Print by William Morris, 36x48
Morris, William, Designs for Wallpapers
"Willow Bough" Wallpaper Design, 1887 Artists Giclee Poster Print by William Morris, 36x48
Arbutus Wallpaper Design Giclee Poster Print by William Morris, 18x24
WILLIAM MORRIS: Wallpapers and Designs
William Morris Designer - The Special Winter Number of the Studio
