This early wallpaper design by William Morris (1834-1896) is known as ‘Fruit’ or ‘Pomegranate’ and dates from around 1862. It borrows motifs from Morris’s medieval-style tapestry work, displaying a historical influence that his early work in the decorative arts shares with the Pre-Raphaelite artists and with their supporter, the art critic John Ruskin. It also highlights his interest in naturalism and plant forms. At first, Morris tried to print his designs at his studio in Red Lion Square in oil colours from etched zinc blocks. The process did not work. To overcome this failure, he ordered traditional pearwood blocks to be cut for ‘Fruit’. Production was then subcontracted out to Jeffrey & Co. of Islington, which specialised in the production of hand-printed wallpapers. Although Morris’s designs were prohibitively expensive and initially the preserve of the wealthy, ‘Fruit’ is one the most enduringly popular. It became a favourite with the design-conscious middle-classes of late nineteenth century, and is still available from the Morris & Co. division of Sandersons, who own the original printing blocks.
Sections of this design vary in character, and it is probable that they are by different hands. The draughtsmanship of the olive branches is reminiscent of Morris’s style, whilst the pomegranates have a robust quality which could link them to Philip Webb (1831-1915). The architect, Webb, often collaborated closely with Morris, and it was common practice for a working design to be passed around like this during its conception.
The olive branch motif does not appear in the actual printed wallpaper (E.3712-1927), yet it has obvious similarities with Morris, Marshall, Faulkner & Co.’s design by Philip Webb for the V&A’s Green Dining Room, circa 1866. (E.5096-1960).
