William Morris

William Morris posters: repeating leaves, vines and dense pattern worked in deep reds and greens. Browse the set and compare designs.

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William Morris Cray Poster

From: 90,00 zł
A repeating pattern of intertwined stems, leaves and small flowers, drawn so the composition has no centre and no edge, the colour held to a few flat tones. Cray is a textile pattern designed by William Morris in 1884, in the years when he was producing wallpapers, fabrics and printed

William Morris Centenary Exhibition Poster

From: 90,00 zł
Leaves, stems and small flowers locked into a repeating grid that runs across the whole sheet without a seam. William Morris insisted that ornament be made by hand and by people who could live from it and a centenary exhibition poster carries that argument as a pattern rather than as

William Morris Pimpernel Poster

From: 90,00 zł
A pattern repeating in two directions: leaves and flowers interlaced so densely that the eye cannot find a centre, colour held to two or three flat tones, no top and no bottom. William Morris argued that decoration should be made by hand and understood by everyone and his patterns avoided

William Morris Blackthorn Poster

From: 90,00 zł
A pattern of blackthorn branches carrying small blossom and dark berries, drawn so stems curve and cross without ever meeting at a centre, the design repeating in both directions. Blackthorn is one of the repeating patterns designed by William Morris, who worked from plant studies rather than ornament books.

William Morris Snakeshead Poster

From: 90,00 zł
Sinuous stems carrying fritillary heads, the flowers at different heights so the pattern moves in a slow rhythm, line even and colour flat. Snakeshead was designed by William Morris in 1876, when his workshop argued that British decoration could be recovered by hand processes and close observation of plants.

William Morris posters: patterns that never went out of date

William Morris (1834–1896) was a designer, poet, printer and one of the founders of the Arts & Crafts movement. He believed that useful things should be beautiful and that decoration should come from observation — leaves, birds, flowers — rather than from imitation of earlier styles. The wallpapers and textiles he designed for Morris & Co. are still in production today, which is a rare thing for a nineteenth-century pattern.

What is in this collection

  • Repeat patterns — Pimpernel, Blackthorn, Snakeshead and Cray. Each one is built on the same principle: a motif that repeats across the whole surface with no obvious centre, so the eye keeps moving.
  • The exhibition print — the centenary exhibition poster, made for a museum show of his work, with the lettering and layout of a printed poster rather than a wallpaper sample.

How to choose one

The darker grounds — Blackthorn and Snakeshead — work in a hallway, a study or a room with dark wood; they read as texture from a distance and as drawing up close. Pimpernel is the lighter, more open pattern and suits a bedroom or a pale living room. Cray sits between the two.

Morris posters take a wooden or brass frame badly disguised: a thin black or natural oak frame keeps the pattern doing the work. They also pair naturally with a Scandinavian interior, which shares the same taste for natural materials, or with a museum poster next to them for contrast between pattern and typography.

Sizes, paper and delivery

Every poster is printed on Hahnemühle paper and is available in sizes from 30×40 to 70×100 cm, plus A3 and A2. Smaller formats keep the repeat legible at close range; 70×100 cm lets a single motif fill a wall. Orders leave the studio within 24 business hours, delivery in the EU takes 3–5 working days (3–6 outside the EU), and every parcel is tracked.

Why a pattern poster works where a picture does not

A picture asks to be looked at; a pattern asks to be lived with. That is why Morris's designs survive in interiors that have nothing else Victorian in them — they are decoration in the honest sense, made to sit behind a chair or above a table without demanding attention.

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