William Morris:an annotated bibliography1984-85David and Sheila Latham

This bibliography is the third instalment of a biennial feature of The Journal: Someitems inadvertently omitted from the 1981-83 bibliography are added here. Thoughwe exclude reviews of books, we include reviews of exhibitions as a record of temporalevents. The entries in Part I and Part UI are arranged alphabetically by title, whilethose in Part II 3re arranged alphabetically by author. We give each original entry abrief annotation meant to describe its subject rather than evaluate its argument. Wehave resisted categorising the entries under such subjects as poetry and politicsbecause we believe that each of Morris's interests is best understood in the context ofhis whole life's work. This bibliography will serve our purpose if (to adapt one ofMorris's most famous remarks) the specialist interested only in the composition ofMorris's epic poetry stops to ponder an item about Morris's woven tapestries.

I PUBLICATIONS BY MORRIS, INCLUDING NEW EDITIONS,REPRINTS, AND TRANSLATIONS

The Collected Letters of William Morris. Vo!. 1. 1848-1880. Ed. Norman Kelvin.Princeton, N. ].: Princeton U.P., 1984. lxiv, 626 pp.

Of the 2400 letters collected, 1500 are previously unpublished. The introductionidentifies the letters to Webb as the most relaxed and revealing; those to Jane andJenny as the most concealing; those to Georgiana and Aglaia as the most intimate;while all stress the centrality of friendship to Morris's life.

Contre l'Art d't.lite. Trans. Jean-Pierre Richard. Paris: Hermann, 1985. 186 pp.A French translation of seven of Morris's lectures on art and socialism.

Four Letters from Wi/Jiam Morris. Ed. Peter Stansky. San Francisco: Arion Press,1984. 15 pp.

Letters about embroidery works, St Mark's restoration, socialist politicians, andmedieval influences are printed to commemorate the 150th anniversary ofMorris'sbirth.

Morris at First Hand. London: William Morris Society, 1984.The commemorative portfolio contains facsimiles of two letters to GeorgianaBurne-Jones and Charles Faulkner, a draft of an address about the EasternQuestion entitled "Unjust War," and a portrait of Morris by George Howard.

News from Nowhere: and Selected Writings and Designs. Ed. Asa Briggs. Harmonds­worth, Middx.: Penguin, 1984. 308 pp.

A reprint of the 1962 Penguin edition titled William Morris: Selected Writings andDesigns.

Opere. Ed. Mario Manieri Elia. Rome: Editori Laterza, 1985. 302 pp.An Italian translation of selections from Morris's poetry, prose romances, andpolitical lectures, with an introduction to his life.

The Political Writings of William Morris. Ed. A. L. Morton. London: Lawrence andWishart, 1984. 259 pp.

Morris's Commonweal review of Looking Backward and his Kelmscott forewordto Utopia are added to this revision of the 1973 edition because they "illustratesome ofthe thinking behind News from Nowhere and his long-standing interest" inthe utopian genre.

Das Schimmernde Land. Trans. Annette von Charpentier. Bergisch Gladback: Bastei­Lubbe, 1985. 189 pp.

A German translation ofThe Glittering Plain.

Socialism: Its Growth and Outcome. New York: Garland, 1984.335 pp.A reprint of the 1893 Swan Sonnenschein & Co. edition.

"Views of Reykjavik." The Journal of the William Morris Society, 6 (Summer 1985),32-34.

Morris's description ofReykjavik in 1871 is printed beside one by Baring Gouldin 1863 and one by Lord Dufferin in 1856. .

William Morris's Socialist Diary. Ed. Florence Boos. London and New York: TheJourneyman Press/London History Workshop Centre, 1985.75 pp.

A reprint of the Spring 1982 publication in History Workshop Journal.

Die Zauberin jenseits der Welt. Trans. Annette von Charpentier. Bergisch Gladbach:Bastei-Lubbe, 1984. 204 pp.

A German translation ofThe Wood Beyond the World.

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II PUBLICATION ON MORRIS, INCLUDING BOOKS, PAMPHLETS,ARTICLES, DISSERTATIONS, AND FILMS

Aho, Gary L. William Morris, a Reference Guide. Boston: G. K. Hall, 1985. xliii,428 pp.

This chronological bibliography of books, articles, and catalogues about Morrisbetween 1897 and 1982 is annotated and indexed. The introduction surveys thetrends in criticism since 1897 of Morris as a socialist; writer, and designer.

Anthony, P. D. John Ruskin's Labour: A Study of Ruskin's Social Theory. Cambridge:Cambridge U. P., 1983, 194-201.

E. P. Thompson is defended for his reappraisal that Morris is an extension of theEnglish, romantic, moralist, utopian tradition rather than a mere convert toMarxism.

Bacon, Alan. "William Morris's Lectures and the Question of Audience: A Study ofthe Versions of 'Art and Labour.''' Yale University Library Gazette, 58 (1984),163-80.

In revising his address to a middle-class audience in Leeds for the working class inGlasgow, Morris simplified his rhetoric from literary invective to a straight­forward, less colourful prose.

Bacon, Alan. "William Morris's Campaign against Luxury." Durham UniversityJournal, 77 (December 1984),49-56.

Consistent definitions of "luxury" and "simplicity" throughout Morris's lecturesrefute Paul Meier's notion that Morris outgrew his conviction that the preference ofluxury to simplicity is responsible for the dearth of beauty.

Baker, Leslie A. "Iceland and Kelmscott." The Journal of the William Morris Society,6 (Winter 1984-85),4-9.

Conventionally contrasted as hell and paradise, Iceland and Kelmscott are toMorris similar in terms ofvegetation, birdlife, fish, farm animals, and haymakers.

Bangert, Albrecht. "Good Morning, Mister Morris." Architektur & Wohnen, 22May 1985.

In a fictitious interview, Morris is questioned about his views on design, massproduction, the arts and crafts movement, and his vision ofa utopian society.

Barker, Nicolas. "Le Contrefac;on litteraire au XIX siecle et la bibliographie materielle."In La Bibliographie materielle. Ed. Roger Laufer. Paris: CNRS, 1983,43-52.

Among the nineteenth-century literary forgeries first discovered by Carter andPollard are a number of Morris pamphlets which may be attributed to the printerRichard Clay.

III

Barker, Nicolas and John Collins. A Sequel to An Enquiry: The Forgeries of BuxtonForman and T. J. Wise Re-Examined. London: Scolar Press, 1983,204-13.

Since Carter and Pollard's initial suspicions about Sir Galahad and Two Sides of theRiver/Hapless love and The First Foray of Aristomenes being forgeries, fifteenadditional editions ofMorris's work in variant wrappers are here proven to be thework of Forman and Wise.

Bartram, Michael. The Pre-Raphaelite Camera: Aspects of Victorian Photography.London: Weidenfeld and Nicolson, 1985, 135-39.

In 1865 Jane Morris was photographed by John Parsons in Rossetti's Chelseahome.

Beard, Geoffrey. "Morris & Co." In his The National Trust Book of EnglishFurniture. Harmondsworth, Middlesex: Vikingffhe National Trust, 1985, 179-80.

A brief history of the firm.

Blain, Joanne. "William Morris: Iconoclast of Interior Design." Vancouver Sun, 20October 1984, Bl.

The Vancouver Museum and Simon Fraser University are sponsoring a series of fivelectures on Morris including his influence on the West Coast style of architectureand design.

Boos, Florence. "History as Fellowship in Morris's Literary Writing." See Ex. Cat.,William Morris Today, 26-31.

Morris's experimentation with shifting frames for narrators and audiences isconsistent with his concern for history as a testament to communal fellowship, theartifacts of everyday life, and the continuity of emotions that transcend "thecollective silence of our individual deaths."

Boos, Florence, "The Sources of Morris' 'Wanderers' Prologue." American Notes andQueries, 22 Oanuary/February 1984), 73-78.

In addition to Caxton's Golden Legend, Froissart's Chronicles, and Sturleson'sHeimskringla, Morris appears to have read Baring-Gould's Curious Myths, Irving'sColumbus, Mandeville's Travels, More's Utopia, and Prescott's Conquests foraccounts of exploration.

Boos, Florence. "Morris's German Romances as Socialist History." Victorian Studies,27 (Spring 1984), 321-42.As accounts of the coherent communal order of idealized pre-socialist societies, TheHouse of the Wolfings and The Roots of the Mountains parallel Gibbon, Engels, andMorris's own essays on Medieval and Icelandic tribal life.

Boos, Florence. "The Evolution of 'The Wanderers' Prologue." Papers on Languageand Literature, 20 (Fall 1984),397-417.

The revision of the Coleridgean and Tennysonian ballad intended for the Prologuereflects Morris's shift from the "intense, immediate, and melodramatic" style of

IV

The Defence to the "reflective, expansive, and elegiac" style of The EarthlyParadise.

Boos, Florence S. "The Argument of The Earthly Paradise," Victorian Poetry, 23(Spring 1985), 75-92.

The idle singer, the narrating Wanderers, and the tales' protagonists of the outer,middle, and inner frames follow a thematic progression through the seasonal cyclefrom loss and moral exempla to hope and moral complexity.

Boston, Richard. "Seeking a Hand-Made Utopia." The Guardian [Manchester]' 17March 1984, 17.

Review of the I.C.A.'s 1984 London exhibition on Morris's contemporary relevance.

Bouillon, Jean-Paul. Art Nouveau, 1870-1914. Geneva: Skira, 1985, 13-21, 107-8.Designs by Whistler, Mackmurdo, and Beardsley are compared with some byMorris whose Red House and firm are the origins of Art Nouveau.

Briggs, Asa. "William Morris's London." Illustrated London News, 272 (April1984),61-63.

Although Morris viewed London as a monstrosity in a modern world, he maintainedan idealistic vision for the future of the city, expressed in News from Nowhere andthe Society for the Protection ofAncient Buildings.

Brock, A. C. "Fifty Years On." Times Literary Supplement, 23 March 1984,304.A reprint of the 1934 essay on the centenary of Morris's birth.

B[uick], A. L. "Morris and the Problem of Reform and Revolution." SocialistStandard, 80 (February 1984),23-27.

Excerpts from Morris's lectures and articles document his change from anti­parliamentarism to reformism.

Buick, Adam. "A Revolutionary Socialist." The Journal of the William Morris"ociety,6 (Summer 1984), 18-28.

First arguing that socialists must educate the working class to overthrow ratherthan reform capitalism, Morris much later decided that the fight for reforms wouldprepare workers for the fight fot political power.

Cebulski, Frank. "The Designs of William Morris." Artweek, 17 November 1984, 6.Review ofthe Bancroft Library's 1984 Berkeley exhibition ofMorris & Co. designsfrom the Sanford and Helen Berger collection.

Christ, Carol T. Victorian and Modern Poetics. Chicago: U. of Chicago Press,1984,28-30.- Unlike Browning's focus on the "experiential dimension of known historic figures

and moments, Morris places experience in an unknowable history," using the

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Changing Conceptions .Visions." Diss., Indiana

dramatic monologue "to reduce what is knowable to an intense intuition ofscrapsofexperience whose historical totality no one understands".

Cochran, Rebecca Ann. "The Neomedieval Works of Five Victorian Poets: Tennyson,Arnold, Swinburne, Rossetti, and Morris." Diss., Univ. of Iowa, 1985.

In Morris's medieval poems, the early Middle Ages afforded an economically andspiritually superior life for the common man.

Coleman, Roger and lan Tod. "Interview with Mike Cooley." See Ex. Cat., WilliamMorris Today, 110-17.

Alternative Nobel Prize winner Cooley discusses technological change and thedehumanization of work.

Coleman, Steve. "Morris's Vision of Socialism." Socialist Standard, 80 (February1984),31-33.

Morris's vision ofa socialist society is revealed in his speeches and political writings,in A Dream of John Ball, and particularly in News from Nowhere.

Coleman, Stephen. "What Can We Learn from William Morris?" The Journal of theWilliam Morris Society, 6 (Summer 1985), 12-15.

The three traditions ofsocial change rejected by Morris as threats to true Socialism- Romanticism, Radical Reformism, and Anarchism - are led today by ecologyadvocates, reform lobbiers, and self-righteous dictators.

Cowen, Painton. A Guide to Stained Glass in Britain. London: MichaelJoseph, 1985.Brief descriptions of over 80 Morris & Co. windows are entered by county andplace name.

Coyne, Frank Edward. "Nightmare and Escape:of the Imagination in Romantic and Victorian DreamUniversity, 1984.

In The Earthly Paradise, nightmares reveal «an inevitable truth about life, whilevisions of harmony appear as illusions. "

Cozens, Evelyn. "More Morris Links". The Journal of the William Morris Society, 6(Summer 1984),29.

Cozens recalls working as a parlourmaid for Morris's sister-in-law, Mrs. HughStanley Morris.

Cranny-Francis, Anne. "William Morris' News from Nowhere: the Propaganda ofDesire." Diss., East Anglia, 1983.

Commonweal articles show the development of the ideas that formed News fromNowhere's subversive critique of social injustices.

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Cranny-Francis, Anne. "From Practical to Political." Times Higher Education Sup­plement, 27 April 1984, 13.

Morris's activities and accomplishments are summarized.

Crossley, Robert. "Pure and Applied Fantasy: or From Faerie to Utopia." In TheAesthetics ofFantasy Literature and Art. Ed. Roger C. Schlobin. Brighton: Harvester,1982, 176-91.

"Aladdin and the Enchanted Lamp" and News from Nowhere mark opposite ends.of the range of literary fantasy from private gratification to social obligation.

Cullinan, Edward. "Morris, Architecture & Art." See Ex. Cat., William MorrisToday, 51-53. Rpt. as "The Morris Papers." The Architectural Review, 175 (March'1984),64-5.

Morris's skill in pattern design is demonstrated by a comparative analysis of theearly "Trellis" and "Fruit" with the later "Jasmine."

Davey, Peter. "Painters and Brothers: A Look at the Tate Gallery's Exhibition on thePre-Raphaelites and the ICA Exhibition on William Morris." Architectural Review,175 (May 1984), 60-64.

Review of the Tate's and of the I.CA.'s 1984 London exhibitions.

DeLacy, Justine. "Celebrating William Morris's Works." New York Times, 15 March1984, C12.

Announcements of forthcoming exhibitions in England commemorating Morris's150th birthday.

Dibb, Michael and Peter Fuller. "William Morris, Questions of Work and Democracy:Interview with Raymond Williams." See Ex. Cat., William Morris Today, 122-25.

Morris's relevance to modern problems is the focus of this interview conducted forDibb's 1983 film Memories of the Future: William Morris.

Doumato, Lamia. William Morris, 1834-1896. Architecture Series, BibliographyA - 1259. Monticello, Ill.: Vance Bibliographies. 1984. 22 pp.

A selected bibliography of writings on architecture by and about Morris.

Dufty, A. R. Kelmscott: An Illustrated Guide. London: Society of Antiquaries, 1984.40 pp. Revised from the 1969 edition.

A brief history and extensive tour through Kelmscott Manor describes (andillustrates with 28 plates) the furnishings of each room.

Dufty, A. R. Morris Embroideries: The Prototypes. London: Society of Antiquaries,1985.52 pp.

Morris's earliest embroideries (1857-65) are illustrated in this catalogue of thecollection at Kelmscott Manor. The three with repetitive patterns owe theirinspiration to a Froissart illuminated MS., while the seven with human figures owetheirs to the "Windmill Psalter. "

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Duret-Robert, Fran~ois. "Une Confrerie Anti-c1assique." Connaissance Arts, No.385 (March 1984),68.

After meeting Rossetti in 1856, Morris and Burne-Jones became part of the secondwave of pre-raphaelitism.

Edwards, Bruee L., Jr. "Towards a Rhetoric of Fantasy Criticism: C. S. Lewis'sReadings of MacDonald and Morris." Literature and Belief, 3 (1983), 63-73.

An eclectic critic who resists fashionable dogma, Lewis finds Morris more classicalthan romantic, more imaginative than escapist, more concrete and practical thandoctrinaire.

Faulkner, Peter. "Morris's Political Poetry.". See Ex. Cat., Wi/liam Morris Today,34-37.

While Chants for Socialists presents optimistic propaganda, The Pilgrims of Hopesobers the idealist with reality.

Faulkner, Peter. "Lady Anne Blunt's Meeting with William Morris." The Journal ofthe Wi//iam Morris Society, 6 (Winrer 1984-85), 33.

Morris's socialist reputation and his conversational skills are shown in Lady Anne's1891 diary entry.

Firzgerald, Penelope. "'Whatever Is Unhappy Is Immoral': WiJliam Morris & theWoman Question." See Ex. Cat., Wil/iam Morris Today, 136-38.

Morris preached equality for women, often acknowledged their superiority, butcould not always transcend conventional bias.

Fleming, Margaret. "Nothing but Landscape and Sentiment." The Journal of the-.Wi//iam Morris Society, 6 (Summer 1984),4-9.

The residents and countryside of Godstow and Wolvercote provided material forthe abandoned Novel on Blue Paper.

Fletcher, Geoffrey, "Exceptional Men Under One Roof." The Daily Telegraph, 30April 1984, 10.

Morris is among the famous Victorians who once lived at No. 17, Red Lion Square.

Foisner, Sabine. "The Unifying Principle of Contrast in Morris's Early Poems asDerived from His Later Works." In A Salzburg Miscellany: English and AmericanStudies 1964-84. Vo!. 1. Ed. James Hogg. Salzburg: Univ. Salzburg, 1984, 55-'{;6.

The preoccupation with contrapuntal images and themes in The Defence ofGuenevere volume prefigures Morris's desire for social transformation in hispolitical lectures.

Frayling, Christopher. "A Voyage Across the River of Fire." Crafts, No. 69 UulylAugust 1984), 13-14.

A summary of papers by Raymond Wil/iams and Tony Benn presented at theI.C.A:s 1984 London exhibition on Morris's current relevance.

VIII

Fredeman, William E. "The Story of a Lie: A Sequel to A Sequel." Review, 7(1985),259-96.

A master list of the information indicting the forgeries of Wise and Formansummarized from a number of sources in addition to An Enquiry andA Sequel concludes this detailed review of the Barker and Collins Sequel toan Enquiry (1983).

"Free Speech in London." The Journal of the William Morris Society, 6 (Summer1985), 3l.

The minutes ofthe 15 August 1886 meeting ofthe Metropolitan Radical Federationdocument Morris's attendance and participation.

Fruehwald, Robert Douglas. "The Earthly Paradise: An Oratorio Based on TextsSelected from the Works of William Morris, Dante Gabriel Rossetti, and MaxBeerbohm." Diss., Washington Univ., 1985.

An original oratorio.

Fuller, Peter. "Conserving 'Joy in Labour.'" See Ex. Cat., William Morris Today, 90­3. Rpt. in his Images of God: The Consolations of Lost Illusions. London: Chatto &Windus, 1985,284-90. Abridged in The Antique Collector, 55 (April 1984), 80.

Morris's profoundly revolutionary definition of work is that of an aesthetic con­servative rather than a political radical.

Fuller, Peter. "Art in 1984: TheJill Bradshaw Memorial Lecture." Aspects: A Journalof Contemporary Art, 29 (Winter 1984-85), 1-3.

Orwell's dystopian novel, 1984, is contrasted with Morris's utopian romance,News from Nowhere, which presents ideas about art and work that arerelevant today.

Fuller, Peter. "William Morris's Textiles.. " Crafts, (May/June 1983),49-50.Rpt. in his Images of God: The Consolations of Lost Illusions. London: Chatto &Windus, 1985,250-55. . ~

Reviewing Parry's William orris Textiles, Fuller compares the weak Englishtextile design with the thriving Scottish of the late 19th century.

Fyrth, Jim. "Making Socialists: Towards a Political Education." See Ex. Cat., WilliamMorris Today, 139-40.

Morris insisted that political principles must be taught before socialism can bepractised.

Gallego, Julian. "William Morris." Insula: Revista de Letras y Ciencias Humanas,40, No. 458-9 (1984),24.

Review of the 1984 Madrid exhibition "William Morris. "

Gniig, Hiltrud. Der Utopische Roman. Munich: Artemis, 1983, 142-47.News from Nowhere is discussed in the context ofthe "utopias oftime" by Bellamyand Wells.

IX

Goodwin, K. L. "William Morris." In Dictionary of Literary Biography: VictorianPoets after 1850. Vo!. 35. Detroit: Gale, 1985, 138-57.

This insightful introduction to Morris's life and poetry focuses on Jason, TheEarthly Paradise, Love is Enough, and Sigurd, as well as his general interest ininnovative prosody, female characters, and a secularized artistic brotherhood.

Gribble, Barbara. "William Morris's News from Nowhere: A Vision Impaired." TheJournal of the William Morris Society, 6 (Summer 1985), 16-22.

Guest's indulgent dream of happiness and rest does not reflect Morris's love ofbooks, of moral and mutual purpose, of competition towards excellence and ofheroic struggle.

Gross, David. "'How We Live and How We Might Live': Life in the Industrial Cityand the Alternative Vision ofWilliam Morris." In Essays from the Lowell Conferenceon Industrial History, 1982 and 1983. Ed. Robert Weible. North Andover, Ma:Museum of American Textile History, 1985,81-94.

Morris's eloquent lectures remain relevant in their effort to arouse hopes for abetter world.

Hanna, John. "A New Art of Environmental Design." The Journal of the WilliamMorris Society, 6 (Winter 1985-86),4-10.

The growth and fertility that characterize Morris's pattern designs inform histheory of a new art for a new society based on pleasant work and pleasantsurroundings.

Harris, Jennifer. "Jane Morris's Jewel Casket." Antique Collector, 55 (December1984), 68-71.

The source for the jewel casket panels Elizabeth Siddal painted for Jane may be theminiatures in a manuscript of poems by Christine de Pisan.

Harris, Jennifer. "William Morris and the Middle Ages." In William Morris and theMiddle Ages: A Collection ofEssays, Together with a Catalogue of Works Exhibitedat the Whitworth Art Gallery, 28 September - 8 December 1984. Ed. JoannaBanham and Jennifer Harris. Manchester: Manchester V.P. 1984, 1-17.

Morris's interest in medievalism, kindled by the writings ofCobbett, Carlyle, Scott,and Ruskin, the paintings of the Flemish masters, the Gothic churches ofnorthernFrance, and the friendship of Rossetti, flourished and developed into his foundingof Morris, Marshall, Faulkner, & Co. and the Kelmscott Press.

Harris, Jennifer. "Medieval Dress in Pre-Raphaelite Painting." See Ex. Cat., WilliamMorris and the Middle Ages, 46-58.

Morris used medieval manuscripts as sources for the design of costumes andmedieval subjects depicted in his paintings.

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Hardey, Craig. "William Morris and the Middle Ages." Apollo, 120 (November1984), 350.

Review ofthe Whitworth Art Gallery's 1984 Manchester exhibition ofMorris andhis contemporaries' medieval interests.

Herald, Jacqueline. "'Bird' by William Morris." The Journal for Weavers, Spinners &Dyers, No. 135 (Summer 1985),2-3, 10-1t.

Inspired by medieval silks, Morris made his design more natural with the presenceand interaction of the birds and more majestic with the quilt-like indenting of theinterchanges of colour.

Hillgartner, Riidiger. "William Morris: News from Nowhere." In Die Utopie in derangloamerikanischen Literatur: Interpretationen. Ed. Hartmut Heuermann andBernd-Peter Lange. Diisseldorf: Bagel, 1984, 120-38.

News from Nowhere is discussed in the context of Morris's socialist activities,Marxist theory, and the tradition of other utopias and satires.

Hilgartner, Riidiger. "Freiheit und Briiderlichkeit in der Klassengesellschaft: Vor derMoglichkeit des Unmoglichen in William Morris' Romanze 'The Well at the World'sEnd.'" Zeitschrift fur Anglistik und Amerikanistik, 3, No. 3 (1985), 235-43.

Morris's socialist thought is revealed in the struggle for freedom, equality, andbrotherhood in The Well at the World's End.

HoIst, Imogen. Homage to William Morris (1894). London: William Morris Society,1985.7 pp.

The music score is composed for bass voice and string bass with lyrics from Morris'slectures and News from Nowhere.

Holzman, Michael. "Anarchism and Utopia: William Morris's News from Nowhere."ELH, 51 (Fall 1984), 589-603.

As a newspaper serial, News from Nowhere continues Morris's editorial debates inCommonweal with James B!aek<well and other Anarchists about "what sort ofsociety we are trying to reatiik" and "how we should act to bring it about."

Ibach, Marilyn. "Morris and Company Stained Glass in North America." The Journalof Pre-Raphaelite Studies, 5 (May 1985), 111-17.

The full list of 15 Canadian and 14 American sites includes stained glass commis­sioned from Morris in 1874 and from Dearle's great-grandson in 1960.

Irving, Helen. "William Morris and the Contemporary Socialist Press." The Journalof the William Morris Society, 6 (Winter 1984-85), 15-25.

View of Morris by his contemporaries in the socialist press reveal a controversialand misunderstood political figure whose personal qualities were well-revered.

Jones, Mervyn. "Humane Socialist." New Statesman, 23 March 1984, 12, 14.Morris's socialism grew out of his love of art and his value for friendship andequal rights.

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Kapr, Albert. The Art of Lettering: The History, Anatomy, and Aesthetics of theRoman Letter Forms. New York: K. G. Saur, 1983, 202-7.

Morris resurrected the waning art of printing and lettering, and influenced manydesigners, including Edward Johnston and Frederic W. Goudy.

Kay, John. "W. R. Lethaby at the Central School." The Journal ofthe William MorrisSociety, 6 (Summer 1985), 26-30.

This review of the 1984 Lethaby exhibition outlines his career as Norman Shaw'sassistant, as principal of the Central School of Arts and Crafts, and asWebb's biographer.

Keen, J. M. "Some Aspects of the Influence of Ovid's Metamorphoses in LaterNineteenth Century English Literature and Art." Diss., Southampton, 1984.

Morris and Burne-Jones both follow Ovid's treatment of the Perseus and Pyg­malion stories.

Kelvin, Norman. "Editing the Letters of William Morris." CUNY English Forum.Vo!. I. Ed. Saul Brody and Harold Schechter. New York: AMS Press, 1985,275-85.

The procedures are summarized for editing the four volumes of Morris's letters.

Kisun'ko, V. "Uil'yam Morris: myslitel' i khudozhnik - k 150-letiyu so dnyarozhdeniya [William Morris: thinker and artist - on the 150th anniversary of hisbirth]." Iskusstvo [U.S.S.R.], 9 (1984),35-49.

Morris's reaction to the Renaissance motivated his effort to combat capitalisttechnocracy by reviving the English artistic tradition.

Kluge, Waiter. "Sozialismus und Utopie Im Spaten Neunzehnten Jahrhundert." InAlternative Welten. Ed. Manfred Pfister. Munich: Fink, 1982, 197-215.

A discussion ofBellamy's Looking Backward and Morris's News from Nowhere inthe context of the development of socialism and Marxism in the late 19th century.

Knobel, Lance. "William Morris Today." Domus, No. 650 (May 1984),31.Review of the I.C.A.'s 1984 London exhibition of Morris's current relevance.

Lambourne, Lionel. "William Morris." Burlington Magazine, 126 (December1984), 803-4.

Review of the Whitworth Art Gallery's 1984 Manchester exhibition ofMorris andhis contemporaries' medieval interests.

Latham, David. "'A Matter of Craftsmanship': William Morris's Manuscripts." TheJournal of the William Morris Society, 6 (Summer 1985),2-11.

A reconstruction of the stages ofMorris's method of composition suggests that themanuscripts considered to be his first drafts are transcriptions of trial notes,revealing a careful craftsman's attention to detail.

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Latham, David and Sheila. "William Morris: An Annotated Bibliography 1981-83."The Journal of the William Morris Society, 6 (Winter 1985-86), 1-24.

More of the same.

Lawson, Paul W. G. "The Morris Crucifixion Window from St. James, Brighouse."The Victorian Society West Yorkshire Group Journal (1985), 27-8.

Originally in the chancel of the now demolished St. James Church, Brighouse, thestained glass crucifixion designed in 1870 from cartoons by Burne-Jones and F. M.Brown is now in the Bradford Art Galleries and Museum.

Lea, David. "One Earth: William Morris's Vision." See Ex. Cat., William MorrisToday, 54-57.

"An architecture which expresses a planetary vision . .. would be, as in the MiddleAges, rooted in its own region. "

Leary, Emmeline. The Holy Grail Tapestries. Birmingham: Birmingham City Museum,1985. 11 pp.

A brief history of the Merton Abbey tapestry works is followed by more detaileddescriptions of the Holy Grail tapestries, specifically "The Summons," "TheArming and Departure ofthe Knights, " ccThe Failure ofSir Gawaine," ccThe FailureofSir Lancelot," ccThe Ship," "The Attainment," "Verdure with Deer and Shields."

Lee, Dave. "William Morris and the Middle Ages." Arts Review (U.K.), 23 November1984, 580-1.

Review of the Whitworth Art Gallery's 1984 Manchester exhibition on Morris andhis contemporaries' medieval interests.

Lewis, Roger. "News from Nowhere: Utopia, Arcadia, or Elysium?" Journal of Pre­Raphaelite Studies, 5 (November 1984),55-67.

Avoiding both the satiric denial of the utopian genre and the elegiac evasion of thearcadian genre, Morris presents .,in News from Nowhere the constructive literaryvision found in the Romantic idyll as defined by Schiller.

Lindsay, Jack. "The Early Poetry of William Morris & Karl Marx." See Ex. Cat.,William Morris Today, 32-3.

Morris's Janey and Marx's Jenny serve different roles in the two men's poetry.

Lipman, Alan and Howard Harris. "Social Architecture: William Morris our Con­temporary." See Ex. Cat., William Morris Today, 43-50. Rpt. in The Architects'Journal, 7 March 1984,34-5.

Modern architects should heed Morris's advice for practising the democratic art toeducate desire.

Lister, Mary. "The Morris Windows in Bradford Cathedral." The Journal of theBradford Historical and Antiquarian Society, 3, No. 1 (1985), 39-42, 56-61.

For its third commission (1863), the Morris firm mastered the narrow openings of

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Bradford Cathedral with stained glass designed by Morris, Brown, Burne-jones,Marshall, Rossetti, and Webb.

Mackail, John W. William Morris and His Circle. Philadelphia: R. West, 1983.65 pp.A reprint of the 1907 Clarendon edition.

"The Man Who Brought News from Nowhere" Times Higher Education Supplement,22 June 1984, 13.

Approaching socialism as a designer has made Morris far more popular than theFabians.

Marsh, Jan. Pre-Raphaelite Sisterhood. London: Quartet Books, 1985, 115-30,188-95, 245-77.

Morris encouraged jane's creative efforts at interior decorating and embroidery,and was tolerant of her relationship with Rossetti.

Masini, Lara-Vinca. Art Nouveau. London: Thames and Hudson, 1984,23-28.Illustrations ofdesigns for wallpapers and chintzes accompany briefdescriptions ofMorris's influence on art nouveau.

Masterman, Elizabeth. "May Morris: Some Notes for Book Collectors." BookCollector, 33 (Summer 1984), 163-78.

May's embroideries for the Firm, her writings about embroidery, her work for theKelmscott Press, and her scholarly editing ofher father's works have been admiredby Ellis, Walker, Shaw, and others.

McCulloch, Caroline. "The Problem of Fellowship in Communitarian Theory·William Morris and Peter Kropotkin." Political Studies, 32 (September 1984).437-50.

A tension between conservative localism and socialist universalism is seen inMorris's prescription for individual creativity developed and expressed within thecooperative social framework of decentralized communities.

McDermott, Catherine. "Morris in a Marxist Perspective." Design, No. 426 (June1984), 9.

Review of the I.CA.'s 1984 London exhibition of Morris's current relevance.

McManus, Irene. "From Damsels in Distress to Revolutionary Socialism." ManchesterGuardian Weekly, 11 November 1984, p. 20.

Review of the Whitworth Gallery's 1984 Manchester exhibition on Morris and hiscontemporaries' medieval interests.

Mendelson, Michael. "Opening Moves: The Entry into the Other World." Extrapo­lation,25 (Summer 1984), 171-79.

As The Wood Beyond the World shifts from the mimetic to the fantastic world,

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Golden Waiter "matures by paradoxically absorbing the dream world" of desireinto the waking consciousness ofsocial responsibility.

Mezciems,jenny. "Utopia and 'the Thing which is not': More, Swift, and Other LyingIdealists." University of Toronto Quarterly, 52 (Fall 1982), 41-59.

In contrast to ]ohnson in Rasselas. Morris wishes in News from Nowhere todissolve the distinction between fact and fantasy.

Mitchell, Jack. "William Morris's Aesthetic Relationship to the ContemporaryWorking Class." Zeitschrift fur Anglistik und Amerikanistik, 33, No. 2(1985), 153~O.

The Pilgrims of Hope and Chants for Socialists show Morris's inability to overcometraditional conventions as he focuses on the dreams of a "sensitive individualpsyche" rather than the reality of "ordinary people engaged in and developingthrough the historic class struggles of their era."

Maore, Susan. "The Marxist and the Oilman: Morris & Co. at Stanmore Hall."Country Life, 14 November 1985,1494--96. ..'

W. K. D'Arcy, the founder of the BP oil industry, commissioned Morris toredecorate Stanmore Hall but Morris's aversion to D'Arcy's opulence led Morris toassign most of the work to Dearle. Includes seven illustrations.

Moran, Irene, "Acre e utopia nell' Opera Litteraria di WilIiam Morris.» lncoutriMeridionali, Series Ill, No. 3 (1984), 113-24.

An Italian translation ofchapter 6 of the 1983 Sampieri Press edition of Moran'sAfter London: A Dream of Utopia.

Morris le Bour'his, Jean. "Quelques Reflexions sur L'Art et I'Utopie chez W.Morris.» In Home, Sweet Home or Bleak House? Art et Utterature a I'EpoqueVictorienne. Ed. Marie-Claire Hamard. Paris: Belles Lettres, 1985,57-67.

In Morris's utopia, art is the roduct of man's pleasure in labour.

"Morris Museum Blocked." Building, 4 May 1984, 15.Hammersmith and Fulham Council has refused the GLC permission for a secondtime to turn Kelmscott House into a William Morris Museum.

Monon, A. L. "The Dream ofJohn Ball." See Ex. Car., Wil/iam Morris Today, 24-25.Morris's model for developing egalitarian villages based on small-scale agricultureand industry might counter the hold ofcapitalism on the countryside.

Morton, A. L. "Morris, Marx und Engels.» Zeitschri{t fur AngUstik und Amerikanistik,33, No. 2 (1985), 145-52.

Indebted to the best ofMarx's writings but misunderstood by Engels, Morris "wasthe first to use Socialism and Communism as names for two stages" in the process ofreorganizing society.

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Nelson, Megan. "William Morris." Western Living [Vancouver], (March 1984),37-40.

This anniversary tribute to the life of Morris presents him as the designer whorevolutionized Victorian taste.

Newman, Teresa. "Wallpapers and Propaganda: Reflections on William MorrisToday." The Journal of the William Morris Society, 6 (Summer 1984), 10-16.

A review of those who reviewed the I.C A.'s 1984 London exhibition on Morris'scurrent relevance.

Newman, Teresa and Ian Tod. "Interview with Michael Murray." See Ex. Cat.,William Morris Today, 103-6.

Raised in a co-op community, Murray now runs Metropolitan Workshops forcrafts.

Newman, Teresa and Ray Watkinson. "Interview with Ron Stoner." See Ex. Cat.,William Morris Today, 98-102.

Retiring as Manager of the handprint wallpaper factory, Stoner discusses hisemployment with Sanderson's since 1934.

O'Connor, David. "Morris Stained Glass: 'An Art of the Middle Ages.'" In WilliamMorris and the Middle Ages: A Collection of Essays, Together with a Catalogue ofWorks Exhibited at the Whitworth Art Gallery, 28 September - 8 December 1984.Ed. Joanna Banham and Jennifer Harris. Manchester: Manchester U. P., 1984,31-46.

Morris & Co. stained glass windows' present medieval styles (canopies, quarries,black-letter inscriptions) and medieval subjects (from Chaucer, Queen Mary'sPsalter, and Flemish art.)

Osley, A. S. "The Kelmscott Manor Volume of Italian Writing-Books." AntiquariesJournal, 64, No. 2 (1984),351-60.

Morris's copy ofsixteenth-century calligraphy manuals by Vicentino and Taglienteinfluenced Morris, Walker, Johnston, and Fairbank in the field of calligraphy andtype design.

Ousby, Ian. "William Morris." The Blue Guide: Literary Britain. London: A & CBlack Limited, 1985,312-16.

Buildings associated with Morris are briefly described: Water House, Epping ForestMuseum, Exeter College and the Oxford Union building, No. 17 Red Lion Square,Red House, Kelmscott Manor and Kelmscott House.

Parker, Rozsika. The Subversive Stitch: Embroidery and the Making ofthe Feminine.London: Women's Press, 1984, 38-9, 179-83.

Though embroidery at the Firm became the domain for women, Morris «envisageda time when the sexual division within the domestic arts would vanish." Decades

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before Morris's famous prescription. household magazines advertized their patternsas «uniting use and beauty."

Parry, Linda. "Morris and Company in the Twentieth Century." The Journal of theWilliam Morris Society, 6 (Winter 1985-86), 11-16.

Living in Kelmscott House. Marillier managed the firm through changing fashionsof Edwardian London, the revival of floral chintzes in the 1920s, and the rapiddecline after Dearle's death in 1932.

Pearson, Nicholas. "The Unacceptable Morris." See Ex. Cat., Wi//iam MorrisToday, 87-9.

Morris's critique of art is much more revolutionary than modern liberal efforts toincrease state subsidies.

Peterson, WiIIiam S. A Bibliography ofthe Kelmscott Press. Oxford, Clarendon Press,1984.217 pp.

A descriptive bibliography of fifty-two books published by the Ke/mscott Pres.s isfollowed by full details about books that Morris had intended to publish. Theappendix includes the texts of contracts for eight Kelmscott Press projects.

Purkis, John. "'On the Quays of Havre': Some Notes on Morris's Walking Tour inFrance,July to August, 1855." The Journal of the William Morris Society, 6 (Summer1985),23-25.

Morris's letters to his mother provide data for establishing the' itinerary forretracing the tour of France that changed his life.

Raven, Arlene. Giftwraps by Artists: Designs by William Morris. New York: Abrams,1985. Trans. Geschenkpapiere von Kunstlern - Wi//iam Morris. Koln:Dumont, 1985.

Sixteen folded sheets of coloured giftwraps reproducing Morris's wallpapers andchintzes are appended to an unreliable introduction.

"The Red House, WiIIiam Morris and Philip Webb." Space Design Uapan], 233(February 1984), 12-13, 21-23.

Illustrations ofseveral of Webb's designs for houses accompany this Japanese text.

.. A Reminiscence of William Morris." The Journal of the William Morris Society, 6(Winter 1984-85), 35.

A schoolfellow from Marborough remembers Morris as extraordinarily opinionatedand a wonderful storyteller.

Riede, David. "Morris, Modernism, and Romance." ELH, 51 (Spring 1984), 85-106.In the manner of Keats. Morris explores in the Guenevere volume the self·imprisoning wish for escape into the world of romance which leads only to theworld ofdeath.

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Robb, Janet Lynn. "The Typographic Design Techniq.ues of the Arts and CraftsMovement and Art Nouveau and their Identification in the Printed Works of theBauhaus." Diss., University of Maryland, 1984.

Morris's designs influenced the typography the Bauhaus developed according toprecise mechanical logic.

Rosenwald, John. "Defending Guenevere." Avalon to Camelot, 1 (Summer1984),38-9.

"The Defence of Guenevere" provides a fresh perspective to counter students'conventional misconceptions about Victorian morality.

Schmidt-Kunsemuller, F. A. "William Morris und Unsere Zeit." Philobiblon, 28(December 1984), 301-5.

This discussion of the relationship between art, work, and socialism in the work ofMorris emphasizes The Aims of Art.

Schulz, Max F. Paradise preserved: Recreations of Eden in Eighteenth- andNineteenth-century England. Cambridge: Cambridge U.P., 1985,267,270-72.

In contrast to the contradictory notions of paradise in «A Garden by the Sea,"News from Nowhere envisions a compromise between the Edenic and modernworlds, dispersing across the countryside a metropolitan sprawl where playful sexis enjoyed.

Scruron, Roger. "Socialist Enemies of rhe Earth," The Times, 27 March 1984, 14.Review of the 1.C.A.'s 1984 London exhibition of Morris's current relevance.

Seehase, Georg. "Oberwindung der Uropie: Versuch uber William Morris (1834­1896)." Zeitschrift fur Anglistik und Amerikanistik, 33, No. 3 (1985),221-34.

The career work ofMorris gradually intensifies its focus on the utopian dream ofabetter world.

Shefer, EIaine. "Pre·Raphaelite Clothing and the New Woman." The Journal of Pre­Raphaelite Studies, 6 (November 1985),55-67.

Jane Morris modified Rossetti's designs of the "Pre-Raphae[ite dress."

Shrimpton, Nicholas. "The Pursuit of the Commonweal. " Times Literary Supplement,13 April 1984,405.

Review of the I.CA.'s 1984 London exhibition expresses disappointment with thepolitical emphasis and lack ofattention to Morris's arts and crafts.

Sikes, Gini. "The Rerurn ofWilliam Morris." Connoisseur, 215 (April 1985), 30, 32.With a Sanderson branch now in New York, Morris designs will meet the needs ofpreservationists who want to decorate their Victorian houses in period papers.

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.... 1111011, Roger. William Morris Now: Socialism by Design. London: CPGB,19X4. 28 pp.

The range of Morris's life and dreams is surveyed and celebrated as a practicalmoral example.

~pC:lr, Jeffrey L "Morris: Revolution as Realized Romance." In his Dreams of anI'nglish Eden: Ruskin and his Tradition in Social Criticism. New York: Columbia11./'., 1984,201-39.

Strilling lo renew humanity through the democracy ofart, Morris is psychologicallycontrasted with Ruskiu whose ideals he embodied.

~(;IIllP, Gavin. "Sir Gilbert Scott and the Restoration of Mediaeval Buildings." AAl'i/c, [U.K. I, I (Winter 1981-82),89-97.

Morris condemned Seott's restoration work a1td founded SPAB which protestedloudly against the restoration of St. Alban's Abbey.

StJnsky, Peter. William Morris, C. R. Ashbee and the Arts and Crafts. London: NineElms Press, 1984. 17 pp.

Although anti-imperialism, socialism, and the Arts and Crafts movement form aconsisLentline ofthought, Ashbee failed in his "attempt to combine the influence ofCarpenter and Morris. "

Sr:lllsky, Peter. "Utopia y antiutopia: William Morris y George Orwell." TrailS. EvaR. Halffter Revista de Occidente, 33-34 (1984), 79-9.1.

A Spallish translation ofa February 1983 History Today article.

StJnsky, Peter. Redesigning the World: William Morris, the 1880s and the Arts andCrafts. Princeton, N.J.: Princeron U.P., 1985.293 pp.

Three organizations of the 1880s changed the way we view the world. The historyof the Century Guild (Macnturdo, etc.), the Arts Workers' Guild (Lethaby, etc.),and the Arts and Crafts Exhibition Society (Crane, etc.) centres on Morris as thedominant influence.

~1:.lvellow-Hidemark, Elisabet. "Handens Arbete - Eller Maskinens?" Form [Sweden],XI, No. 632 (1985), 33--49.

Brief comments on Morris's work with George Street and Philip Webb, the designof Red House, and the work of Morris & Co. are included in a discussion ofseveraldesigners.

~tllk, Josepf. "William Morris a Modernl Ochrana Pamatek." Pamatky a Priroda[CzechoslovakiaJ, 9, No. 9 (1984), 532-3.

A discussion of Morris and the protection of monuments includes a translation ofhis" Principles of the Society for the Protection of Ancient Buildiflgs."

Swenartoll, Mark. "Morris Matters: William Morris at the ICA." Building Design, 2March 1984, 16-7.

More than a mere precursor of modernist architecture, Morris recognized thatfuture progress depends on an understanding of history.

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Sypher, Eileen. "The 'Production' of William Morris' News from Nowhere." Minne­sota Review, 22 (Spring 1984), 84-104.

A Machereyan analysis of deviations between the projection and production ofNews from Nowhere centres on those avoided aspecis of the Utopian genre whichreveal Morris's ideological position in the early socialist movement.

Taylor, Simon. "William Morris Today." Arts Review, 16 March 1984, 134-5.Review of the I.C.A:s 1984 London exhibition on Morris's current relevance.

Thomas, Michel, Christine Mainguy and Sophie Pommier. Textile Art. Geneva: Skira,1985,165,185-88.

Morris led a revival of the textile arts, initially with his medieval embroideries, andlater with printed fabrics and weavings which combined original designs andtraditional techniques.

Thompson, E. P. "The Communism ofWiIliam Morris." See Ex. Cat., Wi//iam MorrisToday, 129-35.

A condensed version of the 1965 Morris Society edition.

Thwaite, Ann. Edmund Cosse: A Literary Landscape. London: Seeker and Warburg,1984,109-11.

Includes some amusing recollections of Morris.

Tidcombe, Marianne. The Bookbindings of T. J. Cobden-Sanderson. [AnnotatedCatalogue] London: British Library, 1984.408 pp.

Encouraged by Jane Morris to study bookbinding, he eventually worked for theKelmscott Press.

Tillotson, Geoffrey. "William Morris's Writing." The Journal of the Wi//iam MorrisSociety, 6 (Winrer 1984-85), 10-14.

Concerned with the fellowship of common folk, Morris wrote of appleblossombeauty in narrative yarns made accessible by his concrete imagery and wholesomediction.

Tod, Ian. "An Epoch of Change, William Morris & Ursula LeGuin." See Ex. Cat.,Wi/liam Morris Today, 141--45.

LeGuin's The Dispossessed (1973) has utopian roots similar to News fromNowhere but its hope for continual change is more similar to A Dream ofJohn Ball.

Turner, Franeesea. "William Morris and the Middle Ages." Arts & Artists, 218(November 1984), 37-8.

Review of the Whitworth Art Gallery'S 1984 Manchester exhibition of Morris andhis contemporaries' medieval interests.

Unrau, John. Ruskin and St. Mark's. London: Thames and Hudson, 1984,196-99,203--4.

Morris's SPAB campaign to save St. Mark's from the restorers drew some negativeresponses from the British press.

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Usherwood, Nicholas. "Conservative Revolutionary: 'William Morris Today.'''Country Life, 29 March 1984, 820-1.

Review of the I.C.A.'s 1984 London exhibition of Morris's current relevance.

Vance, Mary. William Morris (1834-1896): Monographs On Arts And Crafts.Monticello, Ill.: Vance Bibliographies, 1984. 12 pp.

A selected list of monographs by and about Morris published between 1882and 1979.

Van Lemmen, Hans. "The Influence of William Morris on Late Nineteenth CenturyDutch Tile Design." Tegel, 12 (September 1984),31-43.

This illustrated study ofDutch tiles and tile catalogues reveals many Dutch "copiesofand derivations from Morris & Co. designs."

Vogel, Jane Smith. "The Novelist's Utopia: A Hidden Agenda." Diss., TempleUniv., 1984.

News from Nowhere is among ten nineteenth-century novels that illustrate their'authors' inability to avoid dystopian conventions.

Wainwright, Clive. "A Debt to Literature: William Morris (1834-96) and the MiddleAges." Country Life, 11 October 1984, 1062-64.

Review ofthe Whitworth Art Gallery's 1984 Manchester exhibition ofMorris andhis contemporaries' medieval interests.

Wainwright, Clive and Jane. "Letter from London: William Morris and the MiddleAges." Antiques, 126 (October 1984), 750, 754.

Review ofthe Whitworth Art Gallery's 1984 Manchester exhibition ofMorris andhis contemporaries' medieval interests.

Ward, Colin. "Morris as Anarchist Educator." Ex. Cat., William MorrisToday, 126-28. '

Revering learning while despisihg schooling, Morris advocated an educational idealnow ignored.

Watkinson, Ray. "The Vindicator Vindicated: William Morris & Robin Page Arnot."See Ex. Cat., William Morris Today, 16-7.

Arnot's 1934 pamphlet revived Morris's reputation as a communist.

Watkinson, Ray. "Some Words on Indigo." The Journal of the William MorrisSociety, 6 (Winter 1985-86), 16-17.

Three extracts from dyers' handbooks and newspapers of 1825, 1849, and 1875document the survival of indigo dyeing before Morris popularized it.

Watkinson, Ray. William Morris as Designer. Trans. Kiyo and Seiki Habu. Tokyo:Iwasaki Bijutsusha, 1985. 240 pp.

A Japanese translation of the 1967 Studio Vista edition.

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Weaver, David. "Fine Printing in Missouri from 1880 to 1930." Show-Me Libraries,(February 1984),22-33.

Such Kelmscott clones as the Gottschalk Press's 1898 publication of Kufu, acollection of poems by Clay Arthur Pierce, illustrates Morris's influence onMissouri printing and book design.

Weingarden, Lauren. "Aesthetics Politicized: William Morris to the Bauhaus."Journal of Architectural Education, 38 (Spring 1985), 8-13.

Though Gropius moved towards a technocratic pragmatism that transmittedMorris's craft values into an antithetical machine aesthetic, he continued to pursuehis modern union ofart and industry in terms of Morris's socialist theory.

Wheeler, Michael. English Fiction of the Victorian Period 1830-1890. London:Longmans, 1985, 164-65.

News from Nowhere is briefly summarized as a political fable.

Whitla, William. "William Morris: Anniversary of a Craftsman." Craft News, 9(April 1984), 1-2.

Concerned with the education of hand, head, and heart, Morris established thecooperative company at Merton Abbey as an ideal craft community embodying hisprinciples about society, leisure, and machinery.

Williams, Moelwyn. A Directory ofRare Book and Special Collections in the UnitedKingdom and the Republic of Ireland. London: The Library Association, 1985.

Eighteen Kelmscott Press collections and eleven special William Morris Collectionsare briefly described.

Young, P. B. "Capitalist Labour and Socialist Work." Socialist Standard? 80 (February1984), 27-8.

Morris's vision of a society in which man finds pleasure in labour, machines dounpleasant work, and "real art is the expression by man of his pleasure in labour"could be achieved through socialism.

Zaitsev, V. P. "Morris, One of the Pioneers of the Socialist Movement in England."Voprosy Istorii, 6 (1985), 177-81.

This brief history of Morris's socialist activities refers to his vision of a utopiansociety, his writings for Commonweal, and his knowledge of Marx. (In Russian.)

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III CATALOGUES OF EXHIBITIONS AND SALES

The Derek Hill Collection: A Study in Pattern: The Art of Islam and William Morris.Derek Hill. Dublin: National Parks and Monuments Service, 1985.

Catalogue of the summer 1985 Glebe Gallery, Churchill [Letterkenny] exhibitionincludes Morris & Co tiles, wallpapers, and textiles together with an article on theinfluence of Islamic art on Morris.

The Pre-Raphaelites. Intro. Alan Bowness. London: Tate Gallery/Penguin,1984. 312 pp.

Catalogue ofthe March-May 1984 London exhibition at the Tate Gallery includesJohn Christian's history of Morris's one surviving oil painting.

William Morris and the Middle Ages: A Collection of Essays, Together With aCatalogue of Works Exhibited at the Whitworth Art Gallery, 28 September - 8December 1984. Ed. Banham, Joanna and Jennifer Harris. Manchester: ManchesterUniversity Press, 1984,225 pp.

Catalogue of the 1984 Manchester exhibition at the Whitworth Art Gallerydescribes such works as "La Belle Iseult," "Daisy" embroidered wall hanging, theMinstrel figures in stained glass, calligraphic works, and numerous works byMorris & Co. See individual entries for essays by Harris and O'Connor.

William Morris: 1834-1896. Madrid: Direccion General de Arquitectura y Vivienda,1984.

Catalogue of the exhibition held in Madrid in October - November 1984, inBarcelona December 1984 - January 1985.

William Morris: The Sanford and Helen Berger Collection. Forward James D. Hartand James ElIiott. Preface Sanford Berger. Berkeley: U of California, 1984. 56 pp.

Catalogue of the October-Decemper 1984 Berkeley exhibition includes 245 itemsrelated to Morris & Co. and the Kelmscott Press. Margaretta M. Lovell contributesan essay on the medieval and utopian tradition underlying the creative collaboration ofMorris & Co. Anthony Bliss contributes an essay on the founding ofthe KelmscottPress and Morris's effort to combine aesthetic and commercial standards.

William Morris Textiles. Richard Mathews. Gulfport, Florida: Konglomeratifoundation, 1984. 7 pp.

Catalogue of the March-April 1984 Florida exhibition by the KonglomeratiFoundation, based on Linda Parry's book of the same name.

William Morris Today. Sandy Nairne. London: Institute of Contemporary Arts,1984. 160 pp.

Catalogue of the March-April 1984 London exhibition at the I.CA. includes 25briefessays and interviews concerning Morris interests in history, architecture, art,work, and society. See individual entries by the authors and interviewers. In

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addition to Nairne's Foreword and Teresa Newman's Introduction, Nora Gillowdescribes the William Morris Gallery, Linda Parry the Victoria and Albert Museum,Hans Brill the William Morris Society, and Adela Wright the Society for theProtection ofAncient Buildings.

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