Since he was running a business, he had to adapt to the wishes of the market. The multitude of colours used and the careful work involved made these wallpapers particularly expensive. All three were created in a variety of different colours. In the following years, he made two more floral designs, Daisies (1864), and Fruit and Pomegranate (1866). įruit or pomegranate (1866) (Metropolitan Museum) For the bedroom of his own residence Kelmscott House, which he decorated in 1879, he used the trellis design with a blue background.

The final versions were printed in different colours.

He was dissatisfied by the early versions, and at one point threw away the entire set of printing blocks. Since Morris was a perfectionist, this also was a long process. However, when he could not make this work to his satisfaction, he gave the task to an established wallpaper firm, Jeffrey and company, which printed it with wood blocks and distemper colours. His primary objective was to make the wallpaper by hand, with transparent oil colours on zinc plates.

However, two years passed between the time he designed the paper and the time he was able to print it to his satisfaction. It was inspired by the roses he grew on the trellis at his residence, the Red House.

The first wallpaper pattern he designed for his company was the Trellis wallpaper in 1864. His partners in the company were members of the Pre-Raphaelite Brotherhood, a group of painters who rejected the art and design of the Victorian era, and sought to revive earlier themes and techniques of art and craftsmanship. The 1860s - experiments and early designs

3 Late 1870s to the 1890s - Royal attention and final wallpapers.

2 The early 1870s - mastery of technique.

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