May harshly criticized the economic structures that resulted in low prices for handmade embroidery-prices that reflected neither the aesthetic value of the work nor the value of the labor involved. This composition combines elements of symmetrical formal English garden design with elements that evoke Celtic knots and wild Persian tulips, along with a border that references Japanese design elements. and to promote the welfare of the firm that bore her family name.ĭesigned by May Morris, produced by Morris & Company. At the same time, she spent much of her professional life continuing to design for Morris & Co.
Until recently, her life and work existed primarily in the shadow of her father’s achievements, but when we look at her life more closely, it is clear that she was a woman who recognized her privileged position in the world and used her advantages-education, talent, financial stability-in ways that she hoped would better the lives of women who were less fortunate. One of those experts was May.īorn in 1862, May was the younger of William Morris and Jane Burden’s two daughters.
Despite his proprietorship, Morris continued to seek experts with which to develop his ideas. The company began as Morris, Marshall, Faulkner & Co., a collaborative effort with six other partners-including fellow artists Edward Burne-Jones, Dante Gabriel Rossetti, Philip Webb, and Ford Maddox Brown, but in 1875, Morris bought out the partners, becoming sole owner and primary designer. The family business was the home furnishings empire Morris & Co., founded by her father, William Morris (1834–96).
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