Designed by William Morris (English, 1834–1896) Produced by Morris & Co., London (English, 1875–1940) Merton Abbey, London (English, 1881–1940)
About this artwork
Cray was the most complex of the large-scale designs named for rivers in that it required 34 printing blocks—more than any other. The two examples of Cray in the collection [1974.419a and 2018.827] appear to have been made with different sets of printing blocks, as the size of the pattern is slightly different in length and width.
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The Art Institute of Chicago, “Objects of Desire: Victorian Art at the Art Institute of Chicago,” Museum Studies 31, 1 (2005): 84, cat. 17.
Judith Barter, ed., Apostles of Beauty: Arts and Crafts from Britain to Chicago, exh. cat. (Chicago: Art Institute of Chicago, 2009), 21, 14, cat. 95.
Art Institute of Chicago, Agnes Allerton Gallery,
Selected Textile Acquisitions since 1973, Dec. 15, 1977–Mar. 26, 1978.
Art Institute of Chicago, Elizabeth F. Cheney and Agnes Allerton Textile Galleries, Revival and Reform: A Growing 19th Century Textile Collection, Nov. 25, 1998–Feb. 28, 1999.
Art Institute of Chicago, Regenstein Hall, Apostles of Beauty: Arts & Crafts from Britain to Chicago, cat. 95, Nov. 7, 2009-Jan. 31, 2010.
Art Institute of Chicago, Islamic Art, Gallery 50, Islamic Textile Rotation, July 26, 2017-Mar. 21, 2018.
Martha Batchelder (Mrs. Charles F. Batchelder, born Martha Lee, b. 1906), Milton, MA [Incoming receipt RX9909 dated 11/05/1974 in curatorial file]; given to the Art Institute of Chicago, 1974.
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