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Published: July 16th 2010
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There are a number of properties in the UK which were associated with William Morris. Red House is arguably one of the most famous properties, as it was the first and only home where William Morris ever built and spent his married life with Jane Burne-Jones.
William Morris was an extremely dedicated and respected designer and craftsman. Red House's later owners respected what he had created. They had endeavoured to preserve the house as it was when he had lived and added wallpaper and fabrics from Morris & Co and introduced well-designed new furniture from Heals and Ercol. After Mr & Mrs Hollamby had died, their children decided to sell the property to the National Trust to ensure its permanent preservation. It was acquired with general assistance from benefactors, William Morris Society and Bexley Council.
Sachi and I decided to visit Red House in Bexleyheath on 20 June. There were signposts for Red House, but interestingly, they were blue signposts not brown ones which are used for indicating historic properties. As we had seen photographs of Red House, the house and walls were constructed with red bricks in the Gothic Revival style.
We decided to join the tour
starting at 12 o'clock. The tour began from the outside of the former entrance door. We could see one of Morris' mottos written on the top of the arch shaped door, and mosaics of landscapes in four seasons. Then, the guide showed the exterior and explained the quirky mixture of different types of windows, e.g. tall casements, hipped dormers, oriel window, round-headed sash windows, and bull's eye windows, which were placed and shaped to suit the rooms rather than external symmetry.
We were taken to the eastern side of the L-shaped house. We saw the well. We entered the house from pilgrim's rest. We were shown two examples of William Morris' earliest wallpapers, which he directly painted on the wall, the stained glass windows with figures of Love in red and Fate blindfolded in green and holding the wheel of fortune, with stylised birds and flowers. The guide said they might have been designed by Burne-Jones.
There was very authentic furniture, combined of several closets and pews and a religious painting in the corridor from the main entrance to the staircase.
After showing us round the entrance hall, the guide took us to the Dining Room where
William Morris entertained the guests and served generous portions of beef and mutton and fresh fruits taken from his garden. The dining table was very plain. There was no tablecloth. We were interested in the striking design of the exposed red-brick fireplace, which was filled in blue-and-white tiles with pictures of daily life. The dresser looked fascinating and practical with several types of storage rooms where plates, bowls, cutlery, glasses and jars would been kept, and we learnt that the dresser was designed by Philip Webb.
Like many stately homes, I was impressed with the dramatic space in the staircase, with oak stairs and tapered newel posts in a medieval style, exposed arched bricks, oak beams on the white wall and ceiling with abstract patterns. There were two large windows which offered sunlight to the staircase, and I felt it makes these artistic decorations look even more attractive and creates a very interesting space.
Next, we were shown a series of bull's eye windows in the first floor corridor, with details of plants. The guide took us to the studio where William Morris and the last owner, Mr Ted Hallam worked. We found the room very light and
airy with large windows and light green coloured "Marigold patterned wallpaper, which was attached by the Hollamby family in the 1950s. The study desk was placed by corner, flooded with sunlight. I noted the L-shaped desk in the Studio, with bookshelves which were designed underneath the desk and it allowed the users to keep books and references. The L-shaped desk had sliding doors, which is very functional and saves space.
Then, the guide took us to the Bedroom. There used to be a number of hangings, cushions and curtains which were designed by William Morris and Janey Morris. The guide showed us fragments of a mural drawn behind the wardrobe, which was thought to have been painted by Rossetti's wife, Lizzie Siddal in the 1860s.
Finally, we were taken to the principal living room. There was an exposed red-brick fireplace with several types of iron tools, which may have inspired by French Renaissance. The guide showed us the yellow ceiling decoration over the bay window, which is visible from outside. There was a very playful but practical settle displayed. The settle had the pew with radiator installed below the pew, which would keep the people warm while sitting, several storage rooms where books, ornaments, and porcelain were stored and displayed, and canopy and ladder with a series of the pictures, which were added by Philip Webb. There were a couple of wall paintings based on the medieval romance of Sir Degrevaunt, which were completed by Burne Jones and people were wearing the costumes with floral patterns and the one which was similar to the ceiling painting.
We had lunch at the cafe. The restaurant staff were very friendly, and we felt relaxed while having lunch. We flicked through second-hand books and looked round the former stable buildings.
We returned to the house. Sachi was interested in the Document Room and we enjoyed reading the reference books of William Morris' wallpapers and manuscripts. She was particularly interested in the manuscript which had description of the Canterbury Tale written by Geoffrery Chaucer. Later on, she bought a copy from the Amazon.
We continued looking round the house and had a closer look at the details of the furniture, wallpapers, murals, and stained glass in the Dining Room, Studio, Bedroom, and Drawing Room.
Philip Webb also designed the garden, retaining many of the old trees, e.g. apple, cherry, oak, ash, hazel, etc, and they have been thriving well in the English garden. We enjoyed walking under the rose arch, viewing the kitchen garden, old fruit trees, herbaceous borders, and various climbers, e.g. roses, white jasmine along the wall. Old roses, lavenders, daisies, Cox apples, and birds appear on William Morris' tapestries and wallpapers, and I confirmed that English garden greatly inspired him and epotomised his art work. The English garden was at its best in June, and all the flowers looked stunning and were harmonised well with the brick house.
We enjoyed the visit to Red House on 20 June, and hope to come back there again.
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