Introductory Panel
"He had learnt to work so like him that the design of the pupil may well be mistaken, even by the experienced in design, for that of the master" — 1899, Lewis Day (1845–1910), artist and friend of Dearle, speaking on Dearle's closeness to Morris's style
John Henry Dearle (1859–1932) was an apprentice under William Morris and his successor as Art Director of Morris & Co. William Morris discovered Dearle at an insurance office, where the latter was working; "the great artist and poet William Morris called at the office on business he noticed a youth's drawing on the blotting paper before him and at once told him that if he could do things like that his talent could better be employed elsewhere."
Dearle took Morris's instruction to heart and was soon employed as an assistant in the Morris & Co. showroom on Oxford Street. Before long Dearle was developing his artistic skillset in the Firm's glass studio in Queen Square, alongside which he attended evening classes at the West London School of Art. Recognising Dearle's quick progression and talent for design, Morris trained him in tapestry weaving. By 1887 Dearle had designed his first printed textile and just three years later was appointed a chief designer. Following Morris's death in 1896, Dearle became the Art Director at Morris & Co., a position he held for 36 years.
Outside of work pursuits, Dearle married Kezia Elisabeth Jones and had two sons, Harry and Duncan. The eldest son moved abroad to North America, while the youngest son, Duncan, followed in his father's footsteps, studying glass painting and music. Between 1900–1932, Dearle devoted much of his time to education, serving as a visitor and design advisor to the Royal College of Art, acted as an examiner for the Board of Education and the City and Guilds Institute and judged numerous design competitions. Dearle passed away in 1932, at the age of 73. Morris & Co. declined following his death, leading to the company's dissolution and subsequent acquisition in 1940 by Sanderson.
Throughout his more than 50 years working at Morris & Co., Dearle produced over 30 wallpaper designs, over 40 textile designs and countless unrecorded designs for furniture and embroidery. Despite his significant artistic output, Morris's reputation has often overshadowed Dearle. Many of Dearle's early designs were promoted under Morris's name due to his notoriety. In the 20th century these misattributions began to be righted, however there are still instances of debate over the artistry of certain Morris & Co. designs. In recent decades Dearle's individual artistic skill has begun to gain recognition, separate from Morris. This exhibition showcases the breadth of Dearle's creative talent and achievement through a selection of his Morris & Co. designs for stained glass, wallpaper and textiles.
Wallpaper Labels
Sample of 'Iris' wallpaper, designed by J.H. Dearle, first issued c. 1887
Block printed in distemper by Jeffrey & Co. for Morris & Co.
'Iris' — not to be confused with a furnishing fabric of the same name designed by Morris years earlier in 1876 — is a foliate and floral design featuring iris flowers, marigolds and small birds. A Morris & Co. salebook from the early 1910s records this wallpaper as Dearle's first wallpaper design for the Firm.
Sample of 'Golden Lily' wallpaper, designed by J.H. Dearle c. 1897
Block printed in distemper by Jeffrey & Co. for Morris & Co.
'Golden Lily' is often mistaken for being designed by Morris but was in fact created by Dearle. This misattribution reflects well upon Dearle's talent and his adherence to the Morris & Co. style. The pattern has remained one of the most popular Morris & Co. designs, experiencing a particular resurgence in the mid-late 20th century when it was famously worn, styled as a jacket by Beatles lead guitarist George Harrison in the 1960s and again in the 1970s when the design featured on a couch in a Sanderson Design advert with Diana Rigg. In present day 'Golden Lily' is the second top selling design across both wallpaper and fabric at Morris & Co., owned by Sanderson Design Group.
Sample of 'Artichoke' wallpaper, designed by J.H. Dearle c. 1898
Block printed in distemper by Jeffrey & Co. for Morris & Co.
William Morris used several versions of 'artichoke' in designs for wall hangings and later for Kidderminster and Wilton carpets from the 1870s. It was one of the large traditional motifs characteristic of Morris's designs at that time, inspired by Middle Eastern and Italian woven silks in the South Kensington Museum, the present day Victoria and Albert Museum. This version by Dearle differs from any previous designs, and features blossoming artichokes entwined with vines and leaves.
Sample of 'Seaweed' wallpaper, designed by J.H. Dearle, registered in 1901
Block printed in distemper by Jeffrey & Co. for Morris & Co.
'Seaweed' is unique to the Morris & Co. range as it is the sole paper to feature underwater plant life. The design features acanthus vines amongst blue flowers and sprays of seaweed. The paper remains a popular design and was featured in the 2011 Royal Mail stamp collection, as one of six stamps celebrating the 150th anniversary of Morris & Co.
This wallpaper required 9 woodblocks to complete the pattern and was offered for purchase in 3 different colourways.
Sample of 'Persian' wallpaper, designed by J.H. Dearle in 1904
Block printed in distemper by Jeffrey & Co. for Morris & Co.
Interest in Islamic arts and culture was shared by a number of those within the Arts & Crafts Movement, including Dearle and both William and May Morris. Dearle's interest in Islamic art can be seen reflected in many of his later works, such as in this wallpaper. 'Persian' boasts a horizontal axis of symmetry and a floral motif, both common aspects in Islamic pieces.
Sample of 'Sweet Briar' wallpaper, designed by J.H. Dearle in 1912
Block printed in distemper by Jeffrey & Co. for Morris & Co.
'Sweet Briar' is one of Dearle's later wallpaper designs, which was also produced as a printed fabric. The pattern differs from earlier Morris & Co. designs in its correspondence with Edwardian fashions, that being softer florals. The paper features sweet briar rose, with pink flowers, entwined with green stems and foliage.
Textile Labels
'Millefleurs', designed by J.H. Dearle c. 1912–14 for Morris & Co.
Woven wool curtain, hand-loom jacquard woven at Merton Abbey
The 'millefleurs' design is one of Morris & Co.'s 20th century range of historical reproduction textiles. Millefleurs translates to a thousand flowers and in design terms means a background of small flowers, which was a popular medieval style. This particular design of stylised flowers is based on a 16th century Flemish tapestry.
'St Hilary', designed by J.H. Dearle c. 1912–14 for Morris & Co.
Woven silk damask, hand-loom jacquard woven at Merton Abbey
This design is part of the early 20th century Morris & Co. textile collection that was adapted from historical fabrics. The Firm's book advertising this range states they "have made a collection from France, Italy, Portugal etc., of some of the best reproductions of rich antique materials, suitable for the decoration of great houses, and for the covering of hand-some furniture." This silk was available for purchase in at least seven colourways and was popular for use in ecclesiastical settings.
'Cherwell', designed by J.H. Dearle in 1887 for Morris & Co.
Block printed on velveteen at Merton Abbey
'Cherwell' is thought to be Dearle's first printed textile design. In naming the piece Dearle continued Morris's trend of using Thames tributaries for titles, naming the design after the River Cherwell that rises in Northamptonshire. The pattern was available on velveteen and cotton in at least three colourways. In 1891 the pattern was produced by Morris & Co. as a wallpaper under the name 'Double Bough'.
'Severn', designed by J.H. Dearle and/or Morris circa 1887–90 for Morris & Co.
Block printed on cotton at Merton Abbey
'Severn' is one of Dearle's early fabric designs and showcases his developing skill as an artist. The central acanthus structures the design, while the smaller ancillary florals provide balance. 'Severn' was available on velveteen and cotton in at least three colourways.
'Daffodil', designed by J.H. Dearle in 1891 for Morris & Co.
Block printed on cotton at Merton Abbey
'Daffodil' — not to be confused with a Dearle wallpaper design of the same name from 1903 — is one of Morris & Co.'s most popular fabrics. The diagonal repeat with floral details between the vertical bands are reminiscent of Morris's hand. The furnishing fabric was available in both light and dark grounds and required ten blocks to complete the design.
'Vine' portière embroidery, designed by J.H. Dearle c. 1890 for Morris & Co.
Silk embroidery on 'Oak' silk damask
In the late 1880s Dearle began designing for embroidery, in addition to his work on tapestries and textile repeats. This portière is one of a series that Dearle designed for decorative use to be hung over a door or doorway. The series feature animals and birds entwined with flowers and foliage. This particular piece is worked in darned and stem stitches, that would have been hand-worked by the Morris & Co. embroiderers, underseen by May Morris.
Design for 'Vine' portière embroidery, drawn by J.H. Dearle c. 1890
Pencil on paper
Wallpaper Pattern Book of the Morris Collection, by Sanderson, circa 1960
Bound book containing 60 wallpaper samples
Morris's name and reputation often overshadowed other designers at the Firm. Patterns were frequently sold under Morris's name due to his notoriety. In the 20th century other designers that worked at Morris & Co. began to gain recognition, however there are still instances in which the artist of a design is debated.
This 1960s Sanderson wallpaper book, issued for the centenary celebration of Morris's first wallpaper design, 'Trellis' from 1872, features 60 Firm papers and notes the respective designer. The introductory page states that the book "includes designs by Morris and his fellow designers, notably his pupil, J.H. Dearle".
The book is open to Dearle's wallpaper 'Planet' (right), which is featured in two different colourways in the pattern book (as noted on the back of the paper on the left). 'Planet' was designed circa 1915 and was one of Dearle's latest wallpapers.
Tapestry
Platinum Print by Frederick Hollyer of two panels of Morris & Co.'s Holy Grail Tapestry commission, circa 1896
In original wooden frame
This platinum print of two panels from The Holy Grail Tapestry — that being The Arming and Departure of the Knights (right) and The Summons (left) — likely hung in the Morris & Co. Oxford Street showroom to advertise the Firm's tapestry skill. The Holy Grail Tapestries are a series of six tapestries that depict the legends of King Arthur. Morris & Co. were commissioned by William Knox D'Arcy to decorate the interior for his home Stanmore Hall, Middlesex; these tapestries were just one part of the significant decorative commission.
These two tapestries are today within the collection of the Birmingham Museums Trust. The tapestries were completed between 1890 and 1895 and were woven at the Firm's workshops at Merton Abbey, in present day Southwest London. The design was a collaboration between William Morris, Edward Burne-Jones and J.H. Dearle. Morris largely focused on the design of the heraldry elements, while Burne-Jones was chiefly responsible for the figures and Dearle's creative efforts were utilised in the design of the foreground flowers. The flowers are based on florals in medieval tapestries and bear similarities to Dearle's later Millefleurs textile.
Quest for the Holy Grail Tapestries, Panel 1: The Summons
Copyright Birmingham Museums Trust
Quest for the Holy Grail Tapestries, Panel 2: The Arming and Departure of the Knights
Copyright Birmingham Museums Trust
Stained Glass
The first reference to Dearle's work in the glass painter's studio is from 1884 and notes his design work for foliage on an apse window. Seven years later Dearle graduated to more complex work, including the painting of figures and designs for both foregrounds and backgrounds. As early as 1893 Dearle was entrusted with the full design of cartoons for figures, most notably the figures of Shakespeare and Milton for a series of windows at Bute Hall, at Glasgow University. Following both Morris's and Burne-Jones's deaths, in 1896 and 1898, Dearle took on management of the stained-glass department at the Firm. When Morris & Co. closed in 1940, the stained glass arm of the company was purchased by Dearle's son Duncan, who had worked alongside his father in the department. Duncan continued to produce stained glass works until his death in 1954.
Present day images of windows designed by J.H. Dearle:
St Stephen's, Tonbridge, Kent — north aisle, easternmost window: 'Resurrection'
Designed by J.H. Dearle in 1911
Copyright M. Horrill
Rugby School Chapel, Warwickshire — west window: 'Paradise or Last Judgement'
Designed by J.H. Dearle in 1902
Copyright M. Horrill
Brechin Cathedral, Angus — south transept window: 'Christ Blessing Children'
Designed by J.H. Dearle in 1907
Copyright M. Horrill
Photo Labels
J.H. Dearle, circa 1930
Courtesy and copyright of the Dearle family
J.H. Dearle in Morris & Co. workshop (pictured at left), circa 1878
Courtesy and copyright of the Dearle family
Graphite on paper sketch of J.H. Dearle, circa 1930
Courtesy and copyright of the Dearle family