At Kelmscott House, Hammersmith

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I have walked past William Morris’ former house on the river bank in Hammersmith many times and always wondered what it was like inside but, since it is now a private dwelling, I never expected to visit. However, the residents kindly open their doors to members of the William Morris Society once every two years and thus I was permitted the privilege of joining the tour.

William Morris was forty-three years old when he came to live here. It was to be his last house in a succession that began with his childhood home in Walthamstow and included the Red House in Bexleyheath, designed for him and Jane as their marital home by Philip Webb, and the sixteenth century Kelmscott Manor by the Thames in Lechlade. The rural idyll which William Morris hoped for at Kelmscott Manor had been sullied by the overbearing presence of Dante Gabriel Rossetti whose obsession with Jane Morris had led him to take up permanent residence.

“If you could be content to live no nearer London than that, I cannot help thinking we should do very well there and certainly the open river and the garden at the back are a great advantage,” William wrote tactfully to Jane in February 1877. “If the matter lay with me only, I should be setting about taking the house, for already I have become conscious of the difficulty of getting anything decent. As to such localities as Knightsbridge or Kensington Sq, they are quite beyond our means.”

Built in the seventeen-eighties, the house was known as The Retreat and had once been the home of Sir Francis Ronalds, inventor of the electric telegraph, who had filled the long garden, which stretched all the way back to King St then, with buried cables as part of his experiments. When William Morris came here and renamed it Kelmscott House, it had been the home of the novelist George MacDonald for a decade. However – somewhat ominously for Morris – they chose to leave since MacDonald believed that the proximity to the polluted river was responsible for his family’s ill-health. In those days, the riverfront at Hammersmith was heavily industrialised with factories and wharfs.

I realised that, in my imagination, I felt I had already visited Kelmscott House. Long ago, when I read Morris’ novel News From Nowhere, I was seduced by his vision of a homespun Utopia that had turned its back on industrialism. In my memory, as if in the moonlight of a dream, I joined the characters as they departed Kelmscott House and undertook the journey up the Thames from Hammersmith to Kelmscott Manor in Oxfordshire, travelling a hundred years into the future.

When I paid my visit to Kelmscott House, there were compelling details which evoked that faraway world, even if time and change had wiped away almost all of the evidence of Morris’ occupation of the house. “Let us hope that we shall all grow younger there,” he wrote to Jane with forced optimism in October 1878, just before they moved in.

Walking through the narrow passage beside The Dove, you discover the wide expanse of the Thames on the left and Kelmscott House rising up on your right, presenting an implacable frontage to the river. You enter through the area stairs on the left of the house, leading down to the kitchen, and immediately you notice a wall of original trellis wallpaper, designed by Morris with birds drawn by Philip Webb. If no-one told you, you would assume it was a recent reprint since these papers remain in production today. The low-ceilinged basement rooms are now the headquarters of the William Morris Society, where you may admire his Albion Press before climbing stairs again into the former coach house. This long narrow room was employed by Morris as a workshop for knotting carpets, also lectures and meetings of the Hammersmith Socialist League were held here. During his final years at Kelmscott, Morris became increasingly involved with politics and the Socialist cause.

The garden no longer stretches to King St, just as far as M4, yet it is impressively generous for a London garden, with well-kept herbaceous borders and a wide lawn. Most fascinating to me, though, was the strawberry patch – since William Morris’ Strawberry Thief is one of his most celebrated textile designs, inspired by his experiences at Kelmscott Manor where the thrushes raided his soft fruit.

Approaching the house from the rear, it presents quite a different aspect than from the front, with assymetric projections and a bowed turret. The high-ceilinged dining room at the back was especially offensive to Morris with its Adam detailing and Venetian window. This seems a curious prejudice to the modern sensibility. Perhaps our equivalent might be those eighties post-modern buildings which have not aged well. Fortunately, Morris suspended a vast sixteenth century Islamic carpet across one wall and part of the ceiling, drawing the eye from the Georgian elements which he found so hideous.

Emery Walker photographed the interiors, capturing Morris’ personal sense of interior design, employing lush textiles and extravagant antiques, mixed with furniture painted by Philip Webb and fine oriental ceramics. Architecturally, the most impressive space is the first floor drawing room which spans the width of the house, created by George MacDonald by knocking two bedrooms into one. In this south-facing room, the views over Chiswick Reach are breathtaking. Morris lined it with a rich, bluish tapestry of birds in foliage that he designed for this location. A huge settle painted with sunflowers by Philip Webb once sat beside the fireplace, lined with blue and white tiles manufactured by Morris & Co and still in situ.

In 1881, seeing children from the nearby slum known as Little Wapping swinging on his garden gate, Morris recognised, “It was my good luck only of being born respectable and rich, that has put me on this side of the window among delightful books and lovely works of art, and not on the other side, in the empty street, the drink-steeped liquor shops, the foul and degraded lodgings.”

Overlooking the garden at the back was Jane Morris’ room, somewhat detached from the rest of the house, granting her the independence she required as she withdrew from her marriage during the years at Hammersmith. The two front rooms on the ground floor, overlooking the river, comprised William Morris’ workroom and bedroom. It was in the workroom to the left of the front door that he supervised the creation of the Kelmscott Press, publishing fifty-two titles in five years. In his bedroom to the right, he installed a loom to undertake tapestry through the long hours of the night when he could not sleep. Here he died from tuberculosis on 3rd October 1896, aged just sixty-two, nursed by Emery Walker as his breath failed him. His last words were, “I want to get mumbo jumbo out of the world.”

I walked back along King St to the tube, past the Lyric Sq Market where William Morris once spoke. I thought about him taking the District Line back and forth to visit East London for public speaking – and I decided I should trace his footsteps in the East End next.

Basement stairs with original Morris ‘Trellis’ wallpaper

William Morris’ design for ‘Trellis’ wallpaper with birds drawn by Philip Webb

William Morris’ Albion Press

Hammersmith Socialist League gathering on the back lawn at Kelmscott House, 1885

William Morris’ workroom from which he ran the Kelmscott Press, with stairs leading up to the coach house where Hammersmith Socialist League meetings were held (Photograph by Emery Walker)

Strawberry patch in the garden at Kelmscott

William Morris’ ‘Strawberry Thief’ design

Sixteenth century Islamic carpet displayed by Morris in the dining room at Kelmscott (Photograph by Emery Walker)

‘William Morris’ rose blooms at Kelmscott

The drawing room at Kelmscott (Photograph by Emery Walker)

Tapestry designed for the drawing room at Kelmscott

The drawing room at Kelmscott (Photograph by Emery Walker)

William Morris spoke here – Lyric Sq Market, Hammersmith

Archive photographs courtesy William Morris Society

The lower floor and coach house of Kelmscott House are open on Thursday and Saturday afternoons. Visit the William Morris Society website for further details

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