of Works about Talwin Morris
Market." Charles Rennie Mackintosh Society Newsletter 68
brief report on the sale of a sidechair designed by Charles Rennie
Mackintosh, and a collection of books with bindings by both Mackintosh
and Talwin Morris at Christie's, London, in 1995; and of a chair
by Mackintosh at Sotheby's.
M. Art Nouveau. New York: Schocken Books, 1985.
book contains a single reference to Talwin Morris: "The tall,
thin support was employed later almost as much as the curvilinear
plant forms, and might be called a submotif of the movement, particularly
in the hands of C. A. Voysey, C. R. Mackintosh, Herbert McNair,
George Walton and Talwin Morris - the last four working in Glasgow"
G. "Designers of Blackie's Glasgow-style Book Covers." Imaginative
Book Illustration Society Newsletter 8 (1998): 5-8.
profile of Talwin Morris and a discussion of the Glasgow-style
bindings designed by him for the Glasgow publishers Blackie &
Son during the years 1893-1909. This article reproduces two Morris
cover designs: The Admiralty House; and The Book of the Home.
Other artists who designed covers for Blackie and are discussed
include A. A. Campbell, Ethel Larcombe and Charles Rennie Mackintosh.
R. Glasgow 1900. Glasgow: Fine Art Society, .
text explores the relationship between painters of the Glasgow
School and designers of the Glasgow Style. Includes vases and
plates from the Allander Pottery (1904-1909), examples of Clutha
glass, and work by painters, sculptors and designers such as Crawhall,
Dewar, Lavery, Macdonald (Frances and Margaret), Mackintosh, MacNair,
Morris, Taylor, Walton.
Agnes, A.C. Blackie and Son 1809-1959: A Short History of the
Firm. Glasgow: Blackie & Son, .
a single reference to Talwin Morris. "Robert Blackie, though a
septuagenarian, kept abreast of contemporary movements in art;
and the appointment in 1892 of a disciple of art nouveau, Talwin
Morris, as head of the art department, had tangible effect, not
only on the design of book covers, but on the appearance of the
office at 17 Stanhope Street. Alterations carried out by Talwin
Morris included two handsome swing doors at the entrance, strongly
in the idiom of art nouveau, but blending well with the Victorian
neo-classicism of the building, which was once described by a
journalist, in 1883, as 'showing a chaste Grecian elevation to
Stanhope Street.'" (43)
G. "Blackie books: Talwin Morris and the Glasgow Style." Charles
Rennie Mackintosh Society Newsletter 28 (1981): 3-6.
first part of a three part article on Talwin Morris's work as
art director for the Glasgow publishers Blackie & Son during
the years 1893-1909. The three articles taken together provide
a comprehensive examination of Morris' designs. The first article
examines the rationale for Blackie & Son hiring Morris as
Art Director. Cinamon also notes Morris' type designs, and lists
the titles of his first eight designs. Three of Morris' designs
are illustrated in black and white.
"Blackie books: Talwin Morris and the Glasgow Style. Part II." Charles
Rennie Mackintosh Society Newsletter 29 (1981): 7-9.
second part of a three part article on Talwin Morris's work as
art director for the Glasgow publishers Blackie & Son during
the years 1893-1909. The second article details the creation of
Gresham Publishing, a subsidiary of Blackie & Son, and the
designs that did for both publishing houses. Three of Morris'
designs are illustrated in black and white.
"Blackie books: Talwin Morris and the Glasgow Style. Part III."
Charles Rennie Mackintosh Society Newsletter 30 (1981):
third part of a three part article on Talwin Morris' work as Art
Director for the Glasgow publishers Blackie & Son during the
years 1893-1909. This article pays particular attention to the
Red Letter Library. Four of Morris' designs are illustrated in
black and white.
"The Glasgow Style book covers of Talwin Morris." The New Bookbinder
19 (1999): 3-11.
copiously illustrated, short introduction to Morris' designs.
The illustrations include 4 headpiece examples and 18 different
"Talwin Morris (1865-1911): A Checklist of Works Related to Publishing."
The Private Library, 4th series 3.1 (1987): 32-42.
article provides an excellent overview of Morris' career, broken
down into 7 categories: appearances in the journal The Studio;
appearances in the journal Decorative Kunst; designs
for the magazine Black and White; designs for Blackie
& Son; designs for juvenile titles for Blackie & Son;
designs for school books for Blackie & Son; and miscellaneous
material. The most useful feature of this article is a chronological
list of titles designed by Morris.
"Talwin Morris, Blackie and the Glasgow Style." The Private
Library, 3rd series 10.1 (1987): 3-47.
article provides a comprehensive, detailed examination of Talwin
Morris' designs and career. Cinamon examines specific books designed
by Morris, considering the stylistic elements, typography, and
binding materials along with discursive references to events in
Morris' life. Cinamon includes 40 illustrations of Morris' book
designs, along with a sample of a headpiece he did for the magazine
Black and White, another headpiece for book called A
History of the Scottish People, three headpieces from the
book Battles of the Nineteenth Century, and a photograph
of a frame Morris designed for a watercolour by Charles Rennie
"Mr Talwin Morris's Designs for Cloth Bindings." The Studio:
An Illustrated Magazine of Fine and Applied Art 15 (1899):
article, written by a contemporary of Talwin Morris, focuses on
the bindings he designed for Blackie & Son. Eight of his designs
are illustrated in black and white. The author notes that while
several other publishers were producing well-designed books, only
Blackie & Son had "gone further and issued educational works,
schoolboy literature, and popular classics, with sober and well-disposed
designs on their covers" (41).
Lyle. Art for the masses: the Art Nouveau book designs of Talwin
Amphora 135 (2004):
This article provides an overview of Morris' career,
placing his work within the context of technological changes in
bookbinding. The article concludes that Morris' designs signify
the popularity of Art Nouveau and its relationship to commercial
R. "Talwin Morris Again: Evaluation and Collaboration. Part One."
Charles Rennie Mackintosh Society Newsletter 36 (1984):
first part of a two part article on the book covers designed by
Talwin Morris as art director for Blackie & Son during the
years 1893-1909. Gibbs, an art historian, aims to supplement Cinamon's
work by adding to the body of examples of Morris' work.
R. "Talwin Morris Again: Evaluation and Collaboration. Part Two."
Charles Rennie Mackintosh Society Newsletter 37 (1984):
second part of a two part article on the book covers designed
by Talwin Morris as art director for Blackie & Son, 1893-1909.
This article includes two photographic reproductions of books
designed by Morris. The greater part of this article is given
over to discussion of two designers who worked under Morris and
continued designing for Gresham and Blackie & Son after his
death: A. A. Campbell and Ethel Larcombe.
D. "Dunglas Castle." Charles Rennie Mackintosh Society Newsletter
46 (1987): 4.
and describes a wall panel designed and painted by Talwin Morris,
installed at Dunglass Castle in Bowling, Scotland.
T. and Art Gallery of Ontario. Charles Rennie Mackintosh and
the Modern Movement. London: Routledge & Kegan Paul, 1977.
catalogue contains four references to Talwin Morris, and two pages
of biographical notes, along with several references to Blackie
& Son, and to Charles Rennie Mackintosh's design of some titles.
This is a source of much useful information about the Glasgow
T., C. R. Mackintosh, et al. Charles Rennie Mackintosh, 1868-1928:
a Memorial Exhibition Sponsored by the Art Gallery of Ontario and
Arranged by Dr. Thomas Howarth ... 18 November-31 December, 1978.
Toronto: Art Gallery of Ontario, 1978.
catalogue includes a section on Illustrated Books and Magazines
that mentions Talwin Morris: "such publications were of great
importance to the propagation of new ideas in design generally"
John Noel Claude. Anatomy of printing: the influences of art
and history on its design. London: Faber, 1970.
text contains a brief discussion of Talwin Morris, summing up
his career and describing his designs as "immaculate in their
linear simplicity." (204) This book also reproduces two book cover
designs, by Morris for Blackie & Son, as plates 106 and 107:
an example of the Red Letter Shakespeare series cover, and an
example of the Red Letter Poetry series cover.
The Twentieth Century Book, Its Illustration and Design.
[New York]: Reinhold, 1967.
text reproduces the cover of Talwin Morris' design for the Red
Letter Shakespeare edition of Romeo and Juliet for Blackie &
Son, along with the following text:
"Blackie and Sons of Glasgow were the publishers of 'The Red Letter
Shakespeare'. These little books were designed by Talwin Morris
(1865-1911), who came from the south to work for Blackies, as
art director. His simple geometric designs were ideal for blocking
in gold or colour and were architecturally strong enough to be
very effective. His output was enormous. As John Russell Taylor
has recently said, Talwin Morris was one of the great purveyors
of art nouveau to the fast expanding book buying public." (52)
G. "Dunglass Castle, Bowling." Charles Rennie Mackintosh Society
Newsletter 79 (2000): 4.
article reports on the renovation of Dunglass Castle in Bowling.
Morris lived in Dunglass from 1893 to 1899, and painted the wall
panel described in Harvie's article above.
MacLeod, R. Charles Rennie Mackintosh: Architect and Artist.
London: Collins, 1983.
text offers a single reference to Talwin Morris: "In 1902 Walter
Blackie, a publisher, was put in touch with Mackintosh by Talwin
Morris, a close friend of the architect, who had been associated
with him in his graphic enterprises and was now art manager for
Blackie's firm" (90).
F. "Talwin Morris." Baseline 23 (1997): 21-28.
article provides an excellent overview of Talwin Morris' work
as a book designer for Blackie & Son, Gresham, and Cassell.
Some of the most interesting material involves MacSporran's examination
of Morris' stylistic motifs. The article provides 23 illustrations
of Morris' book cover designs.
J., C. R. Mackintosh, et al. Charles Rennie Mackintosh: Architect,
Artist, Icon. Stillwater, MN: Voyageur Press, 2000.
text includes three references to Talwin Morris, concerning his
relationship with Mackintosh. (50, 96, 103). McKean writes that
Morris arrived in Glasgow in 1893, at the age of 28 where he works
with his friend Mackintosh (50). He also notes that though Morris
was associated with the Glasgow Style, unlike the other members
of the group, he did not attend the School of Art in Glasgow (96).
The third reference is a reproduction of the tombstone Mackintosh
designed for Morris in 1911 (103).
T. and William Morris Gallery and Brangwyn Gift (London England).
Talwin Morris: An Exhibition, William Morris Gallery ... 23
August-2 October 1983. London: The Gallery, 1983.
Timothy. Part Seen, Part Imagined: Meaning and Symbolism in
the Work of Charles Rennie Mackintosh and Margaret Macdonald.
Edinburgh: Canongate Press, 1994.
book provides multiple references to Talwin Morris and discusses
his relationship to Mackintosh and the other members of the Glasgow
Four. The cover of The Natural History of Animals is
reproduced in colour on page 111. Neat also cites extensively
from an unpublished manuscript written by Morris in 1896, now
held in the Glasgow University collection.
Chris S. "The Book Designs of Talwin Morris (1865-1911)." Review
of Scottish Culture 2 (1986): 13-17.
article provides a succinct introduction to Morris' book designs,
placing his work within the social, economic, and artistic currents
operating at the time. Seaton outlines the factors impelling Blackie
& Son to use Morris' designs, and argues that other Scottish
and English publishers imitated those designs. The article includes
eight reproductions of covers designed by Morris.
J. R. The Art Nouveau Book in Britain. London: Methuen,
is a key text, and makes several references to Talwin Morris.
Eight of his designs are illustrated in black and white. Taylor
notes that a number of important figures in Art Nouveau were trained
as architects: "Mackmurdo, Beardsley, Talwin Morris, Anning Bell"
and their work tends to use frame motifs (19). Taylor places Morris
as a key member of the Glasgow Style, writing that his style was,
in broad terms, in accord with that of the Glasgow Four. (123)
According to Taylor, Morris was a highly prolific designer and
his designs "circulated the country in millions during the years
before the First World War" (124). Taylor also writes that Morris
"seems to have found little obstacle to general acceptance of
his work" (127) and that he "probably had a more far-reaching
effect in habituating the public at large to the conventions of
Art Nouveau " (130).
Loudon. "How to Judge a Book by its Cover." The Herald April
17 1999: 10-11.
is a non-scholarly, but useful article. Temple sketches Morris'
biography and career in the first half of the article, and also
writes about the book collectors who seek out his bindings. Thirteen
of Morris' designs are included as photographic illustrations.
S. Sources of Art Nouveau. New York: Da Capo Press, 1975.
book makes two references to Talwin Morris along with an illustration
of a cupboard, mirror and blind designed by him (297). Tschudi-Madsen
shows Morris' lifespan as 1865-1911. This text is dismissive of
Morris, rating him as "more apart and less important" (284) in
relation to the Glasgow Four. This text also aligns Morris' closer
to the Arts and Crafts movement (296).
R. "Bing, Art Nouveau and the Book in the Late Nineteenth Century."
Apollo (London, England) 151.459 (2000): 32-40.
article contains a photographic reproduction of Morris' design
for The Book of the Home. The article focuses on continental
designers but notes that in Britain, Talwin Morris was an important
and successful designer.
Gleeson. "British Book Plates." The Studio: An Illustrated Magazine
of Fine and Applied Art. Special (1898-1899): 3-44.
detailed study of book plate design has one short description
of a "joint-plate" book plate that Morris designed for "a husband
and wife." "The original is in two colours, green and black. It
is a delightful example of a true label-device; as one would have
expected from a designer of such originality and refinement" (18).
Regrettably, the plate is not illustrated.
Esther. "British Trade Bookbindings and their Designers." The
Studio: An Illustrated Magazine of Fine and Applied Art Special
article contains six illustrations of Morris' designs for the
books: The Eagle's Nest; The Admiralty House;
A Dreadful Mistake; The Handsome Brandons; William
Ewart Gladstone and his Contemporaries; and Literary
Pastimes of Early Life. Very nearly an entire page is given
over to a discussion of his designs.
F. "Art Nouveau and Talwin Morris." Apollo (London, England)
85 (1967): 64-5.
article contains illustrations of three of Morris' designs. Page
64 shows a sketch of the cover of A Girl's Loyalty and page 65
includes a photographic reproduction of the cover of Queen Victoria.
Page 65 also shows a reproduction of the cover design of the religious
series in the Red Letter Library.
H. R. "Another Morris." Times Literary Supplement 4885
is a short report on the selling of Gerald Cinamon's collection
of 630 works by and about Talwin Morris. Woudhuysen writes that
Morris' designs are a "mixture of Art Nouveau and Arts and Crafts,
but most of all it is reminiscent of the Glasgow Style" (36).