# Talwin Morris > Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Talwin_Morris > Markdown URL: https://mediated.wiki/source/Talwin_Morris.md > Source: https://en.wikipedia.org/wiki/Talwin_Morris > Source revision: 1341970946 > License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/) {{Short description|British book designer and decorative artist}} {{Use British English|date=September 2014}} {{Use dmy dates|date=September 2014}} {{Infobox person |name = Talwin Morris |image = Art_Nouveau_book_cover,_designed_by_Talwin_Morris.jpg |alt = Art Nouveau book cover, designed by Talwin Morris, from collection of Glasgow School of Art Library |caption = |birth_date = {{Birth date|df=yes|1865|06|14}} |birth_place = Winchester, England |death_date = {{Death date and age|df=yes|1911|03|29|1865|06|14}} |death_place = Bowling, Scotland |other_names = Talwyn Morris |known_for = Book design |occupation = Designer }} thumb|Dunglass Castle -home of Talwin and Alice Morris thumb|Gravestone of Talwin Morris -designed by Charles Rennie Mackintosh -Dumbarton '''Talwin Morris''' (15 June 1865 – 29 March 1911) was a prolific book designer and decorative artist working in the late 19th and early 20th centuries, particularly known for his [Glasgow Style](/source/Glasgow_Style) furniture, metalwork and book designs. ==Early life and career== Morris was born 15 June 1865 in [Winchester](/source/Winchester), [England](/source/England) to auctioneer Thomas Shewell Morris (1832–1877) and Harriet Chick (d.1865) of St John's Place.Cinamon, G. (1983) Talwin Morris: an exhibition. London: William Morris Gallery, p.1 Talwin, from the Welsh 'tal' (tall) and 'gwyn' (white), had been the surname of his paternal great-grandmother, a [quaker](/source/Quakers) from [Royston](/source/Royston%2C_Hertfordshire) in [Hertfordshire](/source/Hertfordshire).Lancing College (2006) ‘Talwin Morris (1965-1911): artist and designer’, Lancing College magazine, p.20 His mother died from complications just 24 days after his birth, and his aunt Emily (1829-1916) moved from [Reading, Berkshire](/source/Reading%2C_Berkshire) to look after him. Upon his father's death in 1877, and aged 12, he was placed in the guardianship of Emily and her brother [Joseph Morris](/source/Joseph_Morris_(architect)) (1836–1913) in [Reading, Berkshire](/source/Reading%2C_Berkshire). Possibly affected by his father's illness, Emily noted that between June 1874 and Christmas 1877 Talwin had suffered "a nervous illness... said by the medical man to have been a phase of hysteria".Lancing College (2006) ‘Talwin Morris (1965-1911): artist and designer’, Lancing College magazine Chosen for a theological career by Emily, from 21 September 1880{{Cite web|url=https://archive.org/stream/registerofsnicho00lancuoft#page/173/mode/1up|title=A Register of S Nicholas College, Lancing|last=Lancing College|date=1990|publisher=Lancing College|access-date=2018-11-19}} he attended Second's House of [Lancing College](/source/Lancing_College) in [West Sussex](/source/West_Sussex), notably playing the role of Lady Plato in John Baldwin Blackstone's farce ''A Rough Diamond'', before withdrawing from his studies in April 1882. A photographic portrait in the Lancing archives has been tentatively identified as Morris,Lancing College (2006) ‘Talwin Morris (1965-1911): artist and designer’, Lancing College magazine, p.20 but this attribution is unsubstantiated. He was later described however by artist [Mary Newbery Sturrock](/source/Mary_Newbery_Sturrock) (1892-1985) as "a tall pale-complexioned man, who favoured the dress of the artist of the day, in cloak and wide-brimmed hat".{{Citation needed|date=November 2018}} Between 1882 and 1885 he was articled to the architectural firm his uncle [Joseph Morris](/source/Joseph_Morris_(architect)) ran with Spencer Slingsby Smallwood at 9 Friar Street in [Reading, Berkshire](/source/Reading%2C_Berkshire), winning a prize in 1885 in the Berkshire Archaeological and Architectural Society's drawings competition.Arnold, H. G. & Gold, S. M. (1989) Morris of Reading: a family of architects. London: Ancient Monuments Society, pp.55-57 The practice specialised in church architecture, and Morris's sketchbooks from this time are full of renderings of [Norman](/source/Norman_architecture) doorways, fonts and arches from the surrounding villages of [Tidmarsh](/source/Tidmarsh), [Purley on Thames](/source/Purley_on_Thames), [Swallowfield](/source/Swallowfield), [Silchester](/source/Silchester), [Cholsey](/source/Cholsey), [Finchampstead](/source/Finchampstead) and [White Waltham](/source/White_Waltham). Today some of these sketches are held in the collection of [Glasgow Museums](/source/Glasgow_Museums). Following his apprenticeship, he obtained work in [London](/source/London) between 1885 and 1890 with architect James Martin Brooks (1859-1903). Despite this training he seems not to have registered with the [Royal Institute of British Architects](/source/Royal_Institute_of_British_Architects).Correspondence between Mr Gold and British Architectural Library held in biographical file on Talwin Morris at Library of Royal Institute of British Architects In 1888 he became engaged to his second cousin Alice Marsh (1861–1955), daughter of Joseph, a miller and Justice of the Peace for [Kingston upon Thames](/source/Kingston_upon_Thames), and Ellen Grace Marsh. Alice would later go on to enjoy her own highly successful career as an author of children's books under the name Alice Talwin Morris. From 1891 he took up post as sub art-editor under [M. H. Spielmann](/source/M._H._Spielmann) for ''[Black and White](/source/Black_and_White_(magazine))'', a new weekly magazine published by [Cassell](/source/Cassell_(publisher)), designing many of its decorative initials and [headpieces](/source/Headpiece_(book_illustration)).,Cinamon, G. (1983) Talwin Morris: an exhibition. London: William Morris Gallery, p.1 the first of which appeared on 3 October 1891 to illustrate a review of [The American](/source/The_American_(novel)) by [Henry James](/source/Henry_James). Here Morris provides a letter T with swirling [nasturtiums](/source/Tropaeolum), though the incorporated portrait of James is not by him. Other pieces were used to decorate individual stories, or to head up the 'Books' or 'Chess' sections, and were often reused long after Morris left the magazine. By 1892 he had also designed the [masthead](/source/Masthead_(British_publishing)) of Cassell's ''Saturday Journal''. Around this time he was sharing rooms in Belle Vue Road, [Kingston upon Thames](/source/Kingston_upon_Thames) with his second cousin, the miller and collector Ernest Marsh (1843-1945).{{Cite web|url=http://ualresearchonline.arts.ac.uk/5253/1/Steering_Taste_Ernest_Marsh_442155.pdf|title=Steering taste: Ernest Marsh – a study of private collecting in England in the early 20th century|last=Jordan|first=C.|date=2007|publisher=University of the Arts, London|access-date=2018-11-19}} On 21 May 1892 he and Alice finally married at St John's Parish Church in [Kingston upon Thames](/source/Kingston_upon_Thames), with his occupation listed on the marriage certificate as 'clerk'.Cinamon, G. (1983) Talwin Morris: an exhibition. London: William Morris Gallery, p.11 The marriage certificate was witnessed by his aunt Emily, Ernest Marsh, and members of Alice's immediate family. They lived at 1 Field Court, [Gray's Inn](/source/Gray's_Inn), [London](/source/London), a short walk from the offices of ''[Black and White](/source/Black_and_White_(magazine))'' at 33 [Bouverie Street](/source/Bouverie_Street).Cinamon, G. (1983) Talwin Morris: an exhibition. London: William Morris Gallery, p.1 ==Move to Glasgow== Responding to an advertisement placed in ''[The Standard](/source/London_Evening_Standard)'' on 21 February 1893 for an Art Director for publishers [Blackie and Son](/source/Blackie_and_Son), he moved to [Glasgow](/source/Glasgow) in May 1893. The advert specified "a competent draughtsman well versed in art matters, of some taste in literature, fitted to take charge of the scheming and production of book illustrations and decoration and able to carry on the correspondence concerned therewith". Whilst working for [Blackie and Son](/source/Blackie_and_Son), Morris continued to accept freelance commissions, such as [mastheads](/source/Masthead_(British_publishing)) for the popular [Cassell](/source/Cassell_(publisher)) periodical ''Magazine of Art''. Morris soon made the acquaintance of the artists and designers associated with the [Glasgow School of Art](/source/Glasgow_School_of_Art) via Robert Blackie (1820-1896) who sat on the committee of the School from 1871 to 1892.Information from Glasgow School of Art Archives http://www.gsaarchives.net/ Although he never attended the School, Morris soon became friends with [Charles Rennie Mackintosh](/source/Charles_Rennie_Mackintosh) and his contemporaries, and his own work quickly began to incorporate [Glasgow Style](/source/Glasgow_Style) motifs. He is known, for example, to have visited the art studio of the sisters [Frances Macdonald](/source/Frances_MacDonald) and [Margaret Macdonald](/source/Margaret_Macdonald_Mackintosh) at 128 Hope Street. Around 1897 Morris wrote an unpublished manuscript (commonly considered a piece for [Studio Magazine](/source/Studio_Magazine)) ''Concerning the Work of Margaret Macdonald, Frances Macdonald, Charles Mackintosh and Herbert McNair: an Appreciation'' which is now held by [Glasgow Museums](/source/Glasgow_Museums).Morris, T. (1897) 'Concerning the Work of Margaret Macdonald, Frances Macdonald, Charles Mackintosh and Herbert McNair: an Appreciation', unpublished manuscript, Glasgow Museums E.1946.5.x Responding to an advert of 1 March in the ''[Glasgow Herald](/source/The_Herald_(Glasgow))'', he and Alice leased [Dunglass Castle](/source/Dunglass_Castle) from July 1893 and began to design its interiors.Gleeson White, J. W. (1897) 'Some Glasgow designers and their work: part II', The Studio, XI(54), pp.227–236 Morris is also known to have been a keen collector of [Martinware](/source/Martin_Brothers) ceramics, a passion he shared with his cousin Ernest Marsh.Haslam, M. (2004) ‘The pursuit of imperfection: the appreciation of Japanese tea-ceremony ceramics and the beginning of the studio-pottery movement in Britain’, Journal of the Decorative Arts Society 1850-the present, vol. 28, pp.148-171 [Bookplate](/source/Bookplate)s designed by Talwin and Alice at that time are generally thought to reflect the circumstances of their new home and life together.Jordan, C. (2016) 'Interconnections: Talwin Morris, Alice Morris and Ernest Marsh', The Bookplate Journal, 14(2), pp.110-115 The house was sold in July 1899 to Charles Macdonald, brother of his friends [Margaret](/source/Margaret_MacDonald_(artist)) and [Frances Macdonald](/source/Frances_MacDonald), and Morris's interiors were subsequently completely remodelled by [Mackintosh](/source/Charles_Rennie_Mackintosh).See http://www.mackintosh-architecture.gla.ac.uk/catalogue/browse/display/?rs=353{{Cite web |title=Mackintosh Architecture: The Catalogue - browse - display |url=https://www.mackintosh-architecture.gla.ac.uk/catalogue/browse/display/?sysnum=s903 |access-date=2025-09-18 |website=www.mackintosh-architecture.gla.ac.uk}} Today, [Dunglass Castle](/source/Dunglass_Castle) sits derelict within an oil refinery and is classified as a [Building at Risk](/source/Buildings_at_Risk_Register_for_Scotland).See http://www.buildingsatrisk.org.uk/details/896833 The Morrisses moved to the newly built Torwood in [Bowling, West Dunbartonshire](/source/Bowling%2C_West_Dunbartonshire) where Morris could enjoy a garden studio.Cinamon, G. (1983) Talwin Morris: an exhibition. London: William Morris Gallery, p.1 He is incorrectly listed as Dalwin Morris in the [1901 census](/source/United_Kingdom_census%2C_1901), and employed a domestic servant called Elizabeth Gourlay. Artist Mary Newbery Sturrock later recalled visiting the Morrisses as a little girl, and picking primroses on the hill at Torwood.{{Citation needed|date=November 2018}} [Mackintosh](/source/Charles_Rennie_Mackintosh) also visited, and drew flowers in the garden. ==Influence on book design== thumb|upright|Endpaper, circa 1905 From 5 October-5 December 1896 Morris exhibited three book cover designs (''The Universe'', ''English Essays'', and ''Daddy Samuel's Darling'') at the fifth exhibition of the [Arts and Crafts Exhibition Society](/source/Arts_and_Crafts_Exhibition_Society) at the [New Gallery, London](/source/New_Gallery_(London)).{{Cite web|url=https://archive.org/details/ACESExhib05AAD1980182|title=Catalogue of the fifth exhibition|last=Arts and Crafts Exhibition Society|date=1896|publisher=Arts and Crafts Exhibition Society, London|access-date=2018-11-19}} Morris became hugely influential in Victorian book design by moving away from the popular narrative bindings of the time to a more modern [Art Nouveau](/source/Art_Nouveau) approach where line, curve and decoration are used to entice the reader. The book designs of [Dante Gabriel Rossetti](/source/Dante_Gabriel_Rossetti) have been cited as a particular influence.Grieve, A. (1973) ‘Rossetti’s applied art designs 2: book bindings’, Burlington Magazine, vol. 115, no. 839, pp.79-84 At [Blackie and Son](/source/Blackie_and_Son) his output was prolific, producing many designs that could be printed in different [colourway](/source/colourway)s across series such as the ''Red Letter Library'' and ''Library of Famous Books''. He also designed books for Morison Brothers of [Glasgow](/source/Glasgow), [Cassell](/source/Cassell_(publisher)), J. G. Cotta of [Stuttgart](/source/Stuttgart), J. C. C. Bruns of [Minden](/source/Minden), F. Volckmar, [Mudie's Select Library](/source/Mudie's_Select_Library), and from 1898 the Blackie subsidiary Gresham.Cinamon, G. (1981) 'Talwin Morris and the Glasgow Style: Part II', Charles Rennie Mackintosh Society Newsletter, 29, pp.8–10 In 1906 he also supplied the cover design of the influential German magazine ''[Dekorative Kunst](/source/Dekorative_Kunst)''. Though many of his book designs are unsigned, some feature his 'signature' of a single dot followed, after a pause, by a further two dots (a stylised rendition of his initials in [morse code](/source/morse_code) which would consist of a long dash followed by two shorted dashes). Others feature a stylised elongated TM monogram. During his tenure, Morris also commissioned book designs by designers such as [Ethel Larcombe](/source/Ethel_Larcombe_(artist)) and [Silver Studio](/source/Silver_Studio).Gibbs, R. J. (2007) ‘Designs for the serial titles of Blackie’s and Mudie’s by Talwin Morris, Ethel Larcombe and C. R. Mackintosh’, Journal of the Scottish Society for Art History, vol. 12, pp.22-26 ==Non-book design== From 1893 Morris designed brass metalwork and textiles for his home [Dunglass Castle](/source/Dunglass_Castle), and several pieces now reside in the collection of the [Hunterian Museum and Art Gallery](/source/Hunterian_Museum_and_Art_Gallery). His interior scheme at Dunglass later featured in an article for ''[Studio Magazine](/source/Studio_Magazine)''.{{Cite journal|url=http://digi.ub.uni-heidelberg.de/diglit/studio1897|title=Some Glasgow designers and their work – part 2|last=Gleeson White|first=J. W.|date=1897|publisher=Studio Magazine, London|doi=10.11588/DIGLIT.17298 |access-date=2018-11-19}} At the 1896 [Arts and Crafts Exhibition](/source/Arts_and_Crafts_Exhibition_Society) he bought the watercolour ''Part Seen, Part Imagined'' from his friend Charles Rennie Mackintosh for 3 guineas, and designed his own frame to house the work (now in [Glasgow Museums](/source/Glasgow_Museums)). In November–December 1900, Morris exhibited a [repoussé](/source/Repouss%C3%A9_and_chasing) bronze mirror at the 8th exhibition of the [Vienna Secession](/source/Vienna_Secession), organised by the Vereinigung Bildender Künstler Österreichs and curated by [Josef Hoffmann](/source/Josef_Hoffmann). Here his work was shown in room I, as opposed to room X which housed the work of Mackintosh and other Glasgow artists.{{Cite web|url=http://digital.wolfsonian.org/WOLF054319/00001/1j|title=Katalog der VIII Kunstausstellung|last=Vienna Secession|date=1900|publisher=Vereinigung Bildender Künstler Österreichs Secession, Vienna|access-date=2018-11-19}} At the [Glasgow International Exhibition](/source/Glasgow_International_Exhibition_(1901)) of 1901, [Charles Rennie Mackintosh](/source/Charles_Rennie_Mackintosh) designed a pavilion for the department store [Pettigrew & Stephens](/source/Pettigrew_%26_Stephens), and Morris provided the accompanying poster. Around the same period, his work was featured in a special winter number of ''[The Studio](/source/Studio_magazine)'' on jewellery and fans. Here a jewelled shoe buckle in copper, and a cloak clasp and waist band in beaten silver were featured{{Cite web|url=https://archive.org/details/moderndesigninje00holmuoft|title=Modern design in jewellery and fans|last=Studio Magazine|date=1902|publisher=Studio Magazine, London|access-date=2018-11-19}} In 1901 Morris produced designs for a dining room for Mrs Bruno Schroeder, now in [Glasgow Museums](/source/Glasgow_Museums). Also in 1901 he designed a scheme for a remodelled entrance to the Blackie works (at 17 Stanhope Street in the [Townhead](/source/Townhead) area of the city and built by [Alexander 'Greek' Thomson](/source/Alexander_Thomson)), which included a pair of wrought iron grilles, swing doors, a stained glass fanlight, and fingerplates in beaten brass. In later years Agnes Blackie recalled "the appointment in 1892 [sic.] 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" Blackie, A. (1959) Blackie and Son 1809-1959: a short history of the firm, Glasgow, Blackie & Son, pp.42-43 Much of the scheme was lost when the Blackie Works were demolished in the 1960s and relocated to [Bishopbriggs](/source/Bishopbriggs). In 1902 his work was selected for exhibition alongside those of his contemporaries at the influential [Prima Esposizione Internazionale d'Arte Decorativa Moderna](/source/Prima_Esposizione_Internazionale_d'Arte_Decorativa_Moderna) held in [Turin](/source/Turin), at which he sold a beaten metal mirror and received orders for four more.Buchanan, W. (2004) 'Talwin Morris, Blackie and the Glasgow Style', Charles Rennie Mackintosh Society Journal, 87, p.10 The 'Scottish Section' had been organised by [Francis Henry Newbery](/source/Francis_Henry_Newbery), Headmaster of [Glasgow School of Art](/source/Glasgow_School_of_Art) and consisted mostly of Glasgow artists across a suite of three rooms designed by [Charles Rennie Mackintosh](/source/Charles_Rennie_Mackintosh). Also in 1902 he introduced [Charles Rennie Mackintosh](/source/Charles_Rennie_Mackintosh) to his employer Walter Blackie (1860-1953), which led to Mackintosh receiving the commission to design Blackie's home, [Hill House, Helensburgh](/source/Hill_House%2C_Helensburgh).Blackie, W. W. (1968) 'Memories of Charles Rennie Mackintosh: II', Scottish Art Review, vol. 11, no. 4, pp. 6–11 Morris's own double candle [sconce](/source/Sconce_(light_fixture)) of a [peacock](/source/Peafowl) hangs at Hill House. Around 1903–1904, Morris designed an ink stand in pewter and blue/green enamel for the [Tudric](/source/Tudric) range of [Liberty & Co.](/source/Liberty_(department_store)) An example is held in the [Hunterian Museum and Art Gallery](/source/Hunterian_Museum_and_Art_Gallery). Designs for an overmantle, dining table, sideboard and bookcase for [William Adlington Barrow Cadbury](/source/William_Adlington_Barrow_Cadbury) from this time are held in [Glasgow Museums](/source/Glasgow_Museums). In 1910, Morris designed the memorial of his employers the [Blackie Family](/source/Blackie_and_Son) in [Glasgow Necropolis](/source/Glasgow_Necropolis), which was then carved by [John Mossman](/source/John_Mossman). ==Death and posthumous reputation== Morris retired at the age of 44 through ill-health in 1909 and was succeeded by his deputy A. A. Campbell. He died from a cardiac [embolism](/source/embolism) on 29 March 1911 at just 45 years old, leaving an estate valued at £855 14s 7d.Cinamon, G. (1983) Talwin Morris: an exhibition. London: William Morris Gallery, p.2 On 31 March 1911, notice of his funeral was published in the ''[Glasgow Herald](/source/The_Herald_(Glasgow))''. His body lies in [Dumbarton](/source/Dumbarton) Cemetery, marked by a gravestone designed by his friend [Charles Rennie Mackintosh](/source/Charles_Rennie_Mackintosh) at the behest of his widow Alice.A sketch and brief description were included in the journal British Architect, 11 October 1912. Mackintosh's pencil and wash designs for the monument are now held in the Hunterian Art Gallery collection, Glasgow. For further comprehensive information see http://www.mackintosh-architecture.gla.ac.uk/catalogue/browse/display/?rs=313 The inscription reads "Love is more great than we conceive / and death is the keeper of unknown redemptions", taken from the ''Dominion of Dreams'' (1899) by [Celtic Revival](/source/Celtic_Revival) writer Fiona Macleod, a pseudonym of [William Sharp](/source/Fiona_Macleod). This quotation had previously been used for Macleod's own memorial. At her own wish, Alice's ashes were later to join those of her husband, upon her death in 1955. His one piece of published writing, the 9th special supplement of [Percy Venner Bradshaw](/source/Percy_Bradshaw)'s the Press Art School titled ''The Illustration of Children's Books'', was published posthumously in 1912 with an addendum by his successor A. A. Campbell.A copy is held in the British Library. In 1911, and again in 1924, books in the possession of his widow Alice were auctioned at [Sotheby, Wilkinson & Hodge](/source/Sotheby's).Sotheby, Wilkinson & Hodge (23–27 October 1911) Books of Thomas Drew..., and, Sotheby, Wilkinson & Hodge (21–22 July 1924) Catalogue of printed books comprising a selection from the library at Westport House, Ireland, the property of the Marquess of Sligo... In 1939 and 1946 Alice presented works by her late husband to [Glasgow Museums](/source/Glasgow_Museums). Some of his design work for [Blackie](/source/Blackie_and_Son) was sold at [Sotheby's](/source/Sotheby's) in 1989 in the sale of their archives.Lot 693 in Sotheby's (1–2 June 1989) Illustrated and Private Press Books, Children’s Books and Juvenalia etc Posthumous exhibitions of Morris's work were held at the [William Morris Gallery](/source/William_Morris_Gallery), London from 23 August-2 October 1983, [National Art Library](/source/National_Art_Library), London from June–July 1990, [Blackwell](/source/Blackwell_(historic_house)), [Lake District](/source/Lake_District) from 26 April-11 July 2005, [University of Reading](/source/University_of_Reading) from 12 January-20 March 2009, and Court Barn Museum, [Chipping Campden](/source/Chipping_Campden) from 3 April-17 May 2015. His work across media (including early architectural sketches, metalwork, bookbindings, bookplates, and graphic art) was shown at the exhibition ''[Charles Rennie Mackintosh](/source/Charles_Rennie_Mackintosh): Making the Glasgow Style'' held at [Kelvingrove Art Gallery and Museum](/source/Kelvingrove_Art_Gallery_and_Museum) from 30 March-14 August 2018.Brown, A. (2018) Charles Rennie Mackintosh: making the Glasgow style. Glasgow: Glasgow Museums His work can be seen in many library and museum collections, both in the [United Kingdom](/source/United_Kingdom) and internationally. ==Bibliography== * ''Talwin Morris: An Annotated Bibliography'' (2017){{Cite web|url=http://radar.gsa.ac.uk/5019/1/talwin-morris-bibliography.pdf|title=Talwin Morris: an annotated bibliography|last=Chappell|first=D.|date=2017|publisher=Glasgow School of Art|access-date=2018-08-07}} ==Digital content== * [https://vads.ac.uk/collections/GSATM.html/ Glasgow School of Art Library's digitised collection at Visual Arts Data Service] {{commons category|Talwin Morris}} ==Notable collections== * [https://collections.glasgowmuseums.com/mwebcgi/mweb?request=record;id=6821;type=701 Items held by Glasgow Museums] * [https://www.gla.ac.uk/myglasgow/archivespecialcollections/discover/specialcollectionsa-z/morriscollection/ Morris Collection at University of Glasgow Library] ==References== {{reflist}} ==External links== * [https://www.fulltable.com/VTS/m/tm/menuc.htm Talwin Morris, Designer for Books, and Blackie's] * [https://home.cc.umanitoba.ca/~fordl/index.html Talwin Morris at the University of Manitoba Libraries] {{Authority control}} {{DEFAULTSORT:Morris, Talwin}} Category:1865 births Category:1911 deaths Category:People educated at Lancing College Category:Artists from Winchester Category:People from Reading, Berkshire Category:Art Nouveau designers Category:Arts and Crafts movement artists Category:Book designers Category:English designers Category:Architects from Hampshire Category:British graphic designers --- Adapted from the Wikipedia article [Talwin Morris](https://en.wikipedia.org/wiki/Talwin_Morris) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Talwin_Morris?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.