After designs by Sir Edward Burne-Jones (English, 1833–1898) and John Henry Dearle (English, 1860–1932)
Produced by Morris & Co., London (English, 1875-1940)
Woven by Walter Taylor (English, 1875–1965) and John Keich (English, active 1890s–1910)
Merton Abbey Tapestry Works, London (English, 1881–1940)
Pomona
INV-7663
After designs by Sir Edward Burne-Jones (English, 1833–1898) and John Henry Dearle (English, 1860–1932)
Produced by Morris & Co., London (English, 1875-1940)
Woven by Walter Taylor (English, 1875–1965) and John Keich (English, active 1890s–1910)
Merton Abbey Tapestry Works, London (English, 1881–1940)Figure design 1882, background design 1898, made 1906
Arts and Crafts Movementenglishbritish19th centuryweaving - tapestrytextile
Date
Figure design 1882, background design 1898, made 1906
Medium
Cotton, wool, and silk, slit and double interlocking tapestry weave
Dimensions
92.9 × 165.1 cm (36 1/2 × 65 in.)
Museum
Art Institute of Chicago
Location
Chicago, IL
Credit
Ida E. S. Noyes Fund
William Morris called tapestry weaving “the noblest of the weaving arts . . .in which nothing is mechanical.” The weaver’s skill in interpreting a complex and often delicate design was essential to creating a successful work. Tapestry weaving is slow and therefore expensive, which made such textiles inaccessible to most consumers.
The hanging of Pomona, the goddess of orchards and gardens, was paired with another tapestry depicting Flora, the goddess of flowering plants. The first version of this pair was woven in the mid-1880s with a bold background of large leaves designed by William Morris. Smaller versions were later produced with the millefleurs design in the background by John Henry Dearle. The floral background resulted in a more harmonious composition, as Dearle’s smaller flowers were better suited to the delicate rendering of the goddesses.
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