Kelmscott House Museum

#176

In the basement and coach house of William Morris’s Hammersmith home, the William Morris Society presents small, focused displays on Morris’s craft, politics and printing—linking the domestic rooms where he lived (1878–1896) with his nearby Kelmscott Press and socialist activity.

Show more Show less

Wikipedia Official Website Google Maps

Opening Hours

Sunday: 10:00 – 16:00

Thursday: 10:00 – 16:00

Friday: 10:00 – 16:00

Saturday: 10:00 – 16:00

What's not to miss inside?

Kelmscott Press & the Albion

Connects Morris’s late-life private press to the Arts & Crafts ideal of ‘the book beautiful’.

Original printing equipment and specimen pages illuminate how hand-set type, handmade paper and wood-engraved illustration met in works like the 1896 ‘Kelmscott Chaucer’.

Compare a proof page to a finished leaf: spacing, ink density and margin geometry reveal the pressman’s craft.

📍 Coach House workspace

Pattern & Process

Shows wallpapers and textiles alongside design drawings, revealing how repeat units grow into immersive surfaces.

The famous foliage patterns were technical feats—block registration, dye chemistry and scale all had to align.

Find the ‘join’ in a wallpaper repeat and trace how stems disguise the seam.

📍 Basement displays

Morris the Socialist

Documents talks and pamphlets produced when Kelmscott House doubled as a hub for the Socialist League in the 1880s.

Lecture notices and correspondence show a designer-poet turning organiser, using the house as a platform for public debate.

Read a leaflet’s typography like a design object: what choices signal urgency versus dignity?

📍 Coach House meeting material

🤓 Fun Facts

Morris moved into the Hammersmith house in 1878 and lived here until his death in 1896; during that period he founded the Kelmscott Press (1891), whose masterpiece, the ‘Works of Geoffrey Chaucer’, appeared in 1896.

Kelmscott House was both domestic base and political platform—Morris hosted Socialist League meetings here, linking Arts & Crafts ideals with social reform.

The press’s books combined hand-cut types (notably Golden, Troy and Chaucer types) with wood-engraved illustrations after Edward Burne-Jones—an all-arts collaboration orchestrated by Morris.