Every Morrisさんのイラストまとめ

Thistle was available in a number of simple single-color options. These two green versions are held at the V&A.

Early 20th-century sample books like those at the Brooklyn Museum show that Pink and Rose was available in a number of colorways.

Samples at Brooklyn include the same colorway as the V&A and another multi-colored version, with a plain background and slightly bolder colors.

The design of Pink and Rose also points to Dearle. The 'Persian' stylized bloom and its lobed/leafed petal decoration is particularly characteristic of Dearle's first decade of design. He also used pinks extensively.

Compare, for example, Double Bough, also from 1891.

Pattern 70: "Pink and Rose", wallpaper. J.H. Dearle or William Morris, 1891.
Printed: Jeffrey & Co.
Image: V&A

The WMG also holds the original design and at least one of the printing blocks. This block would have printed the darker lines in the large bloom on the left side.

The selvedge marks on these examples from the Cooper Hewitt clearly show that the Firm kept printing the pattern after their break with Wardle. The Firm's shop moved to Oxford Street in 1877, but the building was only numbered 449 after street renumbering in 1882.

The Brooklyn Museum sample books include a greener light version and a darker version.
It's hard to tell if the lighter version is a different colorway or the same as the above V&A version, but less faded/yellowed.

Just for comparison's sake, here are the same approximate sections of the design and the final result. It looks like the pattern was simplified for printing, giving it a light background and reducing the colors (and therefore blocks) required.

The original design is held by the William Morris Gallery. It was famously inspired by the garden at Red House, which featured rose trellises inspired by medieval manuscripts. Philip Webb, Morris's friend and the architect of Red House, drew in the birds.

Pattern 22: "Lily and Pomegranate", wallpaper. William Morris, 1886.
Printed: Jeffrey & Co.
Image: V&A