Robins and Holly

About this work

Red breasts and red berries are the warmest notes in this dense winter pattern, and the eye jumps between them. Two robins sit among dark green holly, with white mistletoe tucked into the branches and gold vines winding through everything. Each leaf has a fine gold edge, so the foliage seems to shimmer slightly against the deep forest-green ground. The mistletoe is used sparingly, a few pale dots that lighten the dark mass. Further back, the design turns into an even, rich texture of green, red and gold, much like a fabric; close to, the shape of each holly leaf, the curve of the vines and the round bodies of the robins become clear. The mood is cosy, festive and quietly traditional.

William Morris often filled his patterns with birds: thrushes raid the fruit in Strawberry Thief of 1883, inspired by the birds in the kitchen garden at Kelmscott Manor. Robins and Holly turns that approach to Christmas. In Britain the robin became a Christmas emblem in the Victorian era, partly, it is often said, because postmen in red uniforms were nicknamed robins and appeared on early Christmas cards. Holly and mistletoe are older still, evergreens brought indoors in midwinter as a sign of life in the dark months. This is a reimagining in gold, not a Morris original.

It is cosy in a reading corner, a dining room or a kitchen, on deep green, sage, warm white or cream walls. Wooden furniture, wool throws and candles all draw out the gold. A dark walnut or deep green frame suits the dense pattern, and a cream mat gives it a little air. Its leafy surface reads well at almost any size: a small print fits a kitchen shelf, and a large one can fill a wall above a dining table all winter. For the holidays, group it with The Golden Christmas Tree and The Golden Christmas Wreath to make the Golden Christmas set. The file prints sharply to about 76 cm on the long edge at 300 dpi.