International Decorative Arts

DESIGNER PROFILES

Romney Green

125 years after his birth the memory of the Arts and Crafts woodworker Romney Green was preserved for posterity recently when a commemorative plaque was unveiled outside the Christchurch premises where ARG (as he was known) lived and worked from 1919 until his death in 1945.

The plaque was unveiled by master craftsman Graham Castle, now 87 and who worked with ARG from 1925 to 1935, in the presence of the Deputy Mayor of Christchurch, representatives of the family and the V&A, and other ARG associates. Graham, then a lad of 17, is second from the right in the well-known group photograph of ARG and his staff taken outside the premises in 1927 and which appears in Mary Greensted's book "Good Citizen's Furniture".

Examples of ARG's work can be seen in the V&A, Cheltenham Museum, the Holburne Museum in Bath, Abbot Hall Museum Kendal, and Christchurch Priory. He exhibited locally at the Bournemouth Arts and Crafts shows where Eric Sharpe (himself an ARG pupil) and Edward Barnsley were fellow-exhibitors, nationally and internationally including Amsterdam, Berlin, Brussels, Copenhagen and Paris and won many awards. Numerous people in Christchurch possess furniture made in ARG's workshop for themselves or their parents. The workshop also made a number of items for Eric Gill, a lifelong friend; Graham particularly recalls making a 15' long and 10' high display piece in chestnut.

A commemorative plaque has always been Graham's ambition. He, like others, holds ARG in exceedingly high regard. "A brilliant man (he says), years ahead of his time. He was making furniture to mathematical principles in the early years of this century. People laughed at the time but today he's been proved right. I can remember him writing to Sir Thomas Lipton and telling him that his boat would not win the (America's Cup) race. And he told him why. He knew because he had calculated the stresses himself. And Lipton didn't win!"

For ARG was not only a woodworker; he was boat builder, yachtsman, mathematician, poet, broadcaster and writer on the crafts and social reform to boot! His boat clientele included the late Lord Rothermere and his friends included Augustus John, Bernard Shaw, Bertrand Russell and Maynard Keynes. His paper "How to win the war and how to pay for it" earned him the accolade of Keynes and a Fellowship of the Royal Economic Society in 1942. He won prizes for poetry, winning 1st prize in a University of Wessex - the forerunner of Southampton University - competition in 1928 where the judge was Laurence Housman, brother of A E Housman of 'A Shropshire Lad' fame, and wrote extensively for magazines like "New English Weekly" and "Yachting Monthly". In 1931 he was appointed Supervisor of Workshops for the Unemployed in the Distressed Areas of England and Wales and also wrote on woodworking techniques for the Rural Industries Bureau.

John Whitehead, Graham's son-in-law, who organised the plaque, says "This is merely the end of the beginning. ARG will feature prominently in Christchurch's Millennium celebrations and a biography by Susan Elkin has recently been commissioned. The research team would welcome further information and anyone with a contribution is invited to contact me on 01291 423512."

Graham Castle: Rural Industries Organiser for Northamptonshire (1946-1974)
An Appreciation

The death of Graham Castle on 14 October 2001 severs one of the few - possibly the last - remaining links with the Rural Industries Bureau of the 1920s and 30s.

In 1909, the year of Graham's birth, Edward VII was King, income tax was four (old) pence in the pound, old age pensions of 5/- a week for a single person and 7/6 for a married couple over 70 years of age had just been introduced by that visionary Welshman David Lloyd George while a Frenchman, Louis Bleriot, made the first flight across the English Channel in a flimsy aeronautical contraption - an early version of the aeroplane.

Graham was born at 176 Kensington Road, Reading, his father being policeman for the nearby village (in those days!) of Tilehurst. Links with wood were already well established within the family. His maternal grandfather John Relf, a Sussex man, had been cricket coach at Wellington College and Rugby School in the 1870s. Three of his uncles were playing cricket for Sussex; one, Bert Relf, also played for England and toured Australia and South Africa in the years before the First World War. Another, Bob Relf, became cricket coach at Leighton Park School, Shinfield Road, Reading, a Quaker establishment. Graham well remembers his Uncle Bert, a wealthy man, driving up to the family home in Reading around 1919 in a new bull-nosed Morris car. "All the kids in the street came out to see it!"

After education at the Bluecoat School in Reading, the family moved to Christchurch, then in Hampshire but now in Dorset and where his mother was head parlourmaid to the Marston Smedley family. Naturally inquisitive about woodwork Graham succeeded in obtaining an apprenticeship with Romney Green, a Cambridge mathematician turned woodworker who, inspired by the Arts and Crafts ideals of John Ruskin and William Morris, had set up a workshop in the town. Graham tells of his appointment in his own words.

"Father wanted me to do something in the electrical world and even got me a job in that field. It took me just four hours to decide that that was not for me. I then spent two days looking for a place to enquire about starting to become a cabinetmaker. Late in the evening I found what I thought was just the place I was looking for. It took a lot of persuasion on my part to get father to go with me the next day. I remember it very clearly; it was a Wednesday in the first week of September 1925.

"At 10 am we arrived without an appointment, armed with my school reference. Father spoke to the shop foreman, Arthur Terry and then went to see the boss, Romney Green. I was left in the workshop. The glue was on a gas ring and one of the men asked me to turn it down. I noticed the glue was burnt and said so. The man said 'How do you know?' and I said my grandfather taught me how to make glue several years ago. Without more ado I was asked to make some more which I promptly did. The man then went in to the meeting with Romney Green and father; they came out and Romney said 'You can start tomorrow on six months trial'. I stayed there 10 years."

Romney Green was a many-sided character; as well as a master craftsman he was also a boat builder, yachtsman, mathematician, poet, broadcaster and writer on the crafts and social reform. His extensive articles for the Rural Industries Bureau included a series of articles "Woodwork for unemployed workers" published in the Bureau's quarterly magazine in 1933 and 1934. Examples of his work can be found in the Victoria and Albert, Bath and Cheltenham museums, Christchurch Priory, Abbot Hall Kendal, Charterhouse School and elsewhere. His extensive circle included fellow craftsmen, artists, poets, eccentrics and forward thinking people and Eric Gill, Bertrand Russell, Bernard Shaw, Augustus John and Maynard Keynes were among the many visitors to Christchurch. Another frequent visitor was Romney Green's brother, the Edwardian classical architect Curtis Green, who designed the Dorchester Hotel in Park Lane and many other buildings in London and elsewhere. Romney's boat clientele included Lord Rothermere and Sir Thomas Lipton (of tea fame).

On Sunday evenings there were readings and discussions at Christchurch on philosophy, the arts, social reform and issues of the day and Graham and the other workmen were allowed to attend. Stanley Davies, another of Green's workmen, described these gatherings as "an education, inspiration, enlightenment and joy". What finer commendation could one have! This atmosphere together with Green's social and philosophical outlook had a tremendous influence on Graham which remained with him throughout his life.

Meanwhile Graham progressed in woodworking skills including design, estimating and costing as well as making furniture and attending evening classes first at Christchurch and later at Bournemouth Technical College. Romney Green exhibited widely at Arts and Crafts events in Bournemouth, London and elsewhere and Graham's work was included along with that of other craftsmen. In 1927 Graham made a display sideboard, 15' wide and 12' high in chestnut for Eric Gill, a lifelong friend of Green's and who had moved from Capel-y-ffin in the Welsh mountains near Abergavenny to Pigotts, High Wycombe. This is referred to in Robert Speaight's 1966 biography on Gill where he describes the living room as 'long and spacious, and the entire side of the southern wall was taken up by a huge dresser made by Romney Green and bright with pewter plates'. Graham also made a self-balancing table for Sir Thomas Lipton's yacht 'Shamrock V', which raced in the America's Cup in 1931.

In 1929 an example of Graham's work in the form of a miniature bureau came to the attention of George Marston, then Technical Director at the Rural Industries Bureau (RIB), a government organization intended to revive and promote rural industries. Marston was seeking suitable pieces of young craftsmen's work for exhibition throughout Europe. He had been official artist on the Shackleton Antarctic expeditions of 1907-1909 and 1914-1916 and later went on to become Director of the RIB. Graham's miniature was exhibited in Amsterdam, Berlin, Brussels, Copenhagen and Paris as well as London and was subsequently used for teaching purposes. Thus began Graham's long association with Rural Industries.

In 1931 on the suggestion of Marston, Romney Green was appointed Supervisor of Workshops for the Unemployed in the Distressed Areas of England and Wales. His unpublished autobiography in the National Art Library at the Victoria and Albert Museum describes poignantly his experiences during his extensive travels in an area from Exeter to Newcastle and from Lincolnshire to South Wales - no mean feat in those days for a 61-year-old non-motorist. In 1934 realising that the job needed younger blood and with business being slack, he wrote "I did with great difficulty obtain two assistants; one an excellent young man whom I was able to spare from my own workshop". Graham was sent to the Midlands area and eventually to Kidsgrove, Stoke-on- Trent where in Green's words he "made himself a great reputation as an instructor and is now working very hard with the local authority in the Potteries".

While at Kidsgrove Graham worked tirelessly with the unemployed helped by his wife Mabel whom he had met through Scout and Guide circles at Christchurch and whom he married in 1935. Among other things the Kidsgrove workshop made a miniature chair to a design by Romney Green for the present Duke of Kent, then a child and which was presented to the then Duke on a visit to Kidsgrove.

During the war Graham served in Europe and in 1946 applied for a job as Midlands Area Organiser for the RIB which later became known as the Council for Small Industries in Rural Areas (COSIRA). 188 others applied and in Graham's words "the magic name of Romney Green did the trick". His area initially covered Warwickshire, Leicestershire, Northants, Rutland and the Soke of Peterborough and was run from an office in Leamington Spa. His work at this time included the original of the thatched bus shelter at Dunchurch, which is still a prominent feature in the centre of the village

About this time Graham was invited by Edward Barnsley who was then on the teaching staff at Loughborough College and who Graham had known from his Romney Green days to join the Loughborough teaching staff, an offer which he declined. As he said "you can't chop and change about". Barnsley was appointed Furniture Consultant to the Rural Industries Bureau in 1948 and his workshop near Petersfield in Hampshire still flourishes today training master craftsmen of the future and producing hand made furniture of an impeccable quality.

In 1948 Graham moved to The Walnuts, Silverstone with Mabel and daughter Jean and where his younger daughter, Christina, was born. With typical energy he worked vigorously encouraging small rural businesses. It soon became obvious that the Midlands area was too large for one man and it was divided up with Graham taking Northants and the Soke of Peterborough and moving to an office above the Clover Milk Bar in Abington Street and later to Cheyne Walk, Northampton. Many a small business in the County owes its success to Graham's endeavours. Promotions at various shows, battling against bureaucracy for finance and other benefits, advice and practical help in a myriad of ways - Graham devoted nearly 30 years to this work until his retirement in 1974. A major achievement was the setting up of a thatching school at Knuston Hall which resulted in articles in the 'Field' and 'Daily Telegraph' one of which described him as "the man who saved English thatching" - a citation of which he was particularly proud!

In 1964 Graham moved to Woodbine Cottage, Wappenham where he lived for 35 years and where in his spare time he continued with his woodwork, repairing antique furniture and carrying out various ecclesiastical commissions. He has made numerous items for churches and chapels in Northamptonshire, Warwickshire and North Oxfordshire. Only a few years before his death he repaired a chair for an ennobled former Cabinet Minister who "had got his name from someone in the House of Commons". He was instrumental with others in reforming the Wappenham and District Branch of the Royal British Legion.

Wappenham people will also know of his setting up a village oil supply scheme which he ran for many years and which has benefited oil company and villagers alike. He and Mabel held cheese and wine events at Woodbine Cottage for causes such as Age Concern and which are still recalled with delight by older villagers. Some may remember a Wappenham village auction where Graham was auctioneer! He has been the subject of numerous articles in newspapers and magazine both within the County and further afield over the years.

In 1969 Graham was awarded the MBE for his services to rural industries. He was also a Member of the Worshipful Company of Wheelwrights and a Freeman of the City of London although he never exercised his Freeman's right to drive sheep over London Bridge.

One of Graham's proudest moments in his later life was the unveiling of a commemorative plaque in November 1997 to his former master outside the Christchurch workshop, now a French restaurant, and in the presence of the Deputy Mayor, representatives from the V&A, members of Romney Green's family (a great-nephew is a former Principal of Ruskin College, Oxford) and others.

"The speaker is a remarkable old man." So wrote the freelance journalist Susan Elkin when interviewing Graham at Woodbine Cottage, Wappenham in 1997 about woodwork.

A remarkable man indeed!

[Written by John Whitehead, January 1998; updated October 2001]

Note for Editors
Susan Elkin's biography of Romney Green "Life to the Lees", ISBN 1 897 887 13 2 is published by Natula Publications, 5 St Margaret's Avenue, Christchurch, Dorset BH23 1JD and includes a number of hitherto unrecorded anecdotes from Graham.

For further information on Romney Green and Edward Barnsley see:
i. "Good Citizen's Furniture: The Arts and Crafts Collections at Cheltenham" by Annette Carruthers and Mary Greensted. ISBN 0 85331 650 3.
ii. "Edward Barnsley and his Workshop: Arts and Crafts in the Twentieth Century" by Annette Carruthers. ISBN 1 873487 03 7.
iii. "The Crafts in Britain in the Twentieth Century" by Tanya Harrod. ISBN 0 300 07780 7.

Many thanks to Chris Mees for the following information

Edward Napier Hitchcock Spencer [commonly known as Edward Spencer] was born in England in 1872. He worked as a junior designer for Nelson Dawson (1859-1942), founder in 1901 of the Artificers' Guild, a craft guild based initially in Chiswick, London. [Note: it is unclear what part Spencer played in establishing the Artificers' Guild. Some sources state that he was a co-founder. What is certain is that he was associated with the enterprise from its inception]. In 1903 the Artificers' Guild was acquired by Montague Fordham (the first director of the Birmingham Guild of Handicraft), and moved to his Fordham Gallery at 9 Maddox Street, London and Spencer was elevated to chief designer. He designed metalwork and jewellery for the Guild for a number years. Wrought-iron, copper and bronze lamps and sheet-metal and wrought iron wall brackets designed by Spencer for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1906 (pp.165, 167, 170, 175, 176); a chalice in silver, enamel and ivory, a silver and enamel casket, and wrought-iron dogs with pierced and tooled bass heads and discs in blue steel designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1909 (pp.159, 160); bronze and silver ink pots, silver and copper candlesticks, silver bowls, a mirror, and a wrought-iron and silver processional cross designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1910 (pp.143, 144); ten wrought-iron candlesticks, a silver tea service, a bread-knife in ivory, steel and silver, and a clock in bronze, for Newnham College designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1911 (pp.137, 138, 139); silver bowl set with crystals, fruit stand in silver, ivory and enamel, set with precious stones, two silver powder boxes, two silver bowls, three silver cups, two silver and walnut fruit bowls, a silver-plate sweet box, three wrought-iron candlesticks, an ivory and silver toilet set, a cup in gold, silver and ivory, set with precious stones and enamel, a vase and candlesticks in copper-gilt and pierced brass, and three brass and bronze sconces and a bowl and stand designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1912 (pp.107, 108, 109, 110, 111); a wrought-iron table with brass tray, a wrought-iron stand and grate, a candlestick in engraved brass, a tea caddy and spoon in copper and silver, a silver candlestick, an ivory and silver box, a silver casket set with opals, a silver-plated copper tea urn, and a silver flagon set with rubies and moonstones, designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1913 (pp.106, 107, 108, 111); a bronze fruit bowl and sweet dishes with silver bands of foliage, a group of glass vases and bowls, three silver goblets, a bronze bowl with silver-plated inside and stand with silver decoration and amethysts, a silver bowl with bronze stand set with red and white carnelian, three wrought-iron candlesticks, steel sconces and candlesticks, silver and copper salt cellars, sweet dishes and a sugar basin designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1914 (pp.80, 81, 82, 83, 84, 85); a silver and enamel bowl with inscription, a silver bowl set with turquoise, blue lapis and amethysts, on a gilt stand, a silver and enamel challenge cup set with turquoise and shell, with ivory handle, a gold, silver and enamel presentation cup, with ivory columns set with crystals, carbuncles and amethysts, a silver alms dish, and a silver challenge cup designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1915 (pp.144, 145, 147); a silver and glass scent bottle, a silver bowl, a silver spectacle case, a gilt-bronze electric sconce, and a lacquered wood candle pendant for a nursery designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1916 (pp.75, 76); a wrought-iron grate with dogs, a grate, dogs and fender, two silver cups and a silver chalice, decorated with gold, enamel and precious stones designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1917 (pp.92, 93); a pair of crystal glass decanters with silver mounts, a silver and gold chalice decorated with enamels and precious stones, a silver casket decorated with enamels and precious stones, a brass sconce, and wrought-iron candlesticks designed by him for the Artificers' Guild are illustrated in 'The Studio Yearbook of Decorative Art' 1918 (pp.81, 82, 83); and two armour-bright iron grates and dogs, a wrought-iron fireback and armour-bright grate and dogs are illustrated designed by him for 'The Artificers' Guild 1919 (pp.107, 108). Spencer worked on site-specific commissions for Leeds Cathedral; Essex Church in Notting Hill, London; Adelaide Cathedral in Australia; Newnham College, Cambridge; St. Wilfred's Church in Harrogate, Yorkshire; St. Ives' Parish Church in Cornwall; Oakham Church in Rutland; Hildenborough Church in Kent; and Batley Parish Church in Yorkshire. He also designed radiator grilles for the S.S. 'Mauretania', and the electric fittings for Norwich Life Insurance Offices. Notable among jewellery created by Spencer for the Artificers' Guild was the 'Ariadne Necklace' which he designed with John Houghton Bonner. The necklace is in the permanent collection of Birmingham Museum and Art Gallery. In addition to his work for the Artificers' Guild, Spencer designed pottery for Upchurch Pottery, established in Rainham, Kent, in 1913. The pottery was sold through the Guild's showrooms in London, Cambridge and Oxford. Two groups of Upchurch pottery designed by Edward Spencer and Charles Baker are illustrated in 'The Studio Yearbook of Decorative Art' 1914 (p.75). Spencer exhibited at the International Society in London and at the Walker Art Gallery in Liverpool and became a member of the Art Workers Guild in 1914. He died in 1938.

ESSEX & CO. This firm was founded in 1887 by R. Walter Essex whose trade training in the wallpaper industry was very varied, as his record shows; 1874, as a youth employed by the London builders and decorators, George Trollope & Sons. 1875-6, with Corbiere, Son & Brindle, the London branch of a French textile and wallpaper firm of merchants. 1877-8, as a manager and salesman with the merchant firm of Chas. Knowles &- Co., of Chelsea.

1879, as a traveller for Heewood, Higginbottom Smith & Co., Ltd., of Hyde Road, Manchester and London, an old-established line of wallpaper printers. 1880, transferred to the firm of Scott, Cuthbertson & Co., wallpaper printers and dealers, of Chelsea. 1882-5, accepted a partnership in the firm of Chas. Knowles & Co., who shortly after purchased the factory of William Cunnington & Co., of Park Walk, Chelsea, where a fine line of hand-made goods was produced. This factory, prior to its possession by Cunnington's, had been owned by Godwin's for some years. In the new firm's style it was known and traded as Knowles & Essex and so remained until, on R. W. Essex separating from the firm, it became absorbed into the business of Chas. Knowles & Co.

At the commencement, Essex & Co. were content to trade as wallpaper merchants for a few years, with private patterns printed by different manufacturers, but in 1891 a freehold site was purchased on Lavender Hill, Battersea, and the Essex Mills were erected thereon.

Here R. W. Essex surrounded himself with several designers whose united contributions resulted in a distinctly new note being given to the industry, the influence of which spread widely, and also necessitated an almost annual addition to the building and its equipment for some years. Amongst these designers, some of whose services were wholly reserved, were C. F. A. Voysey, George C. Haite, Thomas R. Spence, Lindsay P. Butterfield, and Albert Baker. The production consisted of both machine and hand-printed goods, and a most important department was that of stencilling. Amongst the stencil friezes was a wonderful landscape known as "The Silent Pool", by F. Graham Rice, who took charge of the stencil department for some years, to be followed later by J. Illingworth Kay.

In 1899 Essex Mills passed with most of the other wallpaper factories into the control of The Wall Paper Manufacturers Ltd., the founder's services as manager being retained for some years at Battersea.

In 1906 R W. Essex entered Parliament, first for the Eastern Division of Gloucestershire and later for the ancient Borough of Stafford. In 1913 he received the honour of knighthood, and in 1918 retired from Parliament after twelve years' service therein. The Municipal Council of the Borough, in 1918, presented their late M.P. with the honorary freedom of the borough, and with a richly illuminated certificate in a silver casket.

Amongst well-known employees of Essex Mills were James Thomas, the designer, who came from Wylie & Lochhead, Ltd., of Glasgow; J. Dixon, a son of one of the partners in Walkden & Dixon which failed in 1891; Peter Garrick, formerly with Wylie & Lochhead; also Percy H. Heffer and Edward Speed.

The Battersea works were closed at the outbreak of the War, and the personnel, rollers and connection transferred to other mills. The showrooms and distributing business in Victoria Street Deere acquired by Arthur Sanderson & Sons, Ltd.

Reginald Silver [commonly known as Rex Silver] was born in London, England, in 1879. His father, Arthur Silver (1853-1896), was founder in 1880 of the Silver Studio, a London-based studio that specialised primarily in the design of wallpaper and furnishing fabrics. After leaving school, Rex Silver entered the family business. He was soon to be joined by his brother, Harry Silver (1881-1972). Following the sudden death of Arthur Silver in 1896, Rex Silver, although only seventeen, took over the position of business manager. The two brothers were helped through the immediate crisis by Harry Napper (1860-1930), the studio's design manager from 1896 to 1898, and by J.R. Houghton, the studio's chief designer from 1898 to 1901. From 1901 onwards Rex and Harry Silver took over total control of the Silver Studio. Rex ran the business side and Harry was the firm's artistic director. Rex Silver designed numerous textile and wallpaper patterns for the Silver Studio. Between c.1900-1900 he also designed silver and pewterware for Liberty & Co. [Note: several examples are illustrated in the catalogue of the exhibition 'Liberty's 1875-1975' (London: HMSO, 1975), although subsequent research suggests that some of these may have been designed by Archibald Knox, who may have worked for the Silver Studio at this time]. 'Alderley', a wallpaper designed by Rex Silver and executed by C. Knowles & Co. Ltd. is illustrated in 'The Studio Yearbook of Decorative Art' 1907 (p.128); 'Repton', a cretonne designed by R. Silver for B. Wardle & Co. Ltd. is illustrated in 'The Studio Yearbook of Decorative Art' 1913 (p.104); 'Peplow', a cretonne designed by Rex and Harry Silver for B. Wardle & Co. is illustrated in 'The Studio Yearbook of Decorative Art' 1915 (p.161); and 'Ealing', a cretonne designed by Rex and Harry Silver for by B. Wardle & Co. is illustrated in 'The Studio Yearbook of Decorative Art' 1917 (p.124). Three examples of Rex Silver's textile designs for W.H. Haynes Ltd., G.P. & J. Baker Ltd., and Storey & Co. Ltd., are also illustrated in 'British Textile Designers Today' by H.G. Hayes Marshall (Leigh-on-Sea, England: F. Lewis (Publishers) Ltd., 1939 pp.247-249); and four examples of his textile designs for Story & Co. Ltd., Franklin & Franklin and W. Foxton are illustrated in 'Modern Decorative Art in England its Development & Characteristics. Volume 1: Woven & Printed Fabrics, Wall-papers, Lace & Embroidery' by W.G. Paulson Townsend. (London: B.T. Batsford Ltd., 1922 pp.77, 79, 87). Harry Silver left the studio in 1916 following his conscription into the Army during World War One and did did not return to the firm after the war. Rex Silver subsequently ran the business from then on alone until in closed in 1963. In 1896 Rex Silver became a member of the Junior Art Workers Guild and a member of the Art Workers Guild (AWG) in 1916. He was also a Fellow of the Royal Society of Arts (FRSA) and was elected to the National Register of Industrial Art Designers (NRD). He died in 1965.

Mary Jane Newill [commonly known as Mary J. Newill] was born in 1860. She studied at Birmingham School of Art in Birmingham, England, where she was awarded the John Surrow Wright Scholarship in 1880. She subsequently taught needlework at the School from 1892 until 1919, apart from a brief period at the turn of the century when she went to Florence to study tempera painting. She also worked as a painter, illustrator, embroiderer and stained glass designer. Her versatility as an artist and designer is evident in the article 'Some Aspects of the Work of Mary L. [sic] Newill' by E.B. Strange in 'The Studio' vol.5, 1895 (pp.60-63). By 1906 Newill had her own studio in Great Western Buildings, Livery Street, Birmingham. She was a member of the Birmingham Group, the Arts and Crafts Exhibition Society and the Bromsgrove Guild. A series of embroidered panels for reredos designed by her were exhibited at the fifth exhibition of the Arts and Crafts Exhibition Society in 1896. She sometimes collaborated with the Bromsgrove Guild members Miss Talbot, Miss Bloxeidge, Miss Deakin and Miss Holdern, in executing large embroidered panels. Two embroidered panels - 'The Wandering Wood' and 'The House of Holiness', designed by Newill were featured in the Guild's display at the Exposition Universelle et Internationale in Paris in 1900. An embroidered coverlet and an embroidered banner for Sherbourne Road Girls' School by Newill are illustrated in 'The Studio Yearbook of Decorative Art' 1909 (pp.90, 91); an altar-cloth embroidered on green brocade, designed and sewn by her is illustrated in 'The Studio Yearbook of Decorative Art' 1911 (p.124); and a portion of bed hangings designed by May Morris, and worked by her and Newill is illustrated in 'The Studio Yearbook of Decorative Art' 1917 (p.107). Most of Newill's stained glass work was domestic which, says Martin Harrison, "explains why so little of it has come to light". ['Stained glass: windows on another world' by Martin Harrison' in 'By Hammer and Hand: the Arts and Crafts Movement in Birmingham' (Birmingham, England: Birmingham Museums and Art Gallery, 1984 p.123). Two known examples of her ecclesiastical work are a two-light window in the lady chapel of St. Mary and St. Ambrose Church in Edgbaston (1906), and a two-light window for the north side of the nave of Wrockwardine Church in Shropshire. Newill's illustrated 'The Nightingale' by Hans Andersen (Birmingham, England: G. Napier & Co., 1896). In addition she contributed illustrations to two Birmingham Art School productions: 'A Book of Pictured Carols: designed under the direction of Arthur J. Gaskin (London: G. Allen, 1893) and 'A Book of Nursery Songs and Rhymes...with illustrations by members of the Birmingham Art School, under the direction of A. J. Gaskin'. Edited by S. Baring-Gould (London: Methuen & Co,, 1895). Her illustrations also appeared in the magazines 'The Quest' (1894-96) and 'The Yellow Book' (1896). Between 1884-1912 Newill exhibited at the New Gallery and the Fine Art Society in London, and at the Royal Society of Artists in Birmingham. She was living in Wellington, Shropshire in 1884. From c.1893 onwards her address was given as 48 Wheeley's Road, Edgbaston, Worcestershire. Newill died in 1947.

Mervyn Edmund Macartney was born the son of a doctor in the UK on 16 September 1853. He spent his youth in Co. Armagh, Northern Ireland, and was educated privately before studying at Lincoln College, Oxford (1873-77). He was then articled to Richard Norman Shaw (1831-1912) in 1877. After travelling in France, Italy and Germany, Macartney established his own independent practice in London in 1882. [Note: the date is given as 1877 in his entry in 'Who's Who in Architecture 1914' (London: Technical Journals Ltd., 1914), and other sources give the year as 1880]. Architectural projects by Macartney included the Guinness Trust Buildings on Marlborough Road and Vauxhall Square, London; alterations to Swaylands in Kent; Angley Park in Kent; 'Welders' in Chalfont St. Peters, Buckinghamshire (1900-01); Bussock Wood in Newbury (1906-07); 1-7 Egerton Place, London; 169 Queen's Gate, London; 'Kent Hatch' in Westerham, Kent; alterations to 'Mariners' in Westerham, Kent; 'The White Cottage in Westerham, Kent; 'Shandon' in Tunbridge Wells, Kent; 'Frithwood House' in Northwood, near Pinner; 'Minsted' in Midhurst, Sussex (1907); several houses in Surrey including 'Court Hayes' in Oxted, 'Lombarden' in Limpsfield (1907), and The Red House' in Limpsfield (1907); The Court in Woolhampton (1908); the public library in Islington, London (1916); new reredos, altar rail, etc. in the Chapel of Saints Michael and George in St. Paul's Cathedral, London; repairs to St. Margaret's Church in Lothbury; St. Leonard's in Shoreditch; St. James in Garlickhythe; and Egglescliffe Church in Durham. Macartney was elected a Fellow of the Royal Institute of British Architects (FRIBA) in 1889. He was Surveyor to the Fabric of St. Paul's Cathedral in London (1906-31), and Consulting Architect to Durham Cathedral. In addition to his work as an architect, Macartney also designed furniture, and in October 1890, together with William Lethaby, Ernest Gimson, Reginald Blomfield and Sidney Barnsley, was co-founder of the short-lived furniture firm Kenton & Co., which had workshops in Kenton Street, Bloomsbury, London. Undercapitalised, the venture was disbanded in 1892. A mahogany sideboard designed by Macartney for Morris & Co. is illustrated in 'The Studio Yearbook of Decorative Art' 1909 (p.17), and an Italian walnut cabinet designed by him for Morris & Co. is illustrated in 'The Studio Yearbook of Decorative Art' 1910 (p.89). Two photographs of a Serpentine macassar ebony secretaire designed by him for the Barnard's Inn in Holborn, London, and shown in an exhibition of work by Kenton & Co. in 1891 are also illustrated in 'Art and Crafts Furniture' by John Andrews (Woodbridge, Suffolk, England: Antique Collectors' Club, 2005 pp.94, 95). Macartney was a founder member of the Art Workers Guild (AWG) in 1884 and was a Master of the AWG in 1899. He was also one of the founders of the Arts and Crafts Exhibition Society in 1884. Macartney was editor of the 'Architectural Review' between 1906-20. He was the author of 'Later Renaissance Architecture in England' (London: B.T. Batsford, 1901), 'English Houses & Gardens in the 17th & 18th Centuries' (London: B.T. Batsford, 1908), and 'The Practical Exemplar of Architecture' (London: The Architectural Press, 7 series, 1908-27). He exhibited at the Royal Academy in London and the Glasgow Institute of the Fine Arts between 1882-1927. Macartney was a Fellow of the Society of Antiquaries (FSA) and an Hon. Corresponding Member of the American Institute of Architects (AIA). He was knighted in 1930. Macartney lived in London, where he died on 28 October 1932.

Ref:
Ward, Jan. Mervyn Edmund Macartney, architect, 1853-1932: the life and work of Sir Mervyn Macartney, BA, FRICA, FSA, with particular reference to his houses and clients on the Surrey/Kent border. (Warlingham, Surrey, England: J. Ward, 1998) [ISBN 0953464105]

Stoddart, Andrew [1876-1941. UK. Stained Glass Designer]

Andrew Stoddart was born at Abbey, Renfrew, Scotland, in 1876, He was apprenticed to the Edinburgh stained glass manufacturers Ballantynes and later worked in the studio of the Glasgow stained glass designer/maker Oscar Paterson (1863-1934). Stoddart subsequently moved to Nottingham in England where he opened a studio/workshop. His addresses in Nottingham are known to have been The Studio, Long Row (between 1906-13), 7 Castle Road Castle Road (1917) and 54 Park Road, Lenton, Nottingham. Stoddart exhibited 50 works at Nottingham Art Gallery and Museum (between 1901-30) and nine works at the Royal Academy in London (between 1906-27). The works he exhibited at the RA were ' The Adoration', a design for stained glass (1906), 'Naval Battle between England and Holland, 1652', a design for stained glass (1907), ' St. Ursula', a design for stained glass (1910), a design for stained glass historical window (1912), ' 'St Paul taking leave of his followers', a design for stained glass (1913), ' Simeon and Zacharias', a design for stained glass (1917), 'Anna', a design for stained glass (1917), and 'Gloria in Excelsis Deo', a design for a stained glass window in Brentwood, Ontario (1927). He also exhibited at the Louvre in Paris. Stoddart designed windows for St Columbus Church in Nottingham (now in St Andrews Church in Nottingham), Collingtree Church in Northampton, and the Reference Library in Long Eaton, Derbyshire. A stained glass nursery window, designed and executed by Stoddart is featured in 'The Studio Yearbook of Decorative Art' 1906 (p.142). Stoddart died in 1941.

John Henry Dearle was born the son of William Dearle, a civil engineer and
patent agent, in London on 22 August 1860 and studied at West London School
of Art. In 1878 he began work as an assistant at Morris & Co's shop in
Oxford Street, London. His artistic talents were soon recognised by William
Morris who after first transferring him to the glass-painters' shop, trained
him as a tapestry weaver. By 1887 he had designed his first tapestry for the
company and within three years was promoted to chief designer. Following the
death of Morris in 1896, Dearle succeeded him as artistic director of Morris
& Co., and the Merton Abbey Works, a position he held for the next three
decades. In addition to tapestries, Dearle also designed fabrics,
embroideries, carpets and wallpapers for the company. 'Tulip' and 'Little
Tree', two friezes; 'Artichoke' and 'Orchard', two wallpapers, embossed
Japanese wallpaper; 'Rosebud', 'Persian', 'Bourne' and 'Eden', four printed
cotton cloths; 'Poppy' and 'Apple', two silk and linen damasks; 'Vine', a
wool tapestry; 'The Vine', an embroidery; and a design for an embroidery
hanging, designed by Dearle for Morris & Co. are illustrated in 'The Studio
Yearbook of Decorative Art' 1906 (pp.125, 126, 127, 184, 185, 189, 190, 208,
213); a wool tapestry and a net tapestry, and 'Briar', a chintz, designed by
Dearle for Morris & Co. are illustrated in 'The Studio Yearbook of
Decorative Art' 1907 (pp.156, 157); an Arras wall panel and an Arras
tapestry portière designed by Dearle for Morris & Co. are illustrated in
'The Studio Yearbook of Decorative Art' 1910 (pp.130, 131); 'Ehret die
Frauen' an Arras tapestry designed by Mrs Adrian Stokes, with a border
Dearle is illustrated in 'The Studio Yearbook of Decorative Art' 1913
(p.94); 'Leicester', a wallpaper designed by Dearle for Morris & Co. is
illustrated in 'The Studio Yearbook of Decorative Art' 1915 (p.175); and
'Michealmas Daisy', a wallpaper; 'The Brook', an Arras tapestry; 'Humming
Bird', a cotton print; 'New Persian', a silk and wool damask; 'Brent',
'Shannon' and 'Rambling Rose', three printed cottons; and 'Millefleurs', a
tapestry hanging designed by Dearle for Morris & Co. are illustrated in 'The
Studio Yearbook of Decorative Art' 1917 (pp.83, 115, 117, 118, 119). Dearle
was a visitor and design advisor to the Royal College of Art in London
(1920-22) and examiner of design for the Board of Education. He was also
examiner in the principles of art at the City and Guilds Institute in
London. Dearle exhibited at the Royal Academy, the Dudley Gallery, the
Grosvenor Gallery, the Royal Institute of Painters in Water Colours, and the
Royal Institute of Oil Painters in London, the Walker Art Gallery in
Liverpool, the Glasgow Institute of the Fine Arts. and the Royal Society of
Artists in Birmingham. His address was given as Regent's Park, London
(1880), The Retreat, Pirbright, Surrey (1887, 1902) and 6 Florry Cottages,
Hereson, Ramsgate, Kent (1902). He died on 15 January 1932. His son, Duncan
Dearle continued to direct Morris & Co. until it closed in 1940.

George Charles Haité [also known as G.C. Haité] was born the son of George
Haité, a textile designer, in Bexley, Kent, England, on 8 June 1855. He
commenced work at the age of 16 following the sudden death of his father and
in 1873 moved to London. Although he studied at Mitcham College, near
Croydon Surrey, Haité asserted in his entry in the 1910 edition of 'Who's
Who' that he was "absolutely self-taught in art". He, nevertheless,
established a highly successful career as a painter, illustrator,
metalworker, woodcarver and designer of textiles, wallpaper and stained
glass. From 1883 onwards he began exhibiting at the Royal Academy in London.
He also showed his work at numerous other galleries in London including
Agnew & Sons Gallery, the Arlington Gallery, Baillie Gallery, the Fine Art
Society, the Dudley Gallery, the Royal Society of British Artists, the
Ridley Art Club, the Royal Institute of Painters in Water Colours, the Royal
Miniature Society, and the Royal Institute of Oil Painters, as well as at
the Glasgow Institute of the Fine Arts, the Royal Hibernian Academy in
Dublin, the Royal Cambrian Academy in Conwy, Wales, the Manchester City Art
Gallery, the Walker Art Gallery in Liverpool and the Royal Society of
Artists in Birmingham. He began designing wallpaper in the 1870s and
produced patterns for various companies including Jeffrey & Co., Essex &
Co., W. Woollams & Co., and Arthur Sanderson & Sons. 'Imperial', the
'Havelock' and the 'Olympia', three wallpapers he designed for Jeffrey & Co.
are featured in 'The Studio Yearbook of Decorative Art' 1906 (p.119). Haité
contributed an essay on the design of wallpapers to 'Practical Designing: A
Handbook on the Preparation of Working Drawings', edited by Gleeson White
(London: Bell, 1897). Clients for his textile designs included Warner &
Sons, G.P. & J. Baker, Arthur H. Lee, Tompkinson & Adam and W. Woollams &
Co. During the 1890s and until c.1894, he designed carpets for Tompkinson &
Adam. A wool tapestry Haité designed for Arthur H. Lee is illustrated in
'The Studio Yearbook of Decorative Art' 1906 (p.189). He created ceilings,
dados, fillings and friezes for the Anaglypta Company and for J. Tollman &
Co. He also designed electroliers and other interior fittings for the
studio of Mr E. Davis in the late 1890s. Haité was the author of 'Plant
Studies for Artists, Designers, and Art Students' (London: Bernard Quaritch,
1886), 'Afloat on the Norfolk Broads' (London: S. Hildersheimer, 1888), 'Art
Thou Weary?' (London: Griffith, Farran & Co., 1888), 'Golden Love' (London:
Griffith, Farran & Co., 1888) and 'A Chaplet of Gems' (London: Griffith,
Farran & Co., 1888). He also illustrated 'Side-Lights of Nature in Quill and
Crayon' by Edward Tickner Edwardes (London: Kegan Paul, Trench, Trubner &
Co., 1898) and designed the covers of 'The Strand Magazine' and 'The Strand
Musical Magazine' in 1891. He was elected an associate of the Royal Society
of British Artists (RBA), the Royal Institute of Painters in Water Colours
(RI), and the Royal Miniature Society (RMS), and was President of the
Langham Sketching Club (1883-87, 1908), President of the Institute of
Decorative Designers, President of the London Sketch Club, President of the
Nicholson Institute (1897), and Vice-President of the South Wales Art
Society. He was, for a period, Examiner to the Board of Education on the
Principles of Ornament. Haité lived for a number of years in Bedford Park,
London, where he died on 31 March 1924.

Wood, Edgar [1860-1935. UK. Architect\Furniture\Jewellery Designer\Painter]

Edgar Wood was born the son of a mill owner in Middleton, near Manchester, England, in 1860. He trained as an architect with William Mills (1814-1905) and James Murgatroyd (1830-1894) in Manchester between 1878-83. Having qualified in 1885 Wood set up in private practice that year in Middleton. He moved his office to Manchester in 1892. Architectural projects by Wood included the Manchester and County Bank building in Long Street, Middleton (1889); Temple Street Baptist Church in Middleton (1889); the Manchester and Salford Bank building in Middleton (1892), several private houses in Middleton, Rochdale, Hale and Huddersfield (between 1891-98); Silver Street, Rochdale (1898); Long Street Wesleyan Church and Schools in Middleton (1899-1901); Banney Royd in Edgerton, Halifax (1900); alterations to Newbold Revel in Stratton-under-Fosse, Warwickshire (1900); the Clock Tower in Lindley, Huddersfield (1901-02); solicitors' offices in King Street, Oldham (1901-02); Richardson's Estate in Hale, Cheshire (1901-02); Gatehouse in Crosland Road, lidley (1902); the First Church of Christ Scientist in Victoria Park, Manchester (1903); a house at Dore in Sheffield (1904); four houses in Plane Tree Road, Hale, Cheshire (1907); the Pilkington Tiles Pavilion at the White City Exhibition on London (1908); houses for the Fairfield Moravian Settlement in Droylsden, Manchester (1913-39); and Royd House. Wood's own house) at 224 Hale Road in Hale, Cheshire (1914). Between 1900-22 Wood was in partnership with John Henry Sellers (1861-1954). In addition to his work as an architect Wood designed jewellery and furniture. A photograph of a sideboard and chair in Spanish mahogany inlaid with holly and ebony, designed by Wood is featured in 'The Studio Yearbook of Decorative Art' 1906 (p.51). He also painted. He became an Associate of the Royal Institute of British Architects (ARIBA) in 1885 and a Fellow of the Royal Institute of British Architects (FRIBA) in 1911. He was a founder member of the Northern Art Workers Guild and was Master of the Guild in 1897. Wood retired in 1922 and built a house, Port Calvario, in Port Marizio, Italy. He died in Italy in 1935. An exhibition of the work of Wood and Sellers - 'Partnership in Style: Edgar Wood and J. Henry Sellers', was held at Manchester City Art Galleries in 1978. [See also: Sellers, John Henry]

Allan Francis Vigers [also known as A.F. Vigers] was born the son of a surveyor, Robert Vigers, in England in 1858. He studied at the Royal Academy Schools and at the South Kensington Art Schools in London and was articled to Charles Barry (1823-1900). Vigers subsequently went into partnership with Henry Cowell Boyes (1846?-1900) in London and in 1890 set up his own independent practice. However, having trained as an architect, Vigers chose not not to pursue this as a profession but, instead, worked as an applied from this period onwards. He became a noted designer of wallpapers, textiles and furniture. He also executed several illuminations. The principle client for his wallpaper designs was Jeffrey & Co. Wallpapers designed by Vigers for Jeffrey & Co. are illustrated in 'the Studio Year-Book of Decorative Art' 1906 (pp.128, 129), 1909 (p.75), 1914 (p.50) and 1915 (p.172). Two further examples of his designs for Jeffrey & Co. are illustrated in 'Modern Decorative Art in England its Development & Characteristics. Volume 1: Woven & Printed Fabrics, Wall-papers, Lace & Embroidery' by W.G. Paulson Townsend. London: B.T. Batsford Ltd., 1922 (pp.134, 137). Clients for whom Vigers designed textiles included Warner & Sons, G.P. & J. Baker and Alexander Morton. Vigers joined the Art Workers Guild (AWG) in 1903. He was also a member of the Society for the Protection of Ancient Buildings (SPAB) and the Arts and Crafts Exhibition Society. He exhibited at the Royal Academy and the New Gallery in London between 1894-1912. Vigers address is given as 4 Frederick's Place, Old Jewry, London, in 1898; 7 South Square, Gray's Inn, London; and 1 Earl's Terrace, London, in 1905 and 1909. His brother, Lesley Robert Vigers (1856-) was also an architect. A.F. Vigers died in 1921 [or 1923 - sources differ]

Léon Albert Victor Solon [commonly known as Léon Victor Solon or Léon-Victor Solon] was born the son of the porcelain modeller and decorator Louis-Marc-Emmanuel Solon (1835-1913) in Stoke-on-Trent, Staffordshire, England, on 17 April 1872. He studied at Hanley School of Art in Stoke-on-Trent, Staffordshire and at the National Art Training School [later known as the Royal College of Art] in South Kensington, London. He then returned to Stoke-on-Trent where, in September 1895, he began working for Mintons Ltd., subsequently becoming the firm's art director and, from 1900, chief designer at the company. From 1901 onwards, Solon, together with John William Wadsworth (1879-1955), created a range of Secessionist ware [See: 'Léon Solon and John Wadsworth: joint designers of Minton's Secessionist ware' by Grant Muter in 'The Journal of the Decorative Arts Society 1850 - The Present' no.9 1985 pp.41-49]. Six sketches of toilet ware designed by Solon and Wadsworth and executed by Mintons Ltd. for Waring & Gillow are illustrated in 'The Studio Yearbook of Decorative Art' 1906 (p.223). Solon also designed many of Minton's Art Nouveau tiles. Solon left Mintons in 1905 and in 1909 emigrated to the USA where he established a successful career as a designer of tiles and architectural ceramist. Between 1912-25 he was employed by the American Encaustic Tile Company of Zanesville, Ohio. A Tuscan-glazed faïence decoration and a faïence panel designed by Solon and executed by the American Encaustic Tiling Company are illustrated in 'The Studio Yearbook of Decorative Art' 1916 (pp.180, 181). Solon was responsible for designing architectural ceramics for the Rockefeller Center in New York City, and (with Ely Jacques Kahn and the New York architects Buchman & Kahn) polychromed sculptural friezes for the the Fairmount Park Museum in Philadelphia, Pennsylvania. Solon was the author of 'Polychromy: Architectural and Structural Theory' and Practice' (New York, NY: The Architectural Record, 1924). He also wrote articles on the subject of architectural ceramics. In addition to his work as a ceramic designer, Solon designed at least one piece of fabric (for Wardle & Co. in c.1895). He also worked as a painter, sculptor and illustrator. Solon exhibited at the Royal Academy and Royal Society of British Artists in London and the Royal Society of Artists in Birmingham, England, between 1897-1905, and with the American Institute of Architects (AIA) in the 1920s and 1930s. Solon was a elected a member of the Royal Society of British Artists (RBA) in 1889 and the Art Workers Guild in 1903. He also belonged to the Hellenic Society, the Architectural League of America, the National Sculptural Society, and the National Society of Mural Painters. He was awarded the Friedsam Gold Medal in 1928, a Gold Medal by the AIA in 1931, a Gold Medal from the Architectural League of New York in 1932, the Binns Gold Medal from the American Ceramics Society in 1935, and the President’s Medal from the Architectural League of New York in 1936. Solon's work is in the Permanent collection of the Victoria & Albert Museum in London. His address is given as Bank House, Stoke-on-Trent, Staffordshire in 1906 and 1907; 2 West 67th Street, New York City, in 1935; 211 East 35th Street, New York City, in 1937 and 1940; and 806 South Boulevard, Lakeland, Florida, in 1947 and 1953. Solon died in 1957.

George Percy Bankart [commonly known as George P. Bankart] was born in Leicester, England on 20 January 1866. He was articled to Isaac Barradale (1845-1892) in Leicester 1883 and attended both Leicester School of Art and the Technical College in Leicester. During this period he met Ernest Gimson (1864-1919) with whom he struck up a lifelong friendship. It was at Bankart's father's house that Gimson was first introduced to William Morris. After leaving Barradale, Bankart worked for various architects in London and elsewhere, however, despite his training as an architect, he chose not to pursue a career is this field but, instead turned to the applied arts. From the 1890s onwards Bankart became one of the most renowned exponents of the craft of decorative plasterwork. Some forty examples of his work as a plasterer are illustrated in 'The Studio Year-Book of Decorative Art' between 1906-17. He created ceiling decorations, friezes, and moulded wall features for numerous public buildings and private residences including the gallery at 'Wych Cross', Forest Row; Dumbleton Hall, in Gloucestershire; Rake Manor, near Godalming in Surrey; Thorpe Underwood Hall in Yorkshire; 'The Towers' in Bristol; 'Purse Caundle' in Dorset; the Council Offices, in Lewes, Sussex; 'Beechholme' in Morningside, Edinburgh; Stockport Municipal Buildings; the British Medical Association Library, Council Chamber and ante-room in London; the Liberal Club in Glasgow; 'The Vane' in Hampstead, London; 'Somerlea' in Maidenhead; Harptury House in Ashleworth, Gloucestershire; Glynde School of Lady Gardeners at Glynde in Sussex; Upton Grey, near Basingstoke, Hampshire; and the Victoria & Albert Museum in London. Bankart was commissioned by many of the leading architects of the day including E. Guy Dawber, H.M. Baillie Scott, E.J. May, etc. In addition to his work as a plasterer, several examples of his ornamental leadwork are illustrated in 'The Studio Year-Book of Decorative Art', including rainwater heads and fountains. Bankart was the author of 'Art of the Plasterer: an Account of the Decorative Development of the Craft' (London: Batsford, 1909). He was also co-author, with his son, G. Edward Bankart, of 'Modern Plasterwork Construction, Casting and Fixing' London: Architectural Press, 1926) and 'Modern Plasterwork Design' (London: Architectural Press, 1927), He briefly taught plasterwork at Leicester School of Art (1897-99). He was also in charge of plasterwork at the Bromsgrove Guild of Handicraft in Bromsgrove, Worcestershire, a post he held until c.1907 when he moved to London and established a workshop on the Gray's Inn Road. In 1919 his address is given as 37 Old Deer Park Gardens in Richmond, Surrey. Bankart became a member of the Art Workers Guild in 1900, but resigned in 1917. He exhibited at the Royal Academy in London between 1907-19. Bankart died in Welwyn Garden City, England, in 1929

Thomas Hayton Mawson was born Scorton, Nether Wyersdale, near Lancaster in Lancashire, England, on 5 May 1861. He left school at the age of twelve and worked initially with an uncle in the building trade in Lancaster. When his father died, he moved with his mother to London in 1877 where he obtained employment with John Willis, a landscape gardener and nurseryman. In 1885 Mawson returned north and joined his two brothers in a nursery business they had started in Windermere. It was during this period that he began designing gardens. Most of the gardens he designed were in the Windermere area. His first commission was Graythwaite Hall at Newby Bridge (1889). He later designed gardens at Langdale Chase in Troutbeck (1890), Heathwaite in Windermere (1899), Moor Crag in Windermere (for C.F.A. Voysey, 1899), Brockhole in Windermere (1900), The Yews in Storrs (1902), Blackwell in Windermere (for M.H. Baillie Scott, 1902), The Corbels in Windermere (1906), Rydal Hall in Ambleside (1909), Wood Hall in Cockermouth (1910), Gatehouse in Eksdale (1914). He also designed gardens elsewhere in Britain, Europe and North America. Mawson expounded his ideas on garden design in his classic work 'The Art and Craft of Garden Making' (London: B.T. Batsford, 1900) which ran to several editions. In 1898-99 he was briefly in partnership with the architect Dan Gibson. In addition to his work as a designer of gardens, Mawson also designed garden furniture garden furniture and features for the garden, which were mainly made by Garden Crafts Ltd.. Several examples of these are illustrated in 'The Studio Yearbook of Decorative Art'. Oak doors, folding gates, a fences, furniture, seats, screens, a trellus, a rose arch and a footbridge designed by Mawson and made by Garden Crafts Ltd. are illustrated in 'The Studio Yearbook of Decorative Art' 1906 (pp.240, 250, 251, 252, 253, 257, 272); an oak door, trelliage, a garden terrace, and a seat designed by Mawson and made by Garden Crafts Ltd. are illustrated in 'The Studio Yearbook of Decorative Art' 1907 (pp.182, 183, 184, 185 186). For 'The Studio Yearbook of Decorative Art' 1908 Mawson wrote a long article, 'The designing of gardens' (pp.iii-x, plus 22-pages of illustrations), which is illustrated with several examples of his work. For 'The Studio Yearbook of Decorative Art' 1913 he wrote an article, 'The garden as a means of artistic expression' (pp,117-124), in which he examined the role of the garden both in art and as art in its own right. The article is also illustrated with several examples of his work. Photographs showing the garden house at the entrance to the pergola and panel garden at Woolley Hall, near Maidenhead, designed by Mawson are illustrated in 'The Studio Yearbook of Decorative Art' 1915 (pp.96, 97, 98); photographs of Walhampton Park, near Lymington, designed by Mawson are illustrated in 'The Studio Yearbook of Decorative Art' 1916 (pp.49, 50, 51); and photographs of French trained fruit trees at 'Foots Cray Place', Sidcup, the house and gardens at 'Wightwick Manor', Wolverhampton, the entrance to rose walk at 'Wood Hall', Cockermouth, the garden entrance at 'Brackondale', Hest Bank, the garden house at 'Bidston Priory, a bridge at Grasmere, and garden house and terrace at 'Above Beck', Grasmere, designed by Mawson are illustrated in 'The Studio Yearbook of Decorative Art' 1917 (pp.55, 56, 57, 58, 59). From 1900 onwards Mawson became increasingly interested in landscape architecture and town planning. He acted as a consultant on town planning schemes for Athens in Greece; Calgary and Banff in Alberta, Canada; and Vancouver in British Columbia, Canada, and elsewhere. He also served as a consultant for public park schemes in Bolton and Blackpool in Lancashire, England; Hanley and Burslem in Staffordshire, England, and elsewhere. Mawson's views on town planning are summarised in his book 'Civic Art: Studies in Town Planning, Parks, Boulevards and Open Spaces' (London: B.T. Batsford, 1911). During World War One, Mawson became concerned about the plight of disabled servicesmen. In his book 'An Imperial Obligation: Industrial Villages for Partially Disabled Soldiers' (London: Grant Richards, 1917) he advanced a scheme for purpose-built villages to house disabled ex-servicemen. The villages would be equipped with workshops and the necessary facilities to enable them to support themselves and maintain their independence after the war. Mawson was a Fellow of the Linnean Society (FLS), President of the Town Planning Institute, President of the Institute of Landscape Architects, Member of the Fine Arts Commission, Liveryman of the Worshipful Company of Gardeners, Member of the Art Workers Guild, a Member of the Royal Arboricultural Society of Scotland, and an Honorary Associate of the Royal Institute of British Architects (ARIBA). He was awarded the Order of the Saviour of Greece, 1st Class. Mawson exhibited on several occasions at the Royal Academy in London. He died in Applegarth, Hest Bank, Lancaster on 14 November 1933. His son was the architect and town planner Edward Prentice Mawson (1885-1954)

A. Harold Smith worked as a metalworker, woodworker and interior decorator in the UK during the early years of the twentieth century. Among his most important commissions were fireplaces at Windsor Castle and Buckingham Palace for H.M. Office of Works, and at 'Ingestre' for the Earl of Shrewsbury, and 'Hylands' in Chelmsford, for Sir Daniel Gooch, all of which were executed by the Teale Fireplace Co. He also decorated throughout and made certain structural alterations at 28 Cheyne Row in Chelsea, London. Photographs of fireplaces and fire grates designed by Smith and executed by the Teale Fireplace Co., and a billiard room light fitting, and iron grates designed by him and executed by Lionel Teale & Co. are illustrated in 'The Studio Year-Book of Decorative Art' 1906 (pp.88, 95, 100, 104, 105, 106, 110, 171, 247, 249); photographs of two fireplaces designed by him and executed by the Teale Fireplace Co. are illustrated in 'The Studio Year-Book of Decorative Art' 1907 (p.103, 110); gates for the entrance of Tunstall Park designed by him and executed by William Durose are illustrated in 'The Studio Year-Book of Decorative Art' 1909 (p.158); photographs of two fireplaces designed by him and executed by the Teale Fireplace Co. are illustrated in 'The Studio Year-Book of Decorative Art' 1910 (p.88, 89); a photograph of a sitting room designed by him and executed by James Ballow & Sons, and a photograph of a drawing room ingle designed and executed by him are illustrated in 'The Studio Year-Book of Decorative Art' 1911 (pp.72, 89); photographs of two fireplaces designed by him and executed by the the Carron Company are illustrated in 'The Studio Year-Book of Decorative Art' 1914 (pp.21, 86); and bronze and wrought-iron fire dogs designed by him and executed by the Carron Company are illustrated in 'The Studio Year-Book of Decorative Art' 1915 (p.150). In addition to his work as an applied artist, Smith was also a painter and engraver, although he appears not to have excelled in these fields. Between 1900-20 he exhibited at the Royal Academy in London, the Walker Art Gallery in Liverpool, the Glasgow Institute of the Fine Arts, and at the Royal Scottish Academy in Edinburgh. His address is given as 30 Blanford Road, Bedford Park, London in 1902; Denham Cottage Studio, Ramillies Road, Bedford Park, London in 1907; and 28 Berners Street, Oxford Street (sic), London in 1909. He was living in Stirling Scotland in 1915 and in Glasgow in 1920

John W. Bennett was born in Glasgow , Scotland, in 1896. Between 1898-1909 he ran a woodcarving business in Glasgow. He also studied at Glasgow School of Art during this period and in 1907 won first prize in a competition organised by 'Studio' magazine. Photographs of six wooden furniture panels designed and carved by Bennett are featured in 'The Studio Year-Book of Decorative Art' 1906 (p.85); six carved wood figures by him are featured in 'The Studio Year-Book of Decorative Art' 1909 (pp.100, 101); two photographs of a carved oak settle designed and executed by him are featured in 'The Studio Year-Book of Decorative Art 1912 (pp.80); a wood panel designed and carved by him is illustrated in 'The Studio Year-Book of Decorative Art' 1914 (p.58); and an Austrian oak clock case depicting the fable of 'The Hare and the Tortoise', designed and carved by him is featured in 'The Studio Year-Book of Decorative Art' 1916 (p.72). Bennett produced woodcarvings for a number of architects in Glasgow including Alexander Paterson, John Campbell, Duncan McNaughton, Alan McNaughton and Neil Campbell Duff. In 1909 he moved to Thurso in Scotland where he taught at the Miller Institute for two years. He then moved to Buckhaven in Scotland and taught at the local High School. Bennett was a member of the Scottish Guild of Handicraft and exhibited at the Scottish National Exhibition in Glasgow in 1911. His address in 1909 is given as 2 East Church, Thurso. He died in 1930.

Wyburd, Leonard F. [UK. Furniture Designer/Architect/Painter]
Leonard F. Wyburd [sometimes known as Leonard Wyburd] was active as an
artist and designer in the UK between the late 1870s and c.1906. During
the years 1883-1903 he ran Liberty & Co.'s Furnishings and Decoration Studio
in London. He designed a wide range of furniture for the company including
sideboards, tables, chairs, bookcases, clocks, firescreens, bedroom suites,
etc. Although Wyburd is listed as an architect in 'Directory of British
Architects 1834-1914 volume 2 L-Z' by Antonia Brodie (London: Continuum,
2001), it is not known if he qualified as an architect. Photographs of the
entrance hall, morning room and bedroom of a house designed by Wyburd are
featured in 'The Studio Yearbook of Decorative Art' 1906 (pp.6, 29, 47, 89).
Also illustrated in SYB 1906 is a fireplace he designed and executed (p.89).
In addition to his work as a designer and painter, Wyburd was also a
painter. He exhibited at the Royal Society of Artists in Birmingham, the
Walker Art Gallery in Liverpool, Manchester City Art Gallery, the Royal
Academy in London, the Royal Society of British Artists in London, the Royal
Institute of Painters in Water Colours in London, and the Royal Institute of
Oil Painters. Known addresses of Wyburd are 41 Bryanston Street, Portman
Square, London (1883), and 1 Cambridge Street, London, Hyde Park, London
(1904-05). He was presumably related to Francis John Wyburd (1814-), and
Mrs Francis John Wyburd, who were both exhibiting painters and who also
lived at 41 Bryanston Street, Portman Square, London in the 1880s.

THE DECORATIVE ART INDEX

1851 Great Exhibition
1857 Art Treasures Exhibition
1872 International Exhibition
A. Murphy
A. W. and H. C. Robertson
Aalto, Aino
Aalto, Alvar
Abt, Sandor Apati
Abuja Pottery Training Centre (Nigeria)
Acheson, Anne Crawford
Achtenhagen, August
Achtziger, Hans
Acker, Florimond van
Ackermann, R.
Acquaviva, Giovanni
Adams, John
Adams, Maurice Bingham
Adams, Truda
ADCF
Adelborg, Louise
Adie Bros
Adler, Friedrich
Adnet, Jacques and Jean
AEG company
Aesthetic movement
Afors
Agterberg, Cris
Aire-Belle
Aitchison, G.
Aitken, Russell Barnett
Akimov, Nikolai Pavlovich
Alaphilippe, Ferdinand
Alastair
Alberhill Coal and Clay Company
Alberhill Pottery
Albers, Andre
Albers, Anni
Albert, Fritz Wilhelm
Albertus, Gundorph
Albisola, Tullio d'
Albouts, Wilhelm G.
Alcock, R.
Aldin, C.
Alessi company
Alexandra Porcelain Works
Alexandre, Marius
Alexeieff, Alexander
Allan, Hugh
Allander Pottery
Allen, W.H.
Aller Vale Art Potteries
Allesch, Marianne von
Alma-Tadema, Sir L.
Alons, Cor
Als ik kan
Altenloh, E.
Altenloh, Robert
Aluminia
Alvin Corporation
Amberg, Adolf
American Art Clay Co.
American Designers' Gallery
American Encaustic Tiling Company
American Terra Cotta & Ceramic Company
American Woman's League
Amphora
Amstefhoek pottery
Amstelhoek
Andelys, Verrerie d'
Andersen, Just
Andersen, Valdemar
Anderson & Johansson
Anderson,John
Andrei, Agostino
Anker, Albert
Annaburger Steingutfabrik
Anselmo, Giuseppe Mario
Anttila, Eva
Appoyer, Adele
Arabia
Aragon, Louis
Arbeid, Dan
Arc-en-Ciel Pottery Company
Architect, The
Arequipa Pottery
Arequipa Pottery
Argy-Rousseau, Gabriel
Armitage, G.F.
Armstrong, John
Armstrong, Margaret Neilson
Arnhemsche Fayencefabriek
Arnoux, Guy
Arnoux, Leon
Arpke, Otto
Arsale
Art China Co.
Art Deco Ceramics
Art Deco Furniture
Art Deco Metalware
Art Deco Prints
Art Furnishers' Alliance
Art Journal, The
Art nouveau
Art Nouveau Ceramics
Art Pavements and Decorations Ltd
Art Silver Shop, The
Arte della Ceramica Firenze, L'
Artek company
Arthur and Lucia Mathews' Furniture Shop
Arthur Bolton
Artificers' Guild
Artigas, Josep Llorens
Artistes Decorateurs
Arts & Crafts movement
Arts and Crafts Exhibition Society of London
Arts and Crafts Furniture
Arts and Crafts Metalware
Arts and Crafts Society of Southern California
Arts Francais, Compagnie des
Artver
Art-Workers' Guild
Arzberg, Porzellanfabrik
Asbury, Lenore
Asbury, Lenore
Asch van Wijck, C.C.
Ashbee, Charles Robert
Ashby Potters' Guild
Ashtead Potters
Ashtead Pottery
Asprey & Co.
Associated Artists
Atche, Jean , Baker
Atelier Alexey Brodovitch
Atelier de Glatigny
Atelier Goubely
Atelier Madeline Jolly
Atelier Martine
Atelier Primavera
Atelier Sant-Vicens
Ateliers d'Art Saint-Ghislain
Atlan Ceramic Art Club
Atterberg, Ingrid
Attwell, Mabel Lucie
Aube, Jean-Paul
Aubert, Felix
Aubry, Edgar
Auchentaller, Josef M.
Aucoc, Louis
Audsley, W. and G.
Aufseeser, Ernst
Augarten , Barlow
August Mouzin & Cie
Auld, Ian
Ault, William
Aurene, Barnard
Auriol, George
Austria Kunstgewerbliche Werkstatte
Austrian
Avelot, Henri
Averbeck & Averbeck
Avesn, Pierre d'
Avisseau, Charles Jean
Avon Faience Co.
Avon Pottery
Baar, Lotte
Bac, Ferdinand
Baccarat
Baccarat glassworks
Bachelet, Emile
Bacquet, Auguste
Badord,Jacqueline
Badovici, Jean
Bagge, Eric
Baggs, Arthur Eugene
BAGS
Bahner, Franz
Bailey, C J.G.
Baillie Scott, M.H. Scott
Bakalowits, F.
Baker, Oliver
Bakst
Balla, Giacomo
Ballin, Mogens
Baluschek, Hans
Bampi, Richard
Bandalasta company
Bang,Jacob
Banton, Travis
Bapst & Falize
Bapst, Germain
Barbedienne
Barbey, Maurice
Barbier, George
Barbini, Alfredo
Bare, Ruth
Bark, Nils Ivan Joakim de
Barkentin & Krall
Barlach, Ernst
Barlow, Florence Elizabeth
Barlow, Hannah Bolton
Barluet & Cie
Barnard, Bishop & Barnard
Barnard, Harry
Barnard,Jane
Barnes, William
Barnsley, E.
Barnsley, Grace
Barnsley, Sydney
Barol, Jean-Baptiste
Baron, William Leonard
Barovier & Toso
Barovier, Angelo
Barovier, Ercole
Barron, Paul
Barry, C.
Barth, Arthur
Barum Ware
Barwig, Franz
Bastard, Georges
Bastard, Marc August
Batchelder Tile Company
Batchelder, Ernest Allan
Bath Cabinetmakers Company
Batley, H.W.
Battam
Batty, Dora M.
Baudin, Eugene
Baudin, Paul Adolph
Baudisch-Wittke, Gudrun
Bauer, Leopold
Bauhaus
Baumberger, Otto
Bauscher, Gebriider
Bawden, Edward
Bayerische Porzellanfabrik
Bayes, Gilbert
Bazel, Karel Petrus Cornelis de
Bazin, Francois
Beal, Georges
Beardmore, Evelyn Hope
Beardsley, Aubrey Vincent
Beatrice Mallet
Beck, Vilmos Femes
Becker, Edmond-Henri
Beckert, Adolf
Beek, Jan Bontjes van
Begeer, C J.
Begeer, Carel J.A.
Begeer, Cornelis L J.
Beggarstaff Brothers
Behmer, Markus
Behrens, Peter
Beitel, Carl
Bel Geddes, Norman
Belk, Walter P.
Bell, A.E.
Bell, Robert Anning
Bell, Vanessa
Bellefroid, Edmond
Bellenger, Jacques
Bellenger, Pierre
Bellis, John O.
Belmonte, Leo
Benedict Studios
Benedictus, Edouard
Bengtson, Hertha
Benham & Frond
Benito, Eduardo Garcia
Benna, Edgar
Benner, Emmanuel
Benner,Jean
Bennett, John
Bennett, Murle, & Co.
Benois, Alexandre
Benson, William Arthur Smith
Benthall Pottery Co.
Benton, Thomas
Beran, Gustav
Berard, Christian
Berchmans, Emile
Berge, Henri
Berger, Alfred
Berger, Artur
Bergh, Elis
Bergqvist, Knut
Bergsten, Carl
Berlage, Hendrik Petrus
Berlepsch-Valendas, Hans Eduard
Berlin, Konigliche/Staatliche
Berman, Eugene
Bernadotte, Sigvard
Bernard, Paul
Bernard,Joseph
Berndt, Viktor
Bernhard Rosen
Bernhard, Lucian
Berthaud, Atelier
Berthon, Paul Emile
Bertsch, Karl
Besnard,Jean
Beswick
Beswick pottery
Beswick, John
Beszedes, Laszlo
Bevan, C
Bevilacqua, Romeo
Bew,John
Beyer, Paul
Bianchini Ferier company
Bianconi, Fulvio
Biba
Bidder,Joyce
Bigot, Alexandre
Bihl, G., & Co.
Biirgeler Kunstkeramische Werkstatten
Bilek, Frantisek
Bilibin, Ivan Yakovlevich
Bilko, Franz
Billington, Dora May
Biloxi Art Pottery
Binder, Joseph
Binder, Wilhelm
Bindesboll, Thorvald
Bing & Grondahl
Bing, Gebriider
Bing, Marcel
Bing, Samuel
Bing, Siegfried
Binns, Charles Fergus
Bird, Elisha Brown
Birmingham Guild of Handicraft
Biseglia, Mario
Bishop, Irene
Bistolfi, Leonardo
Bizarre
Bjorquist, Karin
Blackband, William Thomas
Bladh, Eva
Blake, W.S.
Blanchard, Porter George
Blazek
Blazys, Alexander
Blinxma, Johannes
Bloch, Lucienne
Blomberg, Kjell
Blomfield, A. W.
Blomfield, Reginald
Blonder, Leopold
Blore, E.
Blow, D.
Boberg
Boberg, Anna Katarina
Boberg, Ferdinand
Bobritsky, Vladimir
Boch Freres
Boch, Anna
Boche Freres
Bock, Josef, Wiener Porzellanmanufaktur
Bockman, Edgar
Boda
Bodart, L.E.F.
Bodley, G.F.
Boeziek, Jan
Bogatay, Paul
Bogelund, Gerd
Bogler, Theodor
Bogtman, Willem
Bohm, Adolf
Boissonnet, Alexis
Bojesen, Kay
Bojesens, Kay, Setlvsmedie
Boker, Edmund
Bolek, Hans
Bolin, W.A.
Bompard, Luigi
Bon Marche
Bonfils, Robert
Bonnard, Pierre
Bonsel, G.A.
Bontjes van Beek, Jan
Bonvallet, Lucien
Bookprinter, Anna Marie
Boom Kristalfabriek
Borisov, Grigori Ilych
Borne, Daisy
Borner, Paul
Borrel, Alfred
Bosch, Jacob Pieter van den
Bosse, Walter
Bosselt, Rudolf
Boston Society of Arts and Crafts
Bottee, Louis Alexandre
Bottega di Giuseppe Mazzotti
Bottger Steinzug
Boucheron
Boucheron, Maison
Bouffioulx, Societe des Gres d'Art de
Bouraine, Marcel
Bourdelle, Antoine
Bourgouin, Eugene
Bourne, Joseph, & Son
Boutillier, Addison B. Le
Boyton, Charles
Boyton, Charles, & Son
Bracquemond, Felix
Braddon, Arthur
Braden, Norah
Bradley, Julia H.
Bradley, William H.
Bragdon, Claude Fayette
Bragdon, William Victor,
Brain, E., & Co.
Brancusi, Constantin
Brandner, Johann L.
Brandstetter, A.
Brandt, Edgar
Brandt, Marianne
Brangwyn, Frank
Brannam, Charles Hubert
Brantjes & Co.
Braque, Georges
Braquenie, Atelier
Brateau, Jules-Paul
Bratt, Monica
Brauchitsch, Margarethe von
Brauckman Art Pottery
Brauckman, Cornelius Walter
Braunton Pottery Co.
Brecy, Henri
Breetvelt, Henri Leonardus August
Breger, Bibi
Bremer Silberwarenfabrik (BSF)
Bretby Art Pottery
Breuer, Marcel
Breuhaus, F.A.
Brickdale, Eleanor Fortescue
Bricteux, Antoine
Bridgens, R.
Briggle, Artus Van
Briggle, Van, Pottery
Bringhurst, Robert Porter
Briort, Prosper
Broad,John
Brocard, Emile
Brocard, Philippe Joseph
Brodovitch, Alexey
Brodovitch, Atelier Alexey
Broeck, Willem Frederik ten
Bromsgrove Guild
Brorby, Severin
Brosi, Fred T.
Brouwer Pottery
Brouwer, Theophilus Anthony, Jr
Brouwer, Willem Coenraad
Brown, A.
Brown, Bolton Coit
Brown, Ford Madox
Brown, Philip King
Brown-Westhead, Moore & Co.
Bruckmann, Peter,
Bruder Schwadron
Bruhns, Bruno da Silva
Bruin, Cornelis de
Bryk, Rut
BSF
Bucci, Anselmo 188
Buchenau, Glashuttenwerke
Bucher, Hertha
Bucknell, A.
Budapest Kunstgewerbeschule (OMKII)
Buder & Wibrecht
Buffalo Pottery
Bugatti, Carlo
Builder, The
Building News
Bull, Carl
Bull, Henrik
Bullers Studio
Bullock, G.
Bunzlau
Bunzlau, Konigliche/Staatliche
Burck, Paul
Burgau, Porzellanmanufaktur
Burges, William
Burgess & Leigh
Burgess, Levi J.
Burgun, Schverer & Cie
Burleigh ware
Burmantofts Co. Ltd,
Burmantofts Faience
Burmeister, Gabriel
Burne Jones, Edward
Burri, Werner
Burslem Art School
Burslem School of Art
Busch & Ludescher, Wiener
Bushey Heath Pottery
Bussiere, Ernest
Buthaud, Rene
Butler, Frank A.
Butl