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LIBERTY DINING CHAIRS
of 6 oak Arts & Crafts dining chairs, by Liberty &
0.710, Width 0.360, Depth 0.350
'Tudric' pewter rose bowl, by Liberty & Company, designed
by Archibald Knox
0.140, Width 0.300
LIBERTY & COMPANY
A History of Liberty Furniture
by Barbara Morris
There is a considerable variety in the furniture and styles
of interior decoration produced by Liberty's between 1880
and 1910. On 13 March 1900, Arthur Lasenby Liberty gave a
lecture on English Furniture to the Society of Arts. He began
his talk with a brief historical survey in which he stated
that our finest period of furniture began with the accession
of James I, declined during the first half of the 19th century
until the `Gothic revival brought us back to first principles
of construction and directness of design'. He went on to stress
the importance of comfort -- `Better a Windsor chair with
comfort than a chaise a la Louis Quinze which makes one's
back ache' - also stating that 'Utility, which means fitness,
is in itself beauty if rightly understood'. Certainly, apart
from some of the Oriental imports, most Liberty furniture
was well made and soundly- constructed, but not all of it
can he said to measure up to his other dictum of `no unnecessary
'Anglo-Oriental' furniture by Liberty & Company
As Godwin had stated in 1876 (The Architect, 23 December),
for the first year there was no 'decent furniture', but early
in 1880 Liberty's decided to departmentalize their stock,
furniture being sold in the `D' Department. The catalogue
of oriental goods, Eastern Art Manufactures and Decorative
Objects, published in 1881, included a section labeled 'Department
D', with carved wooden pieces from China and Japan, together
with cane chairs, stools and wastepaper baskets from North
Africa. Apart from these imported foods, small items of bamboo
furniture such as overmantels and shelves are described as
'Anglo-Oriental'. The catalogue also offered to have 'Special
designs made to order drawings post free'. This Anglo-Oriental
furniture was made by a French craftsman, Monsieur Ursin Fortier,
originally - a basket maker, who had premises in Soho. Liberty's
placed their first order with M. Fortier in 1881 and he continued
to work exclusively for Liberty's throughout the 1880's, supplying
a variety bamboo furniture including chairs and tables, cabinets
and writing desks inset with panels of Japanese lacquer, leather
paper or 'old fold' matting, and smaller items such as hanging
shelves, easels and cakestands. In the 1890s the bamboo furniture
was called 'Anglo-Indian' or `Chinese' and the rank widened
to include chairs and settees upholstered in 'Djijim Kelims',
As well as being available in the Regent Street shop, some
of the early Liberty furniture was shown in the galleries
of the Royal School of Needlework in South Kensington. In
1883 The Cabinet Maker and Art Furnisher (vol. III, 1883,
p. 182) included Liberty's among its list of' high class firms
selling furniture, stating that:
some of the cane chairs, carved cabinets, screens and
flower stands shown by this enterprising firm are marvels
of art and cheapness. Messrs. Liberty are evidently educating
their Oriental producers as to the wants of our market and
the result is that an English home can he almost entirely
furnished with Eastern goods'.
Such furniture, however, would have had a limited appeal,
and it became obvious that a wider range should be available.
Accordingly, in 1883 Liberty's set up a Furnishing and Decoration
Studio under the direction of Leonard Wyburd, a painter who
exhibited at the Royal Academy from 1888 to 1905, describing
himself as `Painter and Architect'. Wyburd retired from Liberty's
in 1903 but continued to work independently describing himself,
in an advertisement in the Studio Year Book of 1906, as `Designer
and expert adviser in Decorations and Furniture - over 20
years with Liberty & Co.'
A wide variety of furniture in a number of different styles
was to be produced by, or for, the Liberty Furniture and Decoration
Studio under his direction, but Wyburd's own specialty was
`Moorish' furniture and decoration, or Egyptian based designs.
The Thebes stools
Among the earliest items of furniture that can be fully documented
were two stools, based on ancient Egyptian prototypes, both
called the 'Thebes' and registered in 1884. One, a four-legged
stool, usually made in walnut but also in mahogany, with turning
on the lower legs and a leather seat attached to the frame
with thonging, has the Patent Office Design registration No.
16673. It was hardly an original design, as the ancient Egyptian
prototype had already inspired a number of artists and designers
earlier in the century. A drawing of a similar Egyptian stool
by J.G. Grace, dated 1853, is now in the RIBA, and Ford Madox
Brown designed a comparable Egyptian style chair for Holman
Hunt in 1857. A number of other artists, including Christopher
Dresser and E.W. Godwin, produced drawings of ancient Egyptian
furniture in the 1870s. It is tempting to suggest that Godwin,
who was then in charge of Liberty's Costume Studio, may have
had a hand in the origin of this 'Thebes' stool, for a drawing
of the prototype occurs on a page of museum studies in a Godwin
sketchbook of about 1875. The stool was to prove immensely
popular and was produced over a number of years. One can be
seen in a contemporary photograph of Arthur Lasenby Liberty's
drawing room at The Lee Manor, the house he lived in from
The other 'Thebes' stool had three curved legs fixed directly
into the dished seat which was carved from a solid piece of
wood. It was made both in oak and mahogany, sometimes stained
or lacquered red, and bears the registered number 16674. It
was to prove equally popular, appearing in the firm's catalogues
certainly as late as 1907. It was sold by Samuel Bing when
he opened his shop, La Maison de ]'Art Nouveau, in Paris in
November 1895 and in a number of other retail outlets in Europe,
finding its way into museum collections as far afield as the
Nordenfjeldske Kunstindustrimuseum in Trondheim, Norway, which
purchased one from Bing in 1896.
It was copied by the Austrian architect Adolf Loos (1870-1933),
who claimed it as his own design, and also stained it red.
He also stained red the bentwood chairs, made by Kohn, that
he designed for the Cafe Museum in Vienna in 1899
Leonard Wyburd and Liberty
Leonard Wyburd's real specialty in the early (lays of the
Furniture & Decoration Studio was the `Moorish' style
which he employed not only for smoking rooms, but also for
drawing rooms, and Liberty's own 'Arab' tea rooms. He was
not the first in the field, for Owen Jones (1809-1874) had
already executed Moorish designs for furniture and interiors
earlier in the century, and the firm of H & J. Cooper
of Great Pulteney Street were known for their Arabian and
Moorish interiors from about 1875.
Liberty's owned a copy of Les Arts Arabes by Jules Bourgoin,
published in 1867, which as Viollet-Le-Duc stated in the preface,
"as a practical and complete treatise which reveals a
whole new order of composition'. This, no doubt, provided
an important source of inspiration for Wyburd. At first he
seems mainly to have relied on imported furniture from North
Africa, including inlaid coffee tables, Kharan stands, screens
etc., but he soon began to design original 'Moorish' furniture,
often including panels of Mushrebiyeh lattice work. J. Moyr-Smith
in his book, Ornamental Interiors, Ancient and Modern (1887),
reported that Liberty's:
showed a variety of art furniture
in the Moorish or Arab style, most of it being light and elegant
in form and moderate in price. The importation of Mushrebiyeh
lattice-work from Egypt has probably induced Messrs Liberty
& Co to turn this exceedingly artistic material to practical
account: they have accordingly in their Kharan chairs made
very tasteful use of this fascinating artistic product of
Mohammedan Egypt, and Arabic cabinets, Mushrebiyeh screens,
camphor or sandalwood tables, punkahs, traciered lamps, and
Arabic stained glass windows of beautiful flowing designs
and splendid colour are used to produce an Oriental effect.
J Moyr-Smith illustrated a Moorish smoking room as well as
an occasional table and rush-seated chair incorporating Mushrebiyeh
A tribute to the quality of Liberty's Moorish style is given
in The Cabinet Maker and Art Furnisher for 1 April 1884. Having
described the Moorish style of Messrs. Cooper, the writer
Messrs. Liberty & Co
have fitted up apartments quite
in the same style as the foregoing, and, from a commercial
point of view, their display is more practical, because their
'adaptation of Arabian Art' - as they define it - is really
consistent with inexpensive furnishing. They have applied
the style, more or less successfully, to cheap forms of ordinary
The accompanying illustration showed three Anglo-Moresque
chairs. The wooden armchair in the centre, which has panels
of Musharebeyeh was stained darkish green and was as said
to be 'remarkably easy and not uncomely' When made comfortable
by the addition of a few cushions. An example of this chair
is now in the Cecil Higgins Museum, Bedford. The chair on
the left was described as a good model, and the bracket supports
to the legs and back were praised as good, constructive features,
giving strength to an otherwise rather flimsy design. The
third chair, like some of the Thebes stools, was, painted
vermilion red, and had a Moorish arch motif cut out of the
back, and splayed straight legs. It was described as a 'crude
looking chair' which is an example o1 that vermilion coloured
furniture which has been of late, so much in demand. When
there are two or three pieces in a roam, the effect is, I
think too florid; but a single piece frequently helps to light
up an apartment'. The furniture was displayed in a room with
Egyptian red walls, the ceiling painted in colour, with a
Saracenic design; some of the Mushrebiyeh screening had coloured
glass behind it, and lamps hung from the ceiling. There were
also folding stands for brass trays, brackets, what-nots,
and fabrics. The writer pointed out how Liberty's were not
content to act merely as importers, but:
that a much larger trade can be secured if the public are
only shown how the treasures and styles of the East can be
transformed or utilized for the purpose of everyday life in
this country. Thus they embrace in their present business
home-made productions, in the Moresque style, as well as originals,
and the clever way in which the two are wedded does considerable
credit to the firm. I have never seen a display of such goods
more calculated to secure business or to meet the wants of
middle class as well as wealthy buyers.
The Moorish style was to feature prominently in Liberty catalogues
and sketches of interior decoration well into the next century,
for their Three Styles of Furniture and Decoration, published
in 1909, features an `Eastern smoking room'. Indian elements
where often mixed with the Arab style and a number of the
interiors Deere designated meter as 'Oriental'. The Liberty
Handbook of Sketches and Prices and Other Information for
Artistic and Economical Domestic Decoration and Furniture,
which has been tentatively dated 1889 although it is probably
slightly later, shows folding Mushrebiyeh lattice screen,,
Kharan chairs and writing table, an Anglo-Arab drawing room,
a section of an Arab hall, and a morning room in Arab style.
It also includes a press reports of 13 April 1889, under the
heading `An Eastern Dream' which describes the Eastern Music
Room and corridor at 27 Grosvenor Square, which was executed
for Lady Aberdeen, the wife of the 7th Earl and 1st Marquess
of Aberdeen. The room was described as:
a triumph of
taste and a monument to 'Liberty' enterprise and art. The
ceiling panels are modeled from windows around the tombs of
the Queens of Shah-Ahmed at Ahmedabad, the leaded glass from
the designs of the tombs of Yufus Mooltan; the exquisite lattices
hail from the Punjab, the fire dogs from Nepal, and the tiles
from Mooltan. Pure and perfect Orientalism are supreme in
this exquisite room.
Wide variety of styles
As in this Handbook of Sketches, together with other Liberty
publications of the late 1880s and 1890s, eclecticism was
rife, with Orientalism going hand-in-hand with revived English
styles, which ranked from Tudor and Jacobean to 18th century
country furniture, and catered for a wide range of artistic
tastes. Liberty's emulated Morris and Company in producing
a considerable variety of rush-seated chairs with the names
`Chesham', `Wykeham', `Hampden', `Argyle' and `Arundel'. The
`Lincoln' set, which had turned decoration recalling some
of the simulated bamboo furniture of the Regency period, comprised
a settee, a gentleman's chair, a lady's chair and six single
chairs, all for the price of 10 guineas. The 'Lincoln' child's
chair could be bought separately for 7/6 in the ebonised version,
or for 10/6 in walnut. The `Norfolk' was a corner chair composed
of ebonised bobbin turning; and a three-legged stool with
a round seat called the `Patience' was advertised as being
in `Art Colours'. These adaptations of English country furniture,
introduced in the 1880s and 1890x, sold well into the 20th
century. A simple Windsor-like chair, made in beech and stained
green, which appears in the Liberty Yule-Tide Gifts catalogue
of 1895-6 was certainly sold abroad, for one was purchased
by the Nordenfjeldske Kunstindustrimuseum in Trondheim from
Messrs Hirschwald of Berlin in 1902. Most of this type of
furniture would have been made by outside firms, including
William Birch of High Wycombe, but how much of it was exclusive
to Liberty's is not clear. The Liberty Yule-Tide Gifts catalogue
of 1897 illustrates a chair with five spokes com erring from
the shaped top towards the upholstered seat, which is set
on four splayed legs and is described as the `Antwerpen' chair,
`A quaint chair, strong and light, made of walnut, seat upholstered
and covered with tapestry. Price 15'-'. The identical chair,
however, was illustrated in the Cabinet Maker and Art Furnisher
(1 January 1889, p. 172) described as an `old fashioned type
of kitchen chair refined up to the form of a "gossip"
chair painted in artistic green, with a prettily upholstered
seat', and as sold by Messrs Hindley & Sons, who specialized
in reproductions of 18th century English furniture.
Oak furniture by Liberty & Company
The most characteristic Liberty furniture was made in oak,
solidly and well constructed in a somewhat ringed style, party-
based on English rural forms. It was often embellished with
beaten copper plaques, elaborate copper hinges, lock plates
and handles, and with leaded glass cupboard doors, and sometimes
an appropriate carved inscription at the top. A typical example
of this style is a huge oak sideboard with copper fittings,
including a repousse copper panel of two ships and a flying
dragon, which is flanked by two small cupboards with leaded
glass panels. At the top is the rather curious carved inscription
`IT IS THE FAIR ACCEPTANCE THAT CREATES THE ENTERTAINMENT
NOT THE CATES' (cates being purchased provisions, as opposed
to homemade ones). Below are two cupboards with copper hinges,
escutcheons and drop handles. The sideboard was designed by
Leonard Wyburd and was illustrated in the Studio (vol. II,
1894, p. 35) and also later in the house (vol. I, 1897, p.
90). An earlier, simpler example was a rather `mediaeval'
sideboard with heavy hinges and locks that was illustrated
by Moyr Smith in 1887, citing it as an example `of a very
simple and inexpensive style of dining room furniture which
yet had spirit and individuality. To emphasize the 'Medieval'
quality, the sideboard was set with German Stoneware and roemers,
and reproductions of old Venetian glass.
By the 1890s a considerable range of this heavy oak furniture,
including sideboards, bookcases, tables, chairs and bedroom
suites, was available, much of it designed by Wyburd himself.
Most were given 'Saxon' or Scottish names and the oak was
`rendered the colour and finish of old work'. A characteristic
example, one of several variants, was the `Lochleven Buffet',
introduced about 1890, which had a small cupboard, glazed
with leaded 'bulls-eyes', and two open compartments on a shelf
raised from the board by turned columns, with a drawer and
cupboards below . Such items sold abroad as well as at home,
and a 'Lochleven Buffet' was purchased by the Osterrichisches
Museum fur angewandte Kunst in Vienna. A very similar bookcase,
with the same kind of asymmetric al arrangement of open shelves
and a glazed cupboard above a fall-front desk had a carved
inscription at the top 'READING MAKYTH A FULL MAN WRITING
AN EXACT MAN'. In somewhat similar style but lighter, were
shelves for bric-a-brac, a combined clock and wall bracket
called `The Thoecen', and the 'Raleigh' smoker's cabinet with
the dubious motto `THE MAN WHO SMOKES THINKS LIKE A SAGE AND
ACTS LIKE A SAMARITAN'. These and other similar articles appear
in the Yule-Tide Gifts catalogue of 1895-6.
The 'Culloden' suite had a sideboard made in finely grained
oak, enriched with wrought copper fittings, with an upper
cupboard glazed with leaded glass, and drawers and lockers
below. The accompanying rush-seated dining chairs, with broad
slatted backs, were similar to those produced by Morris &
Company in the 1890s. A Yule-Tide Gifts catalogue: undated,
but probably 1899, includes a two page central section illustrating
a number of smaller pieces of furniture including the 'Wiclif'
chair 'of quaint and simple design', and two heavy rush-seated
armchairs, the `Ethelbert' and the `Athelstan'. The Athelstan
design featured as a bedroom suite in the Liberty Furniture
catalogue of 1902, described as a serviceable and artistic
suite in solid oak. The upper panel of the door of the wardrobe
had a hand-stained panel of a landscape, and heart-shaped
cut-outs, the latter a feature of many Liberty pieces around
the turn of the century. The washstand had 'antique' tiles
at the top and back and the dressing table had rather primitive
looking handles made of a piece of oak dowelling, attached
to the drawers by small rectangles of wood at either end.
The same handles appeared on another bedroom suite by Leonard
Wyburd of about 1899 which showed an Egyptian influence, being
embellished with `Lotus' insets in pewter, and a lotus design
stenciled on the matting splashback of the washstand which
was attached to the frame by thonging.
Wyburd also produced a number of smaller items such as the
'Sigebert' table; this had a hexagonal top and art nouveau
tulip motifs cut out of the three legs, which were joined
by three stretchers forming a triangle. Art nouveau fretwork
also adorned the 'Suffolk' stand, which combined an occasional
table with shelves for hooks or objects. It is difficult to
ascertain to what extent these designs of the 1890s, were
by Wyburd himself. An undated Handbook of Sketches, Part ll,
Reception Room;, halls, Dining Rooms, Drawing Rooms, Boudoirs,
Morning Rooms, Smoking Rooms and Billiard Rooms probably spans
dates from 1893 to 1900, for the first sketch, 'A Summer Cottage'
is signed by V.T. Jones and dated 1893, whereas other sketches
labelled 'Recent developments' are manifestly later. The sketches
include `The Witlaf" sideboard, in solid oak, with an
embossed copper panel of boys in a Viking ship, which is signed
H.F.T; other illustrations, including a Dutch breakfast room
with a frieze of 'Old World Battleships' above the dado, are
signed P.E.Q. in monogram, while a Saracenic smoking room
design is signed G. Hentschel. These unidentified initials
are possibly those of the studio draughtsmen, rather than
the designers, for an illustration of a morning room called
the 'Rossetti' (as it included reproductions of his paintings)
shows the `Sigebert' table and the `Suffolke' stand, both
of which have been attributed to Wyburd. Little is known of
the personnel of the Furnishing and Decoration Studio, apart
from E.P. Roberts who joined the design team in 1887, and
succeeded to the management in 1903 on Wyburd's retirement.
According to the Liberty Lamp (vol. VI, 1930, p. 126), Liberty's
first took over a workshop of their own in 1887. It was supervised
by a Scot, James Thallon, who had as his foreman George Wolfe,
who had previously worked with Thallon at the cabinet-works
of Messrs Howard of Berners Street. When James Thallon retired
in 1898, his son took over, to be succeeded in turn by George
Wolfe who remained with the firm until his retirement in 1931.
Not all the furniture was produced in the Liberty -workshops,
some probably being made by independent craftsmen. Certainly,
both chairs and cabinet furniture were made for Liberty's
by William Birch of High Wycombe, some of it designed by F.G.
Punnett. Punnett was possibly responsible for some of the
more elegant pieces of Liberty furniture which were first
produced in the late 1890s. This furniture was made in mahogany
or walnut, or occasionally in satinwood, rather than in oak.
It often shows the influence of C.F.A. Voysey and is similar
to that produced by J.S. Henry of Old Street, a firm which
also employed E.G. Punnett as a designer.
A typical Liberty piece is a music cabinet made in 1897 or
1898, which is now in the Bowes Museum, Barnard Castle. Made
of mahogany, it has four capped posts rising above the main
carcase, and art nouveau plant decoration in coloured woods
on the doors and upper rails. The same style can he seen in
an elegant mahogany display cabinet of approximately the same
(late, which has dazed doors, marquetry in coloured woods
and mother-of-pearl, and elaborate brass lock plates and handles
set with small blue ceramic bosses. A number of occasional
tables have similar art nouveau floral marquetry. An equally
elegant suite in walnut, inlaid with delicate motifs in mother-of-pearl,
was designed by the Glasgow architect George Walton (1867-1933).
George Walton, the son of an unsuccessful painter, after attending
evening classes at Glasgow School of Art, abandoned his career
as a bank clerk and set himself up as `George Walton &
Co., Ecclesiastical and House Decorators' in 1888. He moved
to London in 1897, and in 1898 secured an important commission
to furnish Kodak showrooms in London, Glasgow, Brussels, Milan
and Vienna, and continued to pursue a successful career as
an architect and designer of stained glass, furniture, textiles
and wallpapers. As well as designing furniture, he also designed
some of the later 'Clutha' glass sold by Liberty. A satinwood
drawing room suite, with a glazed cabinet, two armchairs,
single chairs and a table, virtually identical to one in a
Liberty Inexpensive Furniture catalogue of about 1905, clearly
shows the influence of George Walton although it may not have
been designed by him. There is a strong `Glasgow style' influence
in much of the Liberty furniture of this date, as shown in
the room settings in their Dress and Decoration publication
of 1905. Wylie and Lochhead of Glasgow retailed some Liberty
furniture and there is a distinct similarity between some
of their pieces, particularly the hall furniture.
As well as their original styles, Liberty's was responsible
for a number of revivals. Prominent among them was the so-called
`Jacobean' style, which Liberty described as `perhaps the
most ENGLISH in its characteristics
. 'and in many respects
the most suitable to our climate, tastes and habits'. This
style was considered particularly suitable for halls, staircases,
billiard rooms and dining rooms, with tables with bulbous
carved legs, inglenooks and oak panelling, with plaster friezes
and ceilings, some executed by G.F. Bankart. What was called
'Modified Tudor' or 'Domestic Gothic' also found favour, and
often incorporated linenfold oak panelling which was to become
a Liberty speciality. `Elizabethan' and `English Renaissance'
are also found, and while English revivals predominated, an
occasional foreign influence was permitted. The 'Holbein'
sideboard designed by Wyburd, which has similar decoration
to that on the shelves and brackets in the 1895-6 Yu1eTide
Gifts catalogue, is described as `Flemish', while the 'Culloden'
(lining room is described as `German Gothic'. Unlike many
of their competitors, Liberty did not favour French styles,
and avoided the fashionable 'Neo-Rococo' and `Louis Quinze'
and `Louis Seize' styles. These varied styles of Liberty interior
decoration, perhaps because of their very Englishness, had
a marked success abroad, and commissions were received throughout
Europe and from as far afield as India and South Africa.
Apart from permanent schemes of interior decoration, Liberty's
were also involved in more ephemeral and exotic schemes for
exhibitions and other special occasions. As well as providing
the materials for the costumes for F.C. Burnand's play The
Colonel, adapted from a French play satirising the aesthetes,
and the Gilbert and Sullivan opera Patience, when the latter
transferred from the Opera Comique to the newly built Savoy
Theatre (designed by the architect Charles John Phipps (1835-1897))
which had opened on 14 October 1881, Liberty's designed a
special reception room for the Prince of Wales, festooning
the room with a selection of Liberty silks. Similar decorations
were provided on occasions for the Royal Opera House, Covent
Garden, the Haymarket Theatre, the Lyceum and Drury Lane.
For The Mikado (1885), with its Japanese setting one of the
most popular of the Gilbert and Sullivan operas, Liberty sent
representatives to Japan to study the native costumes at first
hand, and bring back correct materials for both the costumes
and stage sets.
Special schemes by Liberty & Company
In 1875 Arthur Liberty had been involved in setting up a Japanese
house in the park at Alexandra Palace in North London, but
in 1885 he was to undertake an even more ambitious project,
the setting up of an Indian Village at the Albert Exhibition
Palace in Battersea Park. This was a cast iron and glass building
similar to the Crystal Palace and was first erected for an
exhibition in Dublin, and then moved to Battersea in southwest
London. This enterprise involved bringing over a whole contingent
of native Indian craftsmen, entertainers, musicians and cooks.
A Liberty employee, Mr A. Bonner, had the rather daunting
task of collecting the Indians and bringing them to England,
complicated by the fact that the Indians belonged to different
castes and religions, including Hindu, Mohammedan, Zoroastrian
and Roman Catholic. The craftsmen included spinners, weavers,
fivers, dressmakers and embroiderers, brass workers and jewellers,
carvers and inlaid woodworkers and modelmakers, and among
the entertainers were a snake charmer, an acrobat, jugglers
and dancing girls. The idea was to show the skill of the Indian
craftsmen and no doubt also to promote Liberty's own Indian
Liberty's also provided decorations for Queen Victoria's
Golden jubilee in 1887 and for the celebrations of the Silver
Wedding of the Prince and Princess of Wales in the following
year. Perhaps the most exotic of these ventures was the decoration
of the Royal Pavilion at Brighton on the occasion of a ball
given for a wealthy Indian Prince, the Maharaja Gaekwar of
Baroda, who was spending the winter of 1887-8 in the town.
Guy Bentley, writing many years later in the Liberty Lamp
in 1927, recalled that: 'several truck loads of carpets, rugs,
embroideries, palampores and other Oriental goods valued at
over .£2,000 were transported to Brighton, and in about
for y-eight hours the Pavilion was transformed into a scene
from the Arabian Nights.'
Guy Bentley, with two other Liberty employees, attended the
ball, and he described how `the Rani (the Prince's wife) was
concealed in a small room fitted up for her where, behind
Musharabeyeh screens, she could watch the festivities'.
The Royal Pavilion transformed
The hall took place on 8 December and a full description
of the decorations was given in the Brighton Guardian for
14 December 1887. Described as being `decorated internally
with the most lavish Oriental splendour', the Gaekwar's colours
of yellow and (lark blue were used throughout the scheme.
In one apartment the colours were emphasized in the festooned
hangings of Indian muslin and rich embroideries, and in the
chief supper chambers they were again found most appropriately
blended in the spread tail of a peacock, which formed a conspicuous
table ornament. The doorway leading to the main corridor was
decorated with a sumptuous piece of antique Chinese embroidery
worked with figures in crimson and gold silks, with on either
side Japanese panels embroidered with storks. The seating
in the corridor was covered with Turkish and Persian rugs
and the natural divisions of the apartment were adorned overhead
with festooned curtains of vellow Indian muslin. The walls
were hung with Japanese embroideries, glittering with gold
thread, and open fans of cerulean blue silk and yellow flowers
added to the colour scheme. Large palm trees were set at intervals;
the floor was covered with brightly coloured rugs, and mirrors
reflected the splendour of the scheme. The double staircase
at the north end of the corridor was hung with printed Indian
palampores. The Saloon was furnished as a throne room and
the dais, approached by two or three steps, was covered with
a fine Dhurrie carpet, overarched with a canopy of blue and
gold, with draperies at the back. The chair of honour, or
throne, was in crimson velvet and gold with a tapestry behind
embellished with the Gaekwar's crest of a crown and a scimitar.
The two large apartments, the Music Room and Banqueting Room,
were set aside for (lancing, and the settees covered with
Persian rugs. Platforms decorated with festoons of muslin
were provided for the bands, and were surmounted by a frieze
composed of Indian hand screens of kus-kus grass. The oblong
chamber behind the Banqueting Room was transformed into a
retiring room for the Gaekwar by the liberal use of old gold
stain, which covered the walls and ceiling, with a dado improvised
in rich tapestry.
In addition to fairy lights, illumination was provided by
electricity. The Corporation Minute Book recorded that the
electric light was 'steady and brilliant' from 8 p.m. to 5
a.m. The Minutes also recorded that the Gaekwar permitted
the decorations and electric light to remain in place, free
of charge, for a concert held in aid of local charities on
Liberty's were by way of being pioneers in the use of electric
lighting, using it for their own Eastern Bazaar by 1887 and
advertising that they could carry out schemes of electric
lighting for both domestic and commercial use. The only hitch
in the proceedings occurred when one of Liberty's workmen
accidentally damaged a picture, but Liberty's expressed their
deep regret and offered to pay for the repair, an offer that
was gratefully accepted.
The Brighton Guardian regarded the ball as `the most splendid
entertainment of its kind ever held in the Pavilion since
it became the property of the Corporation'. This had been
in 1850, when it was sold to the town by Queen Victoria for
£53,000. To those who know the Pavilion today, the transformation
must be hard to envisage, but when the building was sold to
the Corporation, most of the furniture and moveable decorative
features were kept in Royal possession and dispersed, to he
returned only in recent years.
The 1902 Furniture catalogue shows a wide range of Liberty
furniture, including the 'Rowena' drawing room suite in mahogany.
The cabinet from this suite, an example of which is now in
the Cecil Higgins Museum, Bedford, was described as `Mahogany
cabinet, in rich colour with unvarnished surface. Relieved
by three inlaid panels of various coloured woods and designed
in the centre with a glazed cupboard for bric-a-brac. Suitable,
also, for a boudoir'. The `Ethelwynn' drawing room suite in
walnut was somewhat simpler and showed something of an Austrian
influence. The room setting for this suite showed a frieze
probably designed by George Walton. The 'Helga' suite, described
as `a dainty bedroom suite in white enamelled wood', had a
hanging wardrobe with a curtained space above for bonnets.
The 'Athelstan' oak bedroom suite was shown in a room with
a peacock frieze, and included the 'Stronza' armchair, an
adaptation of a traditional Orkney chair with a high semi-circular
back of woven rush. The 'Culloden' dining room suite was also
included, another oak dining room suite called the 'Dunkeld'
in which the wood was stained grey-brown and dull wax polished.
This finish has recently been revived by Liberty in some reproductions
of their turn of the century furniture.
The 1907 catalogue of furniture contains less of interest.
Although the 'Culloden' and 'Athelstan' suites are still featured,
the furniture on the whole is simpler and less original, with
more or less straightforward reproductions or adaptations
of `Queen Anne' and 'Hepplewhite' furniture. Whether this
was occasioned by the retirement of Leonard Wyburd in 1903,
or merely by following the same path as Morris and Company
and other high-class firms at that time, a distinct Liberty
style is no longer dominant. There are a few touches of originality
such as two charming swing cradles with embroidered linen
curtains, illustrated in the Studio Year Book of Decorative
Art (1906, p. 84), and a nursery dresser with inset pictorial
panels of Dutch children. As a writer in the 1906 Studio Year
.perhaps as a reaction to the extravagancies
of art nouveau . . the demand of the day
confined to copies or adaptations of the past.... It is not
a little mortifying for all who have been looking hopefully
for a fresh and vital style in English furniture design, to
be obliged to acknowledge that enterprise in that direction
has sustained a check which has temporarily impeded its progress
in that country.
This trend towards traditional design was to continue at Liberty's
in the 1920s and 1930s, with most of the innovations in the
field of textiles and dress. It was not until the 1950s that
they were to resume their pioneering role in promoting the
best of contemporary design, while successfully maintaining
a traditional 'Liberty' image, a trend that has continued
until the present day.
Directory of Liberty Manufacturers
Aller Vale Pottery, Newton Abbot, Devon
This pottery began making brown ware from 1865 and in 1868
was taken over by John Phillips. In 1887 the works became
known as the Aller Vale Art Pottery. Liberty & Co stocked
their wares between the years 1887 and 1901. Their work is
often adventurous, the decoration free and bold. Impressed
Murlle Bennet & Co, London
This firm frequently supplied small items of Art Nouveau style
jewellery to Liberty and Co during the early years of the
20th Century. They specialized in pendants and brooches, usually
enameled. Their designs frequently follow the typical Liberty
Art Nouveau style of the early years, but are sweeter and
prettier than the purer and more geometric designs of Archibald
Knox. Murle Bennet & Co were an Anglo-German firm who
frequently advertised as their own production, pieces which
appeared in the Liberty and W.H. Haseler catalogues. This
was not uncommon practice at a time when there was a great
deal of pilfering and pirating of the designs of other firms.
These were often just sufficiently modified as to appear 'original'.
A lot of Murle Bennet jewellery sold through Liberty and Co
was probably made in Pforzheim, although the pieces often
carried the marks of both Liberty and Haseler. There has always
been some confusion about the exact nature of this firm's
activities. Their jewellery was close to the Liberty and Art
and Crafts styles, but was also influenced by the contemporary
German geometric style. Their claim to have designed all their
jewellery is belied by their advertisements, which illustrate
pieces supposedly exclusive to Liberty and which appear in
the catalogues of that firm. They also supplied Connell of
Cheapside and the Goldsmiths' Company with jewellery.
C.H. Brannam Ltd, Barnstaple, Devon
Brannam's operated from Litchdon Street Pottery in Barnstaple,
and were notable for their grotesque and fantastic motifs:
animals, birds, sea creatures and dragons. They frequently
used the old Roman name 'Barum' for Barnstaple as their trademark,
but their marks are extremely varied, from incised markings
in cursive script to impressed markings in capital letters,
often using the words 'Made for Liberty'. Early pieces are
usually signed in a cursive script with the date, and often
the initials of the designer such as J.D. (John Dewdney) or
W.B. (William Baron).
In 1882 Liberty & Co became the sole agent for C.H.Brannam
and remained so until 1914, when control of the firm passed
into the hands of Brannam's two sons. They continues to supply
Liberty with pottery until the 1930s.
Giuseppe Cantagalli, Florence
Italian pottery whose wares were sold by Liberty & Co
in the late 1880s and 1890s. They made earthenware with painted
decoration in bronze lustres and blues.
Compton Pottery, Guildford, Surrey
Mary Fraser Tytler, wife of the Victorian painter George Frederick
Watts, founded the Compton Pottery in 1902 and produced a
range of garden pottery for Liberty & Co, many items from
Celtic designs originally created by Archibald Knox.
Messrs Connell & Co of Cheapside, London
Liberty sold off many exhausted lines of pewter to this firm
who produced their own adapted versions, often from the original
designs by Archibald Knox. Their shapes, however, were always
traditional and the use of blue and green ceramic tablets
was seldom as effective as the electric blue and marine green
so often employed by Liberty & Co. Most of the Knox designs
were sold to Messrs Connell around 1909 -10 when demand for
this type of pewter began to wane.
James Couper & Sons, Glasgow
Makers of Clutha Glass, mainly designed by Christopher Dresser
and sometimes by George Walton, and extensively used by Liberty
& Co as liners for their pewter ware, particularly for
designs by Archibald Knox.
Della Robbia Pottery, Birkenhead
This factory was started in 1894 by Harold Rathbone and Conran
Dressler and closed again only 7 years later in 1901. The
firm specialized in tiles, earthenware and particularly relief
plaques inspired by the panels, reliefs and fountains created
in Florence by the sculptor Luca della Robbia and his family.
Mark 'della Robbia', incised or impressed with ship device
and often the initials of designers and decorators. For example:
'C' for Charles Collis, 'C.A.W.' for C.A.Walker, 'C.M.' for
Carlo Manzoni, 'L.W.' for Liza Wilkins and 'R.B' for Ruth
Bare. Their work was widely sold by Liberty & Co between
the years 1894 and 1901.
Farnham Potteries, Farnham, Surrey
Managed by A.H. Harris & Son and operated as early as
1893, Farnham Pottery was sold in large quantities by Liberty's.
Their ceramics appear in the Liberty catalogues of the day
as 'Green Ware'. The shapes are often simple and similar to
those of the Brannam Ware produced around 1915-16.
This Dutch pottery centre produced highly colourful and distinctive
pottery, frequently bearing the mark 'Made for Liberty'.
W.H. Haseler, Birmingham
Goldsmiths, Silver smiths and jewelers, founded in 1870 by
William Hair Haseler. The firm of Haseler & Co went into
formal partnership with Liberty & Co when the two firms
joined forces to launch the Cymric silver scheme under the
title Liberty & Co (Cymric) Ltd.
J.P. Kayser & Sons, Krefeld, Germany
German metalwork form founded in 1885 near Dusseldorf by Jean
Kayser. From the mid 1890s they manufactured pewter Jugendstil
objects such as ashtrays lamps, beakers, vases, tea and coffee
sets best known as 'Kayserzinn'. Their main designer was Hugo
Leven, a name to e compared with that of Liberty's main pewter
designer, Archibald Knox.
German pewter manufacturers from whom Arthur Liberty imported
pewter, mainly tableware, for sale in his Regent Street shop
E. Littler & Co, Merton Abbey, Surrey
Block printed textiles and scarves were printed for Liberty
by Littler & Co. (William Morris had his print works at
Merton Abbey but his property was downstream form Littler's
works. 'We sent our dirty water down to Morris!' was a favourite
Liberty remark.) In 1904 Liberty took over the works, and
they acquired the freehold in 1922. By the 1890s Liberty were
taking up the whole of Littler's production. The firm continued
to hand print there until 1973 when the premises were sold.
Loetz Witwe, Klostermuhle, Austria
Founded in 1836, Loetz were glass manufacturers, particularly
celebrated for their fine iridescent glass, comparable in
type with Tiffany. It was sold by Liberty & Co in the
1890s. Marks: two crossed arrows with a star in each intersection,
with 'Loetz, Austria'; crossed arrows in circle with 'Lotz';
crossed arrows in circle with 'Lotz, Klostermuhle'.
John MontcrieffLtd, Perth, Scotland
Scottish glassmakers founded by John Montcrieff, c1864. They
produced heavy glassware, mainly Art Deco, streked with various
colours and inclusions within the body of the glass, which
was sold by Liberty & Co in the 1920s and 1930s and earlier.
Monart Glass, as it was known, was unmarked except for a paper
label affixed to the base.
William Moorcroft, Staffordshire
Arthur Liberty first encountered Moorcroft in 1898, when the
latter was in sole charge of the art pottery workshop of the
firm of James Macintyre & Co at Burslem. The two men rapidly
became friends, and Liberty's began to sell Moorcroft's earliest
range of 'Florian Ware'. After 1913, When Moorcroft left James
Macintyre & Co to start his own workshops at Cobridge,
he continued to supply Liberty with such lines as 'Hazeldene'
(trees in a landscape setting), 'Claremont' (toadstools) and
the green and red 'Flaminian' ware which he created specially
for Liberty. Some pieces of Moorcroft, such as vases and tazzas,
were set in Tudric pewter bases. Many pieces carry the mark
'Made for Liberty'. Signature W.Moorcoft in bold script always
appears. Until the 1920s this is in green, after which it
is mainly in blue.
Alexander Morton & Co, Kilmarnock, Scotland
Morton's power loom carpet and textile factory produced carpets
and tapestries designed by William Morris (not for Liberty)
and C.F.A. Voysey. The man responsible for the association
between Liberty and both Littler's hand printing works and
Alexander Morton's factory was the imaginative and enterprising
young Welshman John Llewellyn. Morton's became weavers for
Liberty in the 1890s, manufacturing all styles of Liberty
designs in woven fabrics.
'Osiris', (See Walter Scherf & Co)
'Orivit', Cologne, Germany
General pewter manufacturers whose products Liberty sold in
the early 1900s. Mark 'Orivit'.
Pilkington Lancastrian Pottery, Clifton Junction, Lancashire
Established in 1892, Pilkington's were manufacturers of tiles,
vases and bowls, some pieces with designs by Walter Crane,
the tiles often by Crane and Voysey. They were sold by Liberty
& Co in the early 1900s.
James Powell & Sons, Whitefriars, London
Glass makers who provided Liberty & Co with distinctive
green glass liners for their metalwork.
Royal Doulton, Staffordshire and London
Liberty sold a variety of Doulton lines, many decorated with
characteristic Art Nouveau designs such as stylized plant
Walter Scherf & Co, Nuremberg, Germany
Manufacturers of pewter produced under the trade name of 'Osiris'
and sold by Libert & Co at the turn of the century. Mark
Silver Studio, Hammersmith, London
General design studio established in 1880 by Arthur Silver
(1853-96). These studios provided Liberty & Co with textile
designs, pewter, silver and jewellery, and many designs for
Cymric ware. Later, Arthur's eldest son Reginald 'Rex' Silver
directed the practice, at first with his brother Harry and
then by himself. After Arthur Silver's early death, it was
continued by Harry Napper until Rex came of age. It continued
William Howson Taylor, West Smethwick, Birmingham
English Art potter who established the Ruskin Pottery in 1898,
producing 'Buttons' which were often set into Liberty mirror
frames or into the lids of boxes. Colours, rich and high-fired,
ranged from dark blues and greens to turquoise, apple green,
purple and mauve.
Thomas Wardle, Leek, Staffordshire
Fabric printers to Liberty & Co in the 1880s, specializing
in oriental silks
Directory of Artists and Designers
M.H. Baillie-Scott (1865-1945)
English architect, furniture and textile designer, Baillie-Scott
also worked with metal and ceramics, producing designs for
Liberty & Co from 1893.
Oliver Baker (1856-1939)
A Birmingham painter and designer, and a frequent exhibitor
at the Royal Academy from 1883, Oliver Baker was a key figure
in the Liberty Cymric scheme for which he produced many designs.
He also designed pewter for the firm.
William Birch, a furniture maker of High Wycombe, provided
Liberty & Co with chairs and some cabinet furniture at
the turn of the century. In 1901 he was joined by E.G. Punnett.
Lindsay P Butterfield (1896 - 1948)
A fabric designer who worked for Liberty & Co in the 1890's.
His work was based mainly on stylized floral motifs.
Walter Crane (1845 - 1915)
A designer and illustrator, Walter Crane was closely associated
with William Morris and the Arts and Crafts Movement. He designed
fabrics for Liberty & Co in the 1890's
H. C. Craythorn (1881 - 1949)
Craythorn was a silversmith and designer and a pupil of Arthur
Gaskin. His brilliant talents were recognised by W. H . Haseler
in 1898 when Craythorn was seventeen. He worked for Haseler's
for some forty years and produced most of the designs executed
by them for Liberty & Co. His most distinguished and now
celebrated work, designed by Archibald Knox and executed by
Craythorn, is the silver casket supplied by Liberty to the
Rockefeller family c 1900 and is now in the Museum of Modern
Art, New York.
Bernard Cuzner (1877 - 1956)
A silversmith and jeweller who designed many items for Liberty
& Co around 1900 - 5.
Dr Christopher Dresser (1834 - 1904)
Botanist, designer, metalworker and writer on art and the
principles of art and design, Dresser, born in Glasgow, was
a key figure in the history of modern design. IN contrast
to his early enthusiasm for the Japanese taste and the Aesthetic
Movement, he was a radical and revolutionary designer of glass
and metalwork who fully accepted the machine and the approach
to modern methods of mass production, and demonstrated a remarkable
ability to anticipate the Bauhaus manner as early as 1879.
He was a close friend of Arthur Lasenby Liberty who owned
shares in the Bond Street firm, the Art Furnishers Alliance,
of which Dresser became manager in 1880. In 1883 this firm
went into liquidation, and in 1889 Dresser moved to Barnes
in West London where he ran a studio with the help of some
ten assistants. Among them were Archibald Knox and almost
certainly Rex Silver of the Silver Studio. His son Louis joined
the furniture department of Liberty & Co in 1896. Dresser's
main practical association with Liberty was through the design
of Clutha glass.
Eleanor Fortescue-Brickdale (1871 - 1945)
A designer and enamel painter for Liberty & Co who specialized
in figurative painting, such as friezes for bowls, depicting
figures in landscape settings. She was also a book illustrator
Arthur and Georgie Gaskin (1862 - 1928 and 1868 - 1934)
A husband and wife team - painters, illustrators and metalworkers
- who designed jewellery for Liberty & Co during the first
decade of the century from their Birmingham Studios.
E. W. Godwin (1833 - 86)
An English architect and furniture designer, widely known
for his Anglo- Japanese style furniture, Godwin was a passionate
supporter of the cult of Japonisme. He was appointed supervisor
of the Costume Department at Liberty & Co on 17 January
1884 at an agreed fee of 'one guinea for each hour in the
studio. The hours in any one week were not to exceed six hours
A. E. Jones (1879 - 1954)
Jones, a Birmingham jeweller, produced a number of designs
for Liberty & Co. Less well known than his contemporary
and associate Bernard Cuzner, he was considered very promising
in his day.
Jessie M. King (1876 - 1949)
A Scottish painter, designer and book illustrator, Jessie
King studied at the Glasgow School of Art and became a prominent
member of the Glasgow School. She designed jewelry and silverwork
for Liberty's Cymric range, and also textiles.
Archibald Knox (1864 - 1933)
Born in Cronkbourne on the Isle of Man, Knox, the principal
silver and pewter designer for Liberty & Co, created Celtic
designs of the highest quality for the Cymric and Tudric schemes.
He had previously worked for the Silver Studio and for Christopher
Dresser's Design Studio in Barnes, south-west London, and
had taught design at the Wimbledon and Kingston-on-Thames
School of Art. At Kingston his teaching methods were considered
too unorthodox by the South Kensington Examiners and he resigned
his post in 1911.
A description of Knox's new Celtic range from a Liberty catalogue
of 1899 - 1900 shows how keen Arthur liberty was to promote
The especially interesting feature
is its complete and
unmistakable differentiation from all other descriptions of
modern silverwork. The suggestion, as it were, having its
origin in the work of a far earlier period than the greater
part of the gold and siler plate ornaments to be found even
in the Royal Collections today, the bulk of which only dates
back to the Restoration. Cymric silver, although original
and initiatory of a new school of work, is suggestive of a
more remote era than this, and simplicity is the keynote of
After 1912, when Knox ceased to work for Liberty's, he went
to America where he designed carpets for Bromley & Co
Max Läuger (1864 - ?)
German architect, engineer, sculptor, and artist potter chiefly
known for his glazed bowls, vases, wall plaques and jugs in
stylized Art Nouveau designs. Liberty & Co were the first
to import Max Läuger's pottery into the country in the
late 1890's. Mark: M.K.L. in monogram with arms of the Grand
Duchy of Baden.
W. R. Lethaby (1857 - 1911)
English architect, metalworker, furniture and pottery designer,
Lethaby was also a founder member in 1884, of the Art Workers
Guild, and Professor of Design at the Royal College of Art
in 1900. He designed simple, unpolished furniture, primarily
in oak, sometimes in rosewood, and some of it decorated with
floral marquetry in ebony, sycamore and bleached mahogany.
He also designed fabrics for Liberty & Co in the 1890's.
Ernest Léveillé (flourished 1885 - 1900)
French Art Nouveau glass designer. Pupil of E. Rousseau with
whom he produced experimental glass including many pieces
of sculptured crackle glass sold by Liberty & Co at the
close of the nineteenth century.
Sidney Mawson (c1876 - 1937/8)
A textile designer for Liberty & Co in the first decade
of the last century.
Frank Miles (1852 - 91)
Miles was a textile designer for Liberty & Co in the late
1880's and 1890's when, possibly to meet the competition of
Morris & Co, began to commission work from leading artists
and designers of the period.
Harry Napper (1860 - 1930)
Textile, furniture and metalwork designer with the Silver
Studio (c1893-8), Napper provided Liberty & Co with many
of their finest fabric designs. He managed the design production
of the Silver Studio after Arthur Silver's death in 1896.
Mario Amaya wrote: 'Around 1900 the strongest personality
at Liberty's appears to have been Harry Napper whose fabrics
depended less on undulating curves that drifting geometrized
motifs, strident with angular petals and thorny leave.'
John Pearson (flourished 1890 - 1910)
A designer and metalworker whose imagery was often fantastic
and highly original. Pearson was the first instructor in metalwork
at C. R. Ashbee's Guild of Handicrafts and was dismissed in
1890 because 'Mr Pearson had been outside the Guild supplying
Messrs Morris and others with goods
' He was reinstated
but again failed to honour his undertaking not too deal with
other firms, and was allowed to resign on 29 August 1892.
Thereafter he worked for William Morris and later at the Newlyn
Class in Cornwall. Although there is no conclusive documentary
evidence that he did supply Liberty & Co, there is some
circumstantial evidence that he did supply Liberty with designs.
E.G. Punnett (flourished 1900)
A furniture designer known to have worked for Liberty &
Co from the fact that he joined William Birch of High Wycombe
in 1901. This firm supplied Liberty with a great deal of furniture
and many of their surviving pieces bear Punnett's signature.
E.G. Reuter (1845 - after 1912)
A designer of fabrics for Liberty & Co in the 1890s. 'Liberty
& Co were regular exhibitors in the various Arts and Crafts
Society Exhibitions beginning with a stand at the New Gallery
(Regent Street) in 1893. The company exhibited a large selection
of fabrics designed by Arthur Silver, Thomas Wardle, E.G.
Reuter and W.R. Lethaby. It is from this source, and not the
company that the names of the various designers were made
Richard Reimerschmid (1868 - 1957)
A furniture designer whose work was imported by Liberty &
Co in the 1900s, Reimerschmid first became generally known
after his participation in the Paris Exhibition of 1900.
Provided Liberty & Co with textile designs in stylized
floral patterns in the late 1880s.
Arthur Silver (1853 - 1896)
Designer and craftsman, founder of the Silver Studio in 1880
and father of Reginald 'Rex' Silver and Harry Silver. The
Silver Studio specialized in every aspect of design form plasterwork,
metalwork, furniture and book jackets to the design of complete
interiors, and they provided Liberty & Co with a great
number of furniture designs.
Harry Silver (1882 - 1972)
Metalwork and textile designer with his father's studio. Influenced
by Archibald Knox, he executed designs for Liberty Cymric
silver after 1906, and supervised the design production of
the Silver Studio from 1901 to 1916, when he joined the army.
Reginald 'Rex' Silver (1879 - 1965)
The son of Arthur Silver and the brother of Harry, he administered
the Silver Studio from 1901 until its closure in 1963.
Liberty & Co are known to have put into production at
least one deign by David Veazey: the winning design for a
silver tea caddy in a competition organised by Liberty through
'The Studio' magazine in 1899. It was produced both in silver
and, later, in pewter, bearing the number 049C. The signature
used by the artist on this occasion was 'Tramp'.
C.F.A. Voysey (1857 - 1941)
An English architect and designer of furniture, textiles,
carpets, tapestries, wallpapers, ceramics and metalwork. His
furniture was generally austere and architectural, using straight
lines and very little ornament except for a characteristic
pierced heart shape, and other cut-out motifs, in the backs
of chairs. He produced many textile and wallpaper designs
for Liberty & Co between 1890 and 1910. Charles Voysey
and George Walton were among a distinguished group of furniture
designers who worked directly for Liberty.
George Walton (1867 - 1933)
Scottish architect and member of the Glasgow School, he collaborated
with C.R. Mackintosh on the Cranston Tea rooms, Glasgow, in
1897. Walton was closely associated with the Arts and Crafts
movement, and worked as a furniture designer in the late 1890s
and early 1900s.
Leonard F. Wyburd
Although Leonard Wyburd set up the Liberty Furnishing and
Decoration Studio as early as 1883, at the height of the Aesthetic
Movement, it was not until the late 1890s that he began to
design the avant-garde furniture which was to help revolutionize
the whole concept of furniture design, not only in England
but also in Vienna, Berlin and Paris (where in 1889 Liberty
opened a branch, at 38 Avenue de l'Opera). Leonard Wyburd
is as much a part of the creation of Liberty Style as Archibald
Information from 'Liberty Style' by Mervyn Levy