Modern symbolism: the graphic design of CFA Voysey

Highly unusually for a leading Victorian/Edwardian architect, over the course of a long career, C F A Voysey created a large body of commercial art or, as we would call it today, graphic design. It encompasses everything from book jackets, to posters, to hand lettering, to badges (logos) and most famously bookplates. This is the first, complete survey of his work in this field showcasing many previously unseen pieces, the only other academic study being focused on his designs for ‘ex-libris’ bookplates. It is a logical development and extension of the research originally conducted for the author’s 2015 paper: Voysey’s Lettering Designs published in The Orchard (The Journal of the CFA Voysey Society) Vol.4 (2015). The paper establishes a firm chronology for the graphic works establishing early influences and motivating factors. Mid-career, Voysey established long running relationships with two major wallpaper manufacturers, the advertisements he designed for these company’s creating an historically important and early form of corporate identity. Following the First World War as Voysey’s architectural practice declined he once again turned to graphic design as a source of income. During this time, he also felt a growing need to publicly lobby for a return to the widespread use of symbolism in design. The paper explores and explains Voysey’s use of his own highly idiosyncratic, personal symbolism, developed over many years and closely related to his complex religious beliefs, along with his long-running battles with the press and public as he proselytised for its widespread adoption.