The only Voysey design built outside the UK was a house in Aswan, Egypt, for Dr H.E. Leigh Canney.
Voysey's penultimate house, and the last before the First World War, was designed for a Robert Hetherington in Belfast.
Pevsner (1994, with Elizabeth Williamson) says (p.40): "Art Nouveau was the first attempt at breaking away from period imitation. It was a small-scale movement, and the most independent work of the 1890s and the beginning of the C20, though much more reasonable in character, was also on a small scale. Voysey was its leader. He is represented in Buckinghamshire by a house at Knotty Green, dated 1907."
Pevsner (2014, with Simon Bradley) says (p.410): "A paternalistic impulse gave Stetchworth the only pub which CFA Voysey ever designed, built in 1905."
In fact, Voysey also designed the Wentworth Arms in Elmesthorpe, Leicestershire.
Pevsner's Cumberland & Westmorland (1967) says (p.43): "It [Blackwell School] makes Voysey's excellent, square Little Holme at Kendal (W) of 1908 look very rational – which would have pleased its architect. Voysey's most famous country houses, Broadleys and Moor Crag near Bowness, both of 1898, are outside the Westmorland frontier by a few hundred feet."
All of these properties are now within the county of Cumbria.
Pevsner (1991, with Bridget Cherry) says (p.10): "Other inventive architects demonstrated their own personal styles in the small commissions that came their way. The delightful Cottage Hospital of 1899 at Halwill is CFA Voysey at his most characteristic."
Pevsner (2018, with Michael Hill and John Newman) says (p.80): "In the Arts and Crafts mode [is] Hill Close, Studland by CFA Voysey (1896), in his typical white-walled style with a big roof and prominent chimneystacks."
Pevsner (2007, with James Bettley) says (p.65): "It is also at the seaside – Frinton – that some of the best houses of the late C19 and early C20 are to be found: The Homestead by CFA Voysey, 1905-6, is outstanding, with all the hallmarks of that architect – roughcast walls with horizontal windows, low picturesque roofs, sloping buttresses, and well-fitted interiors – combining to make a very pretty ensemble."
Pevsner (1995, by John Newman) says (p.112): "C.F.A. Voysey is the most famous name among the architects commissioned to design houses in the county at this period. Ty Bronna, Fairwater, Cardiff, built 1903-6, is immediately recognizable as his, contained and austere under its overall hipped roof. Only the arcaded ground storey, made possible by the hillside site, and the entrance at the short end, are exceptional. Voysey's handling of materials, stone and roughcast externally, timber and ironwork within, place him in the mainstream of the Arts and Crafts movement."
Pevsner (2012, with Alan Brooks) says, about the Museum for the Mappa Mundi in Hereford: "Its exterior, faced in fine Derbyshire millstone-grit ashlar, in pared-down Neo-Tudor reminiscent of Voysey or the Free Style of c1900, is highly appropriate to this very sensitive setting".
Pevsner (1977, with Bridget Cherry, pp.35-36) says: "Among monuments of the period ... a war memorial by Voysey at Potters Bar might be mentioned. Of Lutyens' generation, Voysey is represented by some of his best work, The Orchard at Chorleywood (1900-1) and other houses at Chorleywood ...".
Pevsner (2013, with John Newman, p.80) says: "Voysey appears twice. His house of 1899 at Sandgate, extended in 1903, though built for the newly famous H G Wells, exemplifies the architect's reposeful reticence. In 1914, at the end of his architectural career, Voysey built what is no more than a cottage on the cliff top at St Margaret's at Cliffe."
Pevsner (1984, with Elizabeth Williamson, p.442) says about Rutland: "For the early C20 one should, most emphatically, visit Pastures House, North Luffenham, one of the finest of Voysey's houses, sited and designed in 1901 with the greatest sensitivity".
Voysey did important work at Elmesthorpe, and there is also the often overlooked Laughton Hills, both in Leicestershire.
Pevsner (1997, with Simon Bradley) says in the Introduction (p.115): "Voysey himself is represented by restored office interiors at Cable [sic, Capel] House, New Broad Street, of 1906-10".
Pevsner (1998, with Bridget Cherry) says: [Introduction p38] "Among the many highly original architects working in a Free Style at this time, CA Voysey must be singled out; his masterpiece in north London is No 8 Platt’s Lane, Hampstead, of 1895, remarkable for its use of plain roughcast and skilful massing in place of ornament of any kind." [Hampstead 1B: Willow Road to Downshire Hill] "The S end of Willow Road runs into South End Road, which has a pleasant irregular sequence of early C19 houses. At the end, No 71, Russell House, one of a C19 pair, with clearly visible alterations by Voysey of 1890, his earliest surviving work in London." [Hampstead 4A: Fitzjohn S Avenue] "No 73 has alterations of 1901-3 by Voysey for P A Barendt (see the front bay)." [Hampstead 4C: South of England's Lane] "Chalcot Gardens. No 16 is of 1881, but with front and back additions of 1898 by Voysey for Adolphus Whalley. Arthur Rackham had a studio here from 1903."
Pevsner (1991, with Bridget Cherry) says in the Introduction (pp.47-48, 51, 67 & 112): "Among the unusually high quota of studios at Bedford Park Voysey's Tower House of 1891 in South Parade struck a new note of calculated simplicity. ... Voysey's homely cottage in St Dunstan's Road, ... Voysey's inventiveness can be seen yet again in his two houses tucked away beside Harrods in Hans Road Chelsea (1891). Quite different in spirit is the spare and original manner of Voysey, illustrated by his refitting at No 13 Chelsea Embankment for Emslie Horniman in 1906. ... the park at Bosworth Road Kensal New Town has the surprising feature of a 'Pleasance', a pretty enclosure designed by Voysey, given in 1911 by Emslie Horniman (Voysey's patron at Chelsea Embankment ...). Especially memorable is Voysey's design for Sanderson's factory at Chiswick (1902), with its crisp play of curves and cleancut vertical lines. ... Voysey’s extension to Sanderson’s wallpaper factory at Chiswick (1902) is an original application of a free style."
Pevsner (1983, with Bridget Cherry) says in the Introduction (p.72): "The future of domestic architecture of the suburbs lay with smaller, more economically planned houses, such as those personal versions of the roughcast vernacular cottage designed by Voysey (represented in South London by Dixcote [sic, Dixcot], Streatham, 1897, and a house in Lyford Road [White Cottage], Wandsworth Common, 1903) ...".
Pevsner (2013, with Bruce Bailey & Bridget Cherry, p.59) says: "Of national importance is Voysey's The Hill, Thorpe Mandeville, 1897-8, even if not of the first order, but distinctive enough of Voysey's style: battered rendered walls, a veranda, arched entrance etc."
Pevsner (2011, with Andrew Foyle) says: "Voysey contributed a charming, if uncharacteristic, house called Lodge Style (1909) ..."
Pevsner (1971, with Ian Nairn & Bridget Cherry) says: "Meanwhile another architect had been producing houses in Surrey which the whole world was looking at. (This is no exaggeration. For a few years, around 1896-1900, Britain was leading the world in finding a way out of the impasse of style revivals, and Surrey was leading Britain). C.F.A. Voysey, with much greater artistic integrity than Lutyens, but less talent, had evolved an equally personal architecture of long, low roofs, low-toned materials – slate and roughcast, usually – and ground-hugging outlines. It corresponded to the deliberately rustic and cottagey work of the Arts and Crafts at that time, and could be summed up as the reaction of a generation becoming sick of unfeeling architectural expertise. Voysey houses are the same everywhere – this can be a serious failing – and his style did not alter much throughout his life. ... Undoubtedly the small, simple houses are best, eg Lowicks, Vodin, and especially Greyfriars, all designs which are really burying themselves in the landscape so that the result is an amalgam of man and nature. When Voysey tried more formal extended compositions (Norney) the results are very solid, very honest, but curiously unpleasant. In a way, all his life he was building out a shepherd's cottage in the Lake District."
Pevsner (2013, with Nicholas Antram, p.72) says: "Of the other major Arts and Crafts architects, C.F.A. Voysey designed the extension to Highlands [formerly Wilverley], Holtye Common, in 1906, and it has all the best features of his vernacular style."
Pevsner (2019, with Elizabeth Williamson, Tim Hudson, Jeremy Musson & Ian Nairn) says: "The simple cottage aesthetic was taken to excess by C.F.A. Voysey in the tiny house he designed for his brother at Eastergate in 1909, ..."
Pevsner (2016, with Chris Pickford) says: "The key figure here in Warwickshire was Voysey, and his hallmark style can already be seen in his first house, the Cottage at Bishop's Itchington, of 1888 and 1900 – the use of roughcast, buttresses with much batter, horizontal windows and generous roof. His other works include East Cliffe in Warwick (1890 and 1910) and Brook End in Henley-in-Arden (1909)."
Pevsner (2007, with Alan Brooks) says: "Voysey, inspired by the Webb-Shaw style but some twenty years younger than them, built his first medium-size country house in Worcestershire in 1890. Bannut Tree House (originally Walnut Tree Farm) at Castlemorton, still with the black-and-white gables he was soon to abandon, but already in all essentials in his sensible, pretty style. Oakhill (no.54 Hillgrove Crescent, Kidderminster) is a typical example, of 1899. Voysey also appears at his best, c1901, with his Lodge Cottages at Madresfield."
Voysey was commissioned to design a workmen's institute, two terraces of housing and a detached house at Whitwood in Yorkshire for colliery owner Henry Briggs & Son. The son was Currer Briggs, for whom Voysey had designed Broad Leys in Cumbria six years earlier. Only a single terrace of the housing scheme was built.
Page last amended 12th November 2020