Mary Watts and May Morris were two remarkable women whose stories are often overshadowed by the legacies of their male counterparts, G F Watts and William Morris. Both women were leading figures in the Arts & Crafts movement, founding Arts Guilds, and designers in their own right. Let's take a look at their legacies.

Mary Watts

Often referred to as 'the painter's wife' or 'Mrs G F Watts' (often of her own accord), Mary Watts was an accomplished artist in her own right.

Mary Watts (née Fraser Tytler) was born in India on 25 November 1849. Daughter of Charles Edward Fraser Tytler, who worked for the East India Company, Mary spent much of her youth in Scotland where she was raised by her grandparents before settling in England in the 1860s. Between 1872 and 1873, she studied at the Slade School of Art, before initially being known as a portrait painter. Mary moved in the same circles as Julia Margaret Cameron and was associated with the Freshwater community, meeting her husband George Frederic Watts through these mutual friends.

Much of Mary's work embodied the Celtic Revival and Art Noveau movements which gained popularity during the late 19th to early 20th century. She predominantly worked in the handicraft fields; particularly pottery, metalwork, textiles and bas-relief. In 1899, she was asked to produce rug designs for Alexander Morton & Co; the leading producer of furnishing fabrics for Liberty London, and became a leading figure behind Liberty's Celtic Revival designs. One of Mary Watts's most significant achievements is the design and creation of the Watts Cemetery Chapel. Not only for it's incredible decorative features and symbolism, but for its role in bringing together the Compton community. Mary invited local Compton residents to help decorate the chapel, facilitating evening classes to teach them how to model with clay. With 74 individuals contributing their skills, each with a specific role, the chapel was brought to life between 1896 and 1898.

Much of Mary's work embodied the Celtic Revival and Art Noveau movements which gained popularity during the late 19th to early 20th century. She predominantly worked in the handicraft fields; particularly pottery, metalwork, textiles and bas-relief. In 1899, she was asked to produce rug designs for Alexander Morton & Co; the leading producer of furnishing fabrics for Liberty London, and became a leading figure behind Liberty's Celtic Revival designs. One of Mary Watts's most significant achievements is the design and creation of the Watts Cemetery Chapel. Not only for it's incredible decorative features and symbolism, but for its role in bringing together the Compton community. Mary invited local Compton residents to help decorate the chapel, facilitating evening classes to teach them how to model with clay. With 74 individuals contributing their skills, each with a specific role, the chapel was brought to life between 1896 and 1898.

Following the completion of Watts Cemetery Chapel and Mary's work teaching pottery to the local community, Compton Potters' Arts Guild was founded by Mary in 1904. Mary believed that art had the power to change lives and create jobs for local rural communities, and the Potters' Arts Guild did exactly that. Compton Pottery became a hugely successful enterprise that lasted over a century, producing ceramic garden and homewares for major clients such as Liberty's.

You can find many examples of Mary's enduring legacy across the Watts Gallery site, big and small - from the ceiling panels and Pelican Rug in Limnerslease, to the incredible Watts Cemetery Chapel.

May Morris

Often overshadowed by the bustling enterprise co-founded by her father, Mary 'May' Morris was an artisan who played a leading role in the Arts & Crafts movement.

May Morris was born in Red House, Bexleyheath on 25 March 1862. She was educated at home, where her mother and aunt also taught her how to embroider. Her exposure to her father's creativity certainly influenced her own creative journey. May studied at the National Art Training School in 1878, before becoming an employee of Morris & Co. during the 1880s, in the embroidery department. May's work was influenced by medieval art and the natural world, She produced an impressive range of designs and patterns for the firm, such as Honeysuckle (1883) and Horn Poppy (1885) and in 1885, she became the Head of Embroidery and ran the department for 12 years. After her father's death in 1896, May stepped down from her role as Head of Embroidery to focus on her career in design and handicraft, as well as sharing her knowledge through tutoring and lecturing at various art schools across England.

Much like Mary Watts, May Morris believed that everyone deserved access to the art of craft and that design should be respected and considered a professional career, particularly advocating for female artists and makers. Frustrated by the exclusion of women from the Art Workers' Guild, May co-founded the Women's Guild of Arts in 1907 with fellow embroiderer Mary Elizabeth Turner. The guild provided a dedicated network which provided female artisans with opportunities to collaborate, exhibit their work and connect with each other.