and birds; scenes of Japan or Japanese objects such as fans. Often these were placed in a novel asymmetrical fashion in defiance of Western tradition. Other potters who designed in the style included Martin Brothers from 1879 until 1904, with many of their works mostly decorative stoneware, heavily reliant on the principle of fish and floral motifs and some glazes in their later works. Aesthetic painters included William Stephen Coleman, Henry Stacy Marks, Edward Burne-Jones and Jean-Charles Cazin. Aesthetic artist who drew from the style frequently used imagery such as Peacocks, and came to be known by their artistic peers as belonging to the 'Cult of Japan'. 1880–1889: Aesthetical Art By the 1880s, the style had become a major influence on the art and decoration of the time, particularly Aestheticism. When the aesthetes began to incorporate Japanese styles into their movement, they took on common motifs such as the sunflower, butterfly, peacock and Japanese fan. Particularly in 1880, Bruce James Talbert produced a number of ebonised Anglo-Japanese siedeboards and chairs using the sunflower motif throughout. He also produced a number of aesthetical wallpapers in the style for Warner and Ramm, notably 'characteristic [using] Japanese simplicity of line and colour' drawn from the aesthetial practices taught in the works of Dresser and Godwin. Another popular fabric employed in the Aesthetics were the tussore silks of 'Liberty Colours'. As aestheticism began to grow more popular, designers found the 'cult of personality, particularly when it involved creators of art, fundamentally conflicted with Ruskin's and Morris's emphasis upon the importance of traditional craftsman and artisans.' Liberty in particular, who sided with the ideals of William Morris; rejected early aestheticism, reflected later in what became the Liberty style. Frederick William Sutton, an early Collodion photographer who had travelled to Japan in 1868 with the Royal Navy, gave eight lectures (between 1879–1883) on the new art form of photography in Japan. These lectures showcased early photographs and travel in Japan and in his sixth lecture, identified the concepts of 'Old and New Japan', a Victorian Ideal which divided the Meiji period into the time before Western contact and afterwards; Old Japan denoting an idealized, rural notion of the country from a time before the Meiji Restoration and New Japan being the industrial, westerner-tolerant Japan. Stevens & Williams then in 1884 began to make their 'Matsu-no-Kee' decorative glass and fairy bowls, which took on the simplified nature