The firm's secular buildings, such as the Layton Art Gallery in Milwaukee, WI, USA, closely followed the style of Alexander Thomson (1817-1875), featuring Greek, Egyptian and Hindu motifs.

Audsley and his brother authored lavishly illustrated books on ornament and Japanese art, as well as personally illuminated versions of great literature.

This was one of the first and most important books on Japanese art to be produced in the English language and, like many of Audsley's works, it continues to be a popular classic publication still in print.

By 1884, the brothers apparently separated, with William emigrating to the United States and George relocating to a London suburb where he had built a house complete with a music room and a pipe organ he designed himself that was admired by Saint-Saëns and others.

The lavish work includes numerous superb drawings done by Audsley and is still consulted today although organ fashions have evolved in many directions in the ever-fluid, passion-driven world of music.

He was an early advocate of console standardization and radiating concave pedal keyboards to accommodate the natural movement of human legs.

In subsequent years, he wrote several works, one of which was published posthumously, that were essentially shortened forms of his 1905 organ building book, updated to comment on controversies of the day and the rapid advances in applying electro-pneumatic actions and playing aids to the craft.

Audsley's overarching theory of organ design has been considered either eccentric or particular to its period, and was never adopted fully by any builder, most of whom wanted to position their own work and particular inventions as the industry standard.

His urging of multiple divisions under expression proved particularly prophetic, and there is much of value in his books on his discussions of organ stops, their natures, their materials, and the relative merits of the various forms of construction possible.