ma x MK 1137 • B7 1907 EXHIBITION OF THE SOCIETY OF ARTS AND CRAFTS COPLEY HALL BOSTON FEBRUARY 5-26, 1907 ARTS AND CRAFTS EXHIBITION MDCCCCVII IN CELEBRATION OF THE TENTH ANNIVERSARY OF THE ORGANIZATION OF THE SOCIETY Digitized by the Internet Archive in 2016 https://archive.org/details/exhibitionofsociOOsoci EXHIBITION OF THE SOCIETY OF ARTS & CRAFTS TOGETHER WITH A LOAN COLLECTION OF APPLIED ART COPLEY & ALLSTON HALLS BOSTON, MASS. FEBRUARY 5 TO 26 • 1907 PRINTED BY CARL H. HEINTZEMANN THE HEINTZEMANN PRESS, BOSTON CONTENTS Page General Introduction ix Officers of the Society xii Department of Basketry 3 Department of Bookbinding 10 Department of Ecclesiastical Work 15 Department of Glassware 18 Department of Jewelry 21 Department of Leather Work 30 Department of Metal Work 35 Department of Photography 48 Department of Pottery 51 Department of Printing, Engraving, Etc. 60 Department of Stained Glass 68 Department of Textiles, Embroidery, Etc. 70 Department of Woodworking 86 Department of Miscellaneous Objects 93 Loan Collection 94 Advertisements NOTE AS TO THE CLASSIFICATION T HE Committee feel that a more definite classification, showing the degree to which an article is the production of individual craftsmen, is desirable. To this end articles are listed in the catalogue with the letters A , B , C, or Z), follow- ing the number. A signifies that the article was designed and executed by one craftsman from beginning to end. B signifies that the article was designed or executed (or both) by not more than two crafts- men, whose names are given, working under some form of collaboration. C signifies that the article was done under similar conditions to those existing in Class B, but with further subdivision; although the name of each worker is given. D signifies that the work was designed by the exhibitor and executed under the factory system ; i.e. , by a number of men working in rotation in such a manner as to make the listing of the individual names impracticable. It is believed that this classification will make it possible to lay proper emphasis upon work done throughout by an individual artist and it is hoped that it will lead to a more intelligent comparative study of exhibits by visitors to the exhibition. vii PRINCIPLES OF HANDICRAFT I. MOTIVES The motives of the true craftsman are the love of good and beautiful work as applied to useful service , and the need of making an adequate livelihood . In no case can it be primarily the love of gain . II. CONDITIONS The conditions of true handicraft are natural aptitude , thorough technical training, and a just appreciation of standards . The unit of labor should be an intelligent man whose ability is used as a whole and not subdivided for commercial purposes. He should exercise the faculty of de- sign in connection with manual work , and manual work should be part of his training in design . III. ARTISTIC COOPERATION When the designer and the workman are not united in the same person , they should work together , each teaching the other his own special knowledge , so that the faculties of the designer and the workman may tend to become united m each. ^ SO CIAL COOPERATION Modern craftsmanship requires that the idea of patronage be superseded by that of reciprocal service and cooper- ation . V. RESULTS The results aimed at are the training of true craftsmen , the developing of individual character in connection with artistic work , and the raising of standards of beauty in objects of use . “it is only possible to answer for the final truth OF PRINCIPLES, NOT FOR THE DIRECT SUCCESS OF PLANS.” THE SOCIETY OF ARTS AND CRAFTS I T may be well briefly to state the aims toward which the Soci- ety of Arts and Crafts is working and the object it has in view in undertaking the present exhibition. It seems indeed impor- tant that these objects should be clearly set forth in order to avoid any misunderstanding as to the exhibition, for the so-called Arts- and-Crafts movement is not only often misunderstood, but is some- times in danger of misrepresentation in the works and opinions of those who claim to be a part of it. The movement is not a mere striving after odd or bizarre design, though some of the results as vet achieved in its name may seem to justify this view. It is not an attempt to set back the clock of the world in an impossible en- deavor to revive bygone conditions and insist on making things by hand which might better or as well be done by machine, though some of its advocates have seemed to insist on this extreme opinion. Neither is it an exaltation of mere amateurishness at the expense of the solid qualities of the trained mechanic which must be the foundation of all artistic achievement, though it is inevit- able that in a new movement, such as this, many amateurs should take part, and that amateurishness should sometimes mar other- wise excellent work. The Arts-and-Crafts movement is founded on the belief that the objects of daily use are just as capable, in their lesser degree, of being made the vehicles of artistic expression and thus of being works of art, as are the works of painting or of sculpture. If they are to be so, it is clear that they must be the work of men and women who in their degree are artists, and that they must thus be made by the hand of the artist himself, as are works of painting and of sculpture. Those who are supporting this movement believe that all the objects of daily use ought in their degree to be beauti- ful ; and while the simpler and the commoner of such objects can be and often must be the product of the machine, such machine- made things should be absolutely simple, for the reason that no elaboration of form and no ornament executed by machine can have those artistic qualities which alone justify elaboration and make it delightful and which depend on the touch of the artist ix himself. The community is beginning to realize that the machine is a useful servant but a poor master, and that there are limitations to what can properly be expected of it. The Society of Arts and Crafts is therefore endeavoring to encourage the making by the hand of all objects of daily use which are to be treated with any elaboration of design, of all objects which are not only to perform a utilitarian service but are to give delight in that service, and so far as this may be possible by the hand of the artist that designs them. At the same time, while recognizing the value and the ne- cessity of tradition and that all progress is founded on precedent, it desires to encourage, not mistaken seeking after new and strange forms, but the sincere endeavor after personal and individual ex- pression in the work of the hands, rather than mere copyism and mere imitation of bygone forms. It is recognized, however, that such reproduction of old forms may be of great use, especially of great educational value at the present stage of our artistic develop- ment, and while the Society has as its ideal the carrying out of works of handicraft by those who have designed them, it realizes also that in the present condition of craft education this is only occasionally possible, and we must be content with the more or less sympathetic carrying out by the skilful craftsman of the de- sign of another. In this case, however, the designer and craftsman should co-operate ; and again the best results will be obtained by the hand of the craftsman who appreciates the beauty of the de- sign he is carrying out and so is able to give to it something of his own individual feeling. The Society further believes that the pub- lic is growing more and more to appreciate the beauty of objects made by hand which are thus capable of showing individual feel- ing in their execution, and is coming more and more to demand such objects rather than the dull, uninteresting and often extrava- gant products of the machine. The Society therefore feels that it may accomplish an impor- tant use by enabling those who really appreciate the growing beauty of the hand-products of our craftsmen to purchase such objects directly from these workers, and that it may aid the in- creasing number of such craftsmen by finding for them a market for their products. Through this directly practical and business function the Society believes that it is aiding in the most impor- tant way the aim it has of encouraging on the one hand the pro- duction of, and on the other hand the taste for, artistic products of individual handwork. It believes it will thus be adding to the joy of the worker, through which joy artistic production is alone pos- sible, and to the delight of the user, by whose increasing demands the craftsman is encouraged to continue his work. The present exhibition is an exhibition of the works of mem- bers of the Society of Arts and Crafts, — an organization whose membership extends from Boston to San Francisco and from Maine to Louisiana, — and of members of other affiliated organ- izations. The Society realizes of course that there are many excel- lent craftsmen outside of these organizations whose work may thus fail to appear, but in the present condition of the movement this limitation of the exhibition seems desirable. That the Society is to a great degree accomplishing its aim its members are encouraged to believe by the very fact of the growth of the Society and by the increasingly high standard of both design and workmanship in the objects submitted to its jury, by the con- stantly increasing demand for the products of its members, and by the success which has been obtained from time to time by the ex- hibition of those products, especially at the World’s Fair at St. Louis. It is believed that the present exhibition will show a distinct advance over the exhibition held by the Society eight years ago, and that the exhibition will therefore serve both to stimulate the activity of each craftsman and to increase the interest of the public and so prove valuable in helping to take another step forward, to increase the quantity and improve the quality of the objects made by the hand for daily use, by their greater and greater beauty add- ing enormously to the enjoyment of the maker in his work and to the pleasure and the stimulus which come from the possession of beautiful things in the objects of daily sight, in the utensils we daily handle, and which play so large a part in every one’s daily life. xi THE SOCIETY OF ARTS AND CRAFTS f"| ^HIS Society was incorporated for the purpose of promoting artistic ■ work in all branches of handicraft. It hopes to bring Designers and Workmen into mutually helpful relations, and to encourage work- men to execute designs of their own. It endeavors to stimulate in workmen an appreciation of the dignity and value of good design ; to counteract the popular impatience of Law and Form, and the desire for over-ornamenta- tion and specious originality. It will insist upon the necessity of sobriety and restraint, of ordered arrangement, of due regard for the relation be- tween the form of an object and its use, and of harmony and fitness in the decoration put upon it. PAST AND PRESENT OFFICERS OF THE SOCIETY PRESIDENTS Charles Eliot Norton Arthur Astor Carey H. Langford Warren 1897-1899 1899-1903 1903- VICE-PRESIDENTS Arthur Astor Carey 1897-1898 H. Langford Warren Mrs. Henry Whitman 1897-1904 A. W. Longfellow John Evans 1897-1901 J. Samuel Hodge C. Howard Walker 1905- TREASURERS Morris Gray 1897 Frederic P. Cabot Frederic Allen Whiting 1900- 1898-1903 1901- 1904- 1898-1900 George Edw. Barton Harold B. Warren SECRETARIES 1897 J* Henry Eames 1898 Henry Lewis Johnson 1899 1900 Frederic Allen Whiting 1900- COUNCILLORS, 1907 J. T. Coolidge, Jr. Wm. H. Grueby J. Samuel Hodge I. Kirchmayer John E. Peabody Arthur J. Stone Harold B. Warren Ralph Adams Cram Carl H. Heintzemann Henry Lewis Johnson A. W. Longfellow Mary Crease Sears C. Howard Walker H. Langford Warren Frederic Allen Whiting Xll CATALOGUE OF THE EXHIBITION MDCCCCVII DEPARTMENT OF BASKETRY MISS AMY M. SACKER, CHAIRMAN MISS MARY W. BOND MRS. LEE HOFFMAN MISS MARY E. SLASON U NLIKE the Indian, who wove sentiment, religion and history into her baskets, which she made for the most practical and common- place uses of life, the basket-worker of to-day has only to meet the practical need and express her own individual sense of beauty — a much simpler problem than to weave a life-story into her basket. In this collec- tion, brought together from all parts of the country, an effort has been made to show the results of the work in the many branches of basketry, and the possibilities of different materials. For articles designed to be put to the more practical uses, willow and reed meet the requirements of strength and durability and also lend themselves to beauty of form and design. Raffia, during these last years a most popular material, has de- monstrated its adaptability to use for smaller or lighter baskets, which de- mand delicacy of technique; and as it takes the different dyes satisfactorily, it offers great possibilities to those interested in combinations of color. Among the baskets on exhibition may be seen some successful results of splendid daring in the use of colors. In an entirely different class of bas- ketry are those made from materials as they are gathered from the woods and roadsides in Nature’s own coloring, often as beautiful as can be ob- tained by Art. Pine-needles from the South, cornhusks, petals of flowers, grasses, sedges and flags, are all used, and these are materials which can be collected in lovely places by the worker, who so, out of the waste things of the earth, can fashion something of beauty and of use. Those interested in industrial and handicraft training will find an exhibit carefully arranged for teachers and students, showing the progression from the simple to the more complex forms of basketry. It has been the aim of the Committee on Basketry to show in its collection the position occupied by Basketry to-day in the field of Arts and Crafts. Blanchard, Mary Miles, Bellefonte, Pa. i A . Porch basket in brown reed, with over handles 2 A . Culling flower basket, in shaded green reed, bronze handles Designed and Executed by Miss Blanchard. 3 B. Scrap basket in shaded brown reed, with black handles Designed by Miss Blanchard. Executed by Sarah Gephart. Bond, Mary W., West Newton 4 A. Fern basket, purple and gold 5 A. Fern basket 6 A. Fern basket 7 A. “ 8 A. “ 9 A. Work basket 10 A. Desk waste basket 11 A. Fern basket 12 A. “ “ Designed and executed by Miss Bond. Deerfield, Society of Deerfield Industries Thorn, Edwin 13 B . Willow basket 14 B. “ “ 15 A. 1 6 A. Designed and executed by Mr. Thorn . Floyd, Fannie P., Waltham 17 A. Grass covered jar, red decoration 18 A. Grass covered basket, blue decoration 19 A. Brown grass bowl, black and white decoration 20 A. Oval grass basket 21 A . Grass bowl, bird decoration 22 A. Grass basket, pink decoration 23 A. Grass mats, pink decoration 24 A. Mounted Grueby tile 25 A. Mounted tile 26 A. Mounted Grueby tile 27 A. 28 A . 29 A. Mounted tile Designed and executed by Miss Floyd. Hartford Arts & Crafts Club Holt, Fred P. 30 A. Basket, flower pattern 31 A. Basket, Washoe stitch, lightning pattern 32 A. Basket, key pattern 33 A. Basket, Washoe stitch, lightning pattern 34 A. Basket, copy Pina Indian basket 35 A. Basket, Lazy Squaw stitch, Grecian pattern 4 36 A. Basket, Washoe stitch, little men pattern, lace border 37 A. Basket, Washoe stitch, rattlesnake pattern Designed and executed by Mr. Holt. Kellogg, Leila 3 8 r A. Indian basket, reproduction of Apache Ceremonial War Basket Designed and executed by Miss Kellogg Hingham, Arts and Crafts Cain, Mrs. E. H. 39 A. Tray 40 A. Fruit basket 41 A. Tray 42 A. Basket Designed and executed by Mrs. Cain Hersey, Mrs. Arthur F. 43 A. Reed basket 44 A. Fruit basket 45 A. Reed basket Designed and executed by Mrs. Hersey Hersey, Mrs. Walter W. 46 A. Egg basket 47 A. Work basket 48 A. Scrap basket 49 A. Market basket 50 A. Raffia basket 51 A. Reed basket White, Mrs. F. M. 52 A. Raffia basket 33 A. 54 A. Massachusetts Arts and Crafts Society Buckingham, Elizabeth L. 55 A. Sewed basket of Florida pine-needles and raffia 56 A. Sewed basket, raffia and sweet grass Designed and executed by Miss Buckingham 5 Merriman, Adelaide, Belleforte, Pa. 57 A . Basket for hall table Designed, and executed by Miss Merriman 58 B. Scrap basket Designed by Miss Merriman. Executed by Sarah Gephart 59 B. Scrap basket Designed by Miss Merriman. Executed hy Helen M. Shugert Minneapolis Society of Arts and Crafts Northfield, Mrs. Susan M. 60 A. Lace raffia mat 61 A. “ “ “ Minot, George S., Somerville 6 iaA. Large reed scrap-basket 6 \bA. Piazza footstool Designed and executed by Mr. Minot Montague Arts and Crafts King, Laura 62 A. Waste basket of palm-leaf 63 A. Baby 64 A. Napkin c< cc “ 65 A. Round palm basket, 5-inch 66 A. “ “ “ 4- “ 67 A. “ “ “ 3- “ 68 A. Palm nut-bowl 69 A. Urn-basket made of palm-leaf 70 D. Tray covered with palm-leaf 71 D. Bottle covered with palm-leaf 72 D. Glass dish covered with palm-leaf Paul, Mrs. George 73 A. Table-mat of palm Ross, Ada 74 A. Lunch-pail 75 A. “ “ 76 A. Work-box of palm 7 6 aA. Palm box Designed and executed by Miss Ross 6 Peterboro, Handicraft Workers of Adams, Mary 77 A . Square raffia basket 78 A, Sewed raffia basket Alexander, Mrs. 79 A . Basket Caldwell, Mrs. Wm. H. 80 A. Green reed scrap-basket Cutler, Mrs. 81 A. Sewed basket, made from native rushes Field, Mrs. 82 A . Sewed raffia basket. Hamilton, Miss 83 A . Sewed raffia basket Hurd, Mrs. Harry 85 i. Sewed raffia basket Longley, Mrs. 86 A. Natural color raffia bag Morse, Mrs. 87 A . Sewed raffia basket Philadelphia, D^dalus Arts and Crafts Gut Fullmer, Laura 88 i. Raffia basket, brown and green 89 A . Raffia basket, fir-tree design 90 A. Raffia basket 91 A. Raffia basket, blue and green Designed and executed by Miss Fullmer Rhodes, Maud 91 aA. Raffia basket 91 bA. cc “ Designed and executed by Miss Rhodes Roundy, Alice M., Pittsfield 92 A. Coil seed-tray Designed and executed by Miss Rounay 7 Slason, Mary E., Boston 93 A. 94 A. 95 A. 96 A. 97 A. 98 A. 99 A. 100 A. IOI A. 102 A. 103 A. 104 A. 105 A. 106 A. 107 A. 108 A. 109 A. 1 10 A. 1 1 1 A. 1 12 A. ll 3 B. Reed basket Flaring basket Thread and needle basket Work basket Lunch basket Scrap basket Pick-up basket Market basket Gathering basket Low basket Hanging flower basket Darning basket Raffla basket Covered basket Covered basket Treasure basket Basket Indian ceremonial wedding basket Large green scrap basket Small thread and needle basket Designed and executed by Miss Slason Reed basket, color shaded brown Design , adapted Indian ; executed by Miss Slason Baskets Nos. 93 to 113 form a teacher’s exhibit showing steps of progression for a student. Smiley, William H., Haverhill 1 14 A. Small basket 1 15 A. Work basket 1 16 A. Raffia basket Designed and executed by Mr. Smiley. Stanwood, Cordelia J., Ellsworth, Me. 1 17 A. Raffla basket 1 18 A. Raffla basket 1 19 A. Raffla work basket 120 A. Raffla stocking basket Designed and executed by Miss Stanwood. Upham, Betsey C., Worcester 1 21 Z). Raffia mounted Grueby tile 122 D. Raffia mounted Mercer tile 123 D. Raffia mounted Grueby tile Mounted by Miss Upham. Ward, Allena E., Plymouth 124 A. Clothes hamper Designed and executed by Miss IV ard. Winslow, Dan., Paris, Maine Nos. 125 A to 168 A. A collection of 44 raffia baskets de- signed and executed by Mr. Winslow and lent by Mrs. A. M. Winslow, Miss Eveline L. Dickinson, Mrs. Robert P. Wilson, Miss Harriette H. Winslow, Mrs. Albert Bierstadt. Mrs. John R. Brinckle, Mrs. Thomas Blagden, Mrs. C. P. Kellogg, Mrs. Albert E. Davies, Mrs. James H. Winslow, Miss Emily De Coursey, Mrs. Charles Lord, Mrs. H. T. Alley, Mrs. Charles R. Wilson, Mrs. Lewis M. Brown. Mr. Winslow’s exhibit of baskets covers a period of four years and is numbered according to his progression from the begin- ning to the present time. Valentine, Lucy W., Cambridge 169 A. Square covered mending basket 170 A. Knitting basket, side handles 171 A. Round basket with cover 172 A. Pear-shaped fruit basket, with handle 173 A. Work basket with cover 174 A. Flower basket, with tall handle 175 B. Round tray shaped basket 176 B . Round-cornered oblong tray-shaped basket 177 A. Oval flower-basket 178 A. Oval basket 179 A. Waterbottle 180 A. Basket flower-vase 1 81 A. Open basket with handle 182 A. Skeleton basket Designed and executed by Miss Valentine 9 DEPARTMENT OF BOOKBINDING MISS MARY CREASE SEARS, CHAIRMAN CHARLES THEODORE CARRUTH MISS AGNES ST. JOHN PETER VERBURG B OOKBINDING as an art was recognized as early as the sixth cen- tury, when the covers of the choice books of hours and missals were made of carved ivory, silver and gold. During the twelfth cen- tury leather came into use and gradually superseded all other forms of preserving books. The invention of printing gave great impetus to the craft, and to the sixteenth and seventeenth centuries we are indebted for some of the most beautiful bindings ever made, many examples of which still exist in museums and private collections. In this country, some fifty years ago, according to Mr. William Matth- ews, there was not a finely bound book in any collection except what had by chance been procured abroad. We marvel at the progress of this won- derful and interesting craft when we look at the many examples of Amer- ican workmanship which are brought together for this exhibition, for many of them would do honor to the best French and English binders. These artistic and beautiful books are hand-bound and hand-tooled by artist arti- sans whose whole skill is brought to bear on their work to make it worthy in every particular. Commercial work often tries to imitate the artist arti- san by using a great machine that crushes its stamp into the covers of the books which then come forth gold-tooled, needing but a little touching up here and there by a finisher to complete the deception. These books bear the same relation to skilled handwork that a color print does to an original Raphael or Corot. What we look for in a well bound book comes under two heads : Forwarding and Finishing. The first takes in everything necessary for the preservation of the book, the latter, its decoration. The importance of the forwarding cannot be overestimated, for no amount of tooling or finishing can possibly correct poor forwarding. As to the decora- tion, to use Mr. Cobden-Sanderson’s words, “some subtle relation there may be and I think should be between the inside and the outside of a book, between its contents and ornamentation at the same time the designer should recognize the natural limitations of the craft and abide by them; he should not attempt to encroach upon the other crafts, nor express more than he is able in his own field. In a word, decoration should not be con- founded with illustration. What the art of bookbinding is most in need of just now is the estab- lishment of the individual binder, an artist artisan, in a shop of his own. With brain and hands working together, the most artistic and valuable results are obtained, for in that way only can individuality be given to art and craft alike. It is no longer necessary for the book collector to risk sending his precious volumes across the water to be bound. All that we io ■HR are obliged to ask of France and England now is the leather with which to encase these books, for in technique and in beauty of design the Ameri- can craftsman bids fair to outrival all others. Burnham, Nina H., Boston 184 A. cc The Thoughts of Marcus Aurelius Antoninus.” Full crim- son levant Designed, and executed by Miss Burnham Chase, Marion, Dorchester 185 A. Shakespeare’s Poems Designed and executed by Miss Chase Chicago Arts and Crafts Society Starr, Ellen Gates, i 87 B. Dove’s Press Book, dark green morocco 188 B. Kelmscott Press book, dark green morocco Lent by Mrs. C. M. Blaisdell 189 B. Kelmscott Press Book. Brown pigskin Lent by Miss Ella R. Waite 190 B. Blind tooling on white pigskin Lent by Mrs. J. J. Storrow 1 91 B. Book tooled in two colors of gold 192 B. Dark green pigskin, tooled in gold Lent by Miss Mary R. Smith Designed by M iss Starr , executed by Miss Starr and Mary A. Kelley 193 B. Brown pigskin, mosaic, blind tooled Danforth, Margaret, Boston 194 A. One Hundred Selections (20 vols.) blue half-levant 195 A. “ Hand and Soul,” full red levant 196 A. Shakespeare’s Sonnets, full brown levant Designed and executed by Miss Danforth Davis, Mary A., New York 197 A. “ Paul and Virginia,” levant, gold decoration Designed by Jules Domont , executed by Miss Davis Dutton, Martha S., Auburndale 199 A. “ Les Vrais Riches,” full brown levant, gold tooled 200 A. Poems of Ossian, full olive levant, gold tooled 201 A. Rossetti, full dark olive levant, gold tooled Designed and executed by Miss Dutton Greene, Katharine, Boston 202 A. “ The Art of Optimism,” full blue levant 203 A . “The Vicar of Wakefield,” full red levant Designed and executed by Miss Greene Howbert, May, Colorado Springs 204 A. “In a Balcony,” full olive-green levant 205 A. “ Burial of Romeo and Juliet,” full dark blue levant Designed and executed by Miss Howbert Lawrence, Marion S., Roxbury 206 A . Shakespeare’s Sonnets, half-morocco, blue 207 A . “ Essay on Roast Pig,” full-morocco, blue Malden Society of Arts and Crafts Smith, Caroline E. 208 A . Stevenson’s Works (12 vols.), half morocco, green Designed and executed by Miss Smith Marot, Elizabeth Griscom, Dayton, O. 209 A . Essays by Cobden-Sanderson, full brown levant, gold tooled Designed and executed by Miss Marot Mason, Philip Dana, Cambridge, Mass. 210 D. “Sailor’s Narratives,” pigskin, blind tooled 21 1 D. “Oliver and Arthur,” niger morocco, blind tooled 212 D. “A Sentimental Journey,” crushed levant, gold tooled 213 D. “The Parlement of Foules,” crushed levant, gold tooled 214 D. “The Pardoner’s Wallet,” niger morocco, blind tooled 215 D. “Plutarch’s Consolatorie Letter,” crushed levant, gold tooled 216 D. “A Day at Laguerres,” crushed levant, gold tooled 217 D. “Sir William Kirkaldy,” uncrushed pigskin, blind tooled Lent by Mr. Harold Murdock 218 D . “Ponkapog Papers,” crushed levant, gold tooled. Lent by Mrs. Herbert C. Mason Designed by Mr. Mason and executed under his supervision by employees of Riverside Press 12 Mills, Mabel I., Boston 219 A . Balzac, 3 vols., full dark-green morocco Designed and executed by Miss Mills National Society of Craftsmen, New York Diehl, Edith 220 A. “ Pilgrim’s Progress,” full brown levant, blind tooled Designed and executed by Miss Diehl Peloubet, Louise, Auburndale 221. A. “ Meditations of Marcus Aurelius,” full green levant Designed and executed by Miss Peloubet 222 A . “Aucassin et Nicolete,” full blue levant, gold tooled Philadelphia, D^dalus Arts and Crafts Guild Valle, I. Bodine 223 A. Elements of Drawing, full green levant, blind tooled Designed and executed by Miss Valle Scarborough, Elizabeth 224 A. Rubaiyat of Omar Khayyam, full rose levant, mosaic, blind tooled Sears, Mary Crease, and St. John, Agnes, Boston 225 B . The Bible, printed on vellum, dark red straight-grain morocco, gold tooled, silver-gilt corners and clasps Lent by Mr. R. H. Hinkley 22 6 B . “The Man Without a Country,” full red levant, gold tooled 227 B. “The New England Tragedies,” green levant, gold tooled 228 B. “Pottery and Porcelain,” light blue levant, design in mosaic gold tooled 229 B. “Chinese Porcelain,” half yellow morocco Designed and executed by Miss Sears and Miss St. ’John 230 B. “Flowers of Song,” dark green levant, mosaic of over 1000 pieces of leather, blind tooled Designed by Miss Sears and executed by Miss Sears and M iss St. 'John Sears, Mary Crease, Boston 23 1 A . “ Sonnets from the Portuguese,” blue levant, red mosaic, gold tooled 13 2^2 A . “Arts and Crafts Essays,” green morocco, half bound 233 A. “Omar Khayyam,” light-green levant, gold tooled Designed and executed by Miss Sears St. John, Agnes, Boston 234 A . “The Books of William Morris,” dark-blue levant, gold tooled mosaic 235 A . “About Books,” dark-red levant, mosaic, blind tooled 236 A. “Hand and Soul,” light-blue levant, gold tooled Designed and executed by Miss St. John Shaw, Emily Mott, Boston 237 B. Binding in modelled and tooled leather 238 B . Binding in modelled and tooled leather 239 B. “Bookbinding in France” Executed by Mrs. Shaw , designed by George R. Shaw Shillaber, Katherine Brewer, Boston 240 A. Bettertaker’s “Guide-Book to Verona,” full gray morocco 241 A . “Flaws, a Book of the Sea,” full blue morocco Hand-lettered and illustrated by Miss Shurtlejf 242 A . “Rubaiyat of Omar Khayyam,” full green levant Bindings designed and executed by Miss Shillaber Verburg, Peter, Boston 243 A . “The life of Michel Agnolo Buonarroti ” 244 A . “Confessions of an Inquiring Spirit” 245 A . “The Holy Grail,” full blue levant 246 A. “Tales of a Wayside Inn,” green levant 247 A . “The Gospels,” red levant 248 A . The Sonnets of Michel Angelo 249 A. “Holy Living” 250 A. “The Seven Seas” 250 aA. Two vols. of “Rossetti,” dark red levant 250 hA. “Paolo and Francesca,” green levant Designed and executed by Mr. Verburg 14 DEPARTMENT OF ECCLESIASTICAL WORK RALPH ADAMS CRAM, CHAIRMAN MRS. D. D. ADDISON HARRY E. GOODHUE C. D. MAGINNIS I N any movement towards a healthy reunion of Art and Craftsmanship, the Church, of all visible organizations, must be considered the power most interested. Secular society may halt along, if it must, with the mechanical contrivances of current commercialism. This alternative is not offered to organized religion: art in all its forms is essential to her com- pleteness. By art material things are raised from the dust and made ac- ceptable to God ; through art as her own most perfect language she speaks to the souls of men. Architecture, music, painting, sculpture, are but a part; of equal import are the arts of the glass-worker, the goldsmith, the embroiderer, the wood-carver, the craftsman in metals, in fabrics, in mo- saic, in jewels, in illumination. Only the best is acceptable, and the best means the work of heart and brain and hand, indissolubly united. From the beginning the Church has fostered every art, for her need was clam- orous, and this need is as keen to-day as it was in the twelfth and fifteenth centuries. Altars and reredoses, pulpits, lecterns, stalls and screens must be wrought of perfect joinery and set with carven statues ; shrines and roods and tabernacles must be made beautiful with gold and color. Cru- cifixes, crosses, croziers, candlesticks, chalices, ciboriums, pyxes, mon- strances and lamps must be fashioned of silver and gold and ivory and set with precious stones; copes, chasubles, mitres, stoles, altar frontals, dossals, palls must be made of velvet, damask, brocade, and enriched with splendid wealth of embroidery and needlework ; glass must be dyed with a thousand hues and contrived into myriad windows ; iron and bronze hammered into grilles and screens, missals decked with rich illumination. The list of demands the Church makes on the Arts and Crafts is almost a catalogue of their possibilities. Thus far, however, craftsmanship holds somewhat aloof, contenting it- self with secular activities. This is partly due to a lamentable lack of sympa- thy, partly to a want of knowledge how to proceed, partly to indifference on the part of the spiritual powers that, accustomed for so long to indif- ferent makeshifts, are content with commercial products, forgetting that such are only too often unworthy as works of art, and inadmissible as in- struments of service. A condition such as this should not exist. One of the greatest oppor- tunities before the craftsman to-day is the service of the Christian Church through the fashioning of the innumerable items that go to the furnishing of the Sanctuary and that make possible the perfection of religious ceremo- nial. The Church cannot spare the new craftsman in art, nor can he on his part afford to neglect what will prove to be his most munificent patron. 15 Barton, Blanche M., Brookline 251 B. Frame of photographs, embroidered altar-hangings 252 B. Embroidered study for angel 253 B. cc “ “ angel's head 254 “ “ “ Head of Christ Designed by Miss Barton and Geo. E. Barton , executed by Miss Barton Cleveland, Frank E., Boston 255 D. Altar frontal and super-frontal of antique silks, velvet and galoons Designed by Mr. Cleveland. Executed by Mrs. Cleveland 256 B. Credence table in carved oak (for Grace Church, Manchester, N. H.) 257 C. Altar book-rest in carved oak (for Grace Church, Manchester, N. H.) Designed by Mr. Cleveland. Cabinet work by F. W '. Kulkmann and Carving by A. F. J. Languemare Cram, Ralph Adams, Boston 258 D . Altar and reredos (for Church of the Advent Boston) Designed by Mr. Cram. Statues by I. Kirchmayer. Cabinet work , TV m. F. Ross & Co. 259 D. Chapel screen of carved oak (for Church of the Advent, Boston) 260 D. Lectern of carved oak (for the chapel of the University of the South) 261 D. Pulpit of carved oak (for Emanuel Church, Cleveland, O.) Designed by Mr. Cram. Executed by Irving iff Cass on Goodhue, Bertram G., New York 262 D. Colored cast of carved panel, St. Paul's Church, Chicago, 111 . Designed by Mr. Goodhue ; original carved by I. Kirchmayer Goodhue, Harry E., Boston 263 D. Stained glass window, St. Hugh of Lincoln (for Church of the Holy Family, Latrobe, P. Q.) Designed by Mr. Goodhue and executed by Mr. Goodhue and assistants 264 D. Funeral pall (for the Church of Our Saviour, Longwood) Designed by Mr. Goodhue. Executed by the Altar Society 1 6 Hunt, George J., Boston 265 B. Silver chalice and paten, set with carbuncles, Indian agate and malachite, carved ornament 266 B . Censer of carved brass 267 B. Pair altar vases of carved brass 268 B. Pair altar candlesticks of carved brass Designed by Frank E. Cleveland. Executed by Mr. Hunt Jamieson, M. M., Jr., Brewster 269 A. Illumination in body-color and metals Designed and executed by Mr. "Jamieson Kirchmayer, I., Cambridge 270 A. Carved oak panel, “ The Last Supper 271 A. “ “ “The Crucifixion ” 272 A. Carved panel. House altar after old German model Designed and executed by Mr. Kirchmayer 273 B. Cast of carved panel, “ The Nativity ” Designed by Henry Vaughan , executed by Mr. Kirchmayer Mills, Helen Keeling, New York 274 A. Silver chalice, knop set with white opals and chrysoprase 275 A. Morse, silver gilt and jeweled Designed and executed by Miss Mills Stone, Arthur J., Gardner 276 B. Chalice and paten in silver, set with stones, bequeathed for the purpose by Mrs. Henry Whitman. (Lent by Trinity Church, Boston) Designed by R . Clips ton Sturgis. Executed by Mr. Stone 277 A. Receiving basin in brass with inscription in silver Designed and executed by Mr. Stone 278 B. Sanctuary lamp in brass Designed by Frank E. Cleveland ; executed by Mr. Stone Wooley, J. T., Boston 279 B. Hammered silver altar-cross, with carved boxwood panels Designed by Frank E. Cleveland. Silver-work by Mr. Wooley Panels carved by I. Kirchmayer 17 DEPARTMENT OF GLASSWARE INCLUDING ALL GLASS OTHER THAN STAINED AND LEADED GLASS HAROLD B. WARREN, CHAIRMAN CHARLES THEODORE CARRUTH FREDERIC ALLEN WHITING T HE fundamental principle of good design, that the manner in which any material is worked must appropriately express the nature of that material, has often been insisted upon, but it can- not be reiterated too often. It is the very root of the matter and runs through all the arts. There is perhaps no branch of handicraft in which this principle is more often and more flagrantly violated than in the man- ufacture of glassware as we see it around us at the present time. One has only to see the glass-blower at work, to see the red-hot ball of molten glass at the end of the long blow-pipe deftly rolled and twisted, blown to a bulbous form, compressed with the touch of an instrument of wood to form the neck of a vase or spread with equal ease to the outline of a bowl, or again to see it pulled to the desired degree of thinness and turned to a delicate curve to form the handle of a pitcher. One has only to see all this to apprehend at once the essential character of design proper to glassware ; beauty of line is its very essence. But the very facility with which glass lends itself to every curvature tempts to extravagance. A large proportion of modern Venetian glass with its riotous contortions affords striking examples of unrestrained license. After the determination of the appropriate form which glass may re- ceive comes the question to what extent may beauty of form be enhanced by subsequent decoration. Here the nature of the material in its finished state, its unyielding hardness would naturally guide the designer to the exercise of that restraint which is more easily transgressed in fashioning its form. Yet nearly all cut glass as commonly seen is so covered over with cut patterns as to disguise whatever beauty of outline the object may possess and by vulgar overelaboration to destroy the fine character which the brilliance of cut facets gives when used with great reticence in oppo- sition to plain surfaces. The use of engraved ornament on glass is to be encouraged. It is following the methods of the workers of the best periods and affords a proper expression for the artist. The employ- ment of the cheap decoration so much in vogue at present is of course not worthy of consideration by the serious craftsman. Ignoble adorn- ment will always cheapen a fine material. The practical difficulties involved in the making of objects in glass be- ing very great and requiring elaborate equipment, independent workers in glass are of course hardly to be found. The exhibit here shown is there- fore necessarily small. 1 8 Blake, William S., Somerville 281 D. 282 D . 283 D. 284 D. 285 D. 286 D. 287 ZX 288 ZX 289 ZX 290 ZX 291 ZX 292 ZX 293 D. 294 ZX 295 D. 296 ZX 297 ZX 298 D . 299 ZX 300 ZX 3 CI - 0 - 302 ZX 3°3 r>. 204 ZX 305 D. 306 ZX 207 Z). 308 zx Crystal vase Designed by Mr. Blake , blown by Peter Swansey Handle and fluted jugs, crystal blown glass cc CC CC CC (C (C Exeter and Blagden Streets , during their Exhibition and Convention in Boston, beginning February 5th, 1907. H Prices are moderate. Superior cuisine. 450 rooms. 200 with baths. Two minutes walk from Copley & Allston Halls. Amos H. Whipple, Prop . Tools and Equipment for Craftsmen CHANDLER & BARBER 124 SUMMER STREET BOSTON Irving & Casson WOOD MANTELS CUSTOM FURNITURE INTERIOR FINISH UPHOLSTERY DECORATION 150 Boylston Street , Boston Benches , Tools and Supplies FOR MANUAL TRAINING AND TECHNICAL SCHOOLS Also BUILDERS’ HARDWARE Yale and Towne Man’Pg. Co.; also Maison Fontaine, Paris J. B. Hunter & Co. 60 Summer Street : : Boston , Mass . ESTABLISHED IN BOSTON iygS Richard Briggs Co 116 Boylston Street Boston U.S.A. Designers and Importers of the Finest China and Glass THE CORRECTNESS OF PERIOD AND THE PERFECTION OF ME- CHANICAL DETAILS ARE BOTH EXPRESSED IN A HIGH DEGREE BY Tale and Towne Ornamental Hardware ARCHITECTS AND THEIR CLIENTS ARE INVITED TO CONFER WITH US REGARDING THE SELECTION OF LOCKS, BUILDERS’ HARDWARE AND ART METAL WORK THE YALE & TOWNE MFG. COMPANY Local Office: 12 Pearl Street, Boston Commercial Furniture OF DISTINCTIVE TYPES, DESIGNED AND BUILT FOR THE DISCRIMINATING USER DOTEN-DUNTON DESK COMPANY 64-66 PEARL STREET, BOSTON NEW YORK OFFICE : 89 FULTON STREET IMPORTERS AND DEALERS IN Fine Carpets and Oriental Rugs TORREY, BRIGHT & CAPEN CO. 348-350 WASHINGTON STREET BOSTON Decorative Leathers BAISDEN— BRAGDON— WEBB COMPANY Associated Art-Craftsmen Makers of H AND tooled, carved and otherwise hand decorated leathers of highest artistic merit and execution. Designs chiefly adapted from antique leather of mediaeval Spanish, Italian, Moorish and Flemish workmanship which, in tooling, coloring and spirit, are continuations rather than mere reproductions of this old art-craft. No deco- rative treatment for Halls , Libraries , Dining Rooms , can equal in artistic beauty and pratical durability these hand-made decorative leathers for walls, friezes, screens, furni- ture, table and desk tops, mats, etc., which are recommended and endorsed by Archi- tects and Decorators of the highest standing. If All work done to special order. Examples sent for inspection and selection. Estimates gladly made without charge. Interesting illustrated booklet mailed free upon request. Many handsome examples always ex- hibited at Show Rooms — NO. 13 WEST 30TH STREET NEW YORK GEORGE E. CRAWLEY AND SON Tiles and Fireplaces 3 SOMERSET ST. BOSTON WE HAVE MADE A SPECIALTY OF DESIGNING AND LAYING MORAVIAN TILE PAVEMENTS SOME OF OUR WORK: Hotel Belvedere , Baltimore ; Parker £sf Thomas , Architects State Capitol , Harrisburg , Pa.; Joseph M. Huston , Architect Storrow Residence , Lincoln; Winslow & Bigelow , Architects Houghton Residence , Chestnut Hill; Chapman £5? Frazer , Architects JAMES S. CONANT WARREN S. KILBURN JAMES S. CONANT CO. High Grade Photo- Engraved Plates HALF-TONE AND ZINC ETCHINGS WOOD ENGRAVINGS 125 SUMMER STREET BOSTON, MASS. FOSTER & WILEY CO. Fine Household Furnishings 468-470 BOYLSTON ST. BOSTON Telephone t Back Bay 3458 [next TO Y. M. C. A. building] Lace CLEANED AND RESTORED If Lessons in the making of all kinds of Lace, Lectures for Clubs on the history and technique of lace-making, illustrated by a valuable collection MRS. E. J. WEBER, 6j Mt . Vernon St. 9 Boston THE HANDICRAFT SHOP HANDWROUGHT SILVER, COPPER, BRASS AND ENAMEL WELLESLEY HILLS MASS. K. F. LEINONEN SETH EK F. J. R. GYLLENBERG MARY C. KNIGHT C. G. FORSSEN G. C. GEBELEIN J. E. PEABODY Designer and Decorator No. 6 Beacon Street Boston Arthur J. Stone SILVERSMITH Maker of hand-wrought pieces , both flat and hollow ware Station A, Gardner, Massachusetts Bead Bags and Necklaces Colored Patterns and all Materials for making Bead Work Miss Emma A. Sylvester 3 Winter Street Room 32 Boston Lawrence B. Smith WORKER IN PEWTER OLD PEWTER SKILLFULLY REPAIRED, POLISHED OR REPRODUCED SPECIAL PIECES MADE TO ORDER 227 TREMONT STREET ', BOSTON THE SEARS— ST. JOHN STUDIO & SCHOOL OF BOOKBINDING If Orders taken for hand-bound books in plain and durable bindings, half and full mo- rocco. IT Special designs for decorated bindings. Instruction given in bookbinding to a limited number of pupils. Teachers prepared for school work. Our method is be- ing used with great success in the Haverhill public schools under a former pupil. Has removed to jg Newbury Street - Between Berkeley and Clarendon Streets Mary Crease Sears Agnes St . John 79 Newbury Street, Boston FAST COLORS .*. PATENT APPLIED FOR Mordaunted Dye Compounds ^Vegetable Dyes put up in small bulk ready for use. H Applicable to Wool, Raw Silk, Ribbons, Feathers, Leather, to Basketry, Stencilling, Staining Wainscots and other mural decorations. These Dye Compounds are intended to meet the demands for pure artistic Vegetable Dyes at less expense and trouble than by the old processes. Address: CHARLOTTE PENDLETON The Red House — Laurel, Prince George Co., Maryland Union Glass Company Makers of ORIGINAL AND ARTISTIC DESIGNS IN GLASS Also KEW-BLAS The Rainbow Glass of the Century W orks: IT ebster Ave., Somerville, Mass. MacDonald Stained Glass Jl^orks Painting and Interior Decorating Special Designs and Estimates for MEMORIAL WINDOWS :: STAINED AND LEADED GLASS 400 NORTHAMPTON STREET BOSTON , MASS. ANDREW GARBUTT Marion L. Peabody : Modeller Designing & Decorative Illustration ! 43 BRISTOL STREET 20 FOREST STREET BOSTON CAMBRIDGE 1 F. P. Olin Mrs. Katharine M. Bruce ; Box 153, North Hampton, N. H. Weaver Rugs, Portieres, Pillow Covers, etc. Orders solicited for rag rugs, bureau and sideboard scarfs, silk portieres, etc., from special old Colonial designs and colors. Hand woven to size and color from rags. 33 HARWOOD ST., LYNN, MASS. Mary Eleanor Slason ALICE J. MORSE Teacher of Practical & Artistic Basketry Written testimonials from George Wharton James, author of “Basketry”; Miss Dudley of Denison House, Boston ; and others. Five years’ study in | New Y ork and Boston, and long experience in schools Formerly Director of the Department of Design at Drexel Institute in Philadelphia WILL RECEIVE PUPILS IN THE THEORY AND PRACTICE OF DESIGN I 44 CHANDLER ST., BOSTON 3 JOY ST., BOSTON ARTHUR S. WILLIAMS LESSONS IN Metal Hammering, Enamelling & Jewelry \ STUDIO : 79 CHESTNUT STREET BOSTON Frederick W. Kulkmann Cabinet Maker CUSTOM FURNITURE & WOOD MANTLES Detail Work a Specialty - Estimates Furnished , 498 Harrison Avenue, Boston J. DOUGLAS SCOTT Heraldic Artist and Die-Sinker THE STUDIOS Fairmount, Hyde Park, Mass. Heraldic designs for Bookplates, Dies, Buttons, Sta- tionery and Seals. Monograms in antique and modern styles for Embroidery, Automobiles, etc. ALFRED BARTLETT Publisher Calendars, Motto Cards, Books 69, Cornhill, Boston James H. Winn MAKES INDIVIDUAL THINGS IN Jewelry 634 The Fine Arts Building Chicago Illinois Sidney T. Callowhill Teacher of China Painting Special work to order STUDIOS: 146 Metropolitan Ave., Roslindale and 100 Boylston Street, Boston THE VILLAGE PRESS 225 Fourth Ave., New York T Hand-made books exclusively. Every process from type design to finished binding the per- sonal work of Mr. & Mrs. F. W. Goudy. Write for 16-page illustrated catalogue. Iva B. Kempshall Designer and W orker in Jewelry Designs for odd pieces a specialty HOTEL WESTMINSTER, BOSTON George J. Hunt Silversmith 79 CHESTNUT STREET, BOSTON IF Designs submitted and estimates furnished for special work. LAURIN H. MARTIN SOUTH KENSINGTON MEDALIST Pupils received in Metal and Enamel Work, Jewelry, etc. 4OO NORTHAMPTON ST., BOSTON Amy M. S acker TRAINING CLASSES IN DECORATIVE DESIGN 8 BEACON ST., BOSTON Ella A . Fairbanks STUDIO : 1 5 WELLINGTON STREET, BOSTON Classes in Porcelain Decoration, Designing and Water-Colors Van Briggle Pottery Co. Colorado Springs , Colo. MAKERS OF POTTERY AND TILES IN DULL GLAZES The Heintzemann Press 185 Franklin Street, Boston the printers of this catalogue request a share of your orders for printing, and would assure business men and others that while they make a specialty of fine and distinctive printing no order is too small to receive their best attention and care