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Bibliography the Arts and Crafts Movement in America

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Bibliography the Arts and Crafts Movement in America BIBLIOGRAPHY THE ARTS AND CRAFTS MOVEMENT IN AMERICA BY ALICE BOURLAND COY THESIS FOR THE DEGREE OF BACHELOR OF LIBRARY SCIENCE IN THE STATE LIBRARY SCHOOL % IN THE UNIVERSITY OF ILLINOIS. JUNE. 1904. /?W UNIVERSITY OF ILLINOIS THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY' SUPERY'ISION BY omjcL ..l o x . njUJDL IS APPROVED BY ME AS FUEFIEEING THIS PART OF THE REQUIREMENTS FOR THE DEGREE <>612 7 Preface In compiling this "bibliography the purpose has been to include articles on the arts and craft3 movement in general and those show­ ing the development of the movement along any special line. There­ fore all text books, hand books, technical treatises, etc., have been excluded, as not belonging strictly to the subject. In one or two instances such books have been included because they con­ tained an account of the industry. Wherever the work of an individual craftsman has been found described, the article has been included because it was thought to show indirectly the development of the movement along that particu­ lar line. In the preparation of the bibliography, correspondence was had with many art societies all over the country. Many of these, through their secretaries or other interested members, supplied in­ formation not to be found in print. Many also 3ent prospectuses, circulars, etc. As it was thought advisable to preserve this mate­ rial, the information has been embodied in an introduction and the circulars, prospectuses and other printed matter have been mounted. The treatment of the societies in the introduction has been by locality, first Boston and vicinity then New York, the south, West­ ern New York and the Middle West. Thus an idea of the development of the movement in different parts of the country is given. The bibliography is divided into twelve parts in each of which the entries are arranged alphabetically by author, except in the last one, Societies,exhibit ions and workshops, inwhich the entries are alphabetic by locality. Doubtless many societies have been omitted from the bibliog­ raphy, but wherever material ha3 been found in print in regard to a society, it has been included, and in every case where a society has been heard of, about which no information could be found in print, a letter has been sent asking for such information. A.S.C. Introduction The arts and crafts movement in America, growing out of the English movement and through it feeling the influence of William Morris, is of very recent growth. The first society of arts and crafts in America was incorpora­ ted in 1897. This was the Boston Society of Arts and Crafts and at present it is one of the most flourishing societies in the country. Its purpose is to promote artistic work in all branches of handi­ craft. It has three classes of members, Craftsmen, Masters, and Associates. The Craftsmen are designers or people actively engaged in some branch of decorative art. The Masters are those-craftsmen members of the society who have shown peculiar excellence in their work and have had the title bestowed upon them by the Council. The annual fees for these two classes is three dollars. The associate members are those interested in the aims of the society but not actively employed as designers or craftsmen. The fee for this class of members is tsn dollars. This society has held several exhibitions and has a permanent 3ales and exhibition room. It also maintains a bureau of informa­ tion through which persons desirous of employing craftsmen may se­ cure their services. The society publishes the magazine called Handicraft. (see appended report.) A number of societies have been organized in the small towns in Massachusetts. The Hingham Society of Arts and Crafts was 2 established in 1901. Its object, like that of the Boston society is, "to promote artistic work in all branches of handicraft". The society is managed by a council of fifteen. Each handi­ craft is under the care of a committee, and each committee i3 repre­ sented in the council. The handicrafts in which the society ha3 been chiefly engaged are, Vegetable dyes, Baskets, Rugs, Embroidery, Spinning and weaving, Bead work, Cabinet work and Bayberry Dip3. The society sends teachers of the various handicrafts to other towns for a 3mall sum. (see appended circular.) The secretary of the Greenfield Society of Arts and Crafts writes; "We have set a high ideal here in Greenfield and try to live up to it. We try to have the maker and the designer of an article the same person or two members of the society who are closely allied. In embroidery we only have that done in white and will not accept a ready made design. We also do baskets and some very beautiful ones have been made. Bead work is also donf woven rugs, hooked in rugs, these are especially good. Very fine stilleto work and hemstitching are done. A little has been done with spinning and weaving both flax and wool, and very beautifully finished wood work". At Ipswich is the summer school which has been established by Mr. Arthur Dow of Pratt Institute, Brooklyn. There are classes in Landscape painting and composition, Basketry, Pottery, Textiles, Engraving and Metal work. There is a fee of twenty-five dollars and there are four instructors. ‘ (see appended circulars.) At Pratt Institute training in arts and crafts has been for some time included in the art department. In the Pratt Institute monthly for January 1903, appeared a report hy Mr. Walter Perry of the Pine arts department, in which he said, "The department of Fine * ♦ arts of Pratt Institute was one of the first cshools to organize parallel courses of study in the application of the fine arts. Courses in wood carving, in ornamental relief modeling in wax and clay, in all kinds of applied design including carpets, rugs, textiles, prints, etc., together with a course in architecture have been long maintained. Two years ago a course in metal chasing, engraving, die-sinking and enameling was introduced, every facility being provided for professional craftsmanship... Applicants are not admitted for manual training alone. In the past many who thought themselves especially fitted for manual training have given as evi­ dence of their qualifications, a mechanical turn of mind. This i3 no longer the elegible factor. Artistic ability must also be in­ cluded in adaptability for the work. The manual training of the future mu3t be along the line of arts and crafts". (see appended Pratt Institute monthly.) The president of the Guild of Arts and Crafts of New York writes; "Up to four and a half years ago New York in spite of its prominence in all fields did not have a guild of arts and crafts or any society which stands for the same principles as the present guild. At that time a few(5) artists and craftsmen joined hands around a class in design conducted by Miss Amy Mali Hicks, the presentmanager of the Guild shop, The Guild as it stands today was gradually built up. What the Guild stands for can best be stated by quoting article 2 section 1 of the constitution, to wit; Section 1. "The aim of the Guild is to establish a centre where artist3 and craftsmen may voluntarily co-operateto advance the union of the Art of Design with the Art of Production, holding a3 an ideal to this end that the arti3t should he hoth designer and craftsman and that the work which results from this harmony of Mind and Hand should he the standard of the guild." Section 2. "To establish classes where design based on the study of decorative principle applied to the individual interpreta­ tion of nature may he expressed in the handicrafts and industrial arts." Section 3. "To establish permament exhibition and salerooms where the work of Guild members and pupils after having passed the jury may be placed on exhibition and sale..." Section 4. "To co-operate actively and sympathetically with any organization interested in the progress of education and industry." The original nucleus of five were gradually joined by others until we today number forty and among these you will find represen­ tatives of nearly all branches of craftwork. A3 far as I know this guild is the only one of similar character which is not endowed, but which is entirely supported by its membership fees and percentages on work sold, and of tuition fees. Enclosed are announcements of crafts taught at the Guild to which we next year hope to add bookbinding. Also enclosed you will find an announcement of the last exhibition which has a list of members and the crafts represented by them? / A11 artists and craftsmen wishing to join the Guild must sub­ mit some work to be passed on by a jury before being admitted, and all work which later may be sent in for consignment to the Guild s hop must 1ikewise pass the jury before being exhibited. 5 An annual exhibition is held of members* and pupils' work and other craftsmen not members are asked to send in work for this ex­ hibition. On account of the high standard of the Guild its growth has necessarily been slow, but each year has found it more firmly rooted, showing that the idea is sound. This can also be seen in i its list of members which in four years has grown from five to forty The Guild started in a small upstairs room, went from th»t-^to two larger rooms better located, and has for the last twx^years occupied a house known as the "Guild house" on one of the principal streets.
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