craft horizons SEPTEMBER/OCTOBER 1967 $1-50 Time never stands still at Troy Yarn

Troy Yarn always is in the process quality ... at no greater cost than of developing something new for with ordinary yarns. weavers and rug makers. And we'll ********** bet you've never seen anything A generous sample collection of quite like the six latest exciting all Troy yarns including the six additions to Troy's Craftsman- new styles — Mexican primitive, Designer Collection of fine yarns. Haitian homespun, weaving wor- With these yarns, your design steds, brushed and looped mohairs, possibilities increase tremen- nub yarns and fine and bulky TROY YARN dously. The beautifully coordi- weaving wools — are yours for and Textile Company nated colors and interesting tex- just $2.00. Send for your samples Dept. C tures in this new Troy group give today, and see for yourself how 603 Mineral Spring Avenue you the opportunity to achieve you can add new dimensions to Pawtucket, Rhode Island 02860 distinctive effects with unusual your creative weaving. craft horizons September/October 1967 Vol. XXVII No. 5

4 The Craftsman's World 6 Letters 7 Our Contributors 8 Bertil Valllen -by Dido Smith 14 Jewelry by Sepp SchmSlzer J>y Irena Brynner 16 The Goldworkers and Lapidaries. -by Fray Bernardino De Sahagün 22 26 Stitching— —by Alice Adams 32 Phik>laos_ -by Elaine Benson 34 Workshop: Polystyrene for Ceramic Production. —by Nino Caruso 36 Exhibitions 49 Calendar 50 Where to Show

The cover: By Helen Bitar (Montana), purple velvet pillow decorated with an encrustation of wool yarns stitched to the surface, 14" long. The object is one of more than 100 that comprise the Museum of Contem- porary Crafts' exhibition of historical and contemporary "Stitching" (September 22-November 5). Review of the show begins on page 26. Color photograph by Louis Mervar.

Editor-in-Chief __Rose Siivka Managing Editor—_— Hal Halverstadt Associate Editor Patricia Dandignac Editorial Board Robert Beverly Hale William Lescaze Leo Lionni Aileen O. Webb Ceramics — . Metal Adda Husted-Andersen Textiles _____ Lili Blumenau Wood Charles V. W. Brooks Bookbinding _ Polly Lada-Mocarskl

Published bimonthly and copyrighted 1967 by the American Craftsmen's Council, 16 East 52nd Street, New York, MY. 10022. Telephone: Plaza 3-7425. Aileen O. Webb, Chairman of the Board; Kenneth Chorley, Vice-Chairman; Donald L. Wyckoff, Direc- tor; May E. Walter, Secretary; R. Leigh Glover, Treasurer; Joseph P. Falfarino, Assist- ant Treasurer. Trustees are Alfred Auerbach, Thomas D'Arcy Brophy, Mrs. Lewis Q. Carpenter, Mrs. H. Lansing Clute, Rene d'Harnoncourt, Mark Elilngson, August Heckscher, Walter H. Kllham, Jr.. Jack Lenor Larsen, Dorothy Uebes, Francis S. Merritt, De Witt Peterkln, Jr., Frank Stanton, John B. Stevens. Honorary trustees are Valla Lada-Mocarskl and Edward Wormley. Craftsmen-trustees are J. Sheldon Carey, Trade Guermonprez, Earl McCutchen, Donald McKinley, Kenneth Shores, James Woznlak. Membership rates: $8.00 per year and higher, Includes subscription to CRAFT HORIZONS. Single copy: $1.50. Second class postage paid at New York, N.Y. The complete content of each Issue of CRAFT HORIZONS Is Indexed In the Art Index and Reader's Guide to Periodical Literature, available in public libraries. Book re- views published in CRAFT HORIZONS are indexed in Book Review Index. Microfilm edition Is available from Universal Microfilms, 313 North First Street, Ann Arbor, Michigan. going full blast. It is impossible to hear Country Joe and the Fish The Craftsman's World play "Sweet Lorraine" without visualizing Marv Lipofsky vigorously swaying back and forth to the music while rolling the initial gather of molten on the marvering table. GLASS WORKSHOP Like any craft class there was a wide range of rates of progress, but it can be said honestly that the high caliber of the participants seemed to produce rapid results in learning. A few seemed to Some eighteen adventuresome and highly motivated people par- reach enviable levels of sophistication and control. Each of Lipof- ticipated in what turned out to be an extremely successful three- sky's many demonstrations triggered new breakthroughs. A number week glass workshop Oune 19-July 7), held at the California College of colorants were tried, sometimes in the furnace at the end of a of Arts and Crafts in Oakland and co-sponsored by the American shift (so that there would be time for the particles to dissolve), Craftsmen's Council. Led by , the dynamic assistant and sometimes on the marvering table, where experiments could professor at the University of California, Berkeley, who had intro- be made without coloring the entire batch. duced to that institution as a part of the design One outcome of the glass workshop was a useful set of notes, curriculum, the members of the workshop immediately set out prepared and distributed by the group's secretary, which included to build a furnace and annealing oven. Lipofsky drew from what detailed drawings of the equipment and tools, sources of supply, soon became a remarkably enthusiastic and cohesive group the costs of setting up and running a glass studio, and a bibliography. knowledge, manual skills, and experience which could be pooled Another probable result was that temporary workshops such as in the designing and fabrication of the equipment and tools needed this (and there should be more of this kind of thing in all parts to start producing glass. Standards of quality were set even before of the country) usually precipitate the setting up of permanent the gas was turned on. Slides and films introduced and reinforced studios, adding immeasurably to the proliferation of the rediscov- the glassblower's vocabulary of words and forms and opened up ered craft of glassblowing in the U. S. some of the possibilities of the medium. Initial discussions dis- lodged information and opinions about furnace structure, plumbing, The final evaluation and criticism was impressive and memorable. electrical connections, and lists of parts needed. The output of eighteen former neophytes spread out over every available surface and then some—this in spite of the fact that some Soon parties of one, two, three, or four were off for hardware pieces had to be remelted during a temporary shortage of glass stores, refractory suppliers, and electrical companies with shopping marbles a week before. Lipofsky was blunt, frank, even cruel in lists and purchase orders, in only three days after the class began, his criticism; however, when warm praise emerged it was even the furnace, strongly braced with welded trusses and tie rods, stronger in this environment. No one, no matter how confident, equipped with a sliding door, and standing on concrete blocks in survived that session with a feeling that he had conquered all that an open patio in front of an old incinerator where gas and elec- glass had to offer! But the feeling of community lasted, surviving trical connections were to be easily had, was turned on for a even the strains produced from fatigue, rivalry in the use of the trial run. The homemade top-mounted burner (a piece of pipe studio area, and the inevitable personality conflicts in a group work- penetrated by a capped and drilled smaller gas pipe and supplied ing this closely together. -ALAN R. MEISEL with air by a powerful blower) was not quite right and had to be redrilled so that more gas would be delivered to the com- bustion chamber, but the second lighting was successful, and it A CONFERENCE ON POTTERY: EAST TO WEST was not long before the first glass marbles were shoveled into the now-roaring furnace. When David Dontigny, head of Pennsylvania State University's What had been listed as an afternoon workshop beginning each ceramic department, arranged a pottery conference on the Uni- day at four o'clock became total involvement for its members. By versity's campus (July 9-13), he brought about an exciting meeting general agreement, sessions began at nine in the morning and of artists whose expression in a like medium is of such diversity lasted well into the night. Some early risers even started coming and quality as to inspire those attending to return to the wheel shortly after dawn to get first chance at the furnace. The electric with untold new ideas and approaches. From east to west the annealing oven, made of strapped insulating firebrick and covered featured speakers encompassed the creative approaches to clay with a lid made of large V-block insulation, filled early each day Robert Turner of Alfred University (New York) executes fine classic with the ever-increasing output of the turned-on group. It became pottery forms, functional pieces which he feels are presently in- necessary to work out a rotating shift system so that everyone would fluenced by the historical pottery of the Indians of the Southwest. have an equal chance at the equipment. of the University of Wisconsin throws functional ware Members of the workshop pooled money to buy food to eat of flowing lyrical quality. , University of Montana, builds in front of the furnace or at someone's house. Fourteen-hour work- slab pots, often of tremendous proportion and always strong in days were common, since even with the shift system lectures were statement, resembling traditional pottery only in that they retain given at a standard time, and one could always learn by obser- the idea of a receptacle. Clay is a vehicle to for the Uni- vation. Lipofsky was extremely liberal with his time, supervising versity of California's , who blends his massive and giving demonstrations day and night. Graduate students in thrown forms in strong sculptural statement. Voulkos was scheduled glass at Cal sometimes showed up late at night They demonstrated for the third day of the conference and remained relatively silent forming various kinds of vessels, and to everyone's delight and until his time came, but when he got turned on, he was on loud pride they marveled at the coolness of the open-air studio and the and strong. Somehow even when he isn't saying a word, he re- efficiency of the furnace. verberates from wall to wall, retaining the attention of all present. Not only was the heat-producing equipment built by the work- Throughout the three days of demonstrations, slide lectures, and shop people but also some of the tools. Wood blocks for centering the culminating panel discussion, the emphasis was on an awareness the hot glass were carved from chunks of hardwood; blowpipe and understanding of form. All four potters agree that if as teachers and punty rests were welded from scrap metal; even long forks they can convey through exposure and guidance an awareness for barbecuing hot dogs in the radiant heat of the furnace (for and sensitivity to form, the rest will follow: color and function will use during a glass open house to which the whole college staff arise from the forms themselves. was invited) were brazed together by one of the workshop members. The panel discussion centered on the university ceramics pro- The area used for the workshop, exposed to the elements ex- gram. Is the university's involvement with ceramics designed to cept for some improvised sun shades, was always a sea of sound. teach technical craftsmanship or to present clay as one of the The glass furnace, of course, roared loudly day and night, since vehicles used in creating art? Should today's student be expected shutting off the gas would require that all the molten glass be to learn to mix his clay body and make his glazes, or is this ac- dipped out to prevent damage to the liner bricks from shrinkage, tivity better left to commercial industry in order to give the stu- in addition, a phonograph spouting folk-rock music was usually dent more time at the wheel? Should the instructor demonstrate for beginning students? Are assigned class projects a valid method of teaching ceramics? Must students in ceramics classes be re- stricted to using clay and glazes, or may they introduce other materials, i.e. wood and paint, into their work? A SHOPPING CENTER The conference, which was attended by some sixty ceramics teachers, students, and amateurs from as far away as Florida, was FOR a pilot program of the continuing education program of the Uni- versity. Judging by its initial success, it promises to be an annual event of considerable merit. -CATHRYN CRILEY JEWELRY CRAFTSMEN

PHILADELPHIA TEXTILE SEMINAR

For craftsmen intent on learning the difference between a dobby1 at your fingertips! and a heddle2, how to use a tjanting3, the color of cochineal4, or how to work out a multi-harness draw-down5, the Philadelphia College of Textiles and Science was a good place to be when the American Craftsmen's Council held its third annual Textile Seminar there (July 30-August 4). Some fifty women students participated, each choosing one of the four courses offered: fabric analysis and weave formation, multi- harness weaving and design, vegetable dyeing, and batik printing. They came from Michigan (Jill Daniels), Washington (Joyce Bocott), Iowa (Shirley Held), Vermont (Doris Jones), California (Betty Bergstad), as well as nearby New Jersey (Mollie Zweig), and Penn- sylvania (Sandra Johnson). On the hot summer morning when I visited the classes, vegetable dyeing instructor Alma Lesch, of the Art Center School in Louisville, Kentucky, was about to take her class of fifteen on a nature walk in the lovely nearby wooded area adjacent to the ample grounds where the Philadelphia College of Textiles and Science has had its campus since 1949. I asked Alma Lesch whether she had cased the area to know what vegetable matter the group might find as dye sources. "No," she answered, with convincingly optimistic authority, "every area has its own resources. We'll find enough to make sev- eral colors, I'm sure." Upstairs in Room 222, textile designer Marge Stafford (wife of Robert Stafford, instructor for the multi-harness weaving and design course) was animated in discussing her enjoyment of the process complete catalog of... of batik printing: "See these nice brushstrokes?" she pointed out. "This process is enchanting. You can't be quite sure what you will TOOLS AND SUPPLIES get, and yet you can carry out most of your intention." Elementary school teacher Myrna Lee sat nearby, painting waxy We've spent one year working, compiling and publishing our flowers on a gauzy length of silk. "I want to rework an idea I new 244-page Catalog 1065 ... now it is available. had yesterday, creating big, lush flowers on an intricate back- We're mighty proud of this new one... because we've incor- ground of small flowers. But I wasn't happy with what happened porated brand new never-before sections on casting equipment, before; the background looked like colored confetti." I talked with Dolores Caldwell, a fabric designer from Illinois, electroplating equipment and precious metals... who had come to study batik to broaden her skills as a professional We spent literally months redesigning the metals section . .. designer. giving it clarity ... yet making it concise and with lots of "For some the seminar offers a chance to learn to relate their information... skills to industry," explained Robert Stafford. "For others, it is a Your 244-page catalog is waiting for you... just send us $1.00 way to learn a fascinating craft, like vegetable dyeing." ... and we'll send you the largest and most complete catalog Henry Buckwalter, director of special courses for the industrial in the industry. With it you'll receive a certificate ... and division of the Philadelphia College of Textiles and Science, who when you send it in with your first order of $5.00 or more... helped Lois Moran, the ACC's regional program director, organize we'll deduct the $1.00 from the order. the seminar, was enthusiastic about the program. "It's nominally Order your catalog today . . . we're certain you'll find it the priced: room and board $55; registration fee for members of the best "wish-book" you ever had . . . besides it is destined to Council $25, for non-members $35; minimal laboratory fees. From become THE encyclopedia of tools and supplies for crafts and the feedback we get," he told me, "these gals are having a great jewelry people. time—and really learning something, besides." —ELAINE BENSON Dept. CH TP 1 Dobby—a mechanism for lifting sheds on a multi-harness loom. 2 Heddle—a device (today, usually of flat wire) with an eye for holding an end; in the loom, the heddles are held by harnesses in groups. SMELTINòoutkwestG & REFININ G CO Synonyms: Headle, heald, heeld. Dallas Office: San Antonio Office: 3 Tjanting—Javanese instrument used to create batik designs. 4 1712 Jackson St. 118 Broadway Cochineal—a dyestuff, used for making red and purple, made from P. O. Box 2010 P. O. Box 1298 the dried bodies of females of a scale insect. Dallas, Texas 75221 San Antonio, Texas 78206 5 Multi-harness draw-down—a graph-planned "weave-painting" for a large loom. Letters

TWO From the Mailbag Sirs: HEADQUARTERS I have just finished reading the May/June 1967 issue of CRAFT HORIZONS that contained the American Craftsmen's Council's an- AND OVER 50 nual report for 1966. I think this is a terrific idea, and I was very much impressed by its thoroughness and by its general appearance. I am sure the publication of a report of this kind will mean a ACTIVE AGENTS great deal to the ACC as the years go on. It has the kind of informa- tion that ought to be recorded and ought to be made public. MARK ELLINGSON TO SERVE YOU President, Rochester Institute of Technology Rochester, New York THE BEST LOOM! Sirs: While reading the May/June 1967 issue of CRAFT HORIZONS, I noticed a grave inaccuracy. On page 73 of the article "Shopping in Europe," Elaine Benson located "such lovely small old towns as ßt üwí X Bruges, Ghent, and Haarlem" in Holland. While Haarlem is the capi- tal of North Holland, one of the eleven provinces of the Nether- eveat>6*u lands, Bruges and Ghent are actually located in neighboring Belgium. atte/ » Geographical reference works generally refer to the two countries THE EXACT LOOM YOU NEED? together as the Low Countries, and to the country which the author WE HAVE... IT IN STOCK called Holland as the Netherlands. loom from 2 to 16 harnesses. CAROLYN deCAMPS Loom from 10" to 100" weaving width. Los Angeles, California Table and floor models horizontal and vertical. Warpers, bo bin winders, shuttles, reeds, etc.. Sirs: I was overwhelmed by the wonderful article Dido Smith wrote Nilus about my work [CRAFT HORIZONS, May/June 1967]. It outdistanced Ledere the critics in our art magazines. I am thrilled. LOUISE NEVELSON INC. Industries New York, New York L1SUTVILU • , QUEBEC» CAMMA P.O. BOX: 267 - CHAM PLAIN. N.Y. Sirs: My wife and I were extremely interested in the items that were offered in "World's Fair of Crafts" in the May/June 1967 issue of CRAFT HORIZONS. We think the idea a splendid one and encourage you to include it as a regular feature You bring to our attention so many unique and beautiful items. PAUL LEE Phelps, Wisconsin

Sirs: I read with interest the letter of Paul Perrot published in your May/June 1967 issue. His observations with regard to the inherent dangers of working with glass hopefully create an atmosphere of caution for those considering the medium of sculptured glass. How- ever, I must point out that the statements found in the review of by Thompson my show by Dido Smith in your March/April 1967 issue were in no way meant to mislead, as I believe that art and truth walk side A COMPLETELY NEW COLOR SPECTRUM AWAITS YOUR DESIGNS VIA THOMPSON ENAMELS-all completely described and accurately pic- by side. tured in the new "Color Guide" section of the latest Thompson catalog In general, glass is a difficult material from which to create. I available to you—absolutely free. have attempted to work with glass for the past seventeen years, Over 200 printed reproductions of opaque, transparent, and driven by the realization of the artistic possibilities of this fascinating crackle enamel colors are yours to select from as well as instruction books to guide you in every step of porcelain enamel work and glass- medium. A little over six years ago I discovered a particular source craft. Copper pieces, shapes, tools, materials and supplies are pic- of glass which had been tempered by nature and demonstrated tured and accurately described to facilitate ease of ordering for your stable qualities which I have seen in no other glass prior to that every project. time, or since. I have worked exclusively with that glass since its You can rely on the quality of all Thompson products and supplies discovery, creating in excess of one hundred works, and have never through a reputation built up over 70 years as leader in the enameling field. seen it explode or disintegrate under my chisel and grinding wheel. All orders are filled and on their way to you within hours after receipt. The completed works have never suffered damage due to the charac- Prepare now for your enameling project. Send in today for your ter of the glass itself. FREE copy of the new Thompson catalog with the fabulous "Color I have also found that glass can be made more pliable through Guide." Simply mail the coupon below. use of a solution, applied to the glass while chiseling. This finding THOMAS C. THOMPSON CO., Dept. CH is not based upon a chemical analysis of glass, but upon my ex- 1539 Old Deerfield Rd.f Highland Park, III. 60036 tensive experience in working with the material. I do not wish to Please rush my FREE catalog of complete enameling craft supplies with expose myself or other artists to danger, but my experience demon- Color Guide today. strates that this particular glass, worked in the proper manner, NAME provides a challenging, creative medium for the artist. ADDRESS- PASCAL CITY .ZONE. -STATE- Beverly Hills, California Our Contributors BOSTOA DEPARTMENTN MUSEU OF THE MUSEUMM OF SCHOOFINE ARTS L New York jeweler Irena Brynner, who describes the work of Established 1876. Professional training with diploma fellow craftsman Sepp Schmolzer on page 14, has just re- course in Drawing, Painting, Sculpture, Commercial Art. 16 Traveling Scholarships. Cataloq. B.F.A., B.S. in turned from an extensive trip through Europe and Russia, Ed. and M.F.A. degrees granted by Tufts University. where she was born. In Moscow, she was asked to be the U.S. correspondent for Decorativnoe Isskustvo S.S.S.R. (Deco- • GRAPHIC ARTS rative Arts of the U.S.S.R.), an impressive word-and-picture • CERAMICS magazine published monthly. An article on her own work will appear in a forthcoming issue of Decorativnoe Isskustvo, • JEWELRY to be followed by a regular newsletter from America . . . The • SILVERSMITHING article on Greek sculptor Philolaos (page 32) was written by Day and Evening School Elaine Benson after a visit to the artist's studio last spring, when she and her husband, Emanuel, were traveling EUGENE C. WARD through Europe in connection with the summer art gallery Director of Admissions which they operate in Bridgehampton, Long Island. A writer 230 The Fenway who wears a coat of many colors, she includes in her back- Boston, Mass. 02115 ground public relations (for political figures such as Adlai Stevenson and President John F. Kennedy as well as for the Philadelphia College of Art and Philadelphia Hospital), news- Rochester Institute of Technology paper reportage (associate fashion editor of the Philadelphia Enquirer), and magazine writing. . . . Dido Smith first met Rochester 8 R I T New York Swedish craftsman Bertil Vallien when he was in New York Distinguished Programs in Graphic Design, Painting, last year for his one-man show and they have corresponded ever since. Some of the details for her story on his work Illustration, Ceramics, Metalcrafts and Jewelry, Wood- (page 8) were, in fact, gathered via air mail, and Dido hopes working and Furniture Design, Weaving and Textile to accept an invitation to visit the Vallien family in the near Design • A.A.S., B.F.A., M.F.A., • Junior Year Abroad • future—to report on the progress of this prolific artist . . . Summer Session • Graduate Study for Craftsmen, The critique of the Museum of Contemporary Crafts' current Designers, Teachers • Catalog, Announcements on "Stitching" exhibition on page 26 brings back to these pages the observant eye of sculptor-weaver Alice Adams. A teacher request • School of Art and Design • School for at Manhattanville College, Alice this summer added to her American Craftsmen • • list of accomplishments that of film extra; she will soon be seen on 42nd Street in the all black-and-white picture Skin ARTS AND CRAFTS Time U.S.A.

A new book by Herbert H. Sanders Forewords by Bernard Leach and Shoji Hamada

f s THE WORLD OF JAPANESE CERAMICS TH e »O»! " ° \lK T lc

This fascinating book, compiled by one of of U.S. ingredients) color glaze charts, America's most distinguished authorities etc. and, most important, the ideas and on ceramic glazes, brings to us (1) a philosophies of the famous Japanese pot- beautiful art book with color photos of •sm i ters of today. Bernard Leach says in his historic oriental pots, and at the same introductory note, "This is a very valuable time (2) a valuable handbook containing book dealing more thoroughly with the old and new methods of pottery-making, techniques of the Far Eastern potter... Japanese recipes for glazes (with a table than any book hitherto published." 42 full-color plates, 213 b. & w. photos, 267 pages, 7W'xlO", Boxed $12.50

K0DANSHA INTERNATIONAL/USA 10-DAY FREE TRADITIONS IN JAPANESE DESIGN 577 College Ave., Palo Alto, California 94306 EXAMINATION Kacho: Bird and Flower Motifs m • THE WORLD OF JAPANESE CERAMICS $12.50 By K. Arakawa, K. Imanaga, H. Okumura, and S. Hasebe • TRADITIONS IN JAPANESE DESIGN $10.00 Superb designs on ancient treasures of Japan are presented by 4 curators of Tokyo National Museum. Black and white photos of • SUIBOKU: Studies in Japanese Ink Painting $6.95 complete objects and 42 full-page "details" in exciting color. 116 • Bill me later. • Save money! Check here if enclosing payment with pages, 10y2"xl0" Boxed $10.00 order, and publisher will pay mailing charge.

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Bertil Vallien: gentle fantasies done with daring and delight' by Dido Smith

"I feel I really caught fire here," says young Swedish designer An instance of this cross-fertilization is his use of common Bertil Vallien, "my stay in America was so inspiring. Before carpenter's glue, which he brushes on thick-walled glass to coming here, I was one of those students who made nice tea- make a resist pattern for sandblasting. During the blasting pots with fine glazes—all that. But seeing the attitude, the process, fine sand carves deeply into the unprotected sur- freedom of your craftsmen, particularly the potters—what life faces, leaving rough edges which are smoothed by immersion their work has!—I went back refreshed, my ideas completely in a strong acid solution. Compared to the former, clumsy changed. Now in Sweden we are trying to catch that way of process of masking with glued paper, which had to be care- working, to make very exciting things in the same approach fully cut out for details, this method based on the wax-resist as your young people here. This is really grafted from America. technique of pottery permits enormous freedom. On a series We are looking to the west now, to the leaders here—the of double-layered or "cased" vessels, Vallien blasts through real studio one-of-a-kind craftsman." an inner or outer shell of glass in deep tones of emerald, Enthusiastic and imaginative, with an easy, purposeful sapphire, amethyst, or a soft gray-blue, to a heavier wall of energy, Vallien at twenty-nine is himself a leader among the clear crystal. Remaining untouched under the glue are lacy young Swedish designers and craftsmen who reject traditional raised traceries of gem-like color, spiraling striations that crest concerns with refinement and technical perfection and are into circles clustered like sea-foam, enhancing the lustrous involved with a free approach to materials as a means of ex- liquidity of the material, the ambiguity of the luxurious forms. pression. Unlike most of these artists, he does not limit him- Although he had been working with glass only part-time self to a single medium, for in addition to abundant produc- for three years, Vallien's burgeoning reputation gained him tion of the glass and ceramics for which he is best known, a one-man show at Bonniers, New York, in May of 1966. On Vallien creates sculpture in wood and iron. In all media there view were 225 pieces of crystal—principally sandblasted, acid- is a joyous and extravagant decorative sense at play, with etched and engraved vases, bowls, and bottles, with a handful aspects of the circle or sphere, the undulant line or ridge as of factory production pieces—and some of his intriguing recurring elements. Such lively flexibility is "suspect" in ceramic and wrought-iron figures. (A nineteen-inch engraved Sweden, but Vallien feels that the differing disciplines nourish glass globe which barely survived the Atlantic crossing was one another, revealing fresh and meaningful relationships, whisked away from this show by some adroit art lover and new methods of expressing his ideas. never recovered.) At the same time, a show of twenty-nine

Opposite page: Sand-cast g/ass wagon, 20" high, made by the process described on page 46. On the following pages: two works in the same series. The sculpture on page 10 is 15" high, while the one on page 11, sand-cast in seven steps, stands 18" high

Bertil Vallien (at left) and glassblower.

large ceramic and several iron was sponsored by the influential Hantverket Society in Stockholm. The year's honors also included one of the important prizes in an inter- national competition at Stuttgart. This year, in a joint exhibi- tion with Finnish potter Oiva Toikka, held during February in Stockholm, Vallien's latest work—particularly his sand-cast glass sculpture—received much attention, and examples of his ceramics and glass are now displayed in Sweden's pavilion at Expo 67 [see CRAFT HORIZONS, July/August 1967], With a ready smile and eager interest in all about him, Bertil Vallien is far from the stereotype of the constrained, formal Swede, and when he came here in May, 1961, fresh from graduation with highest honors from Konstfackskolan, the state-operated craft school in Stockholm, his friendliness overcame any limitations of language. Except for a short sojourn in Mexico, Vallien spent most of the following two years in California, designing and producing pots for a com- mercial ceramic studio three days a week. "I learned a lot technically," he admits, "and although I had worked on the wheel in Sweden, here I really learned to throw. When I left I could make twenty-five tall lamp bases a day." The rest of the time he was free to use a separate room in the pottery as well as the materials and kiln for his own ex- plorations—an arrangement common in Scandinavian fac- tories. Through excursions to exhibitions in Los Angeles and to universities in the area, where he frequently attended lectures, Vallien was exposed to the work and ideas of many prominent potters without being overwhelmed by any single influence. "Mingling, talking to the potters, who really have a very serious way of working, gave me the impetus to try something Stoneware made in 1962 during Bertil new." The following year Vallien had two exhibitions of his Vallien's two-year stay in Los Angeles. He now spends ceramics in Los Angeles and also won recognition in the 1962 six months each year designing for Afors Glasbruk and working on his , and "Young Americans" competition. "At that time I worked very six months in his own workshop. much with the clay," he says. "I loved the material. I'm trying to get away from that. I want to show my ideas more than a beautiful material. I feel very strongly that in Sweden the material and technique have become more important than the artist. The artist, the expression, is forgotten somewhere Opposite page: Crystal bottle free-blown under the perfect glaze, yet he is the one who counts." into a dampened mold of Vallien works' half the year in his large Afors workshop, heavy paper and steel wire, 8" high. which is shared by his wife, who was also trained at the Konstfackskolan, and occasionally by their two young sons, Hampas and Matias. The other six months Vallien is employed as chief designer for Afors Glasbruk, which he joined in 1963 on his return from America. There his basic job is to supply Sandblasted and acid-etched bowls, production designs that will sell at a reasonable price. When both of clear and blue glass. The one at left, etched on the inside, is 7" high. this is done, he is able to use the facilities of the factory, in- The bowl at right, etched on the outside, is 6V2" high. cluding the assistance of a glassblower, to experiment and to create his art crystal. Although he is accomplished in the cold techniques and does his own engraving and etching, the vessels are fashioned by a master blower who shapes and adapts the forms under his close direction. Despite his admiration and respect for the skill of the men he works with, Vallien acknowledges the difficulties of communication, the removal from direct contact with the material. "One loses something," he says, "and it is hard to convince someone who has spent years training for perfection that to make an element uneven will look more interesting." Some of Vallien's glass is partially formed by blowing into wetted wooden molds designed to give a basic shape to the lower section of a piece yet provide many possibilities in developing the upper part. Recently he has invented some unconventional but effective molds of steel wire and damp- ened cardboard or heavy paper (continued on page 46)

Jewelry by Sepp Schmolzer by Irena Brynner

14K gold necklace with pearls, using the technique of fusing described in the text. One of Austria's leading jewelers, Sepp Schmolzer trans- forms the ordinary technique of fusing into a unique and personal approach to his craft. One of the main principles that guides his work is to allow the material to assume a seem- ingly natural and accidental form while maintaining a very tight control of it. In other words, he has an exact vision and idea of what the finished piece of jewelry will look like. I met Sepp Schmolzer earlier this year at the time of his first one-man show in the U.S., at the Austrian Institute in New York. One afternoon he came to my studio and described, in a very schematic way, how he builds his pieces. He begins with a sheet of 14K gold, generally about one-half millimeter thick. The desired shape of the piece is cut out slightly larger than it will be in the finished work. If perfora- tions are required, he uses a nail to pierce the metal, hammer- ing it through. The raised edge of a hole, made in this way, Above and below: Two pendants by Sepp Schmolzer, will during the fusing process take on a nice rolled shape, both of 14K gold set with pearls even around the smallest perforation. Gold wires are then cut and bent in various shapes, and placed on the metal sheet in a contrasting design—to be fused to the base. If the piece of jewelry is large and a wide flame is needed for fusing, Schmolzer uses a Bunsen burner. For small pieces of jewelry, he works with an alcohol lamp and blowpipe. When the flame is applied to the prepared work, the surface of the gold begins to melt, and the various elements are fused. During this process, the edge of the gold sheet melts into a thick sculptural form, giving a voluptuous outline to the piece. Sometimes several elements made in the above manner are soldered together to make a single piece of jewelry with a more three-dimensional form. Sepp Schmolzer finishes his work with a variety of textures, done by blistering or melting the surface of the metal, or sprinkling on gold filings for more pronounced surface texture. Hardly any polishing is done, so that the gold remains soft and warm. As evidenced by the body of work shown in New York, Sepp Schmolzer's jewelry is hallmarked by a beautifully free and primitive quality, as well as sophistica- tion and originality. To quote the catalog for his New York exhibit, it is "... a flow of lava suddenly stopped, a wrought- iron fence come alive . . . jewelry challenging nature's cre- ativeness, incorporating the accidental and irregular forms assumed by the congealing metal. . . ." Although he started his apprenticeship in goldsmithing when he was fourteen, his training was interrupted by World War II and it was not until 1948, after studying at the Academy of Fine Art in Vienna, that Schmolzer passed his state exami- nations. For the next twelve years, he taught art at a high school in Corinthia. In 1960, he retired and since then has devoted himself exclusively to goldsmithing, participating in many of the major craft competitions in Western Europe. His work was on view at the 1964 Milan Triennale and was seen in the invitational show of jewelry sponsored in 1965 by Finch College in New York. • The Goldworkers and Lapidaries Translated by Charles E. Dibble and Arthur J. 0. Anderson from the 16th century Aztec manuscript

by Fray Bernardino de Sahagun

Mixtec gold necklace from Oaxaca with beads representing turtle shells, and suspended bells. Museum of the American Indian. In 1529, Fray Bernardino de Sahagun arrived in New Spain from Europe as part of a group of Franciscan missionaries. Prior to the Spanish Conquest, Aztec writing was non- phonetic, and Fray Sahagun, together with his colleagues, pro- ceeded to convert spoken Aztec into phonetic writing, utiliz- ing Spanish letters. For the next forty years, Fray Sahagun studied all aspects of the Aztec culture, recording Aztec knowledge and descriptions of native tradition, directly as told to him, in a series of twelve books. Known as the Floren- | tine Codex, the texts were eventually housed in the Laurentian Library in Florence, Italy. In 1948, the director of The School of American Research in Santa Fe, New Mexico, charged Dr. Arthur ). O. Anderson, of the School, and Charles Dibble, of the University of Utah, with the task of translating Sahagun's Aztec text into English Eleven of the books have been translated and published. In the March/April 1967 issue of CRAFT HORIZONS, four chapters from Book IX, dealing with feather workers, were reprinted. Following are two more chapters from the same book, discussing the goldworkers and the lapidaries.

SIXTEENTH CHAPTER. Here is told how the craftsmen who cast precious metals fashioned their wares.

The craftsmen fashioned [and] designed objects by the use of charcoal [and clay molds] and beeswax [models] to cast gold and silver. With this [step] they made a beginning in their craft. To start with, he who presided distributed charcoal among them. First they ground it, they pulverized it, they powdered it. And when they had ground it, then they added it to, they mixed it with, a little potter's clay; this was the clay which served for ollas. Thus they made the charcoal [and clay mixture] into a paste, kneaded it, worked it with the hands into a cohesive mass, so that it would dry and harden. And also they prepared it: in just the same manner [as tor- tillas] they made it into flat cakes, which they arranged in the sun; and others were likewise formed of clay which they set in the sun. In two days [these cakes] dried; they became firm, they hardened. When they had dried well, when they had hardened, then the charcoal [and clay core] was carved, sculptured, with a small metal blade. When the charcoal [core of the mold] had been prepared, designed, carved, then the beeswax was melted. It was mixed with white copal, so that it would [become firm and] harden well. Then it was purified, it was strained, so that its foreign matter, its dirt, the impure beeswax, could fall. And when the beeswax had been prepared, it was then flattened, rolled out, upon a flat stone with a round piece of wood. It was a very smooth, flat stone on which [the wax] was flattened [and] rolled. When it was well flattened, just like a cobweb, nowhere of uneven thickness, then it was placed over the [carved] char- coal [and clay core]; the surface was covered with it. And carefully it was placed on [the core]; cautiously little pieces [of wax] were cut off or pared away. By this means a little [wax] entered hollows, covered eminences, filled depressions in places where the charcoal [and clay core] had been carved away. By means of a stick [or sliver of wood] they went mak- ing it adhere [to the core]. And when it was prepared, when everywhere the beeswax was placed, then a paste of powdered charcoal was spread on the surface of the beeswax. Well was the charcoal ground,

42. Shaping the charcoal and clay core (Chapter 16). 45. Golden ornament with bells (Chapter 16). 46, 47. Melting, rolling, and application of wax (Chapter 16). pulverized; and a rather thick coating [of paste] was spread on the surface of the beeswax. And when it was so prepared, again a covering was placed over it, to wrap, to envelop completely the [thus far] com- pleted work, in order for the gold to be cast. This covering was also of charcoal, also mixed with clay—not pulverized but relatively coarse. When the mold was thus covered, thus com- pletely enveloped, it dried for another two days, and then to it was affixed what was called the anillotl, likewise of bees- wax. This would become the channel for the gold, for it to f enter there [into the mold] when it was molten. And once more [the mold] was laid out; it was placed [in] what was called the crucible [a charcoal brazier], also made of char- 1 coal [and clay] hollowed out. Then thus was the melting. The charcoal fire was laid. There the gold was placed in a crucible; it was melted, so that then it entered into the channel [in the mold], there to be led along, flow, spread out into the in- terior. And when it was cast, whatsoever kind of necklace it was which had been made—the various things here mentioned— then it was burnished with a pebble. And when it had been burnished, it was in addition treated with alum; the alum with which the gold was washed [and] rubbed was ground. A sec- ond time [the piece] entered the fire; it was heated over it. And when it came forth, once more, for the second time, it was at once washed, rubbed, with what was called "gold medicine." It was just like yellow earth mixed with a little salt; with this the gold was perfected; with this it became very yellow. And later it was polished; it was made like flint, to finish it off, so that at last it glistened, it shone, it sent forth rays. It is said that in times past only gold [was known to] exist. It was taken advantage of. The goldworkers cast it; they made it into necklaces, and the goldbeaters hammered it, flattened it, into the devices which they required. Silver was not yet in use, though it existed; it appeared here and there. It was highly valued. But today, on the other hand, all is silver; they want gold; it is much treasured. The goldcasters and beaters who work now also require copper, though only a little, a measured amount. They add it to silver [solder] to give it binding power, to make it adhere. For if only silver were melted [to use as solder], the article joined would only shatter; it would only break [at the seams]. There where the article was soldered, [the seams] would not everywhere bind [and] come together. And the goldbeaters, in times of old, hammered only gold. They smoothed it, they burnished it, with a stone, and they worked out a design along a black line with a stone. First the feather workers made them a design, and then they chased the design with a flint knife [as a tracer]. They followed the black line to form the design with a flint knife. They embossed it, they went making relief work, copying just as was the [black line] pattern. In the same way they manufacture ob- jects today, wherever their work is needed. Perhaps feather mosaic [or other] feather work is required. [The goldworkers] join with [and] are instructed by the feather workers who cut all manner of feather work which may come their way. Today the goldworkers work thus. They require sand—fine sand. Then they grind it, they pulverize it well; they also mix it with potter's clay. Then they set it out [in the sun], in the very same manner as they form the clay so as to bring forth,

48. Application of charcoal and water paste (Chapter 16). 49. Application of outer covering of coarse charcoal and clay (Chapter 16). 50. Melting the gold (Chapter 16). 51. Washing the finished object in alum solution (Chapter 16) to cast, whatsoever they would make. And in two days it is dry. When it is well dried, then with a potsherd the surface is rubbed, smoothed, polished, burnished, shined, so that the surface is smoothed. Then it is carved—sculptured—with a metal knife, as is told elsewhere. In either two or three days [the work] is finished, made good, perfected. When [the core] is prepared, then powdered charcoal paste is spread on its surface, and the surface is made smooth with a clay paste. Then the beeswax is melted; it is mixed with white copal, as was mentioned. When cooled, when purified, then it is flattened, rolled out on a flat stone with a piece of wood. Forthwith it is placed upon—joined to—the clay object to form the shape of the gold, whatsoever is to be made, perhaps a jar or an incense burner, which they call perfumador. It is painted; it is designed with a beautiful de- sign. They especially esteem beeswax; they use it especially to form patterns, to produce works of art. But first, somewhere, a model of beeswax is made. When it has been well prepared, the mold is pressed upon it [to make the wax model]. For there is a model [in wax] of all they make, whether birds' wings, or flowers, or leaves of plants, or whatsoever beautiful design. By means of a small wooden stick, called a thorn stick, [the wax] is pressed on; it is made to adhere [to the core of the mold]. In perhaps two days it is perfected; it is made good. When it has been prepared, when in all places the [mod- eled] beeswax has been made to adhere [to the core], then on its surface is spread [a thin paste of powdered charcoal] When it is dried, then in addition a covering is placed upon it of only coarse charcoal [and clay], in order to envelop the model [of wax with its coating of powdered charcoal paste]. In perhaps two days it dries. Then to it is placed the beeswax channel, called the round anillotl. First it is rounded. This becomes the channel for the gold, for it to enter there. And when the channel has been set in, once more [the mold] is arranged [in] something like a crucible where the gold is [to be] cast. When they are this far, when all is pre- pared, then [the mold] is placed on the fire; it is thoroughly heated. Then flows out burning the beeswax [model] which has been placed within it. When the beeswax has come forth, when it has burned, then [the mold] is cooled, for which purpose it is once more set out over sand, quite coarse sand. Then immediately the casting takes place; there [the mold] enters the "fire pot" [a charcoal brazier] on a charcoal [fire]; and the gold, which is to enter there [into the mold], is melted separately in a ladle [and poured]. Here this ends; thus the work is finished. And when the piece has been formed, when it has been cast, when it comes forth, then it is treated with alum; in a copper vessel it is boiled. And if somewhere the piece has cracked, has split, that is the time to mend it. That which is to be joined [sol- dered] is mended. And then it is rubbed so that like copper it shines. Once more it goes into [and] is treated with alum. So thereafter it is cleaned; it is made like flint, so that it glistens brightly.

SEVENTEENTH CHAPTER. Here are discussed the lapidaries who worked precious stones. There were four grandfathers [and] fathers of the lapidaries

52. Application of "gold medicine" (Chapter 16) 53. Polishing (Chapter 16). 54, 55. Chasing and other goldwork (Chapter 16). Mixtec cast-gold filigree ear ornament with five bells, from Puebla, Mexico. American Museum of Natural History.

in times of old: devils whom they regarded as gods. The patches on the four sections. And his sleeveless jacket was all name of the first was Chiconaui itzcuintli; and her names were variegated red [and white], fringed. And bright red were his [also] Papaloxaual and Tlappapalo. So three names were hers. sandals. And the name of the second of their gods was Naualpilli. The And Macuilcalli they also represented as a man. Thus was name of the third was Macuilcalli. The name of the fourth he adorned. His head was provided with a crest; quetzal was Cinteotl. The feast days of all these occurred only once; feathers stretched in a row at the crown of his head, [to form] they celebrated the feast day for all four. And the feast day his crest. He had golden plates placed on his temples. And was celebrated, [and] they acknowledged [these gods] at the [he had] his necklace of wooden discs with shells, as well as time that the day count called Nine Dog set in. his feathered staff [and] his shield provided with red discs. Of these, the first mentioned, their god[dess] named Chi- And, likewise, he was anointed with red ochre. He also had his conaui itzcuintli, Papaloxaual, Tlappapalo, was a woman. bright red sandals. Thus was she arrayed. Her face was painted with her butterfly And also Cinteotl was represented as a man, with his tur- face painting, whence came her name. At her right she bore quoise [mosaic] mask and his turquoise rays, and his mist her hand-staff, and at her left rested her shield. Thus was the jacket of [light] blue, as if netted., and his wind jewel neck- painting of her shield: a foot stood on it. And [she had] her lace. And they formed for him his resting place, whence he golden ear plugs and golden butterfly nose pendant, and her looked forth, called his maize house; indeed all of maize stalks shift of variegated red [and white]; just the same was her they formed his hut. And [he had] his white foam sandals; skirt. [She had] her obsidian sandals, also bright red, so called with down feather [laces] were they tied. obsidian sandals [because] obsidian serpents were their de- To these four [gods], so they said, they attributed the art sign. [of the lapidary]. Their creations were lip pendants, lip plugs, All and each of the persons who represented [the deities] and ear plugs, ear plugs of obsidian, rock crystal, and amber; died when the feast day was celebrated. white ear plugs; and all manner of necklaces; bracelets; the And the one [called] Naualpilli was adorned just like a manner of designing, of inlaying, with green stones; and the Huaxtec. He was of disordered, unkempt hair, uncombed, drilling, the polishing. It was, so they said, their creation, their disheveled; in elflocks. And gold was his forehead disc, which invention. rested on his brow; and his ear pendants were of gold. And And at that time, when their feast day arrived, [their] old [he had] his feathered staff, and his shield with feather men, all the master lapidaries, provided song [and] held vigil

56. Chasing and other goldwork (Chapter 16). 57,58. Charcoal and clay core work (Chapter 16). 59,60. Gold objects (Chapter 16). 61,62. Melting and casting gold (Chapter 16). 63. Washing in alum solution (Chapter 16). 64. Rubbing (Chapter 16). 65. The work of the lapidary (Chapter 17). during the night for those who were to die at dawn—all the And what is called blood [-speckled] flint [bloodstone] is likenesses [of these gods]. All rejoiced; they enjoyed the very hard and resistant. It could not be cut with abrasive sand, feasting. but could only be broken up, beaten with a stone; and its And this took place there at Xochimilco, because the rough pieces, which were no good, which could not be pol- grandfathers [and] fathers of all the lapidaries came from ished, were cast away. Only that was taken, was sought, which there. There was the beginning; there they took their origin. was good, which could be polished: the blood-colored, which It was their native land. was well speckled. It was abraded with water and with a very The master lapidaries cut rock crystal, and amethysts, and hard stone which came from Matlatzinco, because they were green stones, and emerald-green jade, with abrasive sand, and suitable to each other. The rock was just as hard as the flint hard metal. And they scraped them with a worked flint tool. so that together they cut each other. Afterwards the surface And they drilled them; they bored them with a metal tubular was smoothed with abrasive and given a metallic luster with drill. Then they slowly smoothed the surfaces; they polished a [finer] abrasive. And then it was finished, polished, with a them; they gave them a metallic luster. And then they finished piece of fine cane [containing silica], with which they made them off with a piece of wood [and very fine abrasive]. They it gleam; they made it send forth rays of light. polished them so that they gleamed, they sent forth rays of And what was called hummingbird flint [Mexican opal] is light, they glistened. Or with a piece of fine cane [containing by nature of many kinds; it is multicolored: white, and green, silica] the lapidaries polished, finished, perfected their arti- and like fire or like a star, and like a rainbow. It is abraded, it facts. is polished, with only a little sand. And in just the same way was amethyst worked [and] fin- And the so-called round turquoise is not hard. No hard ished. First the master lapidaries broke it; they shattered it abrasive is needed to grind it down, to smooth its surface, to with a piece of metal, so that they could put aside the good give it a metallic luster. And to polish it, it is rubbed with a [pieces], of good color, of pleasing aspect. Thereupon they piece of fine cane, so that it may give forth rays of light, may placed them where they were needed, when they had re- glisten. moved the rough parts with a piece of metal. And then they And fine turquoise is not very hard. With just a little sand abraded it, smoothed the surface, and gave it a metallic luster; it is polished; with it, it is embellished. And also, it may be and they polished it with a piece of wood, a polisher, with given brilliance, radiance, [with] another tool called a tur- which they embellished it. So they finished it. quoise-burnisher. m

•ShNI

•Br 8 ;

Batik printed cotton velvet upholstery fabrics designed by Jack Larsen and included in the retrospective exhibit of his textiles at Amsterdam's Stedelijk Museum this spring. Left: Section of "Conquistador," 48" wide, in colorways of wild honey, tortoise, crimson, and bronzed amethyst. Opposite page: Full 50" width of "Waterlilies," produced in moss green, ming gold, Venetian blue, or tourmaline. Installation in one of the five galleries given over to Larsen fabrics by the Stedelijk. In the foreground is "Diagonal Stripe Weave," a cotton and linen casement handwoven in Italy. In the background are lengths hung in pillar shapes. Opposite page: (top) "Sundown," a stretch knit of Caprolan nylon covering a chair by French designer Pierre Paulin, made by Artifort, distributed in the U. S. by George Tanier; (bottom) close-up of "Remoulade," a striped warp brocade of cotton, nylon, rayon, linen, wool, silk, jute, and metallic.

Retrospective exhibition at Amsterdam's Stedelijk Museum encompasses 20 years of Larsen textile design

The invitation to exhibit at the Stedelijk (April 14—May 28) niceties that have survived the industrial age. came generously, without restriction. Because I cannot say In the next gallery, texture is demonstrated with a low-key the museum chose unwisely or installed unflatteringly, I palette and straightforward approach. Expressing the texture have no excuses. "This is my best" demands evaluation and, of fibers and yarns is most often my beginning and my de- in this case, extreme self-evaluation. Leaving the studio to sired end. I search all over the world for handspun yarns, gather up the fabrics for an exhibition gives one pause if not as these are the most sensitive, the most in contrast to the perspective. industrial materials and finishes necessary to contemporary in- Most of these fabrics were conceived in passion, but only teriors. My basic premise is that a naturalistic, random tex- materialized after a long, uphill struggle: making a design is ture soothes the jangled nerves of hard-edged urbanites. Here easy; making designed production is not. But after the fervor, are fabrics handwoven for me in Colombia, Mexico, Haiti, after the heartache and occasional breakthrough, what is Swaziland. there aside from cloth? Is the only good a certain happiness Another gallery focuses on imagination, in an attempt to Win Anderson and I have had as the parents of our fabrics- illustrate some advanced thinking about fabric of the future. or do they, our fabrics, have their own utility? What, if any- Intellectually I am attached to the challenge of releasing new thing, do they contribute? fabric constructions out of a technology pregnant and waiting. It would seem that of all the lovely things made for use, We are on the verge of a new fabric revolution which will be only food is so subject as fabric to an early and ignominious more devastating, more sudden than the first one. Conversion demise. Fabric is used and abused, and is slowly deteriorating. to finished end products (like stockings and gloves now are) Whatever the value, it must be now, in the using. will be the essence of it. I want to be in this revolution. In the installation I have attempted a relationship between Most important, however, is the fact that the constant in space and exhibits, perhaps because I am accustomed to my work is not intellect, but love. About the time I learned thinking of fabric that way. I am also concerned with impact. to weave I read the French poet Paul Eluard, who wrote, "If I would like the viewer to look freshly, free of sensory cal- you love the intense cloud, pour into every image its warm louses. Moreover, I would like him to feel, to respond sub- summer blood." More than anything else, that is what I have jectively and to be in, not at, the exhibit. tried to do, so that in a world with too little to delight the A demonstration of color is first because color was first. eye and please the hand, the color and texture of fabric might Here is a flower garden, soft and sensual. I am saying that hot, be something to love, and to remember. -JACK LENOR LARSEN, AUGUST 23, 1967 bright colors can be subtle. Color, after all, is one of the few

STITCHING Embroidery past to present is displayed at the Museum of Contemporary Crafts, New York

by Alice Adams

New York's Museum of Contemporary Crafts traveled off the beaten track to organize its exhibition of world "Stitching" (September 22-November 5), with work from ancient Peru up to present-day U.S.A. Not a chronological survey, the empha- sis is on stitchery's essential picture and pattern making character, sometimes spontaneous, often painstaking. The exhibition succeeds in demonstrating that today inspiration must be drawn not only from the meticulous fantasy of the past but also from the simple desire to draw with thread that is the first impulse behind children's work. The exhibition's photo-illustrations of various stitches pro- vide adequate explanation of technique. They show clearly that the tools of the needleworker are simple and the method direct. Embellishing what is usually a woven surface by sewing threads into it or fabrics onto it makes for a two-dimensional Opposite page: Detail of the deep border of a woman's robe made in during the 19th century, of cotton with embroidery in silk and gold.

"Blue Labyrinth," stitchery composition in linen and cotton by Anna-Lisa Odelqvist-Kruse of Sweden, 36" x 48" "Man in Space," wool embroidery on burlap, 38" x 90", by sixth grade pupils at the Watkins School in Washington, D.C. Opposite page: (top left) Detail of a 19th century hanging from northwest Persia, Resht, in colored silk on a red wool ground; (top right and bottom) overall view and detail of "Small Garden," black-and-white linen stitchery by Ussy Funk, Switzerland, 72" x 100".

medium of illusion rather than a three-dimensional one of one the addition of such elements as tufts of hair, were some structure. This is more true of recent pictorial work, although of the accoutrements of a thriving show business. it may also be said of traditional decorated clothing where Historic stitching generally falls into two categories. In one, the surface stitchery in no way serves to hold the garment a series of uniform, repetitious stitches form meandering lines, together. leaving the ground as framework and integral part of the In the past, embroidery usually served to decorate clothing pattern. The other reveals an encrustation of stitches covering and interior furnishings with a repetition of traditional pat- entire areas of the cloth. Although the motif rather than the terns. Within these limitations great richness of color and stitch is dominant, the stitched-in areas take on a life of their texture was achieved, as is obvious in the Greek Islands cloth- own, independent of the ground. It is the difference between ing, Indian mirror cloth, and Ghanian robes. Collars from the Peruvian sampler and the Spanish toreador pants. nineteenth century China, eighteenth century Russian and The West Coast has its Watts Towers but the East has Armenian ceremonial hats, and the chain stitched and corded Martha Swale Smith who during the first half of the twentieth Albanian coats and skirts offer ample proof of the beauty of century may have produced the great American embroidery— culture embedded motifs. Variations within such patterns are or embroideries—since she made eight pieces as large as that often extremely subtle. The tricky juxtaposition of shapes in in the exhibition (136" x 41") over a period of twenty-five the Moroccan medallion finds parallels in much geometric years. As pictorial stitchery, it is as lively as the Bayeaux so- painting. called tapestry and as rich in lore as any cyclorama. A genuine A clue to the origin of motifs is to be found in the Peruvian work of naive (not primitive) art, it chronicles the history of sampler from the 200 B.C. Nazca culture. Birds, animals, America from its discoveries by Leif Ericson and Columbus serpents, and human figures have been worked out in simple, through events concerning Ponce de Leon, Peter Stuyvesant, squarish linear patterns. It is a kind of tracing of the mind's Roger Williams, the Revolutionary and the Civil Wars, Fland- image and in this respect resembles drawings by artists like ers Field, Teddy Roosevelt at San Juan Hill, Mrs. Coolidge, Klee and Miro. the Statue of Liberty, and Abraham Lincoln. So far, Martha It is in the realm of the hanging, however, that we find Smith and the Peruvians get first prize in my book for being ground for picture making and indulgence in personal fan- all there in getting things down on cloth the way they wanted tasy. The combination of red, white, and black to describe them to be. the figures in a nineteenth century temple hanging from There is a group of stitchings by children in the exhibition, northwest Persia literally knocks one's eye out with its non- and here shapes and colors are the result of the story to be scientific op effect and comic-strip simplification. The Japa- told. As in coloring books, the stitches are ways of making nese seem to have been the least restrained in the history of lines and filling in the spaces, all of which is a lot of fun. The needlework, approaching it with flair and taste, as the enor- real value in such work is that it is not serious—and all to the mous stage curtain in the exhibition proves. It is probably good. Serious stuff like talking about the deep meaning in from the late Edo period, when hangings with this kind of children's art should be left to the grown-ups anyway. The flamboyant arrangement of figures and colors and, as in this best thing to do is just enjoy pieces like the "Dead Viking

Opposite page and above: Complete view and detail of "The Story of America" by U.S. craftsman Martha Swale Smith (1872-1950), a freehand needle-painting worked in colored silk on linen, 136" x 41". Depicted are (left to right, top to bottom) Discovery of America by Leif Ericson, Landing of Columbus, Amerigo Vespucci, Balboa, Ponce de Léon and the Fountain of Youth, The Roanoke Colony (Virginia), Peter Stuyvesant and the New York Colony, The Pilgrims Coing to Church (Plymouth Colony), Roger Williams and the Providence Plantations, William Penn, Covered Wagons Treking West, Surrender of the British at Yorktown, Surrender of Lee to Grant, Flanders Field, San Juan Hill (the Rough Riders including Teddy), Mrs. Coolidge, The Statue of Liberty, President Lincoln. Detail above is the Landing of Columbus.

Ship" by ten-year-old Scott Anderson or the lively "Man in over circles with a series of long, regular stitches holding in Space/' attached by a long umbilical cord to his space capsule, tufts of black and white natural fleece. by Washington, D.C., sixth graders. While these artists working with the painter's intent have Contemporary work from the U.S. and abroad presents achieved dense spatial arrangements within a rectangular for- several factors which make it difficult to accept whole- mat, Helen Bitar (Montana) with her pillows and hangings heartedly. First, there is an overconcern with technique and returns to the richly patterned decorated object. Working on materials for their own sakes rather than for what they can velvet in colored wool, she achieves pieces that are strong do and, second, a tendency to imitate abstract painting, with and often witty. no real understandi ng of it. It is difficult, however, to discuss The large hanging by Swiss embroideress Lissy Funk is per- work that one is so close to and easy enough to make de- haps the most original attempt to draw forms and shapes out mands on it that are not made on things from the past. of the pattern of the stitching itself. Wide black lines and True-to-stitchery panels by Nancy Belfer (New York) are spots form an irregular network over the variegated white rich in color and textural variety; Adrienne Kraut's (Michigan) ground. The stitching, while making solid areas, seems ran- machine and hand-stitching on raffia and burlap retain the dom in its choice of application. The forms and technique surface while depicting an illusionist space; and Evelyn Svec unite the hanging into a life of its own, making a true work Ward (Ohio) offers sensitive combinations of stitching with of abstract art strictly on its own terms. form and composition. Elizabeth Jennerjahn (New York), The answer lies in the path of the stitches, and anything working on a shaped canvas base, creates a play of shadow else can happen after that. • PHILOLAOS by Elaine Benson

In these curious days when sculptors have been known to with solder, left purposefully rough and beady, providing telephone specifications to a factory, and drop by later to an awkwardly charming binding to forms that might otherwise see what they have created, it is refreshing to meet a man who seem too carefully slick. This method of fusion is one aspect enjoys working with his hands, whose sculpture is of his own of the Philolaos sculptural signature. Another is his penchant making from start to end. for providing surprise. For example: a five foot high columnar Philolaos, the son of a carpenter, was born and grew up in sculpture is imposingly solid, resembling a cubistic torpedo Larissa, near , in Greece. He was raised in an atmo- with a long incision. Actually, the entire piece parts to reveal sphere where working with one's hands was as natural as an interior stacked with shelves of uneven proportions, filled breathing. His newly completed studio, on the outskirts of with stainless steel bottles in what we have come to think Paris, is his own creation, from drawings to construction to of as Morandi shapes, in reality a fully equipped bar—an landscaping. Even the stainless steel gate was forged by actually usable bar, every unit of which is Philolaos made. Philolaos. Inside, except for the plumbing, every aspect of There are certainly those purists who have uneasy feelings this handsome structure was designed, built, and installed by about a work of art that has a function. And there are others the energetic owner. And carefully placed for ideal viewing who will judge it on its merits without arbitrary aesthetic are the sculptures for which the studio was planned. boundary lines. Philolaos' work is for the latter. Almost every- On the day my husband and I visited Philolaos, there were thing he makes is functional: a small sculpture, intended to sit eight or ten of his works on view. Previously we had seen on a table, opens unexpectedly and practically into a mirror; others at the Galerie Maywald in Paris and at the Galleria a large unit with a helmet-shaped top drops the jutting jaw Schneider in Rome. His work is distinctive and recognizable. of its knight-in-armor head to reveal a peek-a-boo television Stainless steel is the preferred medium. The seams are joined set; a row of flower forms turns out to be a fountain. And

Forged and welded stainless steel bar sculpture, 39" x 39" x 75V2". Work is completely functional—bottles with tops are airtight, hinged drop front can be closed and locked. Another stainless steel bar sculpture, this one 5 feet high, with usable bottles and a hinged door which closes and locks.

«••HhI

!|| ¡1 ¡¡|§ ••hi so on. Recently, Philolaos made a group of stainless steel • bracelets to exhibit at the Galerie Maywald, which features small sculpture and jewelry by artists. He has also made some stainless steel hands that move, but have no decipherable function. Another aspect of Philolaos is his great interest and involve- ment with architecture. A current project, now achieved in mock-up, may ultimately result in the creation of a thirty foot high stainless steel obelisk that will be the focal point for a public park in a small city in the south of . Philolaos enjoys the challenge of architectural commissions, ranging from the creation of the entire surface of a building front to appropriately placed sculptures that relate to a collaborative artist-architect concept of how a space should be filled. Philolaos was trained at the Academy of Beaux Arts in Athens and, following a modern Greek artist's tradition, moved to Paris (after serving in the army in 1948-49, when he was just under thirty). He has lived in Paris since 1950, returning to Greece almost every summer. His Greek heritage is strongly a part of his thinking and his talent. As we inter- viewed him on a lovely spring day, we were served of oozo, the anise-flavored aperitif that is the Greek national drink for adults, and feta cheese and Greek olives. At the risk of having CRAFT HORIZONS sound like a gour- met magazine, the rest of the luncheon menu is herewith described: small potatoes roasted since early morning on top of the heater in his studio; oil and vinegar marinated chunks of lamb (not unlike shish-kebabs sold by street vendors in Greece), cooked briefly in the fireplace; a smartly garlicked salad; thick peasant rye bread; and strong Greek coffee. The wine was French, reflecting the host's tendency to make the most of what is available in his environment. Philolaos' own description of the lunch he cooked and served with casual efficiency was that it was a "Paleolithic menu" that might well have been presented by a caveman soon after the dis- covery of fire. (continued on page 48) WORKSHOP: by Nino Caruso

One of the aims of the recently formed International Center of Ceramics in Rome is to encourage experimentation with new materials and techniques. To this end, a five-day work- shop was held in January, 1967, dealing with studies made last year on the problem of mass-produced ceramics for architecture and interior design. The purpose of these studies, sponsored by the Center, was to influence industrial produc- tion by introducing objects that were conceived and executed \mmm in complete creative freedom, outside the influence of in- dustry. One aspect of the workshop was the utilization of expanded polystyrene in construction of models for mass- produced objects. Besides its low cost, there were two important reasons for working with polystyrene. Technically, it is a contemporary material which requires working techniques completely dif- ferent from those of traditional materials, such as plaster, clay, etc. Aesthetically, the use of a non-traditional material requir- ing new working techniques precludes conventional ap- proaches and ideas, and encourages the possibility of new aesthetic directions. The ceramic objects shown on page 35, slip cast and fired at 920° C., derived from models made with expanded poly- styrene. The construction of models, from which plaster molds can be made for series production, is illustrated in the four photographs at the left, jjl An extremely lightweight material available in various thicknesses and formats, expanded poly- styrene can easily be cut with a sharp knife. It can also be cut or modeled by a special electric apparatus with a steel wire "blade" which when hot slices through the material with little pressure (not shown). 2. Various parts of a model can be glued together with any non-acetone glue. 3. The polystyrene model can be finished and smoothed with extra fine sandpaper. 4. A plaster mold can be made from polystyrene without iso- lating the model—covering it with soap, clay, etc. before cast- ing. In the photograph is a plaster mold obtained from a poly- styrene model and the object formed by slip casting. As director of the International Center of Ceramics, it is my belief that a new relationship between artist and industry, in which their diverse experiences are shared, could lead to ceramic products which could satisfy the growing needs, I liliii functional and aesthetic, of the contemporary consumer. The artist working outside of the industrial structure, yet familiar with industrial techniques and processes, can influence the technical and aesthetic quality of mass production. To remain outside of industry means not becoming caught in the pres- sures of industrial organization and production. A relation- ship must, therefore, be established from the outside to allow the artist complete freedom of choice and judgment in his work, so that his individuality and creativity can modify the character of mass-produced objects. The International Center of Ceramics intends to participate actively in all reasearch currently underway in the arts, in order to produce and dis- tribute works that will be valid in contemporary culture. • Expanded Polystyrene for Ceramic Production

Left and below: Ceramic vases and bottles slip cast and fired at 920° C. Models for the objects were carved out of expanded polystyrene. Bottom: Slip-cast objects from polystyrene models which can be used as containers and as double-faced decorative elements. tensions of whorling, light disks like silver suns or spider webs. Tough as silver is, these phrases, lengths, and curls balance with a delicate humor. 49TH MAY SHOW, The Cleveland Museum "Last Rites" by Nick Square repels some of Art, Cleveland, Ohio; May 3-June 18 people. It's a masterful stretch of gathering and entangling. Such a stale gray atmo- It's not possible to go through the 49th sphere he creates: an old crone's soul full May Show in a hurry. The only common of dying fringe, a waft of ostrich plume, thread is individuality; as one moves from darkened rhinestones, withered stockings, piece to piece, one leaves and enters dif- gnarls of wood, a sightless bulb, tufts of ferent worlds. The impression is one of hair, a shriveled bottle nipple, dusty tassels, focus, artistic force concentrated beyond pearls hanging on a slight stretch of thread. the appearance of effort. Charles Lakofsky's Like Snow White gone to seed—when one porcelains, for instance, are instantaneously removes the marks of fingers, the smear and deeply art; independence, control, fi- of a nose, the slight rubbing wakens the nesse combine into serene luminous shapes feathery textures, and they move like —translucent, veil-like glazes and applied mesmerized seaweed in their gloom. textures awaken the surface just enough to "Spanish Lace," by Sandra August, is a stabilize the opalescent quiet. large, strong hanging—a divider, or tapestry. Roger Shipley's "Pictorial Participation" Long stiff stripes of woven hemp, inter- is a black box picture, discreet, totally rupted with short, black episodes, hang hard, and as slim and cold as the center openly together, tied by only an occasional of the night. Within the shadowy black- strolling thread. Space between them varies; ness rises manicured arcs of curved mirror, the work organizes into a series of intervals, elite slices of silvery reflection sucking stops, and accents. It is alert, massive in re- razor-sharp images out of the air. You are straint, articulation, and effect. among them, sliding upside down, a jarring Miska Petersham's "I Spy" is a big active note of color, of eyes, of life. The onlooker writhing blob of blackened glass suspended is caught like a bottled moth battling the like flung ink in an open frame of mirror. edge of darkness. A black metal rim and a swaying stand hold John Balsley's "Equestrian Monument to this up like a sudden, unexpected presence; the Pepsi Generation" is a furious work of moving, arriving—a focusing elegance slid- sculpture. A miniature motorcycle and ing into view. —KATHERINE WHITE driver leap from the floor, a blackened , whose studio is now in mass of suppurating blind glass, headlights, Ed. Note: The 49th May Show was selected Clinton, was the organizing inspiration for dials, nuts, bolts, wheels, flailing tubes and by seven out-of-town judges who sifted this show. vents, flying arms, a scarf rigid in mid 335 works by 258 artists from 2,448 entries, Many surprises, changes of tempo and air . . . it's wild. It's not mere junk either. representing 986 individuals. Paintings num- form, size, tactility, materials—the best of This violence has the horrid gaiety of death bered 89; graphics 62; sculpture 25; photo- utilitarian and the most poetic of artistic in it, a psychic wilderness which, for a graphs 27; textiles 35; jewelry and metal- subtlety—were all visible. second, attaches itself to bewilderment, and work 16; pottery 43; enamel and glass 34; The work of Jeff Schlanger and Lenore memory. and miscellaneous crafts 4. Judges for the Tawney, seen together, set a diversely ex- "Untitled Expansion," by Herbert Bab- crafts divisions were Marie Kelly, textile pressive image. Schlanger, fusing ceramic cock, is a three-dimensional work waver- worker and lecturer at the College of Fine sculpture with a painter's feeling, is abruptly ing between painting and sculpture. A Arts, Carnegie Institute, Pittsburgh; Henry engrossing in sturdy pieces such as "North wooden rectangular cube is skinned with Lin, professor of ceramics at Ohio Univer- American" and "Dancing Egg Plant." Taw- dim, gray canvas. Within prod edges, sity's School of Painting and Allied Arts; ney's woven forms suggest tribal figures. Her points, testing the surface and forming slow, and Sandra Zimmerman, director of the re- materials entice, and her spaces do not ex- large shadows. The tension of shape cutting seatch and education department of the clude. against the cloth inertia exudes a numb- American Craftsmen's Council in New York. Potter Robert Turner's jars and vases are ness, an abrupt non-sculptural feeling; an Paintings, graphics, and sculpture were marvels of liquidity in form while not alter- anonymity which lets the paradox of a wall- selected by James Brooks, painter, Isamu ing the usefulness of particular pieces. less picture become pedestaled in the cen- Noguchi, sculptor, and William Seitz, direc- Brother Bruno Laverdiere brings to his ter of a room. tor of the Rose Art Museum at Brandéis Uni- work in clay a playful figuration, often dec- Evelyn Svec Ward's stitcheries, among versity. Photographs were juried by John orative but again massive in a sculptural them "Chambered Nautilus" and "La Casa Szarkowski, director of the department of way. de la Golondrina," are nearly color sculp- photography at the . Joel Myers manages the translucency of tures, built up like coral reefs by accumu- glass with shapes arrested in various states lation. Mystic visions are formed by of surprised moltenness and with the most growths of needle textures; crusts of FIRST INVITATIONAL EXHIBITION, Hunter- delicate touches of fugitive color. crochet rim active orifices among the float- don County Art Center, Clinton, New Jer- Ibram Lassaw is making jewelry from ing and obtruding patterns. Color is rich, sey; July 9-August 6 intimate diagrams of constellations, such as moving in close harmonies among smooth, "Rectangular Form-Seven Turquoise Tips." rough, light, strong, tough, slim, shining, This exhibition of work by twelve crafts- Of Carolyn Kriegman's splendidly and dull threads spaced and clustered men was a festival of beautiful forms by wrought necklaces, pins, pendants, and easily together. artists of contrasting sensibilities, set amid rings, the "Necklace with Pink Tourmaline" Nancy Cohen spins a silver necklace. She the green countryside of western New was especially notable. hammers a muscular wire of blunt shine Jersey. The artists were well represented, Ted Hallman's inventiveness was very into links which loop together and then and the exhibition was so skillfully arranged apparent in woven forms, yardage, and mix- extend downward to form an echoing that, moving from one part to another, a tures of translucent plastic and woven decorative loop, alternating with longer ex- visitor saw each artist in vivid variety. hangings. Opposite page: Stitchery panel by Evelyn Svec Ward titled "La Casa de la Golondrina," 41" x 29", winner of jury mention in Cleveland May Show.

Part of the installation of the invitational exhibit at the Hunterdon County Art Center in New Jersey, with stoneware by Brother Bruno Laverdiere in the foreground. Left: "Blue Dart," stoneware wall plaque by Albert Green, 29" x 41", honored in the New York Artist-Craftsmen's ninth annual.

Erik Erikson's emblems from A quartet of noted non-members invited dian," carved of Carrara, and the swirling landscape and flowers were effectively to screen the 368 entries and distribute the oval rhythms of "Genesis," in veined Ver- mounted in windows. prizes was composed of sculptors Manolo mont marble. Sandra August's bold feeling for color Pascual, of the New School for Social Re- The announced theme of the show, "The rhythm was seen in silk-and-mohair and search, and Albert Jacobson, who is also well Craftsman in the Business Environment," silk-screen works. known as a potter; Christian Rohlfing, ad- was ignored as inspiration by all but a dozen 's furniture in walnut ministrator and curator of the Cooper Union members. Most original was Kathe Berl's and teak retains sensations of tree con- Museum; and silversmith Lawrence Cope- superbly executed thirty-three inch "Turn- tour with its elegance of fine design. land, formerly professor of metalcrafts at About" black-and-white enameled figure— Toshiko Takaezu's latest work includes the School for American Craftsmen, who a rectangular box with a stock market chart not only porcelain forms, triumphs of now operates his own studio and designs for (one rising, the other falling) on each side, color, delicacy, and roundness, but large Oneida Ltd. Over two-thirds of the entries, capped by a reversible head with either a stoneware garden pieces, cosmic and in- 251 pieces from 124 craftsmen, won their ac- smiling or sour face. Sculptor Robert Filipek, timate, beautiful to look at, and also un- ceptance (which required a minimum of who achieved a remarkably open and un- expectedly useful as sitting pieces, which nine points), but only a handful gained the crowded installation of the show in a small were used in the Japanese tea ceremony in top rating of sixteen points. Unless restricted area, also exhibited a six foot skyscraper of the midst of the show on its last day. by the donor's terms, awards in each cate- boxes occupied by groups of copper sheet -FRED MITCHELL gory went to the pieces with the highest figures. point score. An award of $100 donated by Georg Jen- ARTIST-CRAFTSMEN OF NEW YORK, Na- Sculpture was cited in both ceramics and sen Inc. for a ceramic piece went to the tional Design Center, New York; May 10- glass, as well as taking the only award open massive balanced boulders of Carlos Barto- June 22 to all categories for the best piece using lini's dark clay "Fossil" sculpture. A small copper or copper alloy. Euphemia Glover's tubular construction planned as a model for lyrical bronze sculpture "Sail" won this a fountain by Jeanne Wolf and Constance The usual ululations of outraged members award of $75 from the Copper Development Sherman's portly and self-satisfied thrown may have been limited by the secret point Association, and Lila Ryan's "Mute Percus- figure "Corporate Muse" were also among system of Jurying used for the ninth annual sion" received the Environment Gallery the sixteen ceramic sculptures. of the Artist-Craftsmen of New York, but it award of $50 for cast bronze sculpture. Only half the pottery entered was ac- also seemed to have limited the choice of Though over half of the forty-nine sculp- cepted, and though this section of forty- award winners to an irreproachable, ultra- tures were of metal, the only works to attain nine pieces equaled that of sculpture, just conservative group-the cream of a quietly the top score of sixteen points in this cate- one pot was cited. A certificate of merit was accomplished exhibition. This method of gory were Thea Tewi's three pieces in white given Doris Newman's thrown planter selection, which is being widely adopted, marble. She consequently received not only circled with textured bands of clay. Another requires a juror to rate each piece numeri- the highest award open to all sculpture, the certificate went to a glazed stoneware tile cally according to a set scale (in this case Estelle Goodman prize of $25 which went plaque "Blue Dart" (29" x 41") by Al Green. ranging from one to four points), with the to her "Poet," a tall abstraction (26") in Most of the ceramics were slab built, crude largest score indicating the piece is consid- Roman travertine, but two certificates of and massive with a coarse striated or pitted ered prize worthy. merit-for the intertwined ribbons of "Gor- surface accented with oxides, slips, or pas- Adler's vivid appliqué "Umpah," Leatrice with a diamond marking her apartment, and Linden's wall rug of knotted rags and wool, supplied a support so it could also serve Ruth Levine's tapestry "Boy on Horse," and as a small desk sculpture. The majority of Kate Auerbach's collage-embroidery "Bunch the jewelry was of gold with casting a pre- sages of brilliant glaze. Among these were of Flowers" with small stones and dried ferred technique, but the opulence and in- "Argil City," a group of four architectural blooms caught in a web of soft pastel vention of former exhibitions was lacking. structures by Don Mavros, a ponderous threads. More austere were "Feb," a rug in Belle Steinberg's modest gold pin of tiny "Archaeological Bowl" by Carlos Bartolini, a white, grays, and black diagonals by Eini squares with open centers, Irena Brynner's stately "Monument" floor vase by Edmund Sihvonen, a fringed natural linen and black gold wire pendant earrings, a cast gold Marein, a carefully contoured gray weed wool hanging by Shirley Marein, and an pendant by Trudy Jeremias, Phoebe Allan holder "Delicate Balance" by Charlotte angular open macramé panel of gold and Blake's wide ring of gold set with four dia- Malten, a pinched and twisted covered jar beige by Mary Walker Phillips. A double- monds, Helen Kirschner's gold ring set with by Robert Sedestrom, a rugged slab pedestal woven drapery of blended beige, natural, blue zircon, Florence Nach Taylor's high pot by Leigh Glover, and a rough four- and greenish-gold by Muriel Barnes was domed silver ring, and Susan Wisherd's cast square planter by Hilda Hortens. Traditional outstanding among the fabrics, which also gold ring were particularly appealing. thrown pieces notable for glaze effects were included Beulah Weaver's upholstery ma- One-third of the twenty-two metal pieces Joseph Grebanier's celadon vase with strik- terial with verticals of gold, turquoise, and were boxes provided for the pills and para- ing splash of dark brown tenmoku, Doris green, colorful silk batik yardage by Libby phernalia of the anxious executive. A ster- Klein's lustrous reduction red plate, and MacGregor and Martha Miller, and an airy ling and gold cigarette box with curved lid Estelle Halper's small bottles with trailed striped and sheer textile in flaming orange and handle set with onyx won matte in turquoise, white, and cobalt blue. and gold by Walter Hausner. the $50 Dux Inc. award, and May Fieman's Only artful arrangement prevented the One of the top cash awards of $100, rectangular rosewood box with a cast silver large textile section of fifty-nine pieces from donated by Edwin L. Popper for glass, went ornament received a certificate of merit. An overwhelming the other crafts. A spectacu- to a fused glass painting by Ruth Maria unusual free-form box of bronze was shown lar shaggy rya rug "Year of Growth" (8' x Kilby, with only thirteen other pieces in by Claire Strauss, and the several pill con- 13') by Elaine Bohm won the $100 award competition. A second prize, the Dorothy tainers included a half dozen tiny silver from Wool Carpets of America. "Sanctity of Larson memorial award of $25, was given spheres, each set with a different semi- the Family Circle," a figurative batik on silk to a stained glass and aluminum sculpture precious stone by Inger Friis, and a larger by Ruth Jonas Bardin, received $25, the "Numbakula" by Lucille Sadwith. sphere with a gold inlay top by Margaret highest award open to all textiles. A semi- A collection of thirty-six pieces of jewelry Sussman. Torah pointers of sterling with abstract fabric collage of tree sprigs and competed for the major award of $50 interesting variations by Bernard Bernstein buds, "Spring #2" by Michiko Sato, and donated by Raymond Dwersky, which was and H. H. Goldstein were among several Elsa Rush's scarf woven of assorted yarns given to a gold choker with elath stones by ecclesiastical objects. gained certificates of merit. An innovation Julian Wolff. A gold tie bar and cufflink set The only enamel in a group of twelve to was a fur-lined coat of hand-dyed and with won a certificate of merit for receive an award was a large blue-green woven nubby wool in gold tones with yoke Barbara Miller. In keeping with the theme ashtray by Hilda Krauss, which won $25. and sleeves in a blend of reds by Karin of the show, Deborah Aguado designed a Among the other pieces were an opalescent Thies. Other colorful hangings were Sophia large rectangular pin suggesting a building, silvery pink, lavender, and aqua vase splashed with orange by Eleanor Levison and "By the Sea," a panel of glass and enamel on copper by Magnet Knapp. A beautifully designed and executed twenty- four inch wide jewelry chest of rosewood with three partitioned drawers by Michael Coffey won the $25 award in the "other crafts" category of eleven pieces. In addi- tion, his pedestal table of applewood re- ceived honorable mention. Coffey, who also exhibited a long walnut bench, and John Nance, who showed a rosewood and cherry conversation seat, a bench, and three- legged stool, are both welcome newcomers. If there were few electrifying exhibits, there were also a good many less questionable objects in this year's very pleasant, almost radiantly tasteful show. Even George Scat- chard's floor vase was so calmly callipygian that there wasn't a single thing you couldn't take home to mother—or grandmother, either. -DIDO SMITH

MUSEUM WEST by HELEN GIAMBRUNI

PRE-COLUMBIAN BANNERS, DeMena Gallery, New York; June 8-July 15: In a bid to get New York based textile industries to utilize prehistoric America's Critics, starting from the slim evidence of a rich sources of motifs, this exhibit presented banners by William Allen, with few artists like Tobey and Graves and push- hand-sewn or painted designs inspired by graffiti or rock scratchings of ancient ing for a nice, round generalization, often tribes from Arizona and California to Mexico, Virgin Islands, Puerto Rico, disregard opposing evidence to assert Costa Rica, Peru, and the Amazon. Shown is the detail of a cotton banner that Pacific Northwest painting is pervaded using designs of prehistoric pottery from Costa Rica. with the mystical spirit of the Orient. Al- though I have long regarded this particular point of view with suspicion, I realized, after seeing the "Northwest Ceramics" exhibition at San Francisco's Museum West (June 9- July 30), that I was, myself, persisting in naive if not wishful thinking in that I had expected the pottery of this area to have some sort of distinguishing regional flavor. Not so, and a similar experience not long ago in looking at crafts from the South Central region should have prepared me for what seems to be an almost univer- sal truth: that regional traits—if they exist at all-are far less significant in determin- ing the character of an area's art than whatever currents are abroad in the larger art world. (The more meaningful differ- ences between areas are qualitative, aris- ing largely from the presence or absence of major art centers and of immediate con- tact with important craftsmen.) Moreover- and in our mobile society this may also be commonplace—only a fraction of the twelve potters represented in the exhibition were natives of the Northwest, most having emigrated from elsewhere to teach in one of the local colleges or universities. As a whole the show was surprisingly Above: Stoneware "Boiler Pot" weak, considering that the Northwest has by Rudy Autio, in "Northwest Ceramics" a reputation as a major ceramics area. exhibition at Museum West. Formal imagination was in short supply, Right: Coil-built bottle by Sally and too much of the work was obviously Fletcher of Hawaii. 1 derivative, either of specific artists like Peter Voulkos or or of more generalized styles. subtle blending of form and surface color FOUR ARTIST-CRAFTSMEN OF HAWAII, The strongest and most personal artist and texture. Bottle forms and round forms Honolulu Academy of Arts, Honolulu, was Erik Gronborg (Reed College, Oregon), use a distinctive coil technique that creates Hawaii; May 5-June 11 a sculptor who has previously been better patterns of movement across and around known for his work in wood. Gronborg's the pieces. These movements in the table of dark wood and brightly glazed The major impression this show gave was clay are often under open patterns of tex- clay was outstanding. Really a fanciful one of unity due to the particularly astute tured ash glazes that run into the crevices sculpture, it was painted with assorted selection of four craftsmen working in dif- and fade into the form. stripes and irregular designs in purple, red, ferent media—Ruthadell Anderson (weav- The furniture of Tom Hirai is clean, well green, white, and silver, while its ceramic ing), Charlie Chow (wood carving), Sally proportioned, and shows attention to detail. top incorporated a silver luster "plate" and, Fletcher (pottery), and Tom Hirai (furniture). Often he incorporates canning in his pieces, along one end, a row of green vase shapes. The pieces on view reflected a sensibility as on the flat back and sides of an up- A completely different work by Raymond for subtle effect and respect for material. holstered walnut settee. Other large pieces Grimm (Portland State College, Oregon) Ruthadell Anderson's wall hangings and shown were a bar, a stereo cabinet, and a was equally remarkable, not, in this case, dividers are sensuous in their contrast of hikie, all in teak. Two table lamps repre- for its originality of conception but for its texture. Jute, sisal, wool, cotton, and syn- sented particularly interesting and success- quality. Th is was a straightforward covered thetic fibers are combined with wood, shim ful solutions to a problem that is usually jar of smoked, reduced stoneware with an brass, wire, and clay, but never in a forced poorly resolved. One, combining wood, iron bail, taut and perfectly proportioned manner. The dividers play on areas of glass, and bronze, was both simple and and with a subtle coloration of mauve, gray, transparency and opacity while the wall elegant. -ROGER LINTAULT green, and traces of orange. hangings are heavier and opaque. One Other works of interest were a four-piece hanging of closely keyed greens in wool, SIX GLASSBLOWERS, Centennial House bottle-actually four separate bottles tied jute, and wood slats is especially appeal- together-by Robert James (University of Barn Gallery, Deer Isle, Maine; July 21- ing for its rugged and unpretentious quality, August 16 Oregon); Washingtonian Jean Griffith's and a divider of black jute and orlon with iridescent green slab-constructed raku box; white electrical insulators is striking. and a compote and covered bowl by The carved wood bowls, platters, vases, Glass is pretty. No matter how bad the form Robert Sperry (University of Washington), and feelers of Charlie Chow reflect an in- is. That's its big hang-up. The performance both of stoneware with intricate designs in ventive and disciplined approach to form and the technical skill of glassblowing ex- gold enamel and colored glazes. Brother and materials. He rarely laminates, pre- ceed the results. Bruno Laverdiere, a Benedictine from ferring to work within the limits of a given Michael Boylen: Small bottles that look Wash ington, showed an enormous coil- piece of wood, and therefore his forms are like drips from a water tap. built, ash-glazed rum cask, fitted out with often extended horizontals or verticals. Marvin Lipofsky: Skillful glass organic- a wooden stopper and so thoroughly se- Chow uses locally available woods and object maker specializing in rich surface cured with iron hasp and wooden cross works them with great feeling for their grain techniques—sandblasting, metal plating, etc. pin, so begirded with mammoth rope, that and surface qualities. His long bowls ter- : The cause of it all. Small one might well conclude the monks' only minating in either one or two handles are sculptural forms and paperweights on stone permissible indulgences were correspond- exciting sculptural forms. and metal bases. ingly precious. Sally Fletcher's pottery is notable for its Joel Myers: Handsome, large clear oval who now is also a landscape artist, to man- together imaginative in form concept. The age a way to both ends. gold and silver necklaces possess a delicate Of course, the stoneware medium is ex- femininity, an intricacy of pattern, a light- actly right for earth and growth, and wheel- ness about them that provides a sensuous shapes with a colored organic form in- thrown shapes relate immediately, without appeal against skin or cloth. They are in- truding into the void. question to the rhythm and movement of timate in scale, with fine linkages to give the : Conceptualizes sensi- natural forms. But it takes another kind of forms mobility. tive bottle forms that extend far beyond the sensitivity to design and execute rugged or As a craftsman, he is disciplined and prevalent drippy-bubble school. He's good. delicate containers of proper size, shape, versatile in the several attitudes with which Norman Schulman: Overly represented and color to repeat or restate plant-lines or he approaches metals. In addition to jewelry with a variety of things on an unimpressive branch-angles-and with the knowledge of in a fine sense, he has made some excellent scale. A drippy expressionist in glass. how the plant will live and grow within utilitarian pieces, such as hooks for towels If I see another drippy glass bubble, I'm its confines. That Esta James has been doing or clothing, designed in handsome shapes going to blow my mind. —BOB ARNESON this for several years is attested by numer- of bronze and grouped effectively against ous collectors (in the Southern California oiled wood panels. Holloware and flatware area) of her carefully matured plants in in silver are also described by sureness and LETTER FROM LOS ANGELES their carefully related pots and by several refinement. Sets of forks and spoons are by BERNARD KESTER and other exhibits (Egg and I, Customhouse Gal- beautiful in their union of instrumental and lery). This, however, was her first oppor- aesthetic considerations, neglecting the tunity to show on large scale in natural bizarre and the decorative, but conceived A young potter-sculptor of first stature with a real feeling for Tightness, brevity. in formative and structural qualities of garden setting. major scale is Michael Arntz. As seen in his Although it may sometimes seem that This exhibition also demonstrated Alvin show at the Fleischer Anhalt Gallery (April the magnificence of a unique plant form Pine's feeling for the processes of wood. Playful utilitarian objects were restructured 1-30), there are two major concerns or a truly rare specimen overplays the pot, from old multiple-piece casting molds, re- throughout his work—a sense of mass, bold always there is sensitive integration and a finished and reassembled into delightful and simple, and a forceful concept of line, feeling of strength and power from even boxes of composite volumes, often elabo- whether it is used as surface decoration and trying to relate the two. Natural clay tex- rate in contour, oiled and rich in their enrichment, or whether it becomes a power- tures and colors combine with glazes toned laminated grains. Candlesticks, laminated ful means of construction, growing from down in reduction; carved out feet or cut and turned, were unique in the juxtaposi- and uniting large volumes of clay. out platforms serve varying drainage de- tion of obtuse angles and ogee curves. His work takes two directions. He builds mands; full-blown or close-structured pro- Fast maturing in his inventive handling unique pottery pieces in which unexpected files include space for long term root needs of his special medium, blown glass, Marvin choices of materials are imaginatively re- according to horticultural knowledge; and Lipofsky demonstrated at the Canyon Gal- lated to create fetish-like vessels. Here he there is surprising variety in the containers. lery (June 1-31) his unique form concepts combines fur with stoneware, leather, sensi- Each is its own complete statement, the in this fluid material. This exhibition con- tively selected bones hung in structural plant/pot combination, the plant having trasted his handsome containers, hollow patterns encircling a native urn. In contrast grown up with the pot, living now within volumes, against his solid forms of sculpture. stand monolithic closed forms, vigorous, the pot. Esta James' special talent is a com- Many of the containers were transparent, with linear appendages emerging and un- mitment in suspended time. some of iridescent and luster coloration, dulating throughout a central stable slab In his show at the Canyon Gallery (May and several of the most recent were opaque form, measuring up to six feet in height 1-31), Alvin Pine demonstrated throughout black. Contrasting surfaces were achieved and/or length. his work, in metal and wood, a very special through controlled sandblasting and elec- Esta James' synthesis of the pot-plant quality-consonance, the fitness of things. troplating. Throughout these containers he combination, as shown in the gardens of This implies the right material chosen for the right process and form, rightly suited manipulated the surfaces with patterns of the Los Angeles Building Exhibition Center knobs and projections. (April 17-May 5), culminates a long, decisive for a specific function. His jewelry is enormously wearable, enhancing, and al- More significant than his container forms struggle for this Alfred-educated potter,

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14K gold neckpiece by Alvin Pine, with pearls and garnets, on view in his solo exhibit at the Canyon Gallery in Los Angeles. Right: Stoneware by Esta James, also shown in Los Angeles. Left: "Africa," cardwoven wall hanging of linen and cotton by Lillian Elliot, from her show at San Francisco's Anneberg Gallery. Below: 's clay "Brick," 36" long, at, the "Ceramic Sculpture" exhibition staged by The Hansen Galleries

were his developments in sculpture. These effective constructions, although suspended LETTER FROM SAN FRANCISCO were solid, languid forms, often very thick, metal coils encircling glass balls or shells by ALAN R. MEISEL yet fluid, essentially linear in formal con- provided an alternate design. Together they cept. Less concern for articulating the sur- effected an earthbound orientation, rather faces, and more interest in a central, thrust- than one of lightness and air. Lillian Elliot's weaving show at the Anne- ing form, sometimes terminating in an elec- Rachel Miller's show at the Fleischer An- berg Gallery (May 2-June 1) consisted of troplated crown or base. Often these were halt Gallery (June 5-30) should have been an- hangings, mostly irregularly shaped, many more delicate in contour and coloration nounced in neon lights, to mark the debut cardwoven. The tone of the exhibition was than the containers, particularly a group of of a dynamic new talent, not quite defined, sculptural, and the best things had a mas- hanging, curving forms in smoked blues, still working in graduate school, but never- sive, heavily-knotted, soft, non-rigid quality. violets, pinks. theless a burst. There are others using clay Structural techniques were often am- Disciplined, rotund, sumptuous pots were out of its own context, without regard for biguous: the yarn substance was utilized, those of Philip Cornelius at the Ceeje traditional forms and function, but this girl without manufacturing it into what we tra- Galleries (June 1-31). This young potter has the inside track to abstract in a new ditionally consider fabric, in such a way that working in stoneware thrown forms effected vernacular. the original state of the yarn was more or theme and variation in a series of large pots, The forms are mostly of two types: less preserved. Images seemed to be in the twenty-four to thirty inches in height, each (1) large slab boxes of citadel style on square process of becoming, to be frozen in an similarly swelling into buoyant, yet con- feet and (2) flying shapes, round volumes active rather than a passive state. trolled form, and each covered with ex- with slab wings taking off atop tall conical Especially worthy of mention were "Af- treme domes for lids. The clay was a heavy pedestals. The colors are bright, the delinea- rica," a linen and cotton cardweaving and coarse vitreous orange which Cornelius tion strong and sharp, with engobe and stain incorporating little unglazed clay beads easily brought into formalized volumes, worked against the bisque on light clay, and suspended from a wood dowel, and glazed with neutrals, bleeding with mix- then covered in clear glaze and oxidation "Fallen Flag," a hanging made up of dan- tures of cobalt, irons, and rutile, in varying stoneware fired. gling intertwined strip segments. opacities revealing slip graffito and slip- The juxtaposition of solid simple painted The "Ceramic Sculpture" exhibition at The painted figurative images beneath. These shapes of color against big bold forms is Hansen Galleries' new quarters (May 30- were strong pottery pieces-firm, well- entirely Miller's own statement, out of her June 17) was largely a collection of monu- crafted, with especially fluid surfaces re- own time and even her Israeli citizenship, ments dedicated to trivia; as an assemblage sulting from very high firing. although local critics attributed her decora- of current imagery in clay, though, it was , with whom we have come tive derivation to various cultures from an impressive one. Struck speechless by this to associate (together with his potter-wife, Mexico to Africa, including the Eskimo. It array of twaddle transformed, it is necessary Gertrud) the most refined of traditional is a potter's palette, blue and yellow- for this reviewer to discard straight syntax bowl and bottle concepts of ceramic form, brown and green, black for accent, clay and assign the DESCRIPTIVE task to a mythi- showed a group of mobiles utilizing metal, for white, having oneness and vitality be- cal bumpkin in the hope that his verbal thread, glass, and sea shells at the Media cause it is. The sensitivity, the use of dra- circumnavigation of the subject will cause Gallery in Orange (June 1-31). Throughout matic tensions, and the idea power is an a visual impression to emerge. we saw the highly disciplined craftsman in artist's—and it wouldn't matter what You walk into this big room, see, and I'll the way these were constructed and hung. medium was chosen, really. The fact that be damned if there's not this big life-sized Essentially they were linear, and counter- this is clay and all clay gives energy to the alligator lying on the rug, all covered with balanced in formal structure. Threads lacing expression, magnifying the authority, in- shiny green slimy glaze, just lying there many opalescent shells comprised the most creasing the total capacity. sleeping or waiting or something. Some guy statements in satin metal, shiny black plas- The perfect "how-to-do-íf Exhibitions tic, twisted and/or compressed fragments of black rubber, and smaller plastic boxes book for beginner and named Gilhooly made it in big slab pieces within the outer plastic shells. Some of the professional and then put it together on the rug like elements were industrially-produced con- that. The same guy did a big green hippo- tainers of the type used for packaging pills potamus in the damndest eight-foot lily or small electronic accessories. There was pond with a lot of damn frogs all over it. an enormous amount of dignity in each of He named it "Emma Hippo Memorial." these pieces. One cannot resist imagining JEWELRY Next to the hippo there's this big damn one of these about eight feet high installed brick about a yard long with one end inside the Parthenon. WORK broken off, but it looks like it was broken There was a fascinating exhibition of the on purpose. Right where the brick factory jewelry of Karla Surendorf at the Arleigh usually stamps its name it says "Arneson." Gallery (June 7-July 2). Using bits of cor- There are a half dozen little bricks just roded toy fragments, hardware, eating like it on a pedestal a few feet away, but utensils, and other discarded objects, she they're not broken. converts them into assemblages to be worn. On the wall are the damndest pouches. "Robbery" combined a tintype photograph, Complete instructions in all the enamelling coin purse, lead frame, chain, and a St. processes including a visual step-by-step demon- They look like leather scabbards, but they're stration project that is particularly illuminating made of white clay. One of them's even Christopher's medal; "Dill's Best Vision" for the beginner. The author discusses basic glazed. They're by James Melchert. On the resulted from dismantling a pair of gold- techniques and devotes separate chapters to floor there's a model more than a yard framed eyeglasses and combining the parts cloisonné, champlevé, basse taille, dusted with a scrap of tin and beads of wood, enamels, and mosaics. "A valuable reference square of a bunch of artists sketching a work. Profusely illustrated, with a list of sup- woman and two horses in front of an adobe glass, and ivory. Each piece of jewelry pliers . . . Mr. Newble's handsome book is some- dwelling. The people are about six or eight seemed to assume a sensitive, relic-like thing to stir ambition and encourage initiative." inches high. Everything is covered with quality. —Newark News 32 pages of illustrations, 4 in color $6.95 kind of watery, shiny glazes. The model was made by Chris Unterseher. The same guy LETTER FROM PORTLAND made some little souvenir-like wall plaques, by KAY BOLLAM PRACTICAL ENAMELLING really nostalgic and sentimental, and they AND JEWELRY WORK have things written on them like "Charles by Brian Newble E. Hughes, Secretary of State, Receives a Summer in Portland saw galleries paying at- Delegation of Boy Scouts." That one's a tention to the empathy between crafts and 625 MadisoTHEn Ave.VIKIN, NewG York PRES, N. YS. 10022 plate with a lot of boy scouts in relief hold- interiors. Major production was the August ing flags and looking very solemn, as if it "Interiors-Exteriors '67" show at the Con- was really an important occasion. temporary Crafts Association, where the I just came across another plate on the Association and members of the Oregon wall, by Bob Arneson, and damned if it Chapter of the American Institute of In- doesn't have a relief sculpture of Arneson terior Designers joined forces in an educa- himself sitting very relaxed on a director's tional project relating crafts to home use. chair. Out of his head there's a comic-strip Success of the effort was proved when type balloon which shows that he's saying, daily attendance built steadily in spite of "Well—yes, I'd say that ceramics is the admission charges, to benefit both organi- world's most fascinating hobby—but. . . ." zations. The Crafts Association has a no I guess the tallest thing in the place is charge policy, and the Interior Designers John Mason's "Orange Totem," a big tree- produce only annual or biennial benefits like thing with branches, all glazed in sort for their scholarship fund. of a shiny peach-orange. R. E. Gasowski's Perhaps the most valuable lesson of this "Twenty Dollar Coldpiece" is a real-looking show for the citizen irked by limited home woman's torso made of clay covered with space was the installation itself, in which gold. It's got real stockings on, and it's kind each of twenty-eight vignettes, given only of upside down on a real cloth mattress that a few feet of floor space, managed to pre- kind of curves down the wall onto the serve its own entity and teach its own lesson floor, but the whole thing is only about two in the blending of texture, color, and form. feet or so high. There were two walls made As a craft exhibition, the show was not of clay. One was by F. Vredaparis, and it a display of trends. Local weavers, potters, was about six feet high but not very wide. and other craftsmen were told the purpose There were a lot of twisted, sandy, un- of the exhibit and asked to submit what glazed things sticking out of it. There was they felt would meet the need—and from a bigger wall by Harold Paris, and it had these entries and work at the Association's the damndest shapes sticking out, too, but gallery the interior designers made their I couldn't call them by name. choices. So much for bumpkinese. The designers were to show that con- Back again at The Hansen Galleries there temporary crafts have no quarrel with was a show of miniature sculpture called period furniture or antiques—that all can "The Little World of Harold Paris" (May live in harmony when the blend involves 30-June 24). Forced by reasons of health to both expertise and humor. With few excep- discontinue his involvement with large- tions the lesson was well presented. Errors scale metal casting, Paris has turned to tiny in judgment were on the side of too much images only a few inches high. Encased in rather than too little. little clear plastic room-like boxes were ex- The potters were best represented but ceedingly sensitive, monumental visual because many of their pieces served strictly Krister! Anderson's metalwork provided one-man shows during the summer. Charlotte Gevurtz' show indicated that she is most successful when her subject matter is abstract or semi-abstract. When paint is introduced as background color, its best ap- New pleasure plication is a watercolor wash effect. Kristen Anderson, unusually expert for her for the age (twenty-three), reveals her Nordic back- ground in the fine proportioning and sim- needle worker: plicity of design of both her holloware and delicate jewelry. She has especially good your guide to control of textures, achieved by hammering, and an imaginative approach to the finishes an increasingly on classic designs, such as her Turkish popular stitch coffee pot where brass surface is burnished and teak enhances the handle. She works in silver, gold, bronze, and pewter and seems Salt-glazed hanging planters by to understand each very well. Elizabeth Woodman, in Denver exhibit. fiorentine LETTER FROM DENVER EMBROIDERY functional needs (plant containers, fruit by WILLIAM C. ALEXANDER bowls, etc.), the weavers garnered more at- tention. Solange Kowert's rya rugs and wall hangings and Laurie Herrick's wall hang- When Paul Soldner's show closed at the ings and free-hanging mobile abstractions, University Memorial Center Gallery in combining reeds or metal with multi-hued Boulder, Colorado (April 1-12), only one yarns, showed these weavers' command of of the more than thirty pieces remained subtle color and respect for texture. Launa unsold. Such a warm reception was no more Sever's wall hangings and rugs introduced than was deserved by works of the caliber elements of humor. Tongue-in-cheek was shown. All of the pieces save one were raku, her hot pink, orange, and gold-green "Mask although the term seems somehow inade- of Expediency," in which thin threads quate to describe them. Soldner has re- BARBARA SNOOK could be pulled to alter the expression of tained only a portion of the technique of mouth and eyelashes. Other textile workers Oriental raku plus a good bit of the philos- were Monica Setziol, a newcomer to the ophy behind it. To these he has brought Florentine work, sometimes known as FLAME orBARGELLo field, Susan Barr, Florence Finnegan, and his own considerable talents and ingenuity, stitch, is one of the quickest Sybil Emerson. Surprise was Twila Alber, and the result is a new idiom all his own. and easiest forms of canvas sculptor turned weaver, who contributed Many of the pieces were functional or embroidery. Geometrical in a rug. semi-functional, such as branch pots and effect, abstract in pattern, for Potters in the show were Rudy Autio, platters, and some were purely sculptural. centuries this beautiful stitch whose big-scaled jars and pots enhanced All had a quiet reserve and a certain Tight- has been used for hangings, both interiors and exteriors; Ken Shores, ness. All exemplified the power of gentle upholstery, rugs and small persuasion which has become synonymous personal objects such as bags. whose entries represented almost every Now BARBARA SNOOK, an ex- period of his experience and progress; Ray with Paul Soldner. pert teacher, gives clear, sim- Grimm, who contributed a handsome, rich- Immediately following the Soldner show ple and detailed instructions ly hued terra-cotta wall panel. Howard was an exhibit by Elizabeth Woodman for 33 variations of the stitch Kottler's challenging ceramic forms were (April-May). The breadth of the show was and for 21 types of articles highlights, as were Marguerita Norrbo's amazing considering that all the works were for which it can be used. Co- mushrooms swarming over a silvered drift- of recent vintage. Porcelain, salt glaze, piously illustrated with dia- wood stump in a garden arrangement. Other stoneware, and raku were represented—all grams, sketches, black-and- well-known Northwest potters were Eric sympathetically handled. Most notable were white photographs and 6 color plates. FLORENTINE EM- Norstad, Jean Griffith, Virginia Wysel, Finn the salt-glazed pieces which show the ef- BROIDERY, the only available Lyngaard, Fred Sanders, David Shaner, Tom fects of Elizabeth Woodman's recent year guide to the stitch, is $8.50 McLaughlin, Carl Bass, Betty Feves, and in Italy on a Fulbright grant. These pots with at your bookstore—or use Robert Sperry. a Mediterranean flavor are a vigorous re- coupon. Decorative work was also provided by vival of the Etruscan form enhanced by the enamels from Lillian Skaggs and Paul bold treatment characteristic of the Wood- Michaels. Fine arts media entered the ex- man style. CHARLES SCRIBNER'S SONS hibit via sculptures by Tom Hardy, Al Dept. HH2, 597 Fifth Avenue Goldsby, Roy Setziol, and Robert Snider. New York, New York 10017 PAOLO DE POLI, Little Gallery, Museum of Please send me copies of Six symposiums utilizing the knowledge FLORENTINE EMBROIDERY at $8.50 Contemporary Crafts, New York; May 26- per copy. (Please add tax where of architect, landscape designer, interior de- September 10 necessary.) I understand that after a signer, and craftsman-drawn from local 10-day examination I may return this book for a full refund, if not fully sources and including national figures Jack satisfied. I enclose • money order Lenor Larsen and Harry Lawends, antiques Metallic bottles, blue-green cylinders, tall • check • charge my account authority-complemented the visual part of tubes that taper and flare, cones of ruby Name the exhibition. red, all striated with the unidirectional flow Address. At the Arts and Crafts Society, Laurie of their hammer marks—these are the City Herrick's handweaving (mentioned above), enamel vases of Paolo De Poli. Hardly the State Charlotte Gevurtz' stitchery panels, and kind of enameling that W.B. Yeats would -Zip Code. At her best, Pepi (a sister of architect Richard Neutra) invests her work with the DAVID KEYES, Udinotti Gallery, Scottsdale, searing power one feels in fourteenth cen- Arizona; April 10-May 20 tury Spanish Catalonian religious paintings. have "set upon a golden bough to sing" or Whether enamel on copper is a proper In his first one-man show, studio potter used to "keep a drowsy emperor awake" medium for painterly expression is this re- David Keyes exhibited an exciting variety as in his poem "Sailing to Byzantium." porter's personal reservation. The plaques of forms and techniques. Pieces ranged Rather, they speak to us of promises made are ambitiously large—three by four feet, from traditional bottle and bowl forms to by the machine, even though handcrafted; some of them—and certainly appropriate complex ceramic sculptures. He uses diver- of the hope for that new vision that came for architectural installations. Had I seen sified techniques: glazed, unglazed, and out of new industrial techniques. How ex- only the huge portrait heads—"Prophet," acrylic finishes for the thrown and slab- citing these simple forms must have been "Christ," "Miserere," and "Tat Twam Asi built forms. to that generation of young Europeans in- II"—I would have been impressed with the Consistently found in Keyes' work is a spired by the spirit of de Stijl or the Bau- impactful strength of the artist's vision. But delightful imaginative quality. There is a haus. Useful compliments to the architec- the insufficiently edited exhibition also in- feeling of Tolkein's Middle Earth, or of any ture of his friend Gio Ponti. cluded such decoratively insignificant work creative fairyland, in his watchtowers, with It is perhaps a tribute to De Poli, who as "Fish in Net," betraying an unselective small people emerging from the windows. was so instrumental in reintroducing to lack of caring on the part of an artist who Also imaginative, but more humorous, is Italy this old recalcitrant craft of enameling, allows herself to be represented by less- his medicine cabinet. Basically a slab-built that today his solutions of color, texture, than-best work. case, the cabinet is crammed full of wheel- and form in this medium are so glibly re- Unfortunately,, the comment holds thrown bottles, jars, and a toothpaste tube, produced by machine and factory in a equally true for daughter Elisabeth. Her with appropriately whimsical labels in art variety of other mediums. An unfortunate representational work in enamel on copper nouveau lettering. Resting in holders on effect of this is the invitation to compare: has a spontaneous ebullience at its best, the side of the cabinet are ceramic tooth- anodized aluminum is sometimes more akin to the lush flower paintings of Redon. brushes, and there is a towel rack fitted to brilliant than enamel, rippled glass can Her more abstract compositions, particu- the bottom of the cabinet. have more finish than these hand- larly "Red Labyrinth" and "Burning Bush," Exhibiting a similar quality of imagina- hammered surfaces; then, perhaps, overex- use the medium to its best advantage, the tion, but extremely graceful and classic in posure to a style tends to diminish our re- warmth of the see-through copper serving form, is a glazed covered jar with applied gard for it. Do we miss the excitement of as scaffolding to the imagery. But Elisabeth, coils. Keyes' large, thrown, rusty-orange presentiment that is inherent in these pieces too, has her lapses of taste, and one work, garden bottle, built up of overlapping slabs because their predictions have come to "Totem," had a non-art look that made it pinched together, is a more rough-textured, pass and are now commonplace? seem appropriate as a piece of pub-Tiki massive piece. Also in the show were slab- In any case, I think we have here an restaurant decor. built, glazed mirror frames with thrown artist whose basic nature is both romantic Judging from the variety and technical finials, candlesticks, and slab-built un- and earthy, yet who developed his style facility of their output, the Weixlgartner glazed planters. -WENDY BARKER at a time when precision and abstraction girls are as vigorous as they are talented. were very influential forces. The attempted (A curious inclusion in the exhibition was BILL BOYSEN, Manya's, Miami, Florida; amalgam of these disparate spirits is re- a group of letters from museums through- June 3-July 1 flected in the work. —PAUL HULTBERG out Europe and America thanking mother and daughter for contributions of their There was some very beautiful free-form PEPI WEIXLGARTNER-NEUTRA and ELISA- work. Pepi, whose late husband served as blown glass in this show of recent work BETH SODERBERG-WEIXLGARTNER, Art director of the Kunsthistor Staats Museum by Bill Boysen, a craft instructor at the Uni- Alliance, Philadelphia; June 14-August 18 in pre-Hitler days, undoubtedly learned early that few museums look gift works of versity of Southern Illinois at Carbondale. art in the mouth.) Boysen keeps his forms simple and un- Pepi Weixlgartner-Neutra and her daughter, One left this exhibition somewhat im- tortured, and all are rhythmical, though not Elisabeth Soderberg-Weixlgartner, are artist- pressed, and with slight indigestion—com- necessarily symmetrical. The soft colors are craftsmen whose major efforts are devoted parable to having had a multi-course all lovely, some clear, some opaque. to enamel on copper plaques, but who also Pennsylvania Dutch dinner. If it had been Nothing is completely conventional, yet do etchings, lithographs, tusche drawings, half as big and ambitious, it might have everything is attractive, and all the con- and stained glass windows. been more satisfying. -ELAINE BENSON tainers are eminently usable. —DORIS RENO

Ûndl&L . . . Tools and Supplies for Craftsmen Catalog available showing our complete line. MI NI-LI TE HIGH INTENSITY LAMP Price $1.00 deductible JEWELRY MAKING AN ALL AMERICAN PRODUCT from first order of $5.00 CHOICE OF COLORS: in durable wrinkle finish or more—sent without Black • Grey • Beige charge to requests Provides white, brilliant light equal to 150 Watts at 12". submitted on School or 15" Flexible gooseneck permits light in any position. SILVERSMITHING Advanced Engineering: organization letterhead. Long bulb life — rated for 200 hrs. actual test. Minimum heat — convection cooled shade. Maximum stability — weighted base. TOOL & SUPPLY COMPANY, INC. EXTRA DURABILITY -ALL METAL CONSTRUCTION ¿fcALLCRAFT FULLY U.L. APPROVED N. Y. Residents add State Sales Tax Send 250 (refundable on first order) for our illustrated catalog of Mail Orders and Correspondence Jewelers Findings; Kilns & Enameling supplies; Pewter, Copper & 215 Park Avenue • Hicktville, N. Y. 11101 ENAMELING- Sterling sheets, wires & circles; Silversmithing; Leathercraft; Chains, Phone 51S 433-1880 and 212 523-8177 Tubing, Gold Filled wire & sheet. New York Showroom as formerly fl Tools / Findings ANCHOR TOOL & SUPPLY CO.f INC. 15 West 45 Street • New York, N. Y. 10036 y Stones / Metals Phone: Circle 8-5888 CASTIN 12 JOHN STREET • NEW YORK, N. Y. 10038 DISTRIBUTORS FOR HANDY & HARMAN shaped "Bride," which somehow does ex- ALMA LESCH, Hand Work Shop, Richmond, press the fragility, tenderness, and even ig- Virginia; June 18-July 9 norance customarily attributed to the crea- THE ture. With acrylic fibers, beads, brass, iron, Often esoteric, Alma Lesch's intricately lead, and triple weave, plus the weaver's THIRTEEN crocheted and stitched fabric collages usual yarns and textures, her "people" do make individual and sometimes disturbing assume identity, some without needing to CRAFTSMEN statements. Familiar objects—such as but- be named. -ANNE MARGOLIS tons, old photos, a book cover, a faded The Thirteen Craftsmen, a ivory fan—take on incongruous form in her ALLIED CRAFTSMEN OF , Fine Pittsburgh, Pennsylvania, firm portraits "Eugenia," "Mary," and "Mrs. Arts Gallery, San Diego, California; April 30- which began operation this Burns." With a mysterious aura of sadness May 28 fall, is the first national organi- about them, the portraits seem as if they zation to offer American hand- should be covered with a thin veil of dust. The Allied Craftsmen's twenty-first spring crafts exclusively by mail A delightful change of pace is her color- exhibition was the group's largest and live- order. ful, whimsically grotesque "Gnome." Two liest show in recent years, containing a num- other hangings, "Joseph's Coat" and The Thirteen Craftsmen also ber of striking new works, a couple of new "David," are rich and colorful. Their forms names, and an abundance of bright colors. believe they are offering an- and colors are religious in feeling. Increasing the interest of an outstanding in- other first in this field, with Th is reviewer particularly liked a lap rug stallation was the fact that the exhibit fea- the publication of their first and a yellow hanging rug, both geometri- tured retrospective displays—recent pieces craft catalog in FULL COLOR. cally patterned in lively colors, sensitively and works of the past seven years—of many handled. —EMILY SCHAFFER of the members. Except where scattering Among the twenty-two lead- was needed to balance the overall organiza- ing designer-craftsmen repre- CHARLOTTE LINDGREN, Hopkins Center, tion, the works of each participating crafts- sented by The Thirteen Crafts- Dartmouth College, Hanover, New Hamp- man were presented as a sort of show within men are such famous names shire; April 26-May 20 the show. This brought the creativity of the as: Ng, Osolnik, Lietzke, Pear- artists into sharp focus and helped spotlight son, Drumm, Vogtman, Burke, their versatility and development. Ross, Butler, Colson, Going, In one beau geste, weaver Charlotte Lind- One of the exhibition's most spectacular Burstynowicz, plus many oth- gren of Halifax celebrated her country's works was a graceful rocking chair of pale ers who are well known on a centennial and reaffirmed Canada's neigh- oak, rich russet leather, and tan fur by borliness. Pieces exhibited were primarily Lawrence Hunter, who also had a fine game regional basis. woven sculpture, with a few wall hangings. table on display. Also excellent in the wood The color catalog not only Generally, there seemed to be a kind of category were "Pi," a huge, angular, sculp- introduces new works by fa- uninhibited joy about the show, due in part tural piece, and "Box Full of Cannons," a mous craftsmen (many on an to her sense of humor (as witness "Flap- symmetrical assemblage of richly toned and exclusive basis) but introduces per") and her use of colors ("King," textured rifle stocks, bits of balustrade and many new talented craftsmen "Water Carrier," "Prism"). Contributing to rope; both were by Keith Stephens. Phyllis this raffishness, however, were all the Wallen was represented by an intriguing, for the first time on a national bunched, curled, dangling, and dripping white-painted found-object assemblage and basis. For the color catalog ends on so many of the forms. One's fingers a smooth, delicate wood mobile. showing over 200 handmade itched to straighten, comb, and knot. Per- As in past shows, the richly colored, ro- objects of beauty from the haps it would be wiser to give these larger bustly textured, highly structural stitchery private studios of leading de- "sculptures" more room-a matter more for assemblages of Barbara Waszak dominated signer-craftsmen, send to: the exhibitor than the craftsman. the textile displays. Here she had two ocher At any rate, Charlotte Lindgren's years of pillows with built-out areas of yarns and study (in Canada, the U. S., and abroad) fu rs, and several large, complex wall hang- The Thirteen Craftsmen have produced some delightful objects that ings and a framed piece incorporating yarns, 904 Century Building utilize her medium beyond its traditional weaving, furs, leather, stones, buttons, rusty Pittsburgh, Pa. 15200 limits. Out of linen and snare wire she metal, weathered wood and twigs, and fas-

3zi cf 3ei±er> Butter METALS Karat Gold Free Price List Sterling will stay Thai way rntuJv lo7Uje.r* Gold Filled in one of Ron •Burle's hand&oTne- FINDINGS 71C.W stoneware. butter* dishes, designed, to~hold one 'A Ih. stick. Porcelain file on oiled, walnui base.. Cover in shades of russet AiicL SINCE 1898 mustard-green or russet a-nd crea-m. *9.SO each, -post jo3L.id. Send check or money order with color weeks deliveri TOOLS T. B. Hagstoz & Son Copper ' 'hancCcra.jis Pewter 709 Sansom St. Brass mw^ïs SUPPLIES Phila., Pa. 19106 Nickel Silver 315 M. E. 27« St. Miami. WorWa »3131 standards rather than because they were Exhibitions poorly woven. Conversely, those accepted sometimes tended to meet artistic standards cinating remnants of antique found objects. to the subordination of functional weav- Offering contrast to these rugged items ing standards. Best-in-show was "Autumn," were the simpler hangings and framed a golden yellow wall hanging with orange stitchery of Jane Chapman and Eve Gulick's block-printed leaf forms outlined in orange double-weave hangings and room dividers. mohair rya knots by Marcella Baumgaertner. The most exciting enamel exhibits were Some weavers hand dyed their wools be- those of Jackson and Ellamarie Woolley, fore weaving: Elizabeth Quist won an award both of whom join brilliant colors with su- for a rug entirely hand dyed, and Mary Ann perb designs. He was represented by earlier Gerlach won an award for a hand-dyed bed- figurative and later abstract wall plaques of spread and pillow. Sue Cerola's wall hang- enamel on copper, and a recent port-motif ing "Cobblestone Path" had curly tufts of "painting," titled "Dockside," of polyester deep purples and greens woven into a natu- on wood. Her framed enamel-on-copper wall ral wool background. Only one pillow won Iff* pieces were more geometric and non-objec- an award, "Snow Drifts in Canada" by Mer- tive, with two of them breaking away from iam Hammer with strips of black fur incor- " Cä/t s traditional square and rectangular surfaces. porated with heavy white wool. Two yard- « ft? Additional lively, decorative enamel ages won awards: one by Florence Lyon plaques, boxes, and dishes were provided used fine chenille with lace techniques and by Margaret Price, new member Margaret striped weft for evening blouses; Jean Scorgie used shades of aqua and turquoise Barlow, Barney Reid, and Kay Whitcomb. orlon and mohair for a double-weave coat A number of items highlighted the excel- A battery operated hobby drill fabric. lent exhibits of splendidly formed, glazed, "geared" to deliver the power Other award winners were Nora Schmidt needed for drilling metals and textured, and toned pots, bowls, vases, and for a knitted and twined rug, Jo LeMieux plastics used in model building. plates by potters Rhoda Lopez, James X-ACTO #376 CORDLESS POWER Gibbs, , Wayne Chap- for a woolen scarf with mohair overlay, and DRILL SET. Includes drill bit, grinder, man, Walter Chapman, Jean Balmer, Don Mary Slingluff for a small tapestry. Patricia center punch and two extra collets. Schaumberg, Frank Papworth, and Amy Swenson, Jean Stamsta, and Josephine $5.95 complete, in carrying case (less Donaldson. The latter had the biggest sin- Tenney won awards for their bright wool batteries). At fine hobby stores, or gle collection and some of the brightest and synthetic wall hangings as did Esther write: _ , m ¿jov pieces in a few shiny orange, red, blue, and Leahy with a triple-weave hanging in cotton x-acto.mc.ls green items that vividly stood out from the and Jean Chapman with a hanging using World's largest maker of hobby tools. matted and muted grays and earth tones of lace techniques and walnut slats. Dept. No. 16 48-41 Van Dam St. AC's customary clay ware. The outstanding Of the 106 entries submitted, Margaret Long Island City, N. Y. 11101 works were "Staccato," Jean Balmer's wall Richards, show judge, chose fifty. She felt hanging of vertical rows of bow tie-like that the overall quality of the work sub- strips connected by string; a rich brown mitted was very high and that color and stoneware water wall with ruggedly varied texture had been imaginatively used in a surfaces by Rhoda Lopez; Marg Loring's de- great many pieces. -JEAN SCORGIE lightful hanging bird feeder, sculptural "Totem For a Minotaur," and room divider of abstract natural clay forms and yellow ART MATERIALS jute; and a large, organic weed vase by Jim Bertil Vallien IMPORT Gibbs. (continued from page 12) with remarkable codec Other noteworthy objects among the ex- into which the glass is blown, allowing him tions of Japanese hand- hibits were thick hooked rugs with geomet- made paper. more control of the form. The cased pieces, ric designs and subtle colors by Dorothy • SAMPLEBOOK $2.00 with a thinner layer of color over thick Hicks; silver jewelry by Walter Chapman clear glass needed for his sandblasting pro- • CATALOG ON: and newcomer Genny Brown; an exquisite cess, require the skills of two gaffers, for Oriental art supply Appalachian dulcimer of ash, teak, and Woodcut tools they are made by blowing two separate Collage kit mahogany by Marg Loring; a soaring bubbles—one colored, the other clear— Folk art calendars wrought-iron candelabra by Jim Gibbs; and which are brought together and fused. The Stationery two abstract, welded steel sculptures with Art books pipe is then removed from the colored marvelous textures and quiet patinas by Batik dyes & equipment bubble, which is opened out and turned Joe Nyiri. -MARILYN HAGBERG (Send 25« for handling) back over the clear sphere. "This is time • EXHIBIT: consuming and expensive," Vallien says, Japanese modern prints "but it is the only way I can get a deep WISCONSIN FEDERATION OF HAND- and folk pottery color in an outer layer not too thick to cause WEAVERS, Charles Allis Art Library, Mil- 714 N. Wabash Ave. trouble in sandblasting." The strong hues Chicago, Illinois 60611 waukee, Wisconsin; May 6-June 4 he wants are not used in production, but he is able to add coloring agents to a pot Thirty-seven weavers from Wisconsin, Il- of crystal at the end of the melt before it linois, and Michigan were represented at is cleared out. IF YOU'RE MOVING the Wisconsin Federation of Handweaver's Vallien's greatest desire has been to make seventeenth annual show. The strong trend free-standing sculptures of crystal, and he Let us know at least 3 weeks in ad- toward weaving as an art form was evident has now evolved a sandcasting process, not only in the entries but in the judging using a simple, inexpensive system of wood vance—and you won't miss an issue as well. Most of the rejected pieces were boxes placed one on top of another, by of CRAFT HORIZONS. refused because they did not meet artistic which he can form sculptures about

\ eighteen inches high. The pieces, which are The usually cast upside down in several steps, S Art must be made rapidly to prevent the glass oHhe I Institute of Chicago in the lowest boxes from becoming too offers degree cold. Starting with a wood box packed with and slightly damp fine-grind English silica, Val- student-at-large lien presses out the forms he wants with his programs in hands or templates of any hard material, and fills the void with molten glass up to CERAMICS the level of the sand. An empty bottomless actual thickness of box is put on top of the first one, packed FLAT PATTERN & double-weight yarn with the silica, and a new imprint (which must have an adequate opening to the cast WEAVING DESIGN East House introduces piece below) is made and filled with more hot glass. Another empty box is added and and Really Lofty yarn the process repeated box by box until there This is the bold and brilliant accent you are several layers. For Vallien, seven or TEACHER EDUCATION couldn't get till now: a really thick, plushy eight castings are not unusual, but it is most yarn that sits up so high it's a whole element of design in itself. Pure wool, moth proof, important that the connection between the color-fast, lightweight and in the wild and glass castings be substantial enough to bear wonderful colors you expect from East House: the weight of the crystal mass below, which NATURAL MUSTARD PEACOCK BLUE BLACK YELLOW PURPLE it is to support. When the last layer of WHITE CHARTREUSE MAGENTA crystal is cast, the boxes and sand are care- ORANGE EMERALD GREEN TROPIC MAGENTA MOSS GREEN RED fully removed and the sculpture cooled Available in both single and double-weight. slowly in a kiln at five hundred degrees For samples of all colors and price list, centigrade. send for handling to: Dept. CR-5 Vallien's tendency to cantilever a crown of clustered cylinders or poise a sphere high Write or phone for catalog on a slender stalk of clay or glass is evident Phone: Area #312-236-7080 .east Address: Office of Admissions in these castings, which are composed by School of the means that permit little preplanning or Art Institute of Chicago house Michigan at Adams 300 Park Avenue South pause. The sensuous asymmetry, rippled Chicago, Illinois 60603 New York, N. Y. 10010/ shifts of surface, and softened curving con- Box #CH tours which give his forms a sense of flux appear again in these structures, but the CUT GEMS and ROUGH CRYSTALS bold bright tone has suffered a sea change suitable for fine jewelry. to a mood of mystery, an ethereal searching CLEVELAND Write for free gemstone price list. quality. Though gleaming polished areas INSTITUTE OF admit glimpses of light-gathering interiors, Supply Company these frosty crystal towers, rising tier above ART tier on thin shafts, seem to possess the in- 11141 East Boulevard P. O. Box 222 426 Marion Streot Cleveland, Ohio 44106 accessible density and amorphous corpo- Oceanside, New York 11572 catalog oh request Phon* 516 OR 8-3473 reality of frozen fog. Painting'Sculpture» Printmaking» Graphic Design Hours by Appointment These aery constructions and their color- Industrial Design* Photography • Silversmithing ful counterparts of Vallien's clay sculptures, Ceramics • Weaving »Textile Design* Enameling Teacher Training • DEGREES - SCHOLARSHIPS vivid in low-fire monochrome glazes of bright blue, yellow, or various reds, Courses for students of weav- ing, ceramics, metaism ¡thing, are gentle fantasies done with daring design, painting, graphics, JEFF SCHIANGER and delight. The abstract ceramic structures sculpture, and for graduates in architecture. Degrees offered: B.F.A., M.F.A., and M.Arch. ascend in an acrobatic elaboration of ribbed Accredited. Send for Catalog. CERAMICS and fluted bulbs that push into space, open- CRANBROOK ing out with the organic assurance of plants. 556 STRATTON RD. ACADEMY OF ART NEW ROCHELLE, N. Y. His inscrutable but appealing sphinx-like 500 LONE PINE RD. Ik animals wear an active armor of flowing BLOOMFIELD HILLS,MICH confectionary folds fashioned of rhythmic October 7-15 ridges of clay. Movement implicit in the CRAFT i q Different Courses in fluent forms of his ceramics and glass be- 1 HAYSTACK STUDENTS ' Crafts, Design & Art comes actual in Vallien's "Toy Sculpture," How to photograph designed for the waiting room of a chil- DEER ISLE MAINE LEAGUE Arts and Crafts Workshops BROCHURE AVAILABLE Oct. 14 and 21 dren's psychiatric clinic. This five and one- YWCA Open House Sept. 19, 5-9 p.m. half foot long bas-relief of wood lacquered ON REQUEST 840 8th Av. Classes Begin Sept. 21 at 51st N.Y. Men, Women, Teenagers. in several brilliant shades of yellow and 212-246-3700 Day, Eve. Catalog CH. red with blue accents has a variety of carved disks and glass inserts. Many of these can Your Fair Share Gift be turned, giving fascinating optical effects UNITED ) Works Many Wonders PE N L A N 0 while their built-in noisemakers produce SCHOOL OF CRAFTS THE UNITED WAY ringing, rattling, or other sounds. Others 27 million families benefit by child care, spin swiftly on bearings, blending into a family service, youth guidance, health programs, CATALOG UPON REQUEST rainbow of hues. "The children love to play disaster relief and services for the Armed Forces from 31,000 United Way agencies. PENLAND SCHOOL, Box C, Penland, N.C. 28765 with it," says Vallien. "To them it isn't sculpture, but another toy. The hospital is MAKE JEWELRY FOR PROFIT afraid the paint will be worn off, but in a NEW CATALOG SI WOODWORKER EARN BIG MONEY IN SPARE TIME! few years I'm going to repaint and replace Just like having a warehouse in your living room! things." Complete Catalog for Home Craftsman or Handy- One of Vallien's most important commis- man. Imported Woods, Veneers, SELL your creations for 2 to 5 times sions was a thirty-five foot long decoration Tools, Hardware, Lamp Parts, Legs, as much as you paid for them Top Quality Kiln Dried Woods, Kits This FREE CATALOG contains every- in wrought iron for the dining salon of the and other hard to find items. All at thing you need ... earring mountings, BARGAIN PRICES. Only 35

Philolaos has little desire to be anything The Weaver's Quarterly with A new idea: other than what he is. He enjoys the seam- SAMPLES OF THE MONTH ing and soldering of the stainless steel world NEW IDEAS Send stamped, self-addressed busi- and Practical Suggestions for Professional and ness size envelopes for as many as he is creating. His reputation makes steady Home Weavers, Teachers and Therapists, Textile you wish. Sent out every other month advances; although he is a long way from Designers—and all interested in textile crafts. showing new arrivals and close out bargains. being a world figure, he is known in Italy 1 yr. $5 2 yrs. $9 3 yrs. $12 Pan American & Foreign $1 yr. extra Regular sample cards: and France and, of course, in Greece, and Yarn Depot Stock Yarns & several of his sculptures have already been Custom Colors 1.50 purchased by Americans. He is orderly, in- Paternayan Persian and Crewel 1.00 Yarn Depot Swedish Imports .50 dustrious, and inventive. At the age of forty- Handweaver THE YARN DEPOT, INC. three, this skillful sculptor is engaged in & Craftsman 545 Sutter Street, San Francisco, Calif. 94102 creating art for architecture, making his own 220 FIFTH AVENUE, NEW YORK, N. Y. 10001 unique industrial designs, inventing new fountains without neglecting to plan pre- JEWELERS & SILVERSMITH cisely how the water is circulated and pro- SUPPLIES JadeIMPORTE, Sapphires, RubiesD , GEMSTONEEmeralds, Opals, AmberS , jected. When we last saw him, his sneakers Tools, Findings, Silver and Gold, Gem Stones Catseyes, Agates, Beads, Carved Flowers & Ani- mals, and many other stones. All imported and jeans were water-soaked from an im- Catalog on Request directly by us. Catalogue on request. promptu demonstration of a new fountain C. W. SOMERS & CO. theory. And he was smiling as we left, eager 387 WASHINGTON ST., BOSTON 8, MASS. FRANCI12449 ChandleS HOOVEr Boulevard R Distributor for Handy & Harman North Hollywood, Calif. 91607 to get back to business. H Indiana textiles, paintings, drawings, prints, ce- Calendar EVANSVILLE. At Museum of Arts and Sci- ramics, sculpture, and furniture from the ence, "Medieval Illuminated Manuscripts" Konantz-Benton-Minnich collection, begun Arkansas (AFA); Sept. 14-Oct. 5. in the Orient in the early 20th century; HEBER SPRINGS. Ozark Foothills Handicraft continuing. Guild's fall exhibition; Oct. 13-15. Iowa HINDSVILLE. At War Eagle Mills Farm, 14th CEDAR FALLS. At L'Atelier Galerie, weaving Annual Ozarks Arts and Crafts Fair; Oct. by Rachael Brown and Kristina Wilson; ST. LOUIS. At Craft Alliance Gallery, pot- 20-22. Sept. 11-29 . . . "Art and the Decorator"; tery by Raymond Grimm; Sept. 10-30 . . . Oct. 9-27 . . . holloware and jewelry by jewelry by Mary Lee; Oct. 1-31. Ronald Hickman; Nov. 6-24. California EUREKA. At Ingomar Gallery, ceramic sculp- Nebraska ture by Jolyon Hofsted; through Oct. 3. Kansas JOSLYN. At Art Museum, "Contemporary LOS ANGELES. At University of Southern LAWRENCE. At Union Building of Univer- European Tapestries"; Oct. 8-29. California, "Glass from Czechoslovakia" sity of Kansas, Kansas Designer Craftsman (Smithsonian); Oct. 14-Nov. 5. Exhibition; Oct. 8-Nov. 9. MONTECITO. At Galeria del Sol, mixed LOUISVILLE. At Junior Art Gallery, "Picasso: New Hampshire media by Ellamarie and Jackson Woolley; Ceramics and Graphics" (AFA); through HANOVER. At Dartmouth College, "Ceramic Oct. 8-Nov. 4. Oct. 2. Arts, USA" (Smithsonian); through Oct. 1. OAKLAND. At Craft Gallery of College of At Home Furnishings Festival, Inc., "Con- SHARON. At Arts Center, pottery by Vivika the Holy Names, handblown glass by Jim temporary Rugs from Argentina" (Smith- and Otto Heino; Sept. 16-Oct. 4 .. . medi- Wayne; Sept. 10-0ct. 15. sonian); Sept. 23-Oct. 15. eval English brass rubbings by Margaret Loos POMONA. At Los Angeles County Fair As- Spencer; Oct. 7-25. sociation, "Craftsmen of the City" (Smith- Maryland BALTIMORE. At The Potters Guild, ceramics sonian); Sept. 16-Oct. 8. New Jersey by Suzanne Hulquist, Jan Rattebury, and SACRAMENTO. At E.B. Crocker Art Gallery, MONTCLAIR. At Alicia Rahm Contemporary Virginia Cohen; Oct. 15-30. "150 Years of American Craftsmanship in Crafts, pottery by Jack Masson; Oct. 3-28. HAGERSTOWN. At Washington County Silver," from the collection of Samuel Kirk SOUTH ORANGE. At First Presbyterian and Museum of Fine Arts, "Cape Dorset: The & Son of Maryland; through Oct. 15. Trinity Church, First Mountain Crafters Arts of an Eskimo Community" (Smith- SAN DIEGO. At Fine Arts Gallery, exhibi- Show and Sale; Dec. 1-2. tion of Japanese cloisonné; Sept. 25-Oct. 1. sonian); Sept. 30-Nov. 26. SAN FRANCISCO. At Museum West, metals exhibition; Sept. 15-Oct. 22 . . . ceramics Massachusetts New Mexico by Mike Arntz and textiles by Glen Kauf- BOSTON. At Society of Architecture, 'The ALBUQUERQUE. At Aquinas Newman Cen- man; Oct. 27-Nov. 26. Architect Chooses Art"; Sept. 25-Oct. 31. ter of University of New Mexico, 2nd Bien- TOPANGA CANYON. At Canyon Gallery, a BROOKLINE. At Harlequin Shop, "Func- nial Southwest Ecclesiastical Arts and Crafts group show of functional ceramics; through tional Forms," presented by the Massachu- Show; Sept. 10-30. Oct. 6. setts Association of Craftsmen; through ARROYO SECO. At The Craft House, Sept. 29. ceramics by Paul Soldner; through Sept. 23. ... exhibition-sale of primitive art from the Connecticut CAMBRIDGE. At Massachusetts Institute of collection of Mr. and Mrs. Lawrence Frank; HARTFORD. At G. Fox Co., Society of Technology, "Calligraphy in Islamic Textiles" (Smithsonian); through Oct. 14. Sept. 17-Oct. 20. Connecticut Craftsmen's Fair; Oct. 24-28. LEXINGTON. At Arts and Crafts Society, an- SANTA FE. At Museum of New Mexico, nual fall fair of the Society; Nov. 17-18. "Southwestern Craftsmen's Competition- Florida WELLFLEET, CAPE COD. At D. E. Kendall Exhibition"; through Sept. 24 . . . "Indian JACKSONVILLE. At Cummer Gallery of Art, Art Galleries, group show of work by gallery Arts Invitational"; through Oct. 22. "Islamic Art from the Collection of Edwin artists and craftsmen; through Sept. 30. Binney, 3rd" (Smithsonian); Sept. 23-Oct. WORCESTER. At Craft Center, annual juried 22. New York exhibition of Massachusetts Association of GREENVALE, L. I. At Fine Arts Museum of TAMPA. At Art Center of the University of Craftsmen; Oct. 6-Nov. 4. Tampa, "Own Your Own," an exhibition of C. W. Post College, juried show in all media local crafts and fine arts; Dec. 1-31. by members of Long Island Craftsmen's Michigan Guild, Inc.; Oct. 15-Nov. 4. DETROIT. At Institute of Arts, "Islamic Rugs NEW ROCHELLE. At 556 Stratton Road, Georgia from the McMullan Collection" (Smithson- ceramics by Jeff Schlanger; Oct. 7-15. COLUMBUS. At Museum of Arts and Crafts, ian); through Oct. 1 ... 20th Exhibition for . At Museum of Contem- "Victorian Needlework" (Smithsonian); Oct. Michigan Artist-Craftsmen; Nov. 15-Dec. porary Crafts, "Stitching," (see page 26) 21-Nov. 12. 31. Main Gallery; ceramics by Howard Kottler, YPSILANTI. At Sill Hall Gallery of Eastern Little Gallery; "Art in Worship," Second Hawaii Michigan University, invitational exhibition Floor Gallery; Sept. 22-Nov. 5. HONOLULU. At Ala Moana Center, Lanai of wood, metal, and fiber; Oct. 4-28. At Union Carbide Building, Centennial Ex- Exhibit Area, "Hawaii Craftsmen Annual"; hibition of the College Museum of Hamp- Oct. 12-21. Minnesota ton Institute, featuring selections from its DULUTH. At University of Minnesota, "Liv- African, American Indian, and Oceania col- Illinois ing with Wood" (Smithsonian); through lections; Nov. 7-25. CHICAGO. At Art Institute, an exhibition Oct. 8. At Greenwich House Pottery, group show of American coverlets; through Oct. 29. MINNEAPOLIS. At Walker Art Center, "Art including ceramics by Elaine Bohm, Edward At Art Department of Public Library, hand- of the Congo"; Nov. 4-Dec. 31. Eichel, Sally Ann Endleman, Halina Mantel, crafted greeting cards and paperweights by ST. JOSEPH. At College of St Benedict, Gerry Norton; Oct. 20-Nov. 4 ... "Ceramics Dorothy Lou Johnson; through Sept. 30. compages by Golda Lewis; Oct. 1-31. from the Far East" from the collection of SPRINGFIELD. At State Museum, stitchery by ST. PAUL. At Art Center, "American Bird Robert Stuff; Nov. 10-22 ... Christmas show Priscilla Garrett Young; Nov. 4-26. Decoys"; Sept. 28-Oct. 31 ... a show of and sale; Dec. 1-23. At Madison Square Garden, National Arts Texas Museum at its Gallery, Nov. 5-29. Open to and Antiques Festival, including the work DALLAS. At Search Inc., handblown glass craftsmen living within a 75-mile radius of of 150 contemporary craftsmen from all by Patricia Esch; Sept. 17-Oct. 7. that city who work in textile arts, printed parts of the U.S. and eight foreign nations; fabrics, metal arts, fired arts, and mixed Nov. 15-21. Virginia media. Jury: potter Jack Masson, jeweler At Museum of Modern Art, "Recent Acqui- RESTON. At Heron House Gallery, ceramics Frances Boothby, weaver Glory Koehler. sitions: Design Collection," a selection of by Dimitry Varley; Oct. 7-22. Entry Fee: $3. Work to be delivered to the some 35 items ranging from furniture to WILLIAMSBURG. At Abby Aldrich Rocke- Gallery Oct. 26-28. For further information, electrical equipment, toys, crafts, etc., ac- feller Folk Art Collection, "Native Art from write: Schenectady Museum, 37 Steuben quired during the last five years; Sept. 26- Haiti" (Smithsonian); Sept. 16-Nov. 26. Street, Schenectady, New York 12307. Jan. 1 . . . "Sculpture of Picasso," a com- plete survey of more than 200 works in Washington bronze, wood, terra cotta, ceramics, and SEATTLE. At Allen's Fifth Avenue, Jewelry OWN YOUR OWN, annual exhibition at painted sheet metal; Oct. 11-Jan. 1. Design Exhibition; Sept. 11-30. Southern Colorado State College, Nov. 12- SCHENECTADY. At Schenectady Museum 19. Open to residents of Colorado, Wy- Gallery, 1st Greater Schenectady Biennial Wisconsin oming, Montana, and New Mexico in the Craft Exhibition; Nov. 5-29. MILWAUKEE. At Art Center, "Art Treasures fields of ceramics, textiles, sculpture, STONYBROOK, L. I. At Suffolk Museum, of Turkey" (Smithsonian); through Oct. 15. painting. Work due: Nov. 3. For particu- "Crafts Image '67/' an exhibition of work lars, write: Chairman, Art Department, Canada by members of the Long Island Craftsmen's Southern Colorado State College, Pueblo, NEW BRUNSWICK. At New Brunswick Guild; Aug. 6-Sept. 17. Colorado 81005. Museum, "Embroideries by Children of UTICA. At Munson-Williams-Proctor Insti- Chijnaya" (Smithsonian); Sept. 23-Oct. 15. tute, exhibition of archaic and ancient art; TORONTO, ONTARIO. At Canadian Guild ROCKFORD ART ASSOCIATION'S 31st an- through Sept. 30. of Potters, ceramics by Michael Henry; nual craft show at Burpee Gallery of Art, WOODSTOCK. At Guild Gallery, all media through Sept. 29 . . . ceramics by Ed Dra- Dec. 3-Jan. 3. Open to craftsmen of Illinois, exhibition; Sept. 29-Oct. 28. hanchuk; Oct. 6-28 . . . annual sale of Indiana, Michigan, Iowa, Wisconsin, and Canadian Guild of Potters; Nov. 16-18. Minnesota. Jury. Prizes. Mailed entries North Carolina At University of Toronto, "Calligraphy in should be received the week of Nov. 6. For CHARLOTTE. At Mint Museum, 5th Annual Islamic Textiles" (Smithsonian); Oct. 28- additional information, write: Burpee Gal- Piedmont Craft Exhibition; Nov. 5-29. Nov. 19. lery of Art, 737 North Main Street, Rockford, Illinois 61103. Ohio AKRON. At Art Institute, "Summit Area LITURGICAL ART 1, an exhibition of li- Potters," a contrast of historical and con- turgical and religious works in all media temporary styles; Oct. 10-Nov. 21. by artists and craftsmen of Ohio only, at CLEVELAND. At Public Library Art Gallery, Where to Show the Schumacher Gallery of Capital Univer- show of Oriental art; through Nov. 17. National sity, Columbus, Ohio, Dec. 1-17. Juror. At Lakewood Civic Art Gallery, an exhibi- AMERICAN JEWELRY TODAY, 3rd biennial Cash prizes and purchase awards. Entries tion of primitive art; through Oct. 5. jewelry competition-exhibition, at Everhart due: Nov. 20-22. Entry fee: $3. For pro- Museum, Nov. 1-30. Open to any craftsman spectus, write: The Liturgical Art Guild, 205 Pennsylvania residing in U.S.A. Entries must have been East Broad Street, Columbus, Ohio 43215. SCRANTON. At Everhart Museum, "Ameri- completed within the past two years. Juror can Jewelry Today"; Nov. 1-30. is Olaf Skoogfors, assistant professor at SWARTHMORE. At The Hogan Gallery, TENNESSEE ARTIST CRAFTSMEN ASSOCIA- Philadelphia College of Art. Awards. En- pottery by Robert and Paula Winokur and TION'S 2nd biennial competitive exhibition tries due prior to Oct. 6. Fee: $3. Write: weaving by Louise Todd; Sept. 29-Oct. 28. at Hunter Art Gallery, Chattanooga, Ten- American Jewelry Today, Everhart Museum, YORK. At York junior College, "Fiber, Fabric nessee, Feb. 4-25. All Tennessee craftsmen Nay Aug Park, Scranton, Pennsylvania 18510. and Form" (Smithsonian); Oct. 28-Nov. 19. are invited to participate. Jury. Prizes. En- tries due: Jan. 15-20. Fee: $5. For entry Regional blanks, write: Bets Ramsey, 1140 James, South Carolina PIEDMONT CRAFT EXHIBITION, 5th annual Signal Mountain, Tennessee 37377. GREENVILLE. At County Museum of Art, at Mint Museum of Art, Nov. 5-29. Compe- "Fiber, Fabric and Form" (Smithsonian); tition is open to residents of Alabama, Sept. 23-Oct. 15. Florida, Georgia, Kentucky, Louisiana, Mis- BEAUX ARTS DESIGNER/CRAFTSMEN OF HILTON HEAD ISLAND. At Carolina Low- sissippi, North and South Carolina, Tennes- OHIO 4th biennial exhibition, sponsored by country Historical Foundation, "American see, Virginia, and West Virginia. Juror is The Columbus Gallery of Fine Arts, at the Furniture" (Smithsonian); Oct. 28-Nov. 19. Earl McCutchen, professor of art at Univer- Gallery, Mar. 22-Apr. 28. A competitive show sity of Georgia. Deadline for entry: Oct. 11. for designer-craftsmen of Ohio in almost Tennessee Write: Mint Museum of Art, Box 6011, all media. Juror is Olaf Skoogfors, pro- GATLINBURG. At Auditorium, Craftsman's Charlotte, North Carolina 28207. fessor of dimensional design at Philadelphia Fair of the Southern Highlands; Oct. 17-21. College of Art. Cash prizes. Work due: Feb. MEMPHIS. At Brooks Memorial Art Gallery, SCHENECTADY CRAFT EXHIBITION, first 16-18. For additional information, write: "Rugs from the McMullan Collection" biennial show sponsored by the Designer The Columbus Gallery of Fine Arts, 480 (Smithsonian); Oct. 14-Nov. 12. Craftsmen's Council of the Schenectady East Broad Street, Columbus, Ohio 43215.

PHOTO CREDITS: Page 8, 9,10,11,12 (bottom), 13 Ola Terje for Skane-Reportage; 12 (top) Marion Triesault; 22, 23 Simmons-Beal, Inc.; 24 Louis Schnakenburg; 25 color plates courtesy Mobilia, Sweden; 26, 27, 28, 29, 30, 31 Louis Mervar; 32, 33 (bottom) Boccardi; 33 (top) E. M. Benson. Craftsman's Market Place The charge for classified advertisements is 50 cents a word, payable in advance. Deadline is tenth of month preceding issue. When figuring number of words be sure to include name and address. For example, A. B. Smith is three words. Minimum ad 15 words.

SUPPLIES FOR SALE CRAFTS-WHOLESALE

NEW CATALOG of professional quality, For sale—STAINED GLASS BUSINESS com- "Things" from Red Mountain, Arlington, hard-to-find tools for work in wood, metal, plete, suitable for one, two, or three people. Vermont 05250. Originals by Charmion. glass, jewelry, miniature. Send 250 to IMMEDIATE SALE OR RENT/OPTION TO Weaving, silk screening, appliqué. Pillows, BROOKSTONE Co., 2740 River Road, Worth- BUY. Studio and attached three bedroom toys, hot mats, etc. PERMANENT SHOW- ington, Massachusetts 01098. house. In charming small town 30 minutes ROOM: Foley & Robinson, 225 Fifth Ave- from New York City. Write: Castle Hill nue, New York. Wholesale shops and gal- Copper enameling, jewelry findings, metal- Studio, 92 Main, Tappan, New York 10989. leries only. work, stained glass, ceramics, plastics. Cata- Mt. Olympus shepherd coats. Handwoven Handcrafts, jewelry, feathers, flowers, log, 500. BERGEN ARTS & CRAFTS, Box 689h, from natural white wool by shepherds of Christmas materials. Discount catalog, 500 Salem, Massachusetts 01970. northern Greece. Very warm, good looking, (refundable). Boycan's, CH-10, Sharon, genuine. Ladies' sizes small, medium. $55. Pennsylvania 16146. SCHAUER VIENNESE ENAMELS for copper, Write 23 Magnus Avenue, Somerville, Mass- silver, and gold. Distributor: NORBERT L. achusetts 02143. COCHRAN, 2540 South Fletcher Avenue, JEWELRY FOR SALE Fernandina Beach, Florida 32034. UNUSUAL CHRISTMAS CARDS on usual themes, artist-designed and silkscreened by Prize-winning welded silver and gold ani- PINE CONES. 50 species. Deodars, wood- hand. Enveloped set of 16 assorted designs- mals, sunbursts, earrings; many new welded roses, lotus, Hawaiian decoratives, supplies. holly, tree, cat, dove, Madonna and child, bronze designs. Catalog on request. Anne Booklet, 250. WESTERN CONES, Corvallis, Santa, Peace—$4.50, postage included. 20% R. Dick, Box 175, Pt. Reyes Station, Cali- Oregon 97330. discount for early orders of 100 or more. fornia 94956. Workshop open 10 to 6 daily. Just beyond FREE PRICE LIST. Stained glass, hobby sup- Brooklyn Bridge. Design Wise, 219 Court plies, tools, novelties. Whittemore-Durgin, Street, Brooklyn, New York 11201. Tele- INSTRUCTION Dept. 14, 147 Water Street, Quincy, Massa- phone: 834-0764. THERAPY CRAFTS, five unusual craft proj- chusetts 02169. ects each issue. Bi-monthly, $7.50. Single copy, $1.35. Marion Burr Sober, Joy Road FREE SAMPLE AND LITERATURE. New im- Studio-3, Plymouth, Michigan 48170. ported plywood from Finland. Ideally suited CRAFT HORIZONS BINDERS for BLOCK PRINTING. Stewart Industries, Good quality, heavyweight, imitation leather 6520 North Hoyne, Chicago, Illinois 60645. binders available. Keep your copies of WANTED TO BUY CRAFT HORIZONS, through the March/April Used silversmithing tools for hand smithing. BEESWAX, CARNUABA and other waxes, 1966 issue, fresh and always at your finger Vises, hammers, brackets, heads, stakes, Candle Craft and Driftwood Polish (new tips. Each binder holds six issues. Deep red forged hammers. Contact DeCordova Mu- easy, effective way to polish all kinds of with CRAFT HORIZONS' name embossed in seum, Lincoln, Massachusetts 01773. driftwood). Catalog, 250 (refundable). Barker gold. $4.70 postpaid. Write: Craft Horizons Enterprises, Dept. CH, 3422 Harbor South- Binders, 44 West 53rd Street, New York, west, Seattle, Washington 98126. N. Y. 10019. CRAFT OUTLET New shearing of wool in natural white, Exclusive shop handling only handcrafts and brown, and gray at 500 a lb. The Jay Ham- decorative art needs merchandise on con- bidge Art Foundation, Rabun Gap, Georgia OF INTEREST TO LEATHERWORKERS signment. "The Unique," 21V2 East Bijou, 30568. FREE "Make 'Em and Save Leathercraft Idea Colorado Springs, Colorado 80902. ENAMELING TOOLS: Trivets, Stilts, Planches, Manual." Tandy Leather Company, 1001 Foch, N61, Fort Worth, Texas 76107. Press Plates, Sifters. Write, SEAIRE, 17909 FOR COIN COLLECTORS So. Hobart Boulevard, Gardena, California 90247. COLLECT COINS for profit! How to start, BOOKS where to sell. Lists of valuable coins. Check your change! Send $1.00 to Munsterman Gifts, 4905 Hedges, Kansas City, Missouri CRAFT HORIZONS CHECKLIST CRAFT PAINTING MANUALS: Complete in- structions for "Tole and Furniture Decora- 64133. BACK COPIES of CRAFT HORIZONS may tion" and "Theorem Painting on Velvet." be ordered from handy Contents Checklist. Each $1.50. Both for $2.80. Ann Butler, Box Checklist describes articles appearing during 166, Mt. Kisco, New York 10549. OF INTEREST TO WEAVERS the past eighteen years under separate craft "Working Guidelines in Arts and Crafts," 45 PURE WOOL WEAVING YARN on cones, classifications. Send 350 handling charge for direct from factory. Matching colors in 2-ply COMPLETE list through June 1966. Write: splendidly-illustrated pages of background information and related projects. Highly knitting. $3.90 per Ib., delivered duty paid. CRAFT HORIZONS, 44 West 53rd Street, BRIGGS & LITTLE'S WOOLEN MILL LTD., New York, N. Y. 10019. praised for classroom and individual use. $2.50 postpaid. Box 7671, CRAFT HORI- York Mills, Harvey Station, N.B., Canada. ZONS. SPECIAL STUDENT RATES TEACHING POSITION WANTED TEACHERS of recognized arts and crafts PRIMITIVE ART Foremost Italian ceramic sculptor seeks schools are invited to send for details about teaching position in the United States at a special subscription rates to CRAFT HORI- New Guinea, Africa, Oceania—many carv- university or art school, preferably on the ZONS, available to their students. Please ings. Rare—but reasonable. Gift & art shops, East Coast, for period of one academic year write on school letterhead to: Membership galleries supplied wholesale (request on or less. Send full details to Box 9671, CRAFT Dept., CRAFT HORIZONS of the ACC, 44 letterhead). Seven Seas Arts, 1254 East HORIZONS, 16 East 52nd Street, New York, West 53rd Street, New York, N.Y. 10019. Miner, Mayfield Hts., Ohio 44124. N.Y. 10022. To better* serve tlie C^eramic^lrtfiel d ^^ new plant wi tkexpan act leó anid equipment