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Full text of "An Illustrated Annual Of Works By American Artists And Craft Workers"

This Volume is for 
REFERENCE USE ONLY 




KANSAS CITY, MO PUBLIC LIBRARY 




D 0001 




R Its unquestionably one 
of the purest and highest ele- 
ments in human happiness. It 
trains the mind through the eye, 
and the eye through the mind. 
As the sun colors flowers, so 
does art color life." 

-LUBBOCK. 



An Illustrated Annual 
of Works ly American 
Artists & Craft Workers 




EDWARD M. ERICSON 
MANAGING DIRECTOR 

1915-1916 



Price, Fifty Cents 



The Artists Guild Galleries 
412 Soutk Michigan Boulevard 
Fine Arts Building ' ' Chicago 



THE ARTISTS GUILD 







The ArtistS Guild, Fine Arts Building 
412 South Michigan Boulevard, Chicago, Illinois 



FINE ARTS BUILDING 

THE ARTISTS GUILD 

Its Unusual Position and Policies 

ART PATRONS and Art lovers of Chicago long 
JL** have recognized the need of a permanent gallery 
where they might purchase paintings and art objects 
of approved merit. In the same degree artists have 
known the necessity of some direct and established 
method of presenting their works to the public. A 
gap existed between the artist and the Art buyer until 
in 1911, when The Artists Guild was organized to 
bridge it. Briefly stated, the artists' idea was to league 
together in a co-operative body, secure display and 
sales galleries and offer the best Art works at the 
same price as the work would command if bought 
direct from the artist. From the start the plan has 
been a success. 

Security for the purchaser, unquestionable high 
standard of Art works and elimination of all unneces- 
sary expenses and profits, so that the buyer may feel 
sure of the highest intrinsic values, are the principles 
on which the artists built this institution. Recogniz- 
ing that assured permanence is a strong feature in 
establishing confidence, their first step was to secure 
Guarantors and Life and Associate Members, so that 
during the period of making the public's acquaintance 
there might be no doubts about existence. 

To insure the merit of all works to be sold a jury 
of selection was formed, capable of deciding on the 
quality of paintings, jewelry and all Art and Craft 
productions. The question of price has no bearing 
on the work of the jury and our patrons often have 
expressed delight at finding how many truly beautiful 
and artistic works can be found here at reasonable 
prices. Artists joining the Guild must have estab- 

Page Five 



THE ARTISTS GUILD 

lished a reputation either here or abroad. Acceptance 
of an artist's work by the Art Institute of Chicago 
often is used as a criterion, but any artist whose exam- 
ples are approved by the jury is eligible. Neither is 
the membership strictly localized. 

Giving the patron complete Art value has been 
accomplished by a simple and efficient method of 
administration. The corporation pays neither profit 
nor dividend to anyone. The Art works are handled 
with a minimum of expense, so that the purchaser 
receives a fullness of value not obtainable from the 
ordinary business organization. All affairs are admin- 
istered without financial remuneration by a Board of 
Directors and Officers who are ex-officio members of 
the Board. An Executive Committee conducts all 
business affairs, subject to the control of the Board 
of Directors. The Secretary alone receives a salary. 
Actual sales and direction of the galleries rests with 
the Secretary, who is retained as Managing Director. 

Increased sales since the beginning, and especially 
during the past two years, show how genuinely the 
public appreciates good paintings and hand-wrought 
objects. Givers who love to offer what is "exquisite 
and rare rather than what is merely precious" seem 
to be our especial friends, and for those who prefer 
having their selections seconded by the most expert 
opinion The Artists Guild offers straight judgment 
unbiased by consideration of profit. 

This spirit pervading the entire plan has impressed 
our visitors almost as forcibly as the great beauty of 
the Art works themselves until patrons have come to 
feel a deep personal interest in The Artists Guild. 
That is the best fulfillment of the artist's idea. He has 
brought his choicest creations here and given them a 
home where you may come and take delight in them. 

Page Six 



FINE ARTS BUILDING 

He feels that the galleries are more for you than for 
him and he welcomes you accordingly. Perhaps 
nowhere else in the world is commercialism so little 
felt, nowhere else could one feel more at home in 
viewing and touching exquisite objects, whether with 
the purpose of immediate purchase or to lay plans for 
the happiness of possessing some of them in the future. 

The Artists Guild now occupies ground floor gal- 
leries in the Fine Arts building in Michigan Boulevard, 
a situation accessible and beautiful. The name of The 
Fine Arts Shop of Chicago, under which the organiza- 
tion was formulated, is giving way to the more appro- 
priate title of The Artists Guild. The Fine Arts Shop 
and The Artists Guild have always been identical. 

A study of this annual will reveal familiar and 
famous names and reproductions that are splendid 
reminders in monochrome of the originals which you 
may see any day at The Artists Guild Galleries. The 
book is designed to be an Art treasure in itself and is 
intended for those who will preserve it in their libra- 
ries, not only for use as a purchasing guide, but for the 
actual enjoyment of its pages. 

GORDON ST. CLAIR. 



Page Seven 



THE ARTISTS GUILD 



Objects 



The objects of The Artists Guild are: 

(a) To encourage, develop and foster a higher standard of 
craftsmanship. 

(b) To promote the creation and sale of art. 

(c) To maintain a permanent salesroom in Chicago for the 
sale of the works of its members. 

(d) To maintain a bureau of information for artists, crafts- 
men and clients. 



Membership 



The membership consists of three classes: Professional, 
Associate and Life. 

Professional Members are Artists and Workers of Hand- 
Wrought Objects who have been favorably passed upon by 
the Executive Board and who have paid an entrance fee of 
twenty-five dollars ($25.00) and who pay ten dollars ($10.00) 
annual dues 

Non-resident Workers of Hand-Wrought Objects shall pay 
an entrance fee of fifteen dollars ($15.00) and three dollars 
($3.00) annual dues. 

Life Members are Laymen who have been favorably 
passed upon by the Executive Board and who have paid one 
hundred dollars ($100.00) into the treasury of The Artists 
Guild. 

Associate Members are persons interested in the promo- 
tion of the works of Artists and Craftsmen, who pay an 
annual due of ten dollars ($10.00), and who have been 
approved by the Executive Board. 

Page Eight 



FINE ARTS BUILDING 



Frank A. Werner 
James H. Winn 
F. R. Harper 
Edward M. Ericson 



Officers 



President 

Vice-President 

Treasurer 

Secretary 



Executive Board 



Edward B. Butler 
Charles C. Curtiss 
Edward M. Ericson 
William O Goodman 



F. R. Harper 
Lawton Parker 
George H. Trautmann 
Frank A. Werner 



James H. Winn 



Board of Directors 



A. E. Albright 
Louis Betts 
C. E. Boutwood 
E. B. Butler 
Charles C. Curtiss 
Charles W. Dahlgreen 
Edward M. Encson 
William O. Goodman 
Lucie Hartrath 



F. R. Harper 
Wilson Irvine 
Lawton Parker 
Jessie Preston 
Anna L. Stacey 
George H. Trautmann 
Carolyn D. Tyler 
Frank A. Werner 
James H. Winn 



Page Nine 



THE ARTISTS GUILD 



Guarantors 

/~\UR GUARANTORS have generously agreed to 

^-^ contribute a stipulated amount as a guarantee 
fund to assist in financing The Artists Guild so as to 
insure permanent success. 



Edward B. Butler 
Charles R. Crane 
Fritz Von Frantzius 
William O. Goodman 
Henry C. Lytton 
C. G. Macklin 
Mrs. Harold McCormick 
Ira Nelson Morris 
Mrs. M. L. Rothschild 
F. W. Rueckheim 
Martin A. Ryerson 
Homer A. Stillwell 
John Suster 
Charles H. Swift 
Edward F. Swift 
Mrs. Lyman A. Walton 
Mrs. H. M. Wilmarth 
William Wrigley, Jr 



3408 Michigan Ave., Chicago 

2559 Michigan Ave., Chicago 

124 South LaSalle St., Chicago 

5026 Greenwood Ave., Chicago 

2700 Prairie Ave., Chicago 

Kenilworth, Illinois 

1000 Lake Shore Drive, Chicago 

1400 Lake Shore Drive, Chicago 

3725 Michigan Ave., Chicago 

4201 Vincennes Ave., Chicago 

4851 Drexel Blvd., Chicago 

5017 Greenwood Ave., Chicago 

Des Plaines, Illinois 

4848 Ellis Ave., Chicago 

4949 Greenwood Ave., Chicago 

5737 Woodlawn Ave., Chicago 

Congress Hotel, Chicago 

2466 Lake View Ave., Chicago 



FINE ARTS BUILDING 



Life Members 

T IFE MEMBERS are Laymen who have been favor- 
ably passed upon by the Executive Board and who 
have paid one hundred dollars ($100.00) into the treas- 
ury of The Artists Guild. 



Charles C. Curtiss 
J. J. Glessner 
William O. Goodman 
C. J. Harth 

Charles L. Hutchinson 
Frank G. Logan 
Mrs. Edward Morris 
George F. Porter 
F. J. Reichmann 
Louis Rueckheim 
F. W. Rueckheim 
Martin A. Ryerson 



1404 Astor St., Chicago 

1800 Prairie Ave., Chicago 

5026 Greenwood Ave., Chicago 

920 Castlewood Terrace, Chicago 

2709 Prairie Ave., Chicago 

1150 Lake Shore Drive, Chicago 

4800 Drexel Blvd., Chicago 

26 East Erie St.. Chicago 

5765 Blackstone Ave., Chicago 

4226 Vincennes Ave., Chicago 

4201 Vincennes Ave., Chicago 

4851 Drexel Blvd., Chicago 



NOTE Applications for Associate and Life Mem- 
bership will be gladly received. Your assistance in 
the promotion of American art will be greatly appre- 
ciated. 



Page Eleven 



THE ARTISTS GUILD 



Associate Members 

ASSOCIATE MEMBERS are persons interested 
** in the promotion of the works of Artists and 
Craftsmen, who pay an annual due of ten dollars 
($10.00), and who have been approved by the Execu- 
tive Board. 



Margaret Adams 
Mrs. P. D. Armour 
Mrs. Adam Beidler 
Mrs. E. J. Buffington 
Alfred L. Baker 
John Borden 
E. M. Bowman 
Mrs. E. M. Bowman 
Hubbard Carpenter 
N. H. Carpenter 
P. J. Cassidy 
W. K. Cowan 
C. W. Dilworth 
Mrs. Frank M. Elliott 
Edward M. Ericson 
W. S. Estell 
Henry Estricher 
Mrs. F. C. Farwell 
Mrs. H. A. Foss 
Mrs. William F. Grower 
Victor George 
Mrs. S. E. Hurlbut 
J. T. Harahan, Jr. 
H. M. Higinbotham 
Morton D. Hull 
John J. Herrick 



350 Belden Ave., Chicago 

2115 Prairie Ave., Chicago 

Virginia Hotel, Chicago 

1140 Forest Ave., Evanston, Illinois 

Lake Forest, Illinois 

1020 Lake Shore Drive, Chicago 

Virginia Hotel, Chicago 

Virginia Hotel, Chicago 

677 Lincoln Parkway, Chicago 

Secretary Pro-Tern, Art Institute 

2312 Indiana Ave., Chicago 

1367 North State St., Chicago 

5062 Sheridan Road, Chicago 

225 Lake St., Evanston, Illinois 

4725 Dover St., Chicago 

Evanston, Illinois 

Hotel Knickerbocker, New York 

Lake Forest, Illinois 

4625 Lake Park Ave., Chicago 

2329 West Jackson Blvd., Chicago 

Blackstone Hotel, Chicago 

1454 Asbury Ave., Evanston, Illinois 

122 South Michigan Blvd., Chicago 

1506 Maple Ave., Evanston, Illinois 

4855 Woodlawn Ave., Chicago 

45 East Schiller St., Chicago 



Page Twelve 



FINE ARTS BUILDING 



Associate Members Continued 



Arthur Heun 
Carl Horix 
Samuel Insull 
Jens Jensen 
Adolph Karpen 
S. Karpen 
Chauncey Keep 
William V. Kelly 
Mrs. H. Victor Keane 
Mrs. Edward S. Lacey 
Miss Edith M. Lacey 
Mrs. Robert P. Lamont 
Frank O. Lowden 
Bryan Lathrop 
John T. McCutcheon 
Francis J. M. Miles 
Theobald Mueller 
Mrs. Francis W. Parker 
Mrs. James Patten 
Mrs. George M. Pullman 
Alexander H. Revell 
Homer E. Sargent 
Paul Schulze 
Mrs. S. Van D. Shaw 
G. A. Soden 
H. C. Chatfield-Taylor 
Mrs. W. O. Thompson 
J. E. Tilt 

Frederick T. Vaux 
William H. Vehon 
Ralph Van Vechten 
Charles H. Wacker 
Mrs. John E. Winn 



748 Lincoln Parkway, Chicago 

5414 Everett Ave., Chicago 

1100 Lake Shore Drive, Chicago 

Steinway Hall, Chicago 

Congress Hotel, Chicago 

4734 Ellis Ave., Chicago 

1200 Lake Shore Drive, Chicago 

53 West Jackson Blvd., Chicago 

Hinsdale, Illinois 

305 Davis St., Evanston, Illinois 

305 Davis St., Evanston, Illinois 

1722 Judson Ave., Evanston, Illinois 

Oregon, Illinois 

120 Bellevue Place, Chicago 

Fine Arts Building, Chicago 

6000 Champlain Ave., Chicago 

434 South Wabash Ave., Chicago 

4616 Drexel Blvd., Chicago 

1426 Ridge Ave., Evanston, Illinois 

1729 Prairie Ave., Chicago 

842 Lincoln Park Blvd., Chicago 

Lakota Hotel, Chicago 

Kenilworth, Illinois 

2124 Calumet Ave., Chicago 

5122 Woodlawn Ave., Chicago 

Lake Forest, Illinois 

Hinsdale, Illinois 

700 Brompton Place, Chicago 

1520 Astor St., Chicago 

4824 Grand Blvd., Chicago 

1507 North State Parkway, Chicago 

1431 North State Parkway, Chicago 

La Porte, Indiana 



Pa ge Thirteen 



THE ARTISTS GUILD 

Professional Members 

PROFESSIONAL MEMBERS are Artists and 
Workers of Hand-Wrought Objects who have 
been favorably passed upon by the Executive Board 
and who have paid an entrance fee of twenty-five dol- 
lars ($25.00) and annual dues of ten dollars ($10.00). 

Non-resident Workers of Hand-Wrought Objects 
shall pay an entrance fee of fifteen dollars ($15.00) 
and annual dues of three dollars ($3.00). 

Floyd N. Ackley Jeweler 

Adam Emory Albright Painter, Child Life 

Kate L. Bacon Miniature Painter 

Lee Bacon Writer 

Margaret Baker Landscape Painter, Teacher 

Gustave Baumann Painter and Engraver 

Frederic C. Bartlett Landscape and Mural Painter 

Louis Betts Portrait Painter 

Harriet Blackstone Portrait Painter 

Esther Blanke Wood Carver and Decorator 

Marie Elsa Blanke Landscape Painter, Designer 

Charles E. Boutwood Figure and Landscape Painter, Teacher 

Evelyn Bridge Miniature Painter 

Bolton Brown Landscape and Figure Painter 

Edith Brown Potter 

Charles Francis Browne Landscape Painter, Lecturer, Writer 

Lawrence Buck Painter and Architect 

Jeanette Buckley Landscape Painter, Teacher 

J. Sidney Burton Metal Worker 

Lucretia McM. Bush Jeweler 

Edward B. Butler Landscape Painter 
Mary Butler Landscape and Marine Painter, Teacher, Writer 

Page Fourteen 



FINE ARTS BUILDING 



Professional Members Continued 



Sculptor 

Ceramic Worker 
Wood Carver 



Ben Cable 

Sidney T. Callowhill 

Lawrence W. Carver 

Walter Marshall Clute (deceased), 

Landscape and Figure Painter, Writer, Teacher 
William Clusmann Landscape Painter 

Ethel L. Coe Figure, Landscape and Miniature Painter 



J. Elliot Colburn 
Marie Louise Coleman 
Wilhelmina Coultas 
Sarah Ryel Comer 
Leonard Crunelle 
E. De F. Curtis 
Charles W. Dahlgreen 
Cecil Clark Davis 
William R. Derrick 
L. B. Dixon 
Mabel C. Dibble 
Rose Dolese 
Frank V. Dudley 
Edward F. Ertz 
Gertrude Estabrook 
Jessie Benton Evans 
Alexis Jean Fournier 
W. H. Fulper 



Landscape Painter 

Interior Decorator 

Jeweler 

Ceramic Worker 

Sculptor 

Potter 

Landscape Painter, Etcher 

Portrait Painter 

Landscape Painter 

Jeweler, Silversmith 

Ceramic Worker 

Decorator of Leather 

Landscape Painter 



Landscape Painter, Etcher 
Landscape and Still Life Painter 
Landscape Painter 
Landscape Painter, Lecturer, Writer 

Potter 

Frederick F. Fursman Figure and Landscape Painter, Teacher 
D'Arcy Gaw Interior Decorator 

Julia C. George Craft Worker 

Eugenie F. Glaman Painter of Animals and Landscape 

Oliver Dennett Grover Landscape and Venetian Painter 



Page Fifteen 



THE ARTISTS GUILD 



Professional Members Continued 



Arthur Grinnell 
Louis Oscar Griffith 
Robert W. Grafton 
KristofFer Haga 
Lucie Hartrath 
Marian Dunlap Harper 
F. R. Harper 
Jane Heap 
Elizabeth Henson 
Dorothy Heuermann 
Magda Heuermann 
Conde Wilson Hickok 
Charles A. Herbert 
Margaret A. Hittle 
Wilson Irvine 
Rudolph R. Ingerle 
Robert R. Jarvie 
Percy D. V. Jamieson 
Carl H. Johonnot 
Alfred Juergens 
Lawrence Kennedy 
Charles B. Keeler 
Sarah F. Kline 
Carl R. Krafft 
Matilda Klemm 
A. F. Kleiminger 
Philip Little 
Sylvanus E. Lamprey 
Flora Lauter 
Mabel Luther 



Wood Carver and Decorator 

Painter and Etcher 

Portrait and Landscape Painter 

Jeweler and Silversmith 

Landscape Painter 

Miniature Painter 

Painter 

Painter and Decorator 

Designer and Lamp Shade Maker 

Textile Worker 

Miniature Painter 

Landscape and Figure Painter 

Painter, Jeweler and Leather Worker 

Painter and Teacher 

Landscape Painter 

Landscape Painter 

Silversmith 

Landscape Painter 

Jeweler, Leather Worker 

Landscape Painter, Gardens 

Designer and Landscape Painter 

Landscape Painter, Etcher 

Landscape Painter 

Landscape and Figure Painter 

Landscape Painter, Ceramic Worker 

Landscape Painter, Teacher 

Landscape Painter 

Silversmith 

Landscape and Figure Painter 
Jeweler and Metal Worker 



Pa ge Sixteen 



FINE ARTS BUILDING 



Professional Members Continued 



Anna Lynch 
Nancy Cox-McCormack 
Helen McNeal 
Augusta B. McCarn 
Jessie H. McNicol 
Carl March 
Ann Martin 
Matilda Middleton 
Royal Hill Milleson 
Mary V. Moore 
Anna B. Morrison 
Edwin W. Ottie 
Lawton S Parker 
Pauline Palmer 
Frank M. Pebbles 
Ida A. Peterson 
Allen E. Philbrick 
Harriet Phillips 
Jessie M. Preston 
F. C. Peyraud 
Josephine L Reichmann 
Louis Ritman 
Mabel K. Rich 
Margaret Rogers 
H. Leon Roecker 
Julius Rolshoven 
Christia M. Reade 
Earl H. Reed 
C. P. Ream 
Antonin Sterba 



Miniature Painter 
Sculptor 
Jeweler 

Leather Worker 
Designer 

Landscape Painter 
Miniature Painter 
Ceramic Worker 
Landscape Painter 
Landscape Painter 
Book Binder and Metal Worker 
Ship Models (Historical and Decorative) 
Portrait and Landscape Painter 
Landscape and Portrait Painter, Lecturer 
Landscape and Marine Painter 
Portrait and Landscape Painter 
Landscape Painter and Teacher 
Figure and Landscape Painter 
Jeweler and Metal Worker 
Landscape Painter, Teacher 
Landscape Painter 
Landscape and Figure Painter 
Painter 
Jeweler 

Landscape Painter 
Landscape and Figure Painter 
Jeweler and Metal Worker 
Etcher, Lecturer 
Still Life Painter 
Figure and Landscape Painter, Teacher 



Page Seventeen 



THE ARTISTS GUILD 



Professional Members Continued 



Walter Sargent 
J. Allen St. John 
Gordon St. Clair 
Birger Sandzen 
Ada W. Shulz 
Adolph R. Shulz 
A. H. Schmidt 
Cora P. M. Scott 
Katherine H. Scott 
Flora I. Schoenfeld 
John F. Stacey 
Anna L. Stacey 
J. H. Sharp 
T. C. Steele 
H. O. Tanner 
Lorado Taft 
Emery W. Todd 
George H. Trautmann 
Carolyn D. Tyler 
Elizabeth Truman 
Walter Ufer 
Matilda Vanderpoel 
Kate K. Van Duzee 

E. C. White 
Mary M. Wetmore 
John S. Wittrup 

F. E. Walrath 
James H. Winn 
Frank A. Werner 
lone L. Wheeler 
Christine Woollett 
Corice C. Woodruff 
Emil R. Zettler 



Landscape Painter, Teacher 
Landscape Painter, illustrator 
Landscape and Figure Painter 
Landscape Painter, Teacher 
Figure Painter 
Landscape Painter 
Landscape Painter 
Painter 

Miniature Painter 
Figure Painter 
Landscape Painter, Teacher 
Landscape and Portrait Painter, Lecturer 
Indian Figure Painter 
Landscape Painter 
Painter, Biblical Subjects 
Sculptor 

Jeweler and Silversmith 
Metal Worker 
Miniature Painter 
Illuminator 
Landscape Painter 
Painter and Teacher 
Landscape Painter and Modeler 
Basketry 

Landscape and Figure Painter 
Landscape Painter 
Potter 
Jeweler 

Portrait Painter 
Ceramic Worker 
Decorator 
Modeler 
Sculptor 



Page Eighteen 



FINE ARTS BUILDING 

Committees 

COMMITTEE FOR SELECTION OF PAINTINGS 

Alfred Juergens, Chairman 
Frank C. Peyraud Jessie Benton Evans 

FOR SELECTION OF ARTS AND CRAFTS 

James H. Winn, Chairman 
George H. Trautmann Augusta B. McCarn 

FOR SELECTION OF MINIATURES 

Anna Lynch, Chairman 
Marian Dunlap Harper Magda Heuermann 

Secretary is ex-officio member of all committees. 



The Fine Arts Building Prize 

The owners of The Fine Arts Building offer to the mem- 
bers of The Artists Guild the sum of five hundred dollars 
annually, being the fund established in 1906 for "The Fine 
Arts Building Prize" and heretofore given to the Exhibitions 
of The Society of Western Artists. This amount will be 
divided into five prizes of one hundred dollars, one prize for 
each of five exhibitions to be given during the season by the 
Guild. These prizes are to be awarded for the most merito- 
rious and important exhibit made by the artists or craft 
workers, according to the decision of a jury; the jury for 
paintings to be selected by a majority vote of painter mem- 
bers, and the jury for craft workers to be in like manner 
selected by a majority vote of craft workers. Special exhibi- 
tions of paintings and craft workers will not be held at the 
same time. 

Page Nineteen 



THE ARTISTS GUILD 



Our Traveling, Collections 

HTHE ARTISTS GUILD has solved the problem involving 
"^ expense for which there is no return that has con- 
fronted smaller towns seeking painting exhibitions. Many 
have been deprived of the pleasure of having exhibitions on 
account of the funds that seem necessary to finance such a 
project. Why squander large sums of money for express 
charges, insurance, etc., which is an absolute loss, when The 
Artists Guild will supply the same quality of exhibition, with 
the additional advantage of the collection being accompanied 
by a representative who is thoroughly posted on American 
Art? Instead of requesting you to incur the expense of trans- 
portation and insurance, our method allows you to select 
pictures for the equivalent amount, so that you have value 
received. 

One of our methods of reducing expense is that our paint- 
ings are brought in a matted form, with wide canvas-covered 
gilded mats, which present the paintings to a good advan- 
tage, the uniformity of the mats making a very effective 
exhibition. 

The Artists Guild in sending out collections of paintings 
to towns throughout the country, and especially the Middle 
West, has been instrumental in organizing many Art asso- 
ciations. 

One of our principal objects is to encourage interest in 
Art and to assist each town to acquire paintings so that they 
will eventually have their own permanent collections. 

We will, upon request, be pleased to furnish information 
in detail. Please explain local conditions and efforts that 
have been made in this direction, when asking further particu- 
lars. Our exhibition schedules are now being arranged, so 
application should be sent at once if we are to include your 

town in our itinerary. 

THE ARTISTS GUILD. 



Page Twenty 



FINE ARTS BUILDING 

Why Not Patronize 
American Artists? 

TT IS A VERY NOTICEABLE FACT that the foreign 
name and foreign subject are not as necessary as formerly 
to the purchaser of works of Art. It has taken a long time 
to convince the American that the home producer in Art had 
any value whatever. The great International Expositions 
have been the indices of our progress and development, for 
we were then put into direct competition with the artists of 
the old world. 

In Philadelphia in 1876 we made our first important bid 
for international recognition. In Paris in 1889 the United 
States section was very creditable indeed, but the criticism 
was general that we were not original, but reflected the art 
of France chiefly. The Columbian Exposition in Chicago in 
1893 was a great advance over Paris. It demonstrated that 
since 1876 the United States had made phenomenal progress, 
and while the European Americans were still important, the 
home group were doing what they could to stamp our Art 
with a national flavor. The year 1900 marked another period 
progress for us in Paris. The United States section for the 
first time in Europe demonstrated our growing independence, 
and now in 1915 in San Francisco without mentioning 
further the exhibitions at Omaha, Buffalo and St. Louis the 
statement may be safely made that we are expressing our- 
selves in a most individual if not an essentially national 
fashion. Certainly we are not copying the traditions and 
schools of France. The European Americans were fewer 
than ever before, and while Mr. Frieseke, a Paris resident, 
carried off the highest honors, the number of the honors and 
the mass and quality of the United States section is due to 
the home guard. 

The Artists Guild was formed not to antagonize the 
dealers, but primarily to take care of local conditions and to 
enlarge our functions nationally. We needed in Chicago a 
permanent gallery and a headquarters for exhibition for our 
products and a market where our friends and patrons could 
conveniently co-operate. 

It is a success. Here the interested public may see or 
connect itself with a large body of Art workers in all 
branches. This is a Chicago enterprise, having friends and 
no enemies. We are working collectively to advance our 
national Art. The Artists Guild is on a strictly business basis. 
One is free here to look about. It is not a studio; it is a 
place of business. You need its help and it needs yours. 
The Fine Arts Building was unique in America, in giving a 
home to the Arts, and we are on the ground floor. See 
American Art first! 

CHARLES FRANCIS BROWNE. 

Page Twenty-one 



THE ARTISTS GUILD 




"Sylvia" 



DR. LAWTON S PARKER, E. A. D. 



T~)R. LAWTON S. PARKER, E. A. D., Portrait Painter. Educated at 
"Ecole des Beaux Arts," Paris. Degree of Doctor of Fine Arts by 
University of Nebraska. Pupil of Gerome, Laurens, Constant, Besnard 
and Whistler, in Paris. Professor of St. Louis School of Fine Arts, 1892. 
Director of Art, Beloit College, 1893. President New York School of 
Art, 1898-1899. Director Parker Academy, Paris, 1900. Non-resident Pro- 
fessor of Painting at the Art Institute, Chicago, 1902. President Chicago 
Academy of Fine Arts, 1903. Member of Cliff Dwellers, Little Room, 
Casino Club and The Artists Guild. Among the portraits by Dr. Lawton 
S. Parker are: Martin A. Ryerson, J. Ogden Armour, N. W. Harris, 
Harry Pratt Judson, Judge Peter S. Grosscup and David R. Forgan. 

Page Twenty-two 



FINE ARTS BUILDING 




"Mrs. Ray Atherton" 



DR. LAWTON S. PARKER, E. A. D. 



Honors. John Armstrong Chaloner, five-year European scholarship, 1896. 
Honorable Mention: Salon, Pans, 1900 Third Medal: Salon, Paris, 
1902. Silver Medal: St. Louis Exposition, 1904. Gold Medal: Exposi- 
tion, Munich, 1905. Honorable Mention: Carnegie Institute, 1907. Medal: 
Chicago Society of Artists, 1908. Cahn Prize: Art Institute, Chicago, 
1908. Gold Medal: Salon, Paris, 1913. Medal of Honor: Panama-Pacific 
International Exposition, 1915. 

Studios. 19 East Pearson Street, Chicago; 7 Rue Jules Chaplin, Paris, 
France. 



Page Twenty-three 



THE ARTISTS GUILD 




"The Green Coat" 



Page Twenty-four 



FRANK A. WERNER 

Studio: 

19 East Pearson Street 

Chicago 



FINE ARTS BUILDING 




"Chateau Gaillard" 



CHARLES FRANCIS BROWNE 



CHARLES FRANCIS BROWNE, Landscape Painter; born 
Natick, Mass., 1859. Studied Boston Art Museum; Penn- 
sylvania Academy of Fine Arts; Ecole des Beaux Arts, Paris, 
under Gerome and other masters. For many years he was 
instructor and lecturer on art at the Art Institute, Chicago; 
edited "Brush and Pencil" 1897-1900; exhibited Paris Exposi- 
tion, 1889-1900; Chicago Exposition, 1893; all important cur- 
rent expositions. Superintendent United States section, 
Department of Fine Arts of Panama-Pacific International 
Exposition, 1915. Assistant Commissioner General, Centen- 
nial Exposition, Buenos Aires, and Santiago, Chile, 1910. 
Awards: Charles Toppan Prize, Pennsylvania Academy of 
Fine Arts; Young Fortnightly Prizes, Art Institute, Chicago, 
1905; Grower Prize, Art Institute, Chicago, 1906; Fine Arts 
Building Prize, Chicago, 1909. Member: Society of Western 
Artists (president, 1912-1914); Chicago Society of Artists 
(president 1913-1914) ; president Artists Guild, 1913-1914, 1914- 
1915; director Municipal Art League, Chicago; life member 
National Civic Association; member "The Cliff Dwellers" and 
"The Little Room"; associate member National Academy of 
Design; member The Artists Guild, Chicago. 

Studio: 1543 East Fifty-seventh Street, Chicago. 

Page Twenty-five 



THE ARTISTS GUILD 




"An Upland Meadow" 



PHILIP LITTLE 



LITTLE; born Swamscott, Mass., September 6, 
1857; received instruction at Lowell School of Design, 
Boston; Boston Museum School. Represented in the follow- 
ing permanent collections: Pennsylvania Academy of Fine 
Arts, Portland Memorial Museum, Walker Memorial Museum, 
Bowdoin College, Minneapolis Institute of Art, Milwaukee 
Art Society, Nashville Art Association; Essex Institute, 
Salem, Mass.; Dubuque Art Association, City Art Museum, 
St. Louis; also in loan collection, Boston Art Museum; pri- 
vate collections, Boston, Salem, Montreal, Utica, Washing- 
ton, D. C.; Minneapolis, Milwaukee, Chicago, Nashville and 
Haverhill, Mass. Exhibited: All prominent exhibitions in 
the United States, Paris Salon, Munich, Rome, Montevideo, 
Valparaiso. Honorable Mention, Chicago, 1912. Curator 
Department Fine Arts, Essex Institute, Salem. Life Member: 
Portland, Me., Society of Art, Guild of Boston Artists, The 
Artists Guild, Chicago, Salmagundi Club and Lotus Club, 
New York. Awarded Silver Medal, Panama-Pacific Inter- 
national Exposition, 1915. 

Studio : Salem, Mass. 
Page Twenty-six 



FINE ARTS BUILDING 




"Studio Roof, Lake Geneva" 



FREDERIC CLAY BARTLETT 



TpREDERIC CLAY BARTLETT, Mural and Landscape 
^ Painter. Born in Chicago, 1873. Studied in the Royal 
Academy in Munich, Germany, and in Paris under Blanche, 
Aman Jean and Whistler. Honorable Mention: Carnegie 
Institute, 1908. Silver Medal: St. Louis Exposition, 1894. 
Cahn Prize: Chicago, 1910. Silver Medal: Panama-Pacific 
Exposition, 1915. Represented by Mural Paintings in the 
Council Chamber, City Hall, Chicago; the University of 
Chicago, the University Club, and by Mural work and altar 
pieces in many churches; also by pictures in the permanent 
collections in Mayence, Germany; the Carnegie Institute, 
Pittsburgh; the Union League Club of Chicago; the Friends 
of American Art, of the Chicago Art Institute, and in private 
collections. Member of the National Society of Mural Paint- 
ers, the Society of Western Artists, the Chicago Society of 
Artists and The Artists Guild. 

Studios: 2901 Prairie Avenue, Chicago, and Lake Geneva, 
Wis. 

Page Twenty-seven 



THE ARTISTS GUILD 




"Along the River Oise at 
Auvurs-sur Oise, France" 



ALEXIS JEAN FOURNIER 



A LEXIS JEAN FOURNIER, Painter, Illustrator, Lecturer. 
" Pupil of Laurens, Constant, Harpignies, and Julian Acad- 
emy of Paris. Member of Cliff Dwellers Club and The Artists 
Guild of Chicago. Awards: Gold and Silver Medals, Minne- 
sota Industrial Society; Second Hengerer Prize, Buffalo, 1911. 
Exhibited: Paris Salon, 1894-1895, 1899-1900, 1901. Crystal 
Palace, London: Exhibition of Selected Paintings by Artists 
for the West, 1906, and Annual Exhibitions of Western Art- 
ists in 1907-1908, 1913-1914. Pictures at Detroit Museum; 
Muskegon, Michigan; Public Library* Woman's Club and 
Minneapolis Club, Minneapolis; St. Paul Institute, St. Paul; 
Kenwood Club, Chicago. 

Probably the most interesting works of Mr. Fournier are 
his paintings of "The Haunts and Homes of the Barbizon 
Masters." He has lived long at Barbizon and has been a 
welcome guest in the homes of these masters. From Fran- 
cois Millet, son of Millet, with whom Fournier formed an 
intimate friendship, he learned much concerning the life of 
his famous father and of the doings and sayings of that bril- 
liant coterie of artists, the men of 1830. It is with these 
"Reminiscences of Barbison" that Mr. Fournier has delighted 
many audiences, as the talk is full of interesting experiences 
and numerous sidelights on these famous painters. 

For lecture dates, address J. E. Allen, Fine Arts Building, 
or The Artists Guild, 412 South Michigan Boulevard, Chicago. 

Studio: East Aurora, New York. 



Page Twenty-eight 



FINE ARTS BUILDING 




"Portrait of Mrs. Joseph L. McNab" 



ETHEL L. COE 



ETHEL L. Coe, Painter, Miniature Painter and Illustrator; 
born Chicago, 111. Pupil of Art Institute, Chicago; 
Charles W. Hawthorne, Provincetown, Mass., and Joaquin 
Sorolla y Bastida of Madrid, Spain. Award: Traveling 
American Scholarship, Art Institute, Chicago. Member of 
Chicago Society of Artists, Art Students' League and The 
Artists Guild. She is represented in the Sioux City Art 
Society collection by "La Nina" and also in many private 
collections. Instructor at the Art Institute, Chicago. 



Studio: 11 Tree Studio Building. 



Page Twenty-nine 



THE ARTISTS GUILD 




"On a Country Road" CHARLES W. DAHLGREEN 

Courtesy of Mr. Albert Rouilher 



PHARLES WILLIAM DAHLGREEN. Member of Chi- 

^ cago Society of Artists, The Artists Guild, Union Inter- 
nationale des Beaux- Arts et des Lettres. Exhibited in Ger- 
many and Paris Salon. Represented in the Congressional 
Library, Washington, D. C., and New York Public Library. 
First Prize in still life painting, Kunst Gewerdeschule zu Dus- 
seldorf, and Art Students' League. Honorable Mention, the 
Panama-Pacific International Exposition, 1915. Studied at the 
Art Institute of Chicago and abroad. 

Studio: 1640 North Keeler Avenue. 
Page Thirty 



FINE ARTS BUILDING 




"October" 



F. C. PEYRAUD 



p. C. PEYRAUD, Painter and Teacher; born Switzerland. 
^ Member: Academy of Design, Chicago Society of Art- 
ists, Chicago Water Color Society, and The Artists Guild of 
Chicago. Represented in the Union League Club, Chicago; 
Municipal Art League, Chicago; Chicago Art Institute and 
City of Chicago Municipal Art Collection. Awards: Fort- 
nightly Prize, Chicago, 1899; Municipal Art League Prize, 
1912; Edward B. Butler Prize, Chicago, 1912. Medals: Chi- 
cago Society of Artists, 1912; Honorable Mention, American 
Art Exhibition, Chicago, 1912; Clyde M. Carr Prize, Chicago, 
1913; William Frederic Grower Prize, 1915; Bronze Medal, 
International Exposition, San Francisco, 1915. 

Studio: Monroe Building, Chicago, 111. 



Page Thirty-one 



THE ARTISTS GUILD 




"The Bather" 



BOLTON BROWN 



Owned by The National Arts Club, New York 



DOLTON BROWN; birthplace, Dresden, N. Y., 1865. He 
is a Landscape Painter, Teacher and Writer. For three 
years he was instructor at Cornell University and at Leland 
Stanford, Jr., University for eight years. Member: National 
Arts Club; Union Internationale des Beaux-Arts et Let- 
tres; The Artists Guild, Chicago. Work: "From Unknown 
Ports," owned by C. W. Rinehart, collector; "Monterey Fish- 
ing Village," Indianapolis Art Association; "The Farm House 
in Winter" hangs in Brooklyn Art Museum; "Mt. King" is 
in Hugo Reisinger's collection, which also contains this art- 
ist's "October"; "The Green Boat" was purchased by a well- 
known Eastern collector, while "The Blue Butterfly" found 
its home in Chicago. 

Studios: 1947 Broadway, New York; Summer, Wood- 
stock, Ulster County, N. Y. 



Page Thirty-two 



FINE ARTS BUILDING 




"Gifts From Apaches" (At a Pueblo Window) J. H. SHARP 



JOSEPH HENRY SHARP, born Bridgeport, Ohio, 1879. 
Studied in Antwerp under Beriat; Munich Academy under 
Carl Marr; with Jean-Paul Laurens and Benjamin Constant 
in Paris. Specialty: Indian subjects. Instructor: Cincinnati 
Art Museum, 1892-1902; resigned to live among the Indians. 
Eleven of his portraits of famous Indians purchased in 1900 
by Government and hang in Smithsonian Institute. Eighty 
Indian portraits purchased in 1902 by Mrs. Phoebe Hearst for 
University of California, with a commission for fourteen more 
each year for five years, covering all the most noted tribes. 
Exhibited in Paris Exhibition, 1900. Silver Medal, Buffalo 
Exposition, 1901, for Indian portraits; Silver Medal, Colorossi 
School, Paris. Charter member of Cincinnati Art Club; mem- 
ber of California Art Club, Society of Western Artists, Sal- 
magundi Club, New York, and The Artists Guild. 

Address: Taos, N. M., and 1481 Corson Street, Pasa- 
dena, Cal. 

Page Thi rty-three 



THE ARTISTS GUILD 




"Portrait of Mrs. D." 



ANNA LEE STAGEY 



Tl/TRS. JOHN F. STAGEY, Landscape and Portrait Painter; 
specialty, portraits; born in Glasgow, Mo. Studied at the 
Art Institute, Chicago. Member cf Chicago Society of Artists 
and The Artists Guild. Awards: Young Fortnightly Prize, 
Chicago Artists' Exhibition, 1902; Martin B. Cahn Prize, 
Exhibition by the American Artists, 1902; Marshall Field 
Prize, 1907; Clyde M. Carr Prize, Chicago Artists' Exhibition, 
1912. Represented in the collections of the Municipal Art 
League, the Union League, Kenwood and Arche Clubs, Chi- 
cago Woman's Aid, Chicago Woman's Club, Tuesday Art and 
Travel Club, West End Club and others. Pictures purchased 
by City Art Commission. 

Studio Building: 6 East Ohio Street, Chicago. 

Page Thirty-four 



FINE ARTS BUILDING 




"The Willows" 



FRANK V. DUDLEY 



J7RANK V. DUDLEY; born Delaven, Wis. Studied at Art 
Institute, Chicago. Member: Chicago Society of Artists, 
Chicago Water Color Club, The Artists Guild, Union Inter- 
nationale des Beaux Arts et des Lettres, Paris; Palette and 
Chisel Club, Chicago. Represented in permanent collection 
of the Art Institute of Chicago (Municipal Art League), 
Chicago Woman's Aid collection, Los Angeles Country Club 
collection; Public School collection, St. Louis; Public School 
collection, Chicago; Municipal collection, Owatona, Minn. 
Awarded: Municipal Art League Prize for Landscape, 1907; 
Municipal Art League Purchase Prize, 1914; Butler Purchase 
Prize, 1915. 

Studio: 6224 Greenwood Avenue, Chicago. 



Page Thirty-five 



THE ARTISTS GUILD 




"Ozark Zephyrs" 



CARL R. KRAFFT 



Englewood Prize, Art Institute, 1915 



R. KRAFFT, Landscape and Figure Painter; born 
Reading, Ohio, 1884. Received his early art training at 
the Art Institute, Palette and Chisel Club, and the Academy 
of Fine Arts. Pupil of Wellington Reynolds and Frank 
Walcott. These affiliations soon developed his talents and 
his pictures gained recognition at the leading exhibitions at 
the Art Institute, Palette and Chisel Club and other promi- 
nent galleries of the country. Mr. Krafft was one of the first 
landscape painters to appreciate the beauties of the Ozark 
Mountains and has given art lovers many beautiful impres- 
sions of the Ozark wonderland. He, with R. F. Ingerle, 
founded the School of Ozark Painters. Instructor of compo- 
sition and color at the Fine Arts Academy, 1915. Member 
of the Chicago Society of Artists, Palette and Chisel Club, 
The Artists Guild and the School of Ozark Painters. 
Awarded Englewood Prize, Art Institute, 1915. A number 
of Carl R. Krafft's paintings are on view at the Guild. 

Studio: 606 Michigan Avenue, Chicago. 



Page Thirty-six 



FINE ARTS BUILDING 




"A London Square" 



J. ALLEN ST. JOHN 



T ALLEN ST. JOHN, Painter and Illustrator; born in Chi- 
J * cago. Pupil of Art Students League, New York, under 
Mobrey, Beckwith and DuMond. He was one of the first 
members of the Salmagundi Club, New York, and is a mem- 
ber of the Art Students League, New York; Chicago Society 
of Artists, Society of Western Artists and The Artists Guild. 
He is represented by a painting in the collection of the Jewish 
Women's Guild, Sioux City Art Society collection, and in 
many private collections. He was instructor in the New 
York School of Art and has illustrated books for Harper's, 
McClurg's, Rand-McNally and many others. He also wrote 
and illustrated "The Face in the Pool." He received Honor- 
able Mention in France. 

Studios: 311 East Twenty-second Street and 35 North 
Dearborn Street, Chicago. 



Page Thirty-seven 



THE ARTISTS GUILD 




"Colorado Pines" 



BIRGER SANDZEN 



DIRGER SANDZEN; born Blidsberg, Sweden. Pupil: 
Zorn and Bergh in Stockholm, and Amen- Jean in Paris. 
Both European and American art critics speak highly of his 
refined and strongly individual treatment of color and line. 
Recently he has devoted most of his time to the unexplored, 
fascinating scenery of the Southwest. Many of his Western 
Landscapes are on exhibition at The Artists Guild. 

Studio: Lindsborg, Kan. 

Page Thirty-eight 



FINE ARTS BUILDING 




"After the Shower" (Moonlight) 



RUDOLPH F. INGERLE 



J^UDOLPH F. INGERLE; born in Vienna, Austria, in 
1879. He came to America while very young and his art 
is essentially and indisputably American. He received his 
academic training at Smith's Academy, the Art Institute of 
Chicago, and the Fine Arts Academy, but always has been 
an enthusiastic outdoor worker, following nature through all 
her moods and keenly enjoying them all. He is an officer in 
the Chicago Society of Artists; is a member of the Society 
of Western Artists, the Palette and Chisel Club, the Bohe- 
mian Arts Club, The Artists Guild, and the International 
Beaux Arts et Lettres, France. Awarded medal by the Bohe- 
mian Arts Club, 1906; Associate Prize, Palette and Chisel 
Club, 1914. Mr. Ingerle and Carl R. Krafft have founded 
the School of Ozark Painters. Exhibits in Chicago, Philadel- 
phia, Cleveland, Detroit, St. Louis and many other cities. 

Studio: 606 Michigan Avenue, Chicago. 



Page Thirty-nine 



THE ARTISTS GUILD 






"Peace" 



LUCIE HARTRATH 



T UCIE HARTRATH was born in Boston, Mass. She is 
"^ a pupil of Rixens, Courtois, and Colin, in Paris. Member: 
Chicago Society of Artists, Society of Western Artists, the 
Chicago Water Color Club and The Artists Guild. In 1911 
she was awarded the Butler Purchase Prize at the Art Insti- 
tute of Chicago. She is a constant exhibitor in all important 
exhibitions throughout the country and is represented in 
many private collections. She specializes almost entirely in 
landscape paintings, and generally from subjects from the 
haunts of American artists* colonies, excepting when she 
makes her extensive trips abroad, which are quite frequent. 

Studio: Tree Studio Building, Chicago. 



Page Forty 



FINE ARTS BUILDING 




Portrait. Mrs. Newton Smith 



CECIL CLARK DAVIS 

Studio: 

19 East Pearson Street, 

Chicago. 



Page Forty-one 



THE ARTISTS GUILD 




Portrait: George Ade 
At Purdue University 



ROBERT W. GRAFTON 



J^OBERT W. GRAFTON, born in Chicago. Studied: Art 
Institute, Julian Academy, Paris, and afterward in Hol- 
land and England. Member: Chicago Society of Artists, 
Palette and Chisel Club and The Artists Guild. Executed 
Mural Decorations, Rumeley Hotel, La Porte, Ind.; Fowler 
Hotel, Lafayette, Ind., and Anthony Hotel, Fort Wayne, Ind. 

Studio: Michigan City, Ind. 



Page Forty-two 



FINE ARTS BUILDING 




"In Pont Aven" 



LOUIS OSCAR GRIFFITH 



TOUIS OSCAR GRIFFITH; born Greencastle, Ind. 
Studied with Frank Reaugh, St. Louis School of Fine 
Arts; Art Institute, Chicago. Painted in Brittany and the 
United States, Western Texas, Coast of Maine and Indiana. 
Specialty of landscape in oil, Dastel and colored etchings. 
Member: Chicago Society of Artists, Chicago Society of 
Etchers, the Palette and Chisel Club and The Artists Guild. 
Exhibited in most important exhibitions in the United States. 
Medal: Bronze Medal, Pacific International Exposition, 1915. 
Represented in the Union League collection, the City of Chi- 
cago Municipal collection and many private galleries. 

Studio: 910 South Michigan Avenue, Chicago. 



Page Forty-three 



THE ARTISTS GUILD 




"Willows at Sunset" 



ADOLPH R. SHULZ 



R. SHULZ, Landscape Painter; born in Dela- 
van, Wis. Pupil: Art Institute, Chicago; Art Students' 
League, New York; Julian Academy, Paris, under Lefebvre, 
Constant and Laurens, and at Academic Colorossi, Paris. 
Member: Chicago Society of Artists, Wisconsin Society of 
Painters and Sculptors, and The Artists Guild. Awards: 
Young Fortnightly Prize, 1900; Grower Prize, 1908; Municipal 
Art League Purchase, 1904. Work: "Frost and Fog," Art 
Institute, Chicago. 

Studio: Delavan, Wis. 



Page Forty-four 



FINE ARTS BUILDING 




"Madonna della Salute, Venice" JESSIE BENTON EVANS 



TESSIE BENTON EVANS, pupil of Art Institute, Chicago, 
J and Professor Zenneti Zilla, Venice. Member: Chicago 
Society of Artists; The Salvator Rosa Art Club, Naples; 
International des Beaux Arts, Paris, and The Artists Guild. 
Prize: First Prize, Phoenix Art Exhibition, 1915. 

Studio: 1517 East Sixty-first Street, Chicago. 



Page Forty-five 



THE ARTISTS GUILD 




"Wash Day" 



ADA WALTER SHULZ 



^DA WALTER SHULZ was born in Terre Haute, Ind. 
She is a pupil of the Art Institute of Chicago, and studied 
at Vitte Academy, Paris, France. She is a member of the 
Chicago Society of Artists and The Artists Guild of Chicago. 
Specializing in child subjects, she usually chooses the out-of- 
doors setting for her able portrayal of children at play on 
the hilltop or in the garden. Quite frequently she elects to 
show interiors, in which she again generally paints child life, 
planning the setting to carry indoors her happy sunlight 
effects. Mrs. Shulz exhibits regularly at important exhibi- 
tions and has received much favorable comment from the 
American press. 

Studio: Delavan, Wis. 



Page Forty-six 



FINE ARTS BUILDING 




"In July" 



A. F. KLEIMINGER 



A. F. KLEIMINGER, whose early training was obtained 
at the Art Institute of Chicago, has made himself well 
known as an able painter and teacher. After completing his 
course at the Art Institute he was honored with the position 
of professor of drawing in the Antique and Life Classes of 
the same institution. Since leaving Chicago he has been 
abroad, studying in Munich for two years, after which time 
he went to Paris, where he became a pupil of Henri Martin, 
under whose instructions he remained for three years. The 
following year he was made director and professor of paint- 
ing in the American School at Paris. Mr. Kleiminger has 
exhibited at the Paris Salon; Society of American Artists at 
their international exhibition, New York; annual exhibitions 
at the Chicago Art Institute, and Panama-Pacific Exposition 
at San Francisco, 1915. While abroad he painted portraits 
of Miss Rosaline Marshall of Scotland, Miss McClellan, the 
painter, and many other people of note. Among his portraits 
since his return to this country are included Walton Ricket- 
son, sculptor, and Mrs. R. Swain Gifford. 

Studio: Fair Haven, Mass. 



Page Forty-seven 



THE ARTISTS GUILD 




"Evening" 



WILLIAM CLUSMANN 



"P VENING" represents one of the subjects painted by Wil- 
^^ liam Clusmann, a type of landscape which has made him 
very popular, choosing, as he generally does, the rural, home- 
like spots. In recent years he has departed from his usual 
style, and has painted a number of scenes along the Chicago 
river, for which he has received very favorable comment from 
the local press. Mr. Clusmann was born in North Laporte, 
Ind., 1859. He is a pupil of Benczur at the Royal Academy, 
Munich. He is a member of the Chicago Society of Artists, 
Chicago Water Color Club, Society of Western Artists and 
The Artists Guild. He received honorable mention at Stutt- 
gart, Germany, 1884. For the past year and a half he has 
been in Germany in search of material for subjects. 

Studio: 2541 Haddon Avenue, Chicago. 



Page Forty-eight 



FINE ARTS BUILDING 




Portrait of Jenny Denny 



GORDON SAINT CLAIR 



Q.ORDON SAINT CLAIR, born in Veedersburg, Ind. 
Studied at the Art Institute of Chicago, Chicago Acad- 
emy of Fine Arts. Member of Chicago Society of Artists, 
Palette and Chisel Club and The Artists Guild. Exhibitor of 
portraits and landscapes. Editor of and contributor to art 
publications. 

Studio: 26 Tree Studio Building, Chicago. 



Page Forty-nine 



THE ARTISTS GUILD 




"Winter" Calumet, Mich. 



JOSEPHINE L. REICHMANN 



*"PHE above illustration represents a winter scene at Calu- 
met, Mich., one of the many places visited by Mrs. 
Reichmann in search of material for her paintings. Land- 
scapes most generally employ her brush, although at times 
some of her interpretations of certain moods include figures 
to carry out her theme. Mrs. Reichmann is a pupil of the 
Art Institute of Chicago; Charles Frances Browne, Chicago; 
Art Students League, Chicago; Charles W. Hawthorne of 
Provincetown, Mass., and the Art Students League, New 
York. She is an exhibitor at the exhibitions of the artists of 
Chicago and vicinity, American Water Color Society, and 
The Artists Guild, of which she is a member. Examples of 
paintings by Mrs. Reichmann are generally on exhibition at 
The Artists Guild Galleries. 

Studio: 5765 Blackstone Avenue, Chicago. 



Page Fifty 



FINE ARTS BUILDING 




"Study in Black and White of an 
Oberbayern Peasant" 



HARRIET S. PHILLIPS 



HARRIET S. PHILLIPS, after several years of study 
under New York artists, continued her study for six 
years in Kunstlerinen Berein, Munich. After six years in 
Munich she returned to Paris, where she continued her study 
under Simon, Cottet and others. Through favorable criticism 
of an exhibition in Munich, Miss Phillips was elected honor- 
able member of Kunstlerinen Berein. She has exhibited in 
the Champes de Mars Salon, Paris, in the year 1903-1904. 
She is a member of The National Arts Club, the Pen and 
Brush Club, the Municipal Arts, The New York Painters 
Society of Women Artists, the American Federation of Arts 
and The Artists Guild of Chicago. 

Colonial Studios: 39 West Sixty-seventh street, New York. 

Page Fifty-one 



THE ARTISTS GUILD 




CHARLES E BOUTWOOD 



/CHARLES E. BOUTWOOD; birthplace, England. Land- 
^ scape and Portrait Painter. Instructor at The Art Insti- 
tute of Chicago. Prizes: Scholarship prize at the Royal 
Academy in London, where he was a pupil, which enabled 
him to study in Paris for three years. He received the Yerkes 
prize, Chicago, and the Chicago Society of Artists, 1913. 
Member: Chicago Society of Artists (ex-president), and of 
The Artists Guild (director). 

Studios: Trepied Staples, France; Polperro, Cornwall, 
England; Hinsdale, 111. 



Page Fifty- two 



FINE ARTS BUILDING 




"In Lincoln Park" 



F R HARPER 



F. R. HARPER 

Studio: 

1020 Fine Arts Building 

Chicago 



Page Fifty-three 



THE ARTISTS GUILD 




"Bishop Sumner" 



HARRIET BLACKSTONE 



HARRIET BLACKSTONE, Portrait Painter, born m New York, N. Y. 
Studied in New York and Paris under the usual corps of instructors. 
She has been a constant exhibitor in all the leading exhibitions of the 
country and also at the Pans Salon. Member: Chicago Society of Art- 
ists, American Women's Art Society of Pans, National Society of Arts and 
Letters, Pans; the Little Room; the Municipal Art League of Chicago, 
from which she is a delegate; the Cordon Club, The Artists Guild and 
other clubs. She has been honored with many important commissions, 
among whose portraits are included: Judge Trusdale, Youngstown, Ohio; 
Mrs. Andrew MacLeish; Mrs. B. G Poucher of Glencoe; Past Grand 
Master E. A. Tennis, for the Masonic Temple, Philadelphia; Dean Willard 
of Knox College; Mrs. Cloney and Mrs. Nollen, Lake Forest, 111.; Miss 
Anna Morgan; the late President Compton, for the Association of Com- 
merce; Jacob Bauer, Chicago; group of children for Mrs. George Thorn, 
Wmnetka; Bishop Walter Taylor Sumner, Portland, Ore ; Mrs. William A. 
Soper of Utica, N. Y., and portraits for the nephew of the late Vice-Presi- 
dent Sherman and many others of equal note 
Studio: Glencoe, 111. 

Page Fif ty-f ou r 



FINE ARTS BUILDING 




"A Dreamy Brook" 



ROYAL HILL MILLESON 



ROYAL HILL MILLESON, born Batavia, Clermont County, Ohio. 
Specialty. Landscapes in Oil and Aquarelle. Studied at Smith Art 
Academy, Chicago. Exhibited at the Chicago Art Institute, Art Academy, 
etc. Represented in many private collections throughout the country. 
Formerly special writer and illustrator on the Chicago Inter Ocean. 
Author of "The Artist's Point of View." Member of the Boston Art Club, 
Chicago Society of Artists, The Artists Guild, etc. 
Studio. 2336 Osgood Street, Chicago, 111. 




"Winter's Sunshine" 



ROYAL HILL MILLESON 

Page Fifty-five 



THE ARTISTS GUILD 




"Red Autumn" T. C. STEELE 

P. C. STEELE; born Indiana. Pupil: Benczur, and Loefftz. Member. 
Society Western Artists (president, 1898-1899). Awards- Honorable 




Studio: Indianapolis, Ind. 

EDWARD ERTZ, 
R. B. A., London. j 
Figure, Landscape and 
Marine Painter all 
mediums. Etcher and 
Engraver. Awards: 
Five international med- 
als. Exhibited in Paris, 
London, Pittsburgh, 
Chicago, Berlin, Mu- 
nich, etc. Represented 
in three permanent col- 
lections in the United 
States, also in Alexan- 
dra Palace Museum in 
London. Member: 
Royal Society of Brit- 
ish Artists; Society of 
Arts, London; United 
Arts Club, London; 
three societies in Paris; 
Chicago Society of ,, T . w ., 
Etchers and The Art- The Waif 
ists Guild of Chicago. 




EDWARD ERTZ 



Studio: Pulborough,Sussex, England. 



Page Fifty-six 



FINE ARTS BUILDING 

"Wandering Dreams 




FLORA LAU- 
TER, Landscape 
and Portrait Paint- 
er; born New York. 
Studied under Henri, 
Chase and Mora, in 
New York. Mem- 
ber: Association of 
Women Painters and 
Sculptors, American 
Federation of Arts, 
W oman's Interna- 
tional Art Club, 
London, and The 
Artists Guild, Chi- 
cago. 

Studios: 257 West 
Eighty-sixth Street, 
New York, N. Y.; 
612 East Thirteenth 
Street, Indianapolis, 
Ind. 



WALTER UFER 

Studio : 

854^4 N. State St. 

Chicago 




"Dutch Girl' 



FLORA LAUTER 
Page Fifty-seven 



THE ARTISTS GUILD 




TV/TATILDA VANDER- 
1Y1 POEL, Painter, In- 
structor at the Art Insti- 
tute, Chicago. Member: 
Chicago Society of Art- 
ists, The Artists Guild. 
Exhibitor in all important 
Chicago exhibitions. Miss 
Vanderpoel specializes in 
the pastel portraits of chil- 
dren, and a wonderful gift 
for portraying the appeal- 
ing child-like characteris- 
tics of her subjects, has 
made her work very pop- 
ular. 

Studio: Art Institute, 
Chicago. 



"The Young Artist" 

MATILDA VANDERPOEL 



TWTARGARET 
V * BAKER, 
Landscape Painter. 
Pupil of the Art 
Institute of Chi- 
cago, John Carl- 
son, David Eric- 
son. Instructor: 
The Art Institute 
of Chicago. Mem- 
ber of the Wiscon- 
sin Society of Art- 
ists, The Artists 
Guild, Chicago. 
Exhibited: The 
Chicago Society of 
Artists, the Wisconsin Society of Artists, and St. Paul 
Institute. 




"The Old Mill" 



MARGARET BAKER 



Page Fifty-eight 



FINE ARTS BUILDING 



1 

JV[ARGARI 

rJ^YA^J*^:'* born Vn 




"In the Court of Abundance" 

MARGARET A. KITTLE 



rARET A. KITTLE, 
ictor, Iowa, 1886. 
She is a graduate of the Art 
Institute of Chicago; Nor- 
mal, 1906, Academic, with 
the Frederick Magnus Brand 
Competitive Prize, 1909. 
Miss Kittle is a Painter, 
Etcher and Illustrator. Her 
most recent efforts have been 
given to mural decorations 
She has mural panels hung 
in the James R. Doohttle 
School, Lane Technical High 
School, and Garret Biblical 
Institute, Evanston, 111. 
Portraits, miniatures and 
genre subjects are among the 
paintings by Miss Hittle that 
are included in many private 
collections. 

Studio: E717 Indiana 
Avenue, Spokane, Wash 



TDA A. PETERSON, 
Portrait and Landscape 
Painter. Pupil: Art Insti- 
tute, Chicago; Art Acad- 
emy of Cincinnati under 
F. Duveneck; Julian Acad- 
emy under F. Schomer and 
P. Gervais, and Richard 
Miller. Member: Art Stu- 
dents League and The Art- 
ists Guild of Chicago. 

Studio: Central Block, 
Pueblo, Colo. 




"Old Lady Portrait" 

IDA A. PETERSON 



Page Fifty-nine 



THE ARTISTS GUILD 




The Artists Guild as a Permanent Institution 

'"THE rapidly growing appreciation of the general public 
for the finer and better things in art, especially along craft 
lines, emphasizes distinctly the fact that you "can't fool all 
of the people all of the time." In the early days of the 
so-called Arts and Crafts movement, much that lacked merit 
from any other point of view than some originality of design 
was exploited and the public requested to accept it as the last 
word in craft production; amateurs with no knowledge of 
the technical processes peculiar to the several lines of craft 
endeavor, aspired to attempted results quite beyond their 
capacity and understanding, and delivered as a finished prod- 
uct work that bore the stamp of crudity predominant. 

To the credit of many of them it has been gratifying to 
note their loyalty to ideals by schooling themselves in the 
arduous paths of technique under the tutelage of schooled 
masters, and while many "dropped by the wayside," the 
demonstration of the survival of the fittest is complete. 
Today many earnest workers are engaged in producing things 
of a high order of workmanship and design and the confi- 
dence of the public is restored somewhat as a consequence. 
Satisfactory evidence of this is seen in the growing popu- 
larity and success of The Artists Guild, whose entire stock 

Page Sixty 



FINE ARTS BUILDING 




is supplied by Artists and Craft Workers from every section 
of the country and displayed for sale only after passing the 
careful scrutiny of a selected and competent jury. As a 
consequence those whose lives have given them few oppor- 
tunities to acquaint themselves with art ideals have learned 
that here a selection may be made with no other requisite 
than its pleasing effects individually, the responsibility of its 
artistic merit and qualitv of material and workmanship having 
been assumed and vouched for by The Artists Guild. The 
Artists Guild, in addition to supporting a salesroom and gal- 
lery of paintings, sculpture, and the crafts, all of the highest 
order, serves the individual further, after learning of his 
needs, by recommending and introducing just the particular 
Artist or Craftsman whose specialty it is, thereby allowing 
the buyer and worker to come into harmonious relations to 
their mutual profit and satisfaction. 

The writer predicts a great future for The Artists Guild, 
not alone because it supplies the public's needs, but because 
its foundation is built on merit and its administration carried 
on with extreme courtesy. 

Page Sixty-one 



THE ARTISTS GUILD 



Etchings 



THE mere word "print" covers a good many fields, as 
illustrated among the possessions of a print collector, 
where there may be included wood blocks, lithographs, line 
etchings, color etchings, and engravings. I shall state briefly 
the method in the making of etchings and colored prints on 
metal plates. It is wonderful when we realize that for the 
past four centuries artists have chosen this mode of expres- 
sion, limited only to the use of black and white, no two proofs 
exactly the same, yet printed from the same plate by the 
same hand. The value of an etching is usually governed by 
the edition which is limited to a certain number of proofs. 

Now let us etch a plate. We have a piece of copper 
highly polished, which surface we cover with what we call 
"ground" nothing more than white wax and asphaltum. 
After a very thin coating of this is laid upon the surface of 
the plate we are ready to make our sketch upon it. With 
our subject before us, and the joy of our work in our heart, 
we proceed to lay bare the copper where we have drawn 
through the ground. When the drawing is complete we are 
ready to etch, after having protected the back of our plate and 
placed it in an acid bath, allowing the acid to attack the lines 
in various degrees. The deeper the line the more ink it holds, 
and consequently revealing darker tones. When this process 
is completed we begin the printing. The plate is cleaned, its 
lines are filled with ink, and the surface cleaned with the 
palm of the hand and rags. We place this on the bed of the 
press, put onto our plate the paper, which has been dampened, 
cover it with a blanket and run it through. Now remove the 
paper and we have an exact reproduction of the design which 
we drew upon the plate. 

Color etchings are printed in the same way. The plates 
are manipulated, however, in somewhat different manner. 
The plate is made to hold ink by roughening its surface, of 
which there are several methods. The dust box is employed, 
an air-tight box which contains a little powdered rosin. The 
rosin is disturbed with a bellows and the plate is inserted into 
the box, allowing the particles of rosin to settle upon its 
surface in a very fine dust When the plate is heated these 
particles adhere to it. After the design is drawn it is etched 
as in the case of the line etchings; that is, in various degrees 
according to the depth of the tone desired. The less we 
etch the more smooth the metal remains, thereby yielding a 
lighter tone of color. Some artists use more than one plate 
a plate to carry each color. However, this has no bearing 
upon the quality of the print, which of course lies entirely 
with the artist's ability to produce a beautiful color harmony. 
Our libraries are filled with handsomely illustrated volumes 
upon the subject. L.O.GRIFFITH. 



Page Sixty-two 



FINE ARTS BUILDING 




Oil Sketch "After the Ram" 
St. Leon Du-Doight 

CHARLES B KEELER 



QHARLES B. KEELER, 

Landscape Painter, Etcher. 
Born in Cedar Rapids, Iowa. 
Studied at the Art Institute, 
Chicago, and abroad. Member: 
Chicago Society of Etchers and 
The Artists Guild. Medals: 
Silver Medal, St. Paul Institute, 
1915, for a group of etchings; 
Honorable Mention, Panama- 
Pacific Exposition, San Fran- 
cisco, 1915, for etchings. Work: 
"Moonlight," oil painting, St. 
Paul Institute, 1915. 




Etching. "Old Houses" CHARLES B KEELER 

Place. Terre-Au-Duc Quimper (Brittany) 

Book plates and private Christmas cards by Charles B. 
Keeler, illustrated on page one hundred. 

Studio: 852 Second Avenue, E., Cedar Rapids, Iowa. 

Page Sixty-three 



THE ARTISTS GUILD 



Block Prints 

HTHE BLOCK COLOR PRINT as we know it today is a 
^ comparatively recent development out of an Art that can 
be traced back to the Middle Ages. The actual method of 
producing block color prints is a simple one and differs little 
from that employed centuries ago. 

A well-seasoned piece of cherry or pear wood is used. 
After preparing the surface, the picture to be cut can either 
be pasted on or drawn on the block directly, which latter 
method the writer prefers. A sharp knife or V-shaped tool 
is used to cut around the drawing; a gouge can then be used 
to remove the surplus wood until the drawing is in relief 
from the rest of the block. This is repeated for each addi- 
tional color. Care must be taken that they register, the one 
over the other, and in choosing colors it is necessary to 
know what effect overlapping will have. One must delight 
in the sharpening of tools and guiding them dexterously 
through the wood perhaps deriving a boyish pleasure from 
seeing the chips fly. One should enjoy the "feel" of beautiful 
paper, in itself a work of artistic craftsmanship and made to 
last centuries. 

The color must be mixed and applied to the block before 
the slightly dampened paper is laid on. Here precision is 
added to dexterity, as a shift of a thirty-second of an inch 
will spoil the register of all following colors. As with a 
goodly portion of all our endeavors, some of the prints land 
in the discard; out of the rest an edition of fifty or a hundred, 
depending on size and subject, is selected. The balance are 
destroyed and the blocks defaced, thus insuring a limited 
edition. 

Most of the well-known makers of prints are painters 
who use the brush and graver or needle with equal facility, 
putting perhaps a trifle more spontaneity and whim into their 
prints. The writer has in mind Nicholson of England, Orlik 
of Austria, and Riviere of France. In their work we find the 
directness of the early European, combined with the rich 
color quality of the Oriental, or, more correctly, Japanese 
print, but at all times their work is a consistent part of their 
surroundings. 

We certainly have in our country a wealth of material, 
from the rush and energy of the city to the peace and quiet 
of the country, with all the various moods of the seashore, 
plain and mountain. To note and preserve these in a medium 
best suited to his temperament is the mission of the painter 
of pictures and the maker of prints. 

GUSTAVE BAUMANN. 

Page Sixty-four 



FINE ARTS BUILDING 




PLUM AND PEACH BLOOM 



BROWN COUNTY, INDIANA 

A GOOD many may have heard of it, but few are really 
** acquainted with it. Brown County is a little world by 
itself; to be true, not quite so sophisticated as you might 
expect, but containing people with hopes, ambitions, joys and 
sorrows a good deal like everybody else. There is no need 
to go back to nature, no call for the simple life; it is all there, 
pure and unadulterated. 

Mr. Baumann says: "Is it a wonder that the subtle charm 
of such a place should appeal to our cave and cliff dwelling 
artists of the larger cities?" He is among those who have 
settled there and established studios. 

Mr. Baumann has been producing block color prints that 
echo the quaint simplicity of the locality. There is a charm 
in the method and a joy in the finished work, from the artistic 
conception to the final touch of color on the print. To know 
these prints is to know Brown County. 

An illustrated article commenting upon Mr Bau- 
mann's work may be found in tne May, 1914, issue 
of the Graphic Arts Magazine He has exhibited 
foi a number of years in many of the larger cities 
of the United States, also in the Salon de Beaux 
Arts, Paris, and is represented in the City of Chi- 
cago collection Member of the Chicago Society of 
Artists and The Artists Guild Awaided a Gold 
Medal at the Panama-Pacific International Exposi- 
tion, San Francisco, 1915 

Studio: Nashville, Brown County, Ind. 

Prints on sale at The Artists Guild, Fine Arts Building, 
Chicago. 

Page Six ty-f ive 




THE ARTISTS GUILD 



Book -Plates 

"those charming personalities that we find affixed 
within the covers of books by their owners " 

THE BOOKLOVER makes of his books intimate compan- 
ions. Each volume, while usually only one of a number 
of the same kind, holds an individual charm to be cherished 
by the owner. To designate this association, also to guard 
against loss, or the carelessness of the chronic borrower who 
is quite apt to overlook the ownership of the transient books 
on his shelves, each book is marked or labeled. 

For some book owners the simple method of entering the 
name in handwriting, of more or less beauty and legibility, 
somewhere on or in the book, suffices. Others, desiring to 
express more clearly this personal association, and having 
perhaps an idea of embellishing the volume, which if worth 
preserving is worthy of a little extra care, are pleased to affix 
a distinctive name-label, the book-plate or ex-libris. 

Over four centuries ago, along with the invention of 
moveable types which made the printed book possible, the 
book-plate, as we know it, came into use. The early printer, 
taking great pride in his productions, generally marked his 
books with a very personal device, which may be said to be 
the forerunner of the printed or engraved book-mark. In 
manuscript books ownership was proclaimed by the introduc- 
tion of coats of arms, initials and emblems into the page 
designs. 

"The hypothesis," says Egerton Castle, "that what is 
now meant, broadly speaking, by an ex-libris is as old as 
the book itself would perhaps not be too bold a one to 
advance." 

Almost all the earlier book-plate designs were heraldic in 
character, with little or no ornamentation added to the coats 
of arms. Later other features books, interiors, landscapes, 
portraits, symbols, etc. asserted themselves either in promi- 
nence or as accessories to the escutcheon, the design always 
conforming to the style of its particular period. 

The modern designer of ex-libris need not be hampered 
by style. His pen, guided by good taste, may follow the 
fancy of the owner, and being so guided his pen may go 
wherever it is necessary to express the owner's personality. 
He may desire to incorporate in his plate design a familiar 
landscape, or a bit of architecture, a tree, some intimate nook 
of his house, a portrait, or perhaps some symbol or crest. 

While it is interesting to study the past styles and profit 
by their suggestions, what has been done in the designing of 
book-plates should not influence the prospective owner of the 
plate, for the chief pleasure in the design lies in its person- 
ality, presented in an original and appropriate manner. 

LAWRENCE KENNEDY. 

Page Sixty-six 



FINE ARTS BUILDING 



Book-Plates 

TN his book-plate work, Mr Lawrence Kennedy has con- 
formed to the highest standards. Among his designs are 
plates for many prominent people. 



if 1 



T_n.n_ru- 



GGEORGE-SHEPHERD 




THE ACQUISITION OF ANY KNOWLEDGE 15 
ALWAYS OF USE TO THE INTELLECT BE- 
CAUSE IT MAY TK US DRIVE OUT USELESS 
THINGS AND RETAIN THEGOOD-DA VINCI 



Award: In a recent competition for a book-plate for 
Rochester University, Mr. Kennedy's design was selected by 
The Art Institute as the one of highest merit. 

Studio: 1040 Fine Arts Building, Chicago. 



Page Sixty-seven 



THE ARTISTS GUILD 




"Clarence Darrow" 



NANCY COX-McCORMACK 



TVTANCY COX-McCORMACK, Sculptor; born Nashville, 
"^ Tenn. Studied: Art School of Willie Betty Newman, 
Nashville, Tenn.; St. Louis School of Arts and The Art Insti- 
tute of Chicago. She is a contributor to all the important 
exhibitions. Among her best-known work is the Memorial 
in Nashville of Senator E. W. Carmack, her design winning 
over some of the best sculptors in the country. Her portraits 
and statuettes of women and children have attracted great 
attention. 

Classes for women; life class work. 
Studio: 19 East Pearson Street, Chicago. 

Page Sixty-eight 



FINE ARTS BUILDING 



Miniatures 

T^HE MINIATURE PAINTING gives a wonderful and 
A luminous color which comes from the transparency of the 
ivory. It has the texture of skin itself, which makes the 
portrait almost life-like and more intimate. In it is found 
the personality of the large portrait, besides the advantage 
of size, for it can be conveniently carried about. The enjoy- 
ment we derive is constant and the feeling is that the minia- 
ture is a personal thing not to be shared with the world at 
large. 

We have among our members miniature painters of 
national repute, many of whom have received their instruc- 
tions under the most eminent masters abroad. They are 
constant exhibitors in all the leading expositions and exhibi- 
tions throughout the country and most of them have been 
honored with medals and awards in competitions. Notables 
of nearly all ranks are included in the portraits painted by 
our members. We should like to interest you in the minia- 
ture painting and would be pleased to discuss with you the 
artist temperamentally adapted to your requirements. Our 
opinon and suggestions would be impartial, having only in 
mind the one desire to give you complete satisfaction. 

THE ARTISTS GUILD 




MARIAN DUN- 
LAP HARPER, 
Miniature Painter 
Member- Chicago 
Society of Artists, 
Chicago Society of 
Miniature Painters, 
The Artists Guild. 
Exhibited: Panama- 
Pacific International 
Exposition, American 
Miniature Painters, 
New York; World's 
Fair, St. Louis; Chi- 
cago Society of Art- 
ists, Philadelphia So- 
ciety of Miniature 
Painters, Washington 
Water Color Society, 
Chicago Society of 
Miniature Painters, 
Western Artists Ro- 
tary Exhibit. 

Studio: 5203 Black- 
stone Avenue, Chi- 
cago. 



Sixty-nine 



THE ARTISTS GUILD 




ANN MARTIN 

Studio : 

6031 Dorchester Avenue 

Chicago 



"Ruth" 



ANN MARTIN 



/CAROLYN D. TYLER, 
^"^ Miniature Painter; born 
Chicago. Studied at Chi- 
cago Art Institute, and with 
Mrs. Virginia S. Reynolds, 
Chicago. Has exhibited in 
many important exhibitions, 
including the World's Co- 
lumbian Exhibition at Chi- 
cago in 1893, and at the 
World's Fair in St. Louis, 
1904. President of the Chi- 
cago Society of Miniature 
Painters. Member: Chi- 
cago Society of Artists, 
Chicago Water Color Club, 
The Little Room and The 
Artists Guild. Among some of her better known portraits 
are, Mr. and Mrs. N. S. Bouton, Miss Helen Hyde, Mrs. 
Bertha E. Jaques, Ruth St. Dennis, Miss Mary Angell and 
Martha Hedman. 

Studio: 1401 East Fifty-third Street, Chicago. 




MISS JYiary Angeii 



Page Seventy 



FINE ARTS BUILDING 



MADGA HEUER- 
MANN, born in 
Galesburg, 111. Studied 
under Franz von Len- 
bach in Munich, Art 
Institute and F. H. C. 
S a mm on in Chicago. 
Exhibited in all impor- 
tant exhibitions and 
awarded medals and 
diplomas at Chicago 
World's Fair, Philadel- 
phia, New Orleans and 
Atlanta. Painted the 
following portraits 
among other well- 
known men and women: 
Ex-Senator George H. 
Munroe, John Plank- 
ington, Countess d'Aul- 
by, Princess Wrede, 
Franz von Lenbach, 
Franz von Stuck and 
Kaiser Wilhelm II. 
Received recognition "Mother and Child" 

from German Kaiser 

through Embassador Count von Bernstorff. Oil paintings 
and miniatures restored. 

Studio: 1016 Fine Arts Building. 





"The Striped Dress" 

KATE LEE BACON 



1ATE LEE BACON, Minia- 
ture Painter, Murals. Stud- 
ied at The Art Institute of Chi- 
cago under Frank Walcott, 
Frank Phonix, John W. Norton 
and Ralph E. Clarkson. 

Portraits: Master Andrew 
Graham, Junior Howe, Mrs. 
Ralph Parker, Florence Noyes, 
Iris Weddell and others. 

One of the Murals painted by 
Miss Bacon is hung in the Libby 
Public School. 

Studio: 1039 Fine Arts Build- 
ing. 



Page Seventy-one 



THE ARTISTS GUILD 




ATHERINE H. 
SCOTT, Portraits 
and Miniatures; born Bur- 
lington, Iowa. Pupil: The 
Chicago Art Institute and 
William M. Chase. 

Member: Art Students' 
League, Art Institute 
Alumni Association, and 
The Artists Guild, Chi- 
cago. Exhibitor in Art 
Students' League, Society 
of Chicago Artists, Ameri- 
can Water Color, Pastel 
and Miniature Painters, 
Iowa Building, St. Louis 
Exposition, Art Museum, 
Portland, Oregon, and 

Federation of Woman's Clubs, Fresno, Cal. Present address: 

1107 North Sixth Street, Burlington, Iowa. 



"My Mother" 

KATHERINE H. SCOTT 



Mother Goose Reliefs 

p\ESIGNED, modeled and hand colored by Corice Wood- 
^^ ruff, Minneapolis, Minn. Pupil of Minneapolis School 
of Fine Arts under Robert Koehler; 
Kunte Akerberg. Member: Boston 
Society of Arts and Crafts, National 
Society of Arts and Crafts, New 
York, and The Artists Guild, Chi- 
cago. Award: First prize for sculp- 
ture, Minnesota State Art Society. 
Specialty: Paintings and sculpture 
in low relief. We herewith give an 
illustration of one of a series of re- 
liefs by Corice Woodruff, colored in 
warm neutral, old blue, rose and soft 
cream, among which are included 
"Boy Blue," "Tommy Tucker," "Bo 

Peep," "Mistress Mary," "Jack Hor- " Miss Muffe " (5 x 6ft in.) 
ner," "Simple Simon," "Polly Flinders" and "Wee Willie 
Winkie." 

Studio: 2521 Pillsbury Avenue, Minneapolis, Minn. 




Page Seventy-two 



FINE ARTS BUILDING 



Art for Reproduction 

THE DEMAND for pictures and designs for repro- 
ductions has greatly increased in recent years. 
Heretofore a few "cuts" were found sufficient; now 
elaborate pictorial and decorative publications are 
common. 

This interesting result has been made possible by 
the advancement in the art of printing, which enables 
us to reproduce almost everything very satisfactorily. 
The printed sheet now retains the charm of the original 
picture, the subtle tones, color harmony and atmos- 
phere of the painting being reproduced with a fidelity 
that is quite remarkable. 

As the possibilities grow, greater care and taste is 
also being displayed in the selection of paintings and 
designs, and much that is truly art is seen. The far- 
sighted buyer realizes that his public is appreciative of 
the artistic results of his discrimination. It is now not 
uncommon to find the names of artists of national rep- 
utation signed to the printed picture or design, which 
is indeed gratifying, since it graphically demonstrates 
that their work is not alone for the pleasure of the art 
collector and gallery visitor. 

The Artists Guild has among its members men and 
women who, besides being trained in the requirements 
of reproduction, produce work of artistic taste and 
merit specialists in almost every field. The Artists 
Guild thus affords an ideal opportunity to obtain those 
results which we hope will eventually raise to a high 
standard all pictorial printing. 

F. R. HARPER. 



Page Seventy-three 



THE ARTISTS GUILD 



Character in Jewelry 

TX7"HILE the average person knows his needs in the realm 
** of creature comforts from a standpoint of utility, few 
give sufficient thought to the details which go to make up 
the total of completeness which constitutes harmony and 
whose mission Art in every branch humbly serves; especially 
noticeable in this particular is the selection of jewelry for 
gifts and personal adornment. In too many instances those 
who give little thought to such matters are attracted by the 
glitter of a bauble without regard to its especial fitness for 
the wearer, overlooking, in their eagerness to please, the most 
important factor of dress, for jewelry is a part of the costume 
and should be in harmony with it to the same degree as a 
hat or a pair of shoes. Prior to the advent of machinery 
jewelry of any importance was designed and made expressly 
for the one whose person it was meant to adorn, and in such 
instances great care was given to detail and thought in its 
execution. With duplication came the machine, with its 
unfeeling and uninteresting qualities, until up to a few years 
ago jewelry became a matter of costly merchandise only, and 
its dispensers were neither more nor less than merchants. 
But the one thing the machine could never do in producing 
jewelry was the thing it has never been able to do in any of 
the arts, ic; supply a texture in keeping with the subject. 
The public has awakened to this fact and today are giving 
employment to great numbers of worthy craftsmen who work, 
it is true, with a hope of profit, but whose chief aim is to 
produce harmonious effects, combining good art with utility 
of purpose. The stores are full of costly things, mostly 
ornate and garish, the product of factories where the work 
is passed along from one specialist to another to its comple- 
tion, resulting in something as utterly incapable of expression 
of feeling as the product of a machine of wheels and dies. 
While many of the things so produced are labeled "hand- 
work," they fail in their mission as truly as a group of paint- 
ers would fail in attempting to put upon canvass by combined 
efforts a landscape or a portrait. To be successful a p/ece of 
jewelry must he wrought out in its entirety bu the one n?/io design* it Any 
other method defeats the best results by the conflict of 
different ideals and interpretations held by the several per- 
sonalities through whose hands it passes. The true and 
honest purpose of Art is thus sacrificed to economy of pro- 
duction and no advantage is gained over the so-called store 
jewelry other than perhaps some originality of design, which 
in itself is not sufficient when the wearer is to be taken into 
consideration. The true craftsman loves his Art and the 
force of his personality is always evident in his work. 

JAMES H. WINN. 

Page Seventy-four 



FINE ARTS BUILDING 



Hand -Wrought Jewelry 

TXTILHELMINA COULTAS, whose exclusive designs are 
illustrated herewith, specializes in the individuality and 

expression of personality, which is the principal aim in the 
creation of hand-wrcught jewelry. 
Each piece is especially designed and 
the gold, or whatever metal is used, is 
toned to harmonize with the stone and 
can also be tieated as a special note 
of color for the gown or for other 
purposes where unique or exquisite 
effects are desired. 

Heirlooms or other pieces of jew- 
elry to which associations are attached 
can be made up in a modern design, 
using the same material Positive 
assurance is given that no other metal 
will be substituted. 

Miss Coultas pays special atten- 
tion to remounting of precious and 
semi-precious stones in gold, silver or 
platinum, and also makes a specialty 
of resetting old jewelry. Besides being a worker in jewelry, 
Miss Coultas produces other exclusive designs, such as mono- 
gram belt buckles, shoe buckles, cigar cases, cigarette cases, 
etc. The productions of this worker are accepted as among 
the best in execution and design. She has ex- 
hibited in the leading exhibitions throughout the 
country, in many of which the critics have been 
very enthusiastic in their praise. Special men- 
tion has been made in art notices regarding 
recent exhibitions held in the Chicago Art Insti- 
tute, Albright Gallery in Buffalo, Milwaukee 

Art Society, Minneap- 
olis Institute and St 
Paul Institute. 

Sketches submitted 
on request. 




Gold Pendant with Black 
Opal and Olivines 





Gold Pin with Mexican Opal 

Studio: 1016 Fine Arts Building. 



P a e Seventy-live 



THE ARTISTS GUILD 




/ ]V[ ISS JESSIE M. PRESTON has 
/ for many years worked along the 

lines expressive of the best in the 
Metal and Jewel Craft Art. She be- 
lieves that no individual expression 
is complete unless it extends to the 
home. Her work, therefore, is repre- 
sented in the smaller details for per- 
sonal adornment, and the larger work 
for home decoration the lamps and 
fixtures and whatever the metal craft 
suggests in the scheme of the house- 
hold. The illustrations are examples 
of her work. 



Necklace in Gold, Tourma- 
line, Emeralds, Pearls 





Frame in Gold and Opal 



Studio: 1028 Fine Arts Building 
Telephone: Wabash 7526. 
Chicago, 111. 



Chalice in Gold, Silver 
and Opal 



Page Seventy-six 



FINE ARTS BUILDING 




Ring 
Laurel Motif 





Ring 
Thistle Motif 



Fob m Silver and 
Opal Matrix 



T N THE WORK of James H. Winn one finds a happy com- 
bination of good design, harmonious color effects and 
sculptural treatment. Through the co-operation of this Master 
Craftsman we are able to submit designs of an exceedingly 
high order for special wants, and his experience extending 
over thirty years of practice, with the acquisition of numerous 
honors, gives assurance of pleasing results. 

Eminently successful are his rearrangements of stones 
from stereotyped forms and old jewelry into modern and 
artistic pieces exquisitely rendered. 

Mr. Winn is an expert judge of diamonds and other pre- 
cious stones and his assistance in selection is at the command 
of our patrons. 

Studio: 1041 Fine Arts Building. Telephone Wabash 8821. 



Page Seventy-seven 



THE ARTISTS GUILD 




Gold Dinner Ring with Pearl 
KRISTOFFER HAGA 



ID ING executed by Kris- 
toffer Haga, designer 
andmaker of Hand-Wrought 
Jewelry. 

Studio: Park Ridge, 111. 



N 



Nature Trays 

ATURE TRAYS have milkweed or grasses under glass, 
with silk background, or between two glasses, the latter 
making a transparent tray. The edge is bound with braided 
raffia. Similar effects are carried out in mission candle 
sticks and shades, alfresco teakettle screens, and alfresco 
percolator coffee screens. A good selection is on display at 
all times at The Artists Guild Galleries. They are produced 
by Mrs. E. C. White, Tarrytown, N. Y. 



TWTISS CHRISTINE WOOLLETT paints unique floral 
designs in enamel on boxes, trays or any articles lend- 

ing themselves to this kind of decoration. The work is done 

on papier mache, 
metal or wood, and 
the bright colors 
against the white en- 
ameled background 
make the pieces espe- 
cially appropriate 
for summer homes, 
Prches and bed- 
rooms. The designs 
have a spontaneity 
and freshness and the 
articles fill a demand 
for the "unusual gift" 
at moderate prices. 
1 Park Place, Jamaica Plains, Mass. 




Decorated Boxes and Trays 
Metal and Fibre 



Studio: 



Page Seventy-ei^ht 



FINE ARTS BUILDING 



Hand- Wrought Silver 

"LIAND-WROUGHT SILVER is the product of an art 
** immemorially old. It is, however, little understood. A 
piece of silver showing hammer marks is not necessarily 
made by hand. 

A hand-wrought silver piece is one which is "formed up" 
entirely by hand from flat "Sterling" of a suitable thickness. 
This silver is obtained from a refiner who has melted the raw 
silver, refined it to 925/1000 pure, and rolled it into sheets. 
The "forming up" is done over either wooden or metal stakes 
with wooden mallets and requires an accurate eye and a 
steady hammer blow. The silver is not hammered over or 
into metal forms the size of the object being made, as is 
sometimes supposed. 

After the piece is formed the final finishing is done with 
a planishing hammer over a metal stake, both of which must 
be highly polished and without any flaw on the surfaces. 
Scratches or marks of any kind on a finished piece indicate 
rough tools or bad hammering. The planishing causes the 
hammer marks. These marks should be flat and fairly sym- 
metrical A good, steady blow is necessary, so there will be 
no unevenness While the hammer marks should be fairly 
symmetrical, they should not show in even rows. They 
should, however, overlap one another, leaving no unplanished 
surface. 

Machine-made silver is either stamped out by heavy power 
punches or spun into shape over forms in a common machin- 
ist's lathe, and is usually highly polished. Some of it, how- 
ever, is planished to give it the appearance of being hand- 
wrought. 

Inasmuch as the most expensive part of the work is done 
by the machine, it costs much less to produce this silver, 
as the original forms are spun up or stamped out in large 
quantities. 

It is almost impossible to duplicate hand-wrought pieces, 
whereas in machine work thousands can be made from one 
form. 

It should be borne in mind that in order to properly finish 
a piece of hand-wrought silver it must be planished, whereas 
in the machine-made pieces the planishing may be added to 
give the appearance of being hand-wrought. 

Also, the machine has its limitations, and when a design 
is made for this kind of silver it must conform to these limita- 
tions. Not so with the hand-wrought work; the artist crafts- 
man can make such designs as he wishes, knowing that by 
the skill of his hand he can form the piece into the thing he 
desires to create. 

These objects possess greater artistic merit, hence the 
value of hand-wrought work. 

R. R JARVIE. 

Pa^e Seventy-nine 



THE ARTISTS GUILD 



Hand -Wrought Jewelry 
and Silver 

HP O A mark of quality in jewelry and silver, is represented 
1 * ^-" in The Artists Guild by Emery W. Todd. The work 

is entirely hand wrought and of original design. A showing 

of many interesting novelties 
for men jewelry, special sta- 
tionery, monograms and hand- 
wrought silver is on exhibition 
at The Artists Guild salesrooms. 
Today as people are seeking the 
better along the lines of art, they 
are recognizing the superiority 
of the hand-made article over 
the one machine made. This is 
particularly true in the case of 
hand-wrought silver, and with 

good reason. A piece of work, be it a simple spoon or 

a large water pitcher made by hand, requires the use of 

heavier metal than one stamped out by a machine, with the 

result that you have a very much 

more durable piece. There are 

not numerous intricate details in 

design, which invariably collect 

dirt, etc., making it a difficult task 

to keep clean. In selecting golf 

prizes, wedding gifts and trophies 

we suggest combining the practi- 

cal with the artistic, such as water 

pitchers, large salad bowls, flower 

vases, trays or a choice of innu- 

merable other things equally de- 

sirable. 




Silver Water Pitcher 




Silver Water Pitcher 



Studio: 841 Fine Arts Building, Chicago. 



Page Eighty 



FINE ARTS BUILDING 



Hand -Wrought 

Gold and 

Silver 




Silver Trophy 

ROBERT JARVIE is a de- 
signer and maker of gold and 
silver ware This work takes the 
form of trophies, loving cups, 
punch bowls, and other presenta- 
tion pieces It is entirely hand- 
wrought, ot the highest older of 
workmanship, and each piece is 
designed especially for the event 
for which it is intended His 
shop is located in the Old Cottage 
at the Stock Yards, where for 
more than three years Mr. Jarvie 
has made many of the trophies 
given at the big stock shows 

Attention is called to the fact 
that he is engaged in an endeavor 
that ought to receive the hearty 
commendation of all craftsmen 
and all lovers of craftsmanship 
He is trying to emphasize the fact 
that hand-wrought work does not 
necessarily stamp an article as 
being prohibitively expensive 

Mr. Jarvie's work is on display 
and for sale at The Artists Guild 



'IP HE making of hand-wrought 
* silver is the revival of an art 
that was almost lost sight of until 
a few years ago, since which time 
there has been a continual branch- 
ing out The rather "crude ham- 
mered" pieces which marked the 
early stages of craft in this direc- 
tion have been replaced by mas- 
terly creations in its most varied 
forms S E Lamprey, with his 
thirty-five years' experience, makes 
a complete line for the table in 
original design and also executes 
suggested ideas Specialty is made 
of matching old pieces 




Silver Ladle 



Studio 

S E Lamprey, 
Rohoboth, Mass 
R F D No 2 



Page Eighty-one 



THE ARTISTS GUILD 



Copper 



TN THE DECORATION of the home copper has its appro- 
priate place among the various materials used in the 
expression of art. It enters into the make-up of all the 
principal alloys such as sterling, bronze, brass, etc. There 
is something about copper which makes it susceptible to 
surface changes when acted upon by the atmosphere, chem- 
icals and temperature changes which gives the art craftsman 
a wide range in obtaining color effects. It is the skillful 
control of this "tarnish," whether natural or artificial, which 
gives the worker many opportunities. This in connection 
with the beautiful surfaces obtainable under the action of the 
hammer is frequently all that is required in the production of 
interesting articles of art without the necessity of additional 
decorative designs. 

In the mechanical decorative designs it yields most readily 
to the tools employed, becoming extremely soft under the 
annealing flame, and, on the other hand, as hard and strong 
as the other metals when hammered. Thus it becomes pos- 
sible to form the metal into the most difficult shapes. 

Age improves the appearance of oxidized copper if prop- 
erly cared for, provided it was given the proper start. Bright 
copper, of course, requires protection by means of lacquer 
or wax finish. This is true also of certain special finishes. 
As a rule the oxidized surface obtained by means of heat 
treatment is more permanent, being a true oxide and one that 
will improve with age if kept well rubbed to prevent accu- 
mulation of dust and moisture. Oxidized copper should not 
be washed or scrubbed, but just rubbed often with a soft, dry 
cloth to a polish, much the same as the treatment given to 
nice old mahogany. 

Since copper is the most beautiful, durable and workable 
of the less expensive metals, there is no reason why it should 
not become more commonly used in the decoration of the 
home for ornamental and useful utensils, vases, fireplaces, 
metal trim, lamps and lighting fixtures. 

What harmonizes more beautifully with the tapestries, 
oriental rugs and nice furniture than copper, either in its 
natural color or toned down to meet the requirements of the 

interior scheme? 

GEORGE H. TRAUTMANN. 

Page Eighty-two 



FINE ARTS BUILDING 



Hand-Wrought Lamps and Fixtures 




Copper Lamp Tulip Design 

craftsman. The hand-wrought 
markings of tools used, and, 
such thing as an absolute 
duplicate. Neither is 
there the temptation to 
produce duplication 
work, as it is almost as 
simple and much more 
interesting to make new 
designs. 

Special exhibitions of 
George H. Trautmann's 
lamps can be seen in his 
studio, the Fine Arts 
Building, or The Artists 
Guild. Designs and esti- 
mates submitted. 
Workshop: 
4879 Ravenswood 
Avenue. 

Phone: Edgewater 6690 
Chicago. 



TTHE Trautmann hand- 
wrought lamps and 
fixtures are made for 
lighting the house, mdi- 
rects, lantern effects and 
porch lights. The ad- 
vantage of using copper 
and brass as mediums for 
decorative craft work is 
that they can be wrought 
immediately into shape, 
while there is nothing 
lost by an intermediate 
process such as is liable 
to occur in cast articles 
no casts or molds and 
subsequent filing and 
smoothing to destroy 
the individuality of the 
metal shows unmistakably the 
strictly speaking, there is no 




Copper Lamp 
Conventionalized Leaf Design 



Page Eighty-three 



THE ARTISTS GUILD 




'WROUGHT WITH THE HAMMER' 

J. SIDNEY BUR- 
TON is a maker 
of hand-wrought 
jewelry and metal 
work, and the most 
interesting examples 
in candlesticks, 
boxes, vases, etc., 
may be seen at The 
Artists Guild. In 
design, tooling and 
construction the 
work cannot be sur- 
passed. 

Studio- 

East Aurora 

New York 



Copper Candle Sticks 




Decorated Porcelain and China 

HTHE CHINA PAINTER'S CRAFT has made a decided 
* progress in recent years. It has developed from the 
mistaken idea of beauty in a wild profusion of floral embel- 
lishments to a thoroughly masterly way of handling the 
decoration of porcelain and china with careful regard for 
shape, color, harmony and design. 

In modern lustre a revival of the old art an unlimited 
range of color can be obtained from the most shell-like 
effects to the richest tones. There is no medium in which 
the variety of tints and irridescent hues can be so successfully 
reproduced as with the application of lustre on porcelain or 
china. The various pieces on exhibition at The Artists Guild 
Galleries show the vast contrast between the average deco- 
rated porcelain and the excellence attained by our many 
painters. The selections include some porcelain and china 
in almost every form, even to the extent of suggestions for 
complete sets of tableware. 

THE ARTISTS GUILD. 



Page Eighty-four 



FINE ARTS BUILDING 




Chocolate Pot 
MATILDA MIDDLETON 



TWTISS MIDDLETON'S work in enamel on porcelain is 
distinctive for its unusual design and beautiful combi- 
nation of color. Her long experience in this field has made 
for her an enviable reputation, both as teacher and decorator 
of porcelain and china. Of especial charm are service plates 
and lamp bases. The latter executed in delicate pastel shades 
on satsuma are a delight to the beholder and may be made in 
any scheme of color to harmonize with the furnishings. The 
chocolate pot as shown above is one of the many examples 
that are included in exhibits of Miss Middleton's work that 
may be found on exhibition at The Artists Guild Galleries. 
This well-assorted selection includes many specimens of Miss 
Middleton's rare ability in design and workmanship, and also 
offers many suggestions for special order work in which she 
specializes. Instructions given. 

Studio: Atheneum Building, Chicago. 



Page Eighty-five 



THE ARTISTS GUILD 

DorcKester Glass and Lustre Ware 

SARAH RYEL COMER 




Tea Set Dark Blue Lustre 



Q* A RAH RYEL 
^ COMER has been 
extremely successful 
in an entirely new 
and original branch of 
craft work, which is 
known as Dorchester 
Glass. Its transpar- 
ency and exquisite 
coloring, in addition to the well-selected shapes with espe- 
cially beautiful lines, produced in gray blue irridescent and 
limpid gold qualities, strikes rather a new note It is quite 
wonderful to think of such things being made in this country. 
Dorchester Glass gives one rather a new version concerning 
the potentialities of home products. The illustration herewith 
shown of decanter and high cordial glasses is only intended 
as a suggestion for form, it being entirely impossible to sug- 
gest anything in the way of coloring. In addition to the 
high cordial glasses and decanter, we have on exhibition low 
cordial sets, wine glasses, frappe glasses, lemonade glasses, 
goblets, dessert glasses, sherbet glasses, candlesticks, bonbon 
dishes, nut dishes, bowls, sugars and creamers, sweet pea 
vases, single flower vases, bud vases, favors, and numerous 
other things used for table service. The Chocolate Set illus- 
trated herewith is 
not produced in Dor- 
chester Glass, but 
is of a porcelain to 
which is applied the 
lustre treatment in 
their many different 
colors and color 
combinations, as set 
forth on the follow- 
ing page. Cordial Set Dorchester Glass 




Page Eighty-six 



FINE ARTS BUILDING 




Flower Bowl 
Light Green Lustre 



Lustre Glass and Porcelain 

SARAH RYEL COMER 

TN addition to the exquisitely 
colored glass mentioned on the 
previous page Sarah Ryel Comer 
produces on porcelain the most 
fascinating colors, together with 
a delicacy of tone which suggests 
fragility and lightness. A won- 
derful color sense has enabled her 
to execute pieces of such exqui- 
siteness and variety, that any 
scheme of decoration can be com- 
pleted from the selection. They 
are in colors which indeed do 
satisfy and are really too lovely to describe. The flower 
bowls, which are very much in demand at present, are in 
various shapes and sizes in combinations of color dark 
blue, light blue, yellow with amber color inside, delicately 
colored pink with opalescent lining. There is no limit to the 
number of shapes and color effects that can be produced. 
Anything that can be obtained in white china can be treated 
in this manner. From the flower bowls one's attention is 
drawn to the two-color combinations in tableware, each more 
charming than the last in color and shape. Blue combined 
with ivory or cream-yellow, deep and light, a wonderful light 
green and cream, dark blue with a reflection of lavender 
shading into pink, and many other similar effects. Sarah 
Ryel Comer is a member of the Society of Arts and Crafts 
of Boston, who conferred upon her the degree of Master 

Craftsman at a gen- 
eral meeting held 
February, 1915. She 
is also a member of 
the National Soci- 
ety of Arts and 
Craft, New York, 
and The Artists 
Guild of Chicago. 
Studio: 
Dorchester, Mass. 




Chocolate Set Yellow Lustre 



Page Eighty-seven 



THE ARTISTS GUILD 




suggestions 
*" illustrated herewith 
are included in the ex- 
hibits at The Artists 
Guild Galleries, repre- 
senting the work of 
Sidney T. Callowhill. 
In reviving the old art 
in modern lustrous 

treatment, an unlimited 

Lustre Vase, Flower Bowl and Coffee Pot . . . 

range of color can be 

obtained. Gold lustre, green gold lustre, and all the various 
delicate shades can be executed. This ware is very desirable 
for wedding and Christmas gifts. Salad bowls, nut bowls, 
vases, tea sets, after dinner coffee cups, etc. 

Studio: Sidney T. Callowhill, 997 Beacon Street, Newton 
Centre, Mass. 



Pottery 



EXCLUSIVE DESIGNS in practical pottery are much in 
" evidence in our large selection of American pottery. In 
addition to only one of a kind being made, which is usually 
the case, the distinguishing characteristics of our different 
potter's works are in its simplicity. It includes varieties 
which command the admiration of the world's connoisseurs. 
This form of decoration has been particularly desirable on 
account of the charm of form and shades of color in which 
it can be produced. Even in the texture of the ware is an 
effect adaptable to the present day of treatment of home 
decoration. 

Attractive tableware in delicate yellows, blues, greens or 
any other color that may be desired for decorative purposes 
can be made to your order. Patrons desiring a distinctive 
piece of pottery will find a large and varied selection on exhi- 
bition at our Galleries, or they may submit their designs or 
ideas and we should be pleased to work them out. 

THE ARTISTS GUILD. 



Page Eighty-eight 



FINE ARTS BUILDING 




"p.E. W ALR ATH, 
instructor in pot- 
tery at Mechanics In- 
stitute, Rochester, N.Y. 



Flower Bowl 



He produces many charming vases, landscape tiles, bowls 
and flower holders The "Walrath" Bowls and Flower Pieces 
have gained much favor from their pleasing modeling and 
lovely color. The surface texture is of a velvety smoothness 
and the colors have the softness of pastel shades. The figure 
flower pieces are wonderfully modeled, making attractive 
backgrounds for flowers. A varied assortment can always be 
seen at The Artists Guild. 




Flower Bowl 



Studio: 

Mechanics Institute, 

Rochester, 

New York 



P a e Eighty-nine 



THE ARTISTS GUILD 




Flower Bowl 



TWTAKE it your custom to give Fulper Pottery for wedding 
gifts or other gifts. Exclusive designs in various colors 
and kinds of glazes which are not made elsewhere. Send for 
illustrated sheets for easy selection. 

FULPER POTTERY 

Founded 1805 
Flemington, N. J. 

Awards of Honor at the Panama-Pacific International Ex- 
position. Booth in Palace of Varied Industries. 

Permanent New York Exhibition: 333 Fourth Avenue. 



Page Ninety 



FINE ARTS BUILDING 




"Pottery Designing" 



PAUL REVERE POTTERY 



"POR outdoor, dining-room and country houses, breakfast, 
luncheon and supper use, this ware is particularly adapted. 
The shapes are good and the decoration exquisite, the colors 
being of rich yellows, greens, browns, and soft blues. The 
porringer sets for children, with designs of bunnies, chicks 
and others of their friends, are very charming. 

Address : Paul Revere Pottery, 18 Hull Street, Boston, Mass. 

Exhibition Rooms: 478 Boylston Street, Boston, Mass.; 
The Artists Guild, Fine Arts Building, Chicago. 



Furniture and Ru&s 



ID OBERT JARVIE announces the addition of a depart- 
ment for the making of Furniture and Rugs, to his Shop 
in the Old English Cottage at the Stock Yards. 

Mr. Jarvie will design and make Furniture of every de- 
scription. Patrons may submit their own designs or Mr. 
Jarvie will be glad to duplicate any piece of Furniture desired. 

Rugs will be made to harmonize with the decoration of 
the room. 

Both Furniture and Rugs are made under Mr. Jarvie's 
personal supervision, and the workmanship will be of the 
highest order. 



Page Ninety-one 



THE ARTISTS GUILD 



Decorated Leather 

"TVECORATED LEATHER is one of the crafts which 
^"^ attains a high degree of excellence, and has beauty as 
well as serviceability to recommend it. When we add to its 
decorative qualities its durability and adaptability we feel 
that there is a justifiable reason for the favor in which leather 
has been held ever since the days when the skins of beasts 
filled such an important place in the wardrobe of our very 
early ancestors. 

Just when the skins were shorn of hair, thus lending them- 
selves to decoration in many ways, we do not know. The 
Crusaders brought back with them leather ornamented with 
precious stones and metals about the eighth century, and 
Europe set itself to imitate this art of working in leather, 
finding purest models in Spain, then occupied by the Moors. 

For several centuries the art of decorating leather remained 
the specialty of Spain, though soon other countries were doing 
better work than imitating the celebrated manufacturers of 
Cordova, Spain. 

Venice developed modeled leathers. Germany discovered 
it to be an ideal material for rendering the mantels and 
plumed helmets of heraldry, while the carved and embossed 
leathers in the Vijon Museum are examples of the leather 
work of the great decorative school of the Court of Burgundy. 

In the eleventh century we come to the first employment 
of gold leaf upon leather, and with its introduction leather 
decoration assumed an importance before unknown. 

Brilliant oil paints in connection with gold and silver made 
a more gorgeous decoration for wall hangings, screens, 
chests, etc., than would be desirable today, but its adaptability 
is one of its charms and we now design and decorate leather 
to harmonize with the present surroundings. Your wall 
panels may carry out the type of your architecture; a screen, 
desk set, table cover, or chest, may be made to harmonize 
with the period of design of furniture. Choice chair frames 
may have leather decorated to cover them, valuable books 
may be bound or rebound, or any work of this nature may 
be executed in an individual manner with originality and good 
taste. 

AUGUSTA B. McCARN. 

Page Ninety-two 



FINE ARTS BUILDING 




Tooled Leather Chest Silver Trimming 
Owned by Ira Nelson Morris 



AUGUSTA B. McCARN 



' I 'HE tooling of leather is one of our most interesting as 

well as useful crafts on account of the large number of 

articles to which it can be applied. The range is wide from 

wall panels, screens, chairs, chests, etc., down to dozens of 

smaller pieces such as bill books, card cases and note books. 

Mrs. McCarn's work is exquisite in tooling, color and design. 

Studio: 6153 Kimbark Avenue, Chicago. 




Tooled Leather Table Mat 



CHARLES A. HERBERT 



THE DURABILITY of tooled and decorated leather has 
made it very desirable and adaptable for many uses. Mr. 
Herbert executes individual ideas appropriate in design and 
creates them into innumerable, useful forms of decoration. 
Among the practical articles produced are guest books, 
screens, mats, cases and wall decorations. Instructions given 
in leather, jewelry and water color. 
Studio: 1100 Auditorium Tower. 

Page Ninety-three 



THE ARTISTS GUILD 




HTHE REPRODUCTION SHOWN is an example of book 
* binding by Anna B. Morrison, Designer, Book Binder and 
Metal Worker. Miss Morrison has specialized in this work 
at the Chicago Art Institute ; Royal College of Art, Kensing- 
ton, London. She has also studied with M. Dumont in Paris. 

Studio: 308 West Vine Street, Kalamazoo, Mich. 




TWTARIE E. BLANKE, 
Landscape Painter. 
Designs for note paper, 
calendars, Christmas greet- 
ings, book plates, etc. The 
Artists Guild. 

Studio: Lewis Institute. 



Suggestions for Stationery 
MARIE ELSA BLANKE 



Page Ninety-four 



FINE ARTS BUILDING 




Decorated Wood Tray 



T^HE work of Arthur G. Grinnell, in wooden frames, trays, 
boxes, desk sets, etc., are quaintly designed and admirably 
executed. Colonial designs on mahogany stain, gray stain 
showing the grain 
of the wood, trees, 
landscape decora- 
tion baskets of 
flowers and blue- 
birds Chinese red 
lacquer and old 
English black lac- 
quer with raised 
gilt birds and flow- 
ers, are some of 
the plans of designs. The very latest patterns are flowers 
painted on a black ground similar to those on the Old Adams 
furniture and harmonizing with the present style of decoration. 

Studio: New Bedford, Mass. 




Decorated Wood Desk Set 



Page Ninety-five 



THE ARTISTS GUILD 



Interior Decoration and Design 

THAT A KNOWLEDGE of decoration and design 
is one of the most desirable fields of cultivation 
for the public as well as the individual, is beyond con- 
troversy, though few have the time or opportunity for 
such education. 

The skillful decorator possesses knowledge of the 
relative value of architecture, sculpture, painting and 
the various crafts to use in assembling these different 
arts into a pleasing composition. The interior, be it 
that of a home, club, school, hotel, or even a shop, 
should be well considered, and the wise layman, 
recognizing his own deficiencies, will proceed to secure 
skilled advice as he would in regard to any specialized 
business where his own experience is not sufficient. 
Let the designer or decorator show the value of his 
useful profession by combining utility and beauty into 
an harmonious whole. A home well planned by an 
architect with whom the decorator works in sympathy, 
is bound to satisfy in every detail. Handsome and 
inexpensive interiors do not alone require such serv- 
ices. The more modest as well should receive their 
share of such consideration. It is in the knowing how 
to treat each individually that the value lies. The 
Artists Guild would impress upon the public the neces- 
sity of employing trained designers and decorators to 
furnish interiors, and urges all who contemplate home 
building or the fitting up of any interiors to come to 
them for help, be it ever so simple or very elaborate. 
The best in the field will be at their services, with the 
assurance that the expense will be in correct propor- 
tion to their problem. 

D'ARCY GAW. 



Page Ninety-six 



FINE ARTS BUILDING 




HPHIS interior, with its simplicity of design and comfort, 
as well as color harmony, illustrates the work of Miss 
D'Arcy Gaw, who specializes in home furnishings and deco- 
rations. The architectural features are considered in relation 
to the general scheme of decorations. Not only does Miss 
Gaw take charge of the completing of a home with all its 
details, but will advise as to individual rooms, the hanging of 
pictures and rearranging of furniture, etc. Orders are taken 
ior designing and making of screens, wall decorations and 
furniture and any fitments pertaining to the home. 

Studio: 1200 Stemway Hall 




Page Ninety-seven 



THE ARTISTS GUILD 




MARY LOUISE COLEMAN 



Individual Home 
Decoration 

1WTARY LOUISE COLE- 
XVA MAN specializes in 
carefully thought out home 
decoration Combining indi- 
viduality and comfort, she 
produces effects that only a 
thoroughly skilled decorator 
can achieve In furnishing 
a home Miss Coleman intro- 
duces many unusually inter- 
esting objects that are spe- 
cially designed and executed, 
which invariably denote cul- 
tuie 

The illustration shown 
herewith icpresents one of 
the features in connection 
with lamp-, and lighting fix- 
Uues that undoubtedly gives 
as much cheer to an interior 
as any othei one thing, espe- 
cially if serious consideration 
is given to the space it is to 
occupy 

Studio 1035 Fine Arts 
Buil dint; 




"Stung Dolls and Toys" 



ESTHER BLANKE 



MISS ESTHER BLANKE is producing some thoroughly 
progressive and attractive work in wooden toys and 
decorated wood articles of all kinds. The above cut shows 
toys and "String Dolls," which are quaintly designed and 
painted in bright, interesting colors. Orders will be executed 
where special schemes in house furnishings are carried out 
requiring designing or decorating of furniture, carving of 
wood, etc. 

Studio: Steinway Hall, Chicago. 



Page N inety-eight 



FINE ARTS BUILDING 




Ship Models 



"C. W OTTIE, Boston, Mass Historical and Decorative 
^~* Ship Models a specialty; Working Models, Scale Mod- 
els, Case Models. Member- Boston Society of Arts and 
Crafts and The Artists Guild. 



Page Ninety-nine 



THE ARTISTS GUILD 




T>RIVATE Christmas cards, 
** book plates designed or 
etched on copper, designs for 
monograms, correspondence 
cards, etc. 



Studio: 

852 Second Avenue, E. 

Cedar Rapids, Iowa. 



Christmas and Greeting Cards 
CHARLES B KEELER 




Copley Craft Christmas Cards 



JESSIE H McNICOL 



f t VV^UrGu^^W^ToKtS^ ^.r^rpn^-st to Jes.e 

H McNicol, 18 Huntmgton Avenue, Boston, Mass 



One Hund red 



FINE ARTS BUILDING 



Appropriate Picture Framing 

HPHE FRAMING of a picture is a difficult art, and 
* unless you have made a careful study of it, or 
perhaps as is sometimes the case, you are born with 
an innate taste, in framing as in everything else you 
are obliged to consult someone else regarding the 
proper treatment. 

It is in this direction, after having given the subject 
careful study and with years of experience, that we 
solicit your orders for the framing of pictures. To 
frame a picture correctly, "a frame should be of it, and 
not too much in evidence/' which is the keynote to be 
used to show a picture to the best advantage. You 
may have old prints or paintings with heavy, cumber- 
some or ornamental frames, that so often detract from 
the picture one of the conditions resulting from the 
framing of pictures done at the time when pleasing 
patterns were chosen without regard to picture. Such 
pictures should be reframed in a correct manner, 
considering, of course, the period in which the picture 
was painted. Picture framing of today is given very 
serious thought and the effect for which we strive is 
to show the beauty and charm of the picture. The 
individuality of the family heirlooms would be more 
distinctly pronounced and carefully preserved after 
receiving our skillful treatment. Our prices are ex- 
tremely moderate and we have a large and varied 
assortment of samples from which to select. 

THE ARTISTS GUILD. 



Page One Hundred One 



THE ARTISTS GUILD 




Our Service System 

OUR SERVICE SYSTEM covers all branches of 
Art that may be classified as special order work. 
Our representatives or members, each an expert in 
his or her branch, will, upon request, be pleased to call 
at your home to render estimates. 

Should it be restoring of a painting, regilding of 
frames, bleaching of engravings, resilvering of mirrors, 
picture framing or anything of this nature, a thor- 
oughly capable specialist will be sent you who will 
make suggestions and render any asistance you may 

desire. 

THE ARTISTS GUILD. 



Page One Hundred Two 



9 



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