History of the Guild - THE FIRST THIRTY YEARS

On November 5, 1948, the Craft Guild of Dallas was organized to fill a pressing need for laboratory space to serve the Dallas area craftsmen as a non-profit, tax deductible organization. Prior to the summer of 1941, this need had been met in part by the Dallas School of Creative Arts, a private endeavor of Velma (Davis) Dozier and Esther (Webb) Houseman. Upon their return to Dallas after World War II, they were constantly being questioned by former students regarding a place to work. The initial stimulus for formation of the Craft Guild arose from Velma Dozier’s persistent effort to meet this need. Velma, Esther, Margaret Bentley, Bernice Beyers, Eleanor Benners, Katherine Bradford and Roberta Camp talked about this many times, and decided that Dallas was civic-minded and ready to support shops for silver, ceramics, weaving and other crafts requiring laboratories.

   A newspaper announcement and telephone calls brought together about fifty persons who met on October 1, 1948, at the Downtown YMCA Boy’s Club. Margaret Bentley was asked to preside and Calvin Holmes to take notes. The outcome was a committee to work on a name and other details. On October 11, some well-known craftsmen were invited to meet at the home of Roberta Camp at 8617 Garland road. At this time each group of craftsmen, potters, weavers, etc. selected a representative for their group; Velma Dozier, metals, Lani Robley, ceramics, James Heinemann, textiles, Vivian Frazier, wood, Mariana Roach, related crafts. A slate of officers was proposed.

    On November 5, 1948, a general meeting was called at the Downtown YMCA. Margaret Bentley was elected president and Calvin Holmes was elected secretary-treasurer. The group representatives were approved as media chairmen and a name for the organization was selected: The Craft Guild of Dallas. The purpose of the Guild was soon to be set forth in these words.

To set up shops for silver, ceramics and other crafts requiring laboratories and obtain good teachers to staff them.

To sponsor and promote competitive shows.

To work toward a central location where all classes would be under the same roof.

To build an outlet and market important enough to encourage good craftsmen to come to Dallas to work.

    The first laboratory to open was the metal shop at the YWCA on Jackson Street. This co-sponsorship by the YWCA and the Craft Guild was to continue until 1973. The Y had a small body of tools, which had been used in conjunction with the Veteran’s Administration program. Additional necessary tools were added through donations from various metalsmiths. On January 7, 1949, the Guild membership was introduced to the workshop and to the instructor, Wallace Saunders. The program that evening was a demonstration of raising and forging metal hollow ware. Wallace had attended two prestigious seminars conducted by Margaret Crave, Consulting Silversmith for Handy & Harman, New York. So it was that Dallas was among the first areas in the nation to revive the art of silversmithing.

    Jerry Bywaters, Director of the Dallas Museum of Fine Arts, encouraged the craftsmen by announcing a competitive exhibit, the First annual Texas Crafts Exhibition, to be held February 20 through March 13, 1949. The jurors were Bernard E. Frazier, Sculptor and Director of the Philbrook Museum in Tulsa, and Mrs. Jacqueline Hughes of the Hughes Gallery in Houston. This was a large exhibit of 230 objects by 83 Texas craftsmen. It became the practice of the Guild to retain the key juror, in this case Mr. Frazier, as a speaker at a general meeting of the Guild.

    A field trip organized by the Craft Guild, April 30-31, 1949 was to the Wichita Art Association to view the excellent national "Decorative Arts and Ceramics Exhibition". This trip not only provided inspiration, but also stimulated many plans by the individuals attending. Members of the group included Margaret Bentley, Eleanor Benners, Velma Dozier, Vivian Frazier, Calvin Homes, Hanna Hasie, Esther and John Houseman, Mariana Roach, Pauline Roberts, and Wallace Saunders.

    Ivan E. Johnson, Superintendent of the Art Department for the Dallas Public School System, was most helpful to the Guild as its first Program Chairman. The need to separate the functions of secretary and treasurer resulted in the appointment of Vivian Frazier as secretary. Membership now listed 70 craftsmen and patrons. Since it was necessary for Wallace Saunders to resign in the summer of 1949, Esther Houseman became the instructor for the following year. In this period, rearrangement and growth of the shop was planned and the need for a good silversmith shop was noted.

    In preparation for the second exhibit, Mrs. Bentley appointed a Museum Committee member, Mary-Loving Smith, who continued as the representative to the Museum for many years, and Mariana Roach, who were joined later by Velma Dozier. In their meeting with Mr. Bywaters, the pattern for the Guild’s assistance to the Dallas Museum of Fine Arts for many years to come was established. The guild was to assist by gathering a mailing list for the prospectus, addressing various mailing pieces, receiving the entries on the Sunday deadline, noting and assisting with the sales during the exhibition, and furnishing the prize money and awards. It was also agreed that after deducting the entry fees the, the Guild would pay one-third and the DMFA would be two-thirds of the total expenses.

    The Second Annual Texas Crafts Exhibition, held February 12 through March 15, 1950, had as juror William M. Friedman, Assistant Director of the Walker Art Center. Accepted were 179 items by 83 craftsmen. Awards totaling $300 were given to all media groups. The Craft Guild Collection of the DMFA was begun with the purchase prize going to Ronald Williams for his Plexiglas bowl and salad set.

    Persons and events mentions above marked the first two years of the Craft Guild’s operation. For the years to follow, appended lists will identify the officers, committees, media chairmen, instructors and program speakers. Please refer to the exhibition catalogues for information concerning award winners.

    In May 1950, a picnic party in the garden of Mrs. Bentley was the occasion for the installation of the newly elected officers. Mrs. Alex Camp was the second president from 1950-1952. Roberta, a patron of the crafts, was the most enduring friend the Craft Guild had until her illness and death in 1973.

    Money raising activities ere numerous and helped purchase equipment for the shops. The metalsmiths, under Velma Dozier’s direction, made copper leaf curtain tiebacks which sold at the Summer Art Carnival in June at the DMFA and later at the Junior League Shop of the Women’s exchange. These sales netted the metal shop approximately $65. Eight craftsmen participating in the carnival donated their proceeds of $62 to the Guild. In addition, a Book Booth donated its small profits to the general fund of the Guild. In September, a solicitation was made for tools to make the metal shop more attractive to experienced silversmiths. Through the generosity and energy of Mrs. Camp, donations amounting to $2867.50 were collected from 32 friends. The donations ranged from $1500 to $3.50, the cost of one silversmithing hammer.

    In the fall of 1950, telephone calls to prospective students expressing interest during the Summer Art Carnival, together with newspaper, radio and TV publicity presaged the opening of classes in other media. The Dallas Public School System co-sponsored weaving classes at the Fannin School Annex and ceramics classes at the Technical High School. Fabric design classes were added at Tech High in the spring of 1951. The YWCA co-sponsored a new class in bookbinding in addition to the metal classes. Membership was up to 93.

    The new weaving class opened with 12 students and Estella Henkel as instructor. Miss Henkel, who studied with Margaret Sullivan, Ingedorg Longderf, Floyd Levine and Trude Guermontrez, was a fine and enjoyable teacher.

    Evaline Sellors began the new ceramics class with 16 students. She studied at the Pennsylvania Academy with Marguerite Wildenhain, and was a thorough technician as well as an accomplished sculptor and potter.

    Bookbinding had its beginnings with 4 students under Mariana Roach, who studied at Columbia University and with Gerhard Gerlach and Edith Diehl. Her exacting craftsmanship, attention to meticulous detail and her many talents made her a most enjoyable and successful teacher. The class grew after it was transferred to her studio on Farquhar Lane. The established metal class had 45 students and a new experienced silversmith as instructor. Virginia Dunn studied with Margaret Craver and did graduate work at Rochester University.

    In the spring of 1951, Bob Carpenter, a fine commercial artist who studied at the Chicago Art Institute and NTSC, taught the new class in fabric design. Bob Carpenter’s three-color design for the Guild’s first yearbook in 1951 was cause for celebration. The Guild membership participated by making the last color -printing themselves. To many, this was their introduction into the silk-screen process. The yearbook cover and membership list was then assembled with the assistance of Mariana Roach.

     The Third Annual Texas Crafts Exhibition at DMFA, February 18 through March 11, 1951, had as its juror Mrs. Maude Schollenberger of the Wichita Art Association. Accepted for the show were 218 items by 80 craftsmen. Ten prizes given in various media totaled $425. The purchase of the Virginia Dunn salad set made of silver and ebony added to the Craft Build Collection of the DMFA.

    Plans for the Summer Art Carnival were being formulated. The metalsmiths decided to make a large silver bowl and raffle it off. Velma Dozier and Esther Houseman made the bowl with Virginia Dunn adding the finishing touches. The raffle brought a profit of $242 to the Guild. In May 1951, a much needed publicity chairman was appointed. Margaret Steere prepared class schedules, occasional newsletters and publicity items for the press. She also solicited scholarships from the Junior League for 10 children to attend a Saturday metal class.

    The summer of 1951 was spent searching for a new silversmithing teacher. John Szymak, on his way to California, stopped for an interview, accepted the job and continued with the Craft Guild until 1966. John studied with Joseph L. Sharrock at the School of the Museum of Boston and at Rochester Institute. His inventiveness in tool design and skill as a craftsman improved the metal workshop to the envy of visiting metalsmiths.

    The ceramics classes moved in the fall of 1951 to the DMFA where they were to remain until the Museum School closed in 1971. Museum co-sponsorship provided laboratory space, shelving and kiln privileges. The Guild bought and retained ownership of ceramic equipment and provided the instructor’s salary. Miss Sellors now had 42 students.

    For the Fourth Annual Texas Crafts Exhibition, February 17 through March 9, 1952, Edwin C. Rust from the Memphis Academy of Art, and Daniel S. Deffenbacher, Director, Ft. Worth Art Center, were jurors. They selected 115 items by 52 craftsmen, and the award money totaled $435. Added to the DMFA Craft Guild Collection were hand-woven place mats by Rudolph Fuchs, "Spring Mist" ceramic jar by William Neuman, and "The Devil in Texas" bookbinding by Mariana Roach.

    The by-laws of the Guild, first proposed in February 1950, were revised and accepted on May 4, 1952.

    Violet Hayden, President from 1952-52, guided a period of increasing numbers of exhibitions, exposure, new classes and many interesting speakers for the regular meeting of the Craft Guild.

    Continuing with the practice of a silver raffle in 1952, John Szymak made a silver pitcher, which brought a profit of $280 to the metal shop.

    Enameling on metal, previously introduced by Velma Dozier, was now taught to 11 students by DeForrest Judd at the YWCA. His fine design in painting was expressed in his approach to enamel work.

    Alex Pickens, program chairman, organized a very significant exhibition of leading craftsmen in the USA for the Woman’s Department of the State Fair of Texas, in cooperation with the Craft Guild. The Guild also had a craft booth open from 1:00 to 4:00 each afternoon during the Fair.

   During this year there were two excellent programs of potters demonstrating their craft, Georgia Leach of NTSC, Denton, and later Harding Black of San Antonio.

    The Fifth Annual Texas Crafts Exhibition, February 15 through March 15, 1953, had as jurors Bernard E. Frazier, a ceramist and sculptor from Tulsa, Barbara Wright from Contemporary House in Dallas, and Garcia M. Schoolfield a weaver from San Antonio. Seventy-four craftsmen with 142 works were accepted and the award money totaled $480. Evaline Sellors’ ceramic sculpture "Ode to a Cotton Picker" was added to the DMFA Craft Guild Collection.

    Potters under the leadership of Susan Brown, Barbara Maples and Tessa Donovan held a "Pot Walk" of students’ work, which added over $200 to the pottery account. Another silver raffle of pieces by John Szymak, Esther Houseman, and Velma Dozier helped the metal shop.

    Jurors for the Sixth Annual Texas Crafts Exhibition held February 14 through March 7, 1952 were Jack Lenore Larsen a textile designer from New York, Mary-Loving Smith from Contemporary House in Dallas, and Coreen Mary Spellman a painter and teacher from TSCW in Denton. Fifty-five craftsmen with 180 works were accepted, and total awards money was $545. Mr. Larsen was one of the more notable speakers at the Guild that year.

    Margaret Bentley (Mrs. W.P.) agreed to serve her second term as President of the Guild, 1954-1956.

    The weaving class, with Estella Henkel instructing, moved from cramped quarters at Tech High in 1954 to the DMFA Museum School where it remained until 1958. The recurrent problem of inadequate laboratory space for all the media groups was to surface many times. By 1956, the weavers had 15 looms that were both purchased and on loan.

    An open house was held at the YWCA in April 1955, to honor John Szymak who had received a scholarship to visit Sweden, Norway and Denmark. In September, he showed slides from this trip to the Guild.

    The Seventh Annual Texas Crafts Exhibition, November 27 through December 18, 1955, marked the beginning of presenting the show during the busy holiday shopping season. The jurors were Henry Bryant Caldwell the Director of the Fort Worth Art Center and Carl Barnett from Dallas. Eighty-two craftsmen were represented by 337 works. The total prize money awarded was $615. Katherine and Barton Wilson’s stoneware plate "Fern Design" received the purchase prize for the Museum’s Craft Guild Collection.

    The Guild shared expenses with the DMFA to exhibit a traveling craft show assembled by the Smithsonian Institute.

    Mariana Roach, despite her heavy load of teaching and other duties, was persuaded to become President from 1956-1958. This was a period of maintaining classes and making the Craft Guild better known to the public. It was announced that public school teachers would receive Dallas School Board credit for all Craft Guild classes attended.

    Charleen McClain (Mrs. Joe) was retained, through regular salary donations by Roberta Camp, as an indispensable public relations representative. Through the following years, she continued this unifying function.

    The Guild experimented with the location of the Annual Exhibition. It tried alternating the show between the San Antonio Craft Guild (Witte Museum of San Antonio) and the Craft Guild of Dallas. This plan did not meet all expectations the first year and was not continued.

    The Eighth Annual Texas Crafts Exhibition assembled and jurored in San Antonio, was exhibited in Dallas at the DMFA from December 5, 1956 through January 2, 1957. The juror was Katherine Choy a ceramist and weaver from Newcomb College in New Orleans. Award money totaling $410 was awarded to 58 craftsmen exhibiting 116 pieces. Francis Stephens’ silver pendant "Bedouin Falcon" was acquired for the Craft Guild Collection of DMFA.

    Jurors for the Ninth Annual Texas Crafts Exhibition November 27 through December 15, 1957 were Thomas s. Tibbs, Director of the Museum of Contemporary Crafts in New York, Robert Winn form the Witte Museum in San Antonio, and Taylor Robinson, AID from Dallas. The jurors selected 97 works by 45 craftsmen. The total award money was $385, and the addition to the Craft Guild Collection was a brown stoneware bottle by Richard Lincoln.

     At various times, up to the present, the Guild utilized opportunities to exhibit crafts at places such as the Decorative Center, Hockaday School, Dallas Public Libraries, hotels and the State Fair of Texas. Susan Brown installed these exhibits during the six years she was pottery chairman. Posters displayed around the Dallas area at Neiman-Marcus, Esquire Theater, Contemporary Museum of Art, The Black Tulip, contemporary House, Carl Barnett’s and Margo Jones’ Theater drew attention to these exhibits.

    Through 1966, hundreds of dollars were raised by the Guild’s selling of kaleidoscopes and Kathryn Beich candies.

    The Guild operated an attractive booth at the National Gem and Mineral Show in 1958, where Shirley Lege Carpenter and John Szymak demonstrated jewelry making. Thirty members staffed the booth and sold arts and crafts by Guild artisans, as well as promoting the Guild to visitors and participants at the show.

    Velma Dozier arranged for Robert Winston of Arizona to present a seminar on casting silver jewelry at her silversmithing studio. As a result of this visit, casting equipment was added to the facilities of the metal shop.

    It is also interesting to note that the bookbinding group, beginning with one class in 1950, had gradually expanded to seven classes by 1957. From that time forward, there was always a waiting list to participate in bookbinding classes.

    Shirley Lege Carpenter, President during 1958 through 1961, guided the Guild through many exhibitions and demonstrations in conjunction with other organizations. Also, during this period the Craft Guild assisted the American Craft Council’s growth in organizing its regional branches.

    Original work by Guild members and students were featured at the Sales Street Fair in October 1958. Examples of bookbinding, ceramics, weaving, silversmithing and jewelry were shown in a brightly decorated booth.

    The Tenth Annual Texas Crafts Exhibition was held November 23 through December 14, 1958. The participating jurors were William DeHart, Director of Design for Towle Silversmiths, Herbert Wells of Wells Design in Houston, and Violet Hayden Dowell of Dallas. Fifty craftsmen with 125 items were accepted, and awards totaled $400. Gold earrings by Velma Dozier and a stitchery titled "Mutation", by Susan Brown were added to the Craft Guild Collection.

    Following this exhibition, a questionnaire concerning prizes, the number of entries, and most importantly, a determination of whether the juror’s appraisal sheets were helpful, was distributed to members of the Guild. These appraisals, though very time consuming, were continued through 1963.

    For the Eleventh Annual Texas Crafts Exhibition November 22 through December 16, 1959, the jurors were Arthur J. Pulos of Syracuse University, John P. McElroy of SMU, and P.T. Chin, a potter and collector from Irving. Thirty-six craftsmen and 89 pieces were accepted into the show that year. The awards totaled $323, and included a gold medal award for the best design in gold. The Craft Guild Collection purchase prize went to Wiltz Harrison’s gold and opal necklace and to john Szymak’s silver and enamel bowl. The attractive installations by Barney Delabono and Esther Houseman of the DMFA staff began with this exhibition.

    Through Evaline Sellors, a distinguished potter, Marguerite Wildenhain of California, was invited for a weeklong seminar and lecture in March 1959. The Guild and the DMFA jointly sponsored her visit. Select pieces of Ms. Wildenhain’s work were exhibited later that year. Such seminars with distinguished craftsmen became treasured activities at the Guild.

    Three excellent displays were exhibited by the Guild during the 1959 Fall Art Festival, headed by J.O. Lambert, at the Statler-Hilton, Dallas Sheraton and the YWCA. Participation by the Guild at the Gem and Mineral Show became standard practice during the late 1950’s.

    The world famous English potter, Bernard Leach, came to Dallas for a lecture and four-day seminar in March 1960. Thirty-three potters met with Mr. Leach and learned from and enjoyed their experience. After expenses, the ceramic group added $130 to its account.

    Mr. Leach requested that his completed pieces from the seminar be disposed of at the discretion of Ms. Sellors. She chose to high-fire the greenware leaving the pieces unglazed. Eight of the pieces were added to the DMFA’s permanent collection. A small exhibit of Leach’s work was displayed at the museum while his seminar was presented.