An issue of the Society’s newsletter, transcribed from the original.
(16 pages, 2.1 MB)
the full-resolution scan, 39 MB, for close research
Page 1 — PRESTIGE EXHIBITION
Canadian Leathercraft
VOLUME XIX, No. 1 Spring, 1970
PRESTIGE EXHIBITION
Our long dreamed of Prestige Exhibition of Leathercraft became a reality on February 6th, when we had a Preview Showing at the City Hall Library in Toronto. Sixty-three articles, made by 26 of our leathercraftsmen, were on display to the general public.
Our application to the Chief Librarian dated June 30th, 1969 was approved at the Board meeting on September 11th. A letter, with an entry form, was sent to all our members asking for their support in supplying the articles for the Exhibition. On January 20th these articles were judged at a meeting of the Council of Fellows at the home of Bob Muma.
Arrangements were made with Miss Muff, Department of Education, to use three of their showcases which has held a leathercraft travelling exhibition, plus another similar one. We are indebted to the Chief Librarian for her co-operation and generosity in offering us the Library hanging display case, which enabled us to show more pieces than we could otherwise have done.
Very attractive invitations were printed and sent to all members and other craft-minded people two weeks before the event.
A setting-up committee of ten members spent a very long day February 4th assembling the showcases, relining them, and arranging the display. The names of those setting up the display follow: Nan Astley,
All material published in "Canadian Leathercraft" is the property of the Canadian Society for Creative Leathercraft, and may not be reprinted in any form without permission of the Society.
Page 2 — CRAFT CONFERENCE - BASE BORDEN
Fred Brown, Gertrude Bush, Hilda Darbyshire, Clarice Packham, Sadie Roebuck, Mary Whateley, Olivia Smith, Viola Harris and Cecil Roebuck.
Then came the big reality when 200 guests assembled for the Preview Showing.
Refreshments of wine, coffee and cookies were served by the social convenor, Gladys Riddell and her committee. Delicious homemade cookies were provided by the branches.
The Library staff reported that much interest was shown in the exhibition.
CRAFT CONFERENCE - BASE BORDEN
Base Borden was the setting for the second conference and workshop of the Central Region, Ontario Craft Foundation, on Saturday, April 14. The programme was co-sponsored by Simcoe County Arts and Crafts Association, Barrie Y.M.C.A., Youth and Recreation Branch, Dept. of Education, Canadian Armed Forces Base Borden, and Central Region O.C.F.
It was an extremely successful day for over eighty enthusiastic people. The morning session was devoted to design by Mrs. Sheila Lamb, Ontario College of Art. Mrs. Lamb proved to be a fine lecturer and very well versed in her subject. It was a morning well spent and aided many craftsmen in sharpening their awareness of good design. The afternoon was divided into two periods with the participants choosing two subjects from the four which were presented for them. Mrs. Marie Aiken conducted two workshops on Creative Threads; Mr. Ed. Hasselfeldt, two workshops on Lapidary; Mr. Andrew Aarons, two workshops on decoupage; and Ivan Sarossy, two lectures and demonstrations on sculpture.
Base Borden proved to be an ideal location for the Conference and participants appreciated the warm hospitality offered to the group.
DID YOU KNOW - that your $3.00 membership in C.S.C.L. enables us to send you each copy of the Canadian Leathercraft as it is printed?
DID YOU KNOW - that three quarters of our present membership has already paid their 1970 dues? Have you?
IF NOT - please send it soon to - Mrs. Kay Cloughley 5 Shannon Street, Barrie, Ont.
Page 3 — COMBINED 20th C.S.C.L. ANNUAL MEETING and 16th INTERNATIONAL ASSEMBLY OF LEATHERCRAFTSMEN
COMBINED 20th C.S.C.L. ANNUAL MEETING and 16th INTERNATIONAL ASSEMBLY OF LEATHERCRAFTSMEN
April 3 - 5, 1970
Toronto, Ont.
The year 1970 marks a milepost in the history of the Canadian
Society for Creative Leathercraft. For the first time in twenty years the Annual Meeting of the Society has been held in conjunction with the International Assembly of Leathercraftsmen. Toronto Branch were the hosts in the convenient and comfortable surroundings of the Park Plaza Hotel. The chairman this year was Dorothy Muma, who with her committees made sure that all went smoothly.
Displays were set up on the Friday evening by C.S.C.L. branches, individual members and the Frontier Leather Artisans Guild. During this period the Advisory Board of the I.A.L.C. held it's meeting, then all enjoyed a social hour.
Judging for the Craftsman Awards began while the others retired. The Advisory Board appointed the following members, Huldy Gutekunst, Sadie Roebuck, Dorothy Harwood, Pearl Kolb and Kay Cloughley who chose 34 articles from the 197 on display.
Saturday demonstrations commenced at 9:00 A.M. and continued until 4:30 P.M. with the Annual Meeting from 1:00 - 2:30 P.M. During the morning the judges for the Salon ribbons, Mr. Robert Muma, Mrs. Helen Wheaton and Dr. Brian Dixon selected nine Salon awards.
After the usual business of the Annual Meeting, Miss Viola Harris was presented with an honorary Fellowship in recognition of her many years of devoted service to the Society. The presentation was made by Miss Olivia Smith.
Associate awards were presented to Dorothy Harwood, Carol McLean and Beula Reynolds by the Chairman of the Council of Fellows, Clara Cavanaugh. The Janis Zalitis silver pin is awarded to the new associate whose articles are passed with the highest mark. This year's winner of this coveted award was Carol McLean of Woodstock.
The Weston Trophy was won by the Toronto Branch with a percentage of 85.3 and the trophy was presented by Helen Wheaton. The critique was given by Nora Huyck assisted by Sadie Roebuck and appears in this bulletin.
Page 4 — ADVISORY BOARD MEETING - I.A.L.C. - 1970; SHERIDAN SPRING CRAFT FAIR
Following the banquet in the Empire Room the Salon ribbons were presented by Robert Muma and the Craftsmen ribbons by Huldy Gutekunst. Dr. Brian Dixon, who teaches Economics at York University and is a sculptor, gave a brief address on the crafts today. Then came the General Meeting at which the report of the Advisory Board meeting was given. The evening closed with "Fun and Games'! led by Helen Wheaton.
Demonstrations continued on Sunday morning until the time came to dismantle the displays and take our leave.
ADVISORY BOARD MEETING - I.A.L.C. - 1970
The Advisory Board of the International Assembly of Leather
Craftsmen met at the Park Plaza, Friday evening, April 24, 1970.
[This issue's own p3 heading dates the combined 20th Annual Meeting and 16th International Assembly to April 3-5, 1970; this page dates the Advisory Board's Friday-evening meeting held that same weekend to April 24, 1970. Both dates are printed as shown; the Society's bulletin disagrees with itself about the date, and both are kept as printed.]
The usual minutes, financial statement, payment of bills, etc. were taken care of. The place for the next meeting of the I.A.L.C. was discussed. It has been held in Canada for the past two years. None of the American Guilds was able to offer to host the I.A.L.C. for 1971. Discussion followed as to why membership in the American Guilds has been declining.
Following the discussion, some decisions were made. There will be no 1.A.L.C. in 1971. The Advisory Board will meet the evening of the Annual meeting of the C.S.C.L. for 1971. If no offer is forthcoming at that meeting from an American Guild to host the I-A.L.C. for 1972, then the affairs of the I.A.L.C. will be wound up the following year.
SHERIDAN SPRING CRAFT FAIR
By Irva Ford, F.C.S.C.L.
The Ontario Craft Foundation is a non-profit, non-commercial body, founded four years ago for the purpose of benefiting the people of Ontario, both culturally and economically and improving the quality and increasing the quantity of Ontario crafts.
In May the Ontario Craft Foundation held its second Spring Craft Fair in conjunction with the Open House at the School of Design, Sheridan College of Applied Arts and Technology at Port Credit. About 100 booths were available and Ontario craftsmen were invited to participate in this gala event and set up booths beside the students, who also sold their hand-crafted articles. '
This year I joined six other craftsmen from the Hamilton Artisans! Guild and made application to participate. Each craftsman was responsible
Page 5 — A THOUGHT OR TWO RE C.N.E.
for his own display. Some booths were quite conservative, while others were most colourful and elaborate. The Fair was well advertised and in spite of the very cool weather there were crowds of people who paid.50¢ admission to see the great variety of hand-crafted work. Several customers were buying Christmas presents, others were adding to their collections, but many just came to observe the type of craft work being done in Ontario today.
There were three other leathercraft booths besides mine, two with jewellery, and one with very "Mod" articles all fringed or braided. Other booths included batik, weaving, sculpture, glass, enamelling, hooking and a great variety of pottery.
The school itself was of great interest. The displays were excellent and much knowledge could be gained from the student demonstrations. The sales were rewarding and besides, it was educational as well as a pleasure to meet and chat with other craftsmen who use other medias than leather
Craft Fairs are usually profitable and fun; won't you join us sometime ?
A THOUGHT OR TWO RE C.N.E.
It has been noted in the last year or two that the Leathercraft
Exhibit at the Arts, Crafts, Hobbies Show has become possibly a little too commercial. Sales, of course, are most desirable and the more well crafted articles that can be placed in appreciative hands, the better it is for all concerned. However, we must remember that we do have other obligations. One of our main reasons for participation in the show is to promote Leathercraft by interesting future craftsmen and to show other interested persons just what is taking place in contemporary leathercraft.
Consequently, it might be advisable to exhibit more exhibition pieces that are not for sale and take a harder look at demonstrations. The Canadian Society for Creative Leathercraft should live up to its name and commercial patterns should not be used when demonstrations are being done before the public. As people are extremely interested in watching demonstrations, this is one phase of our operation that should be almost continuous.
It is wonderful the way that our branch members have responded to the staffing of the exhibit. It is a big job for the co-ordinator of this phase of the programme and it is greatly appreciated when word is received long before opening day regarding demonstrations and staff from the branches.
Please help us to make the 1970 C.S.C.L. exhibit our finest to date.
[A stray underscore is not part of the printed text: "sometime ? A_ THOUGHT" is set out here as "sometime ? A THOUGHT".]
Page 6 — C.S.C.L. Executive 1970-71
C.S.C.L. Executive 1970-71
| President | Irva Ford | 30 Arkell, Hamilton 522-6408 |
| Past President | Dorothy Muma | 118 Hazelton, Tor. 5 921-1003 |
| Vice Presidents | Helen Wheaton | 100 Grand Ave., London 432-0178 |
| May Corbett | 10 Highland, Barrie 728-3259 | |
| Recording Sec. | Ruth Haig | 264 Duke, Apt 401, Ham. 525-2143 |
| Corresponding Sec. | Beula Reynolds | 500 Parkinson, Woodstock 539-3251 |
| Treasurer | George McPhail | 3 Lambton Ave., Tor. 9 365-4557 |
Executive Council:
Joyce Hutcheson Box 8, Beachville
| Anne Hook | 32 Mountview Ave., Toronto 9 | 769-7320 |
| Olivia Smith | 32 Mountview Ave., Toronto 9 | 769-7320 |
| Betty Henstridge | 38 Barnesdale N., Hamilton | 544-9335 |
| Gel Brigden | 404 Rosemary Rd., Toronto 10 | 483-6649 |
| Sadie Roebuck | 35 Canyon, #309, Downsview | 638-5573 |
| Jack Layton | 250 Bleecker Ave., Belleville | 968-8375 |
| Gladys Riddell | 609 Indian Rd., Toronto 9 | 536-2074 |
| Ken Cloughley | 3 Shannon St., Barrie | 728-4046 |
| Del Jacombs | 181 Toronto St., Barrie | 728-3977 |
| Carol McLean | 555 Huron St., Woodstock | 537-7684 |
| Marg. Montieth | 51 Beattie St. E., Lambeth | 652-3604 |
| Nan Astley | 142 Fallinbrook, Scarborough | 699-5230 |
| Fred Brown | 9 Nashland, Islington | 231-9013 |
| Bea Austin | 151 Emerson, Hamilton | 522-8282 |
| H. Gutekunst | 7975 Jewett-Holmwood Rd., | 921-1003 |
| Orchard Park, N. Y. 14127 | ||
| Historian: | Robert Muma 118 Hazelton Ave., | Tor. 9 921-1003 |
The phone number 921-1003 is printed on both the H. Gutekunst and Robert Muma rows, as the page itself sets it.
Chairman Council of Fellows:
Clara Cavanaugh 10 Duckworth St., Barrie 728-4013
Branch Presidents:
| Barrie | Eleanor Coutts | 9 Highland, Barrie 728-4283 |
| Belleville | Jack Layton | 250 Bleecker, Belleville 968-8375 |
| Hamilton | Evelyn Burgess | R. R. #2, Hamilton 689-1137 |
| Toronto | Cecil Roebuck | 35 Canyon, #309, Downsview 638-5573 |
| London | Chas. Fuller | 417 Pine Tree Dr., London 471-1723 |
| Woodstock | Beula Reynolds | 500 Parkinson, Woodstock 539-3251 |
Page 7 — THE WESTON TROPHY
THE WESTON TROPHY
The first presentation of the Weston Trophy was made to London branch in 1957 by Edith Roscoe. Mrs. Roscoe was a charter member of C.S.C.L. and the first president of the Weston Leathercraft Guild. When this branch disbanded, the money in the treasury was used by C.S.C.L.
Executive Council to establish a trophy for group displays by competing branches. This year's winner was Toronto with an average of 85.3%. The presentation was made by Helen Wheaton.
TORONTO BRANCH
Handbag - This is an outstanding piece. It has a warm, attractive appearance. The outer leather is 34 oz. cowhide, the lining is firm Persian skiver. It is sponge dyed. It is one piece construction and handstitched in such a way that the only stitches showing on the front are on the flap. The strap hangers are handstitched to the gussets and the gussets are moulded in such a way that the strap hangers are almost flush with the edges of the bag. This will give a minimum of wear where the strap touches the edge of the bag. There is no hardware showing, even the metal loops of the hangers are covered. The fastening is an extra large durable dome. The dome cap is covered with the same leather used in the bag, with a dark centre which picks up the colour of the flap border. The dark border of the flap and the dark strip form a dark diamond. It has all been very carefully planned. And then, there is a small change purse which echoes the large bag.
Picture Frame - This frame has been so designed that it folds easily for travelling and will also stand up. The design on the frame part is good. It is the 3D technique. The design on the back is unnecessary since it won't be seen. As a design it is overdone. It is always better to underdecorate. This leather is very nice and needs no decoration.
The heading “Picture Frame” is underlined on the printed page
Page 8
Toronto Branch cont'd
Child's Purse - Here is a delightful little bag for a little girl. The dye is splatter technique. It is one piece pattern - very well finished with careful attention given to all details. Since the bag is small, the lacing has been narrowed, thinned and sanded to retain the small proportions. The dome has been covered. The cute little handle is made of narrow belting. It comes from the back of the bag and it is engineered so that the bag hangs straight. It is saddle stitched across the top front and the top of the gussets.
Since even little girls have to have some money, there is a little pocket inside.
Letter Box - This is a beautiful job of engineering. There is not much to be improved. The lid could have been bevelled to allow it to stand up. A line could have been made -- preferably with a heated tool - along the line of join of the inlay to seal the edges. The two leathers used on the top provide a contrast in texture and colour. The box shape is achieved by laminating sole leather. The sides are beautifully polished. The lid is shaped in such a way that it projects beyond the front of the box to form a lift for the lid. A beautifully engineered and beautifully finished job.
Candle Holder - This is an unusual piece. Each of the pieces of leather forming the shape has been moulded and they are almost uniform - a rather difficult job. The colouring is good and it is well finished. There was divided opinion among the judges as to the utility of such a piece -- is there a way to prevent the wax from dripping onto the finish and marring it? It still remains an attractive ornament of outstanding workmanship.
Page 9
BARRIE BRANCH
Handbag - It is made of antique calf and lined with glove leather. The stiffener is split leather and the padding is latex foam. Cementing was done only at the edges -- enough to hold the various parts in place for hand stitching. It puckers a bit at the back when opened. It may have been moulded a little too loosely. The strap for closing seems a bit tight. When closed it forces the centre of the flap against the front and lets the corner lift a little. It is an attractive fastening. There is no hardware showing anywhere. Even the little feet have been covered. This is fine for display, but, with use, the leather on the feet will wear and it is difficult to replace it. It is a good-looking bag and it has a soft, cuddly feel.
Candle Holder - This is a beautiful piece. Its attractive slim design is well balanced. The seams are well done - a suggestion was made that they be put to the inside to be even less noticeable. The green felt shows because it comes right to the edge. It might have been better to keep it back from the edge a little. A piece of suede on the bottom would have been very good. It seemed that the weight of the tapers might make it tip easily. That could be overcome by putting some weight in the bottom. A matching pair would be lovely on a buffet.
Paperweight - This is a nicely finished piece. It is laminated. Even the design carries out the layer upon layer construction. The wing is a separate piece glued to the body. There is something wrong with the shape of the. wing, someone said "the flight dynamics are wrong". The design could have been improved by placing the bird above centre. It is quite heavy and } i so is completely functional. It is very nice to handle.
Page 10
Barrie Branch cont'd
Animal Pins - The word used here was "shibui'!. It is a Japanese word to describe something which hits you just right. They are made of 6 oz. leather and beautifully moulded. The expression on their faces is created with just a few well-placed knife cuts - it needs a steady, trained hand for that; the slightest deviation in a line could change the expression. Their tails are a bit thin to be practical but they are adorable.
Picture Frame - It is neat, simple and practical. The front is 2% oz. cowhide, the back is wallet weight morocco. It is a turned-edge construction. There is no stitching or lacing. The lines of the design are cut with a swivel knife. It is a delicate design and won't detract from any picture used in it. The hanger on the back is invisible from the front and will allow the frame to lie flat against the wall. It is a good functional piece.
HAMILTON BRANCH
Handbag - This is a beautifully finished bag. The dye is Garnett tan. The flap is stiff now, but will likely loosen up with use. The lacing seems a bit heavy and some of the holes are quite far apart, but the actual lacing is very well done. The shape of the clasp is wrong for the bag -- a squared one to repeat the straight lines of the flap would be better -- and maybe a plainer one. The flap is a little wide on one side. More care in the application of the lining might have eliminated some of the wrinkling. The handles have a good feel. It is a good-looking bag.
Page 11
Hamilton Branch cont'd
Handbag - The workmanship on this black morocco bag is excellent. It is a very neat simple design. There is usually some objection to the use of metal strap hangers - this is not the case here. These are beautiful and seem just right for the bag. The only suggestion for improvement would be the shape of the gussets. They project too far into the interior of the bag, partially concealing the hangers and in time the strap may cause wear on the lacing at the edge of the top of the bag. It is very light and easy to carry.
Napkin Rings - These are very practical and a good use for leather. The colour is rather nice - very much like Garnett tan. The construction is interesting. The base is formed by the way the two ends are joined. On some of these a bit more care should have been taken with the cutting and skiving; they don't sit level. The edges and interior of the leather are very well finished.
Bell Strip - This is a lovely decorative piece. It is a strip of sole leather.
The bells are held on by small straps and it is hung by another small strap at the back. The colouring is excellent and the finish is beautiful - front, back and edges. It is quite a unique idea and just lovely in its simplicity.
Sandals - These are well-constructed sandals. The dye job is very good. One wonders whether
; the dye might come off on a person's feet. The edges are highly polished - even the "cookie" which doesn't usually polish very well. The "cookie" is made of heavy rubber to give shape and support to the instep. The wide centre strap gives them a heavy look. The handstitching on the centre part is very good.
Page 12
LONDON BRANCH
Handbag - The leather in this bag is unusual for these days. There are no blemishes. The lovely very light natural colour has been retained. Unless the owner has discovered some finish to prevent the natural darkening as the leather ages, the flap will have to be left open at times, so that the part under the flap will darken with the rest of the bag. The lacing is a bit coarse but well done. The strap appears short, but the length of the strap is usually a matter of choice. The lines of the design are cut, then bevelled on the inside, rather than on the outside of the outline. The design of the bag might have been improved by having some other type of fastening which would have come down into the large empty area below the flap. The gussets fit very well.
Gloves - These are well-made gloves. The stitches are very even. There is a slight twist in one index finger. That could have come from not being placed exactly with the stretch of the leather when being cut. The shaping of the top of the thumb and one index finger seems a bit blunt, but these were made for a special hand so that shaping may have been necessary. This may also be the reason for the shape of the index finger, which seems wide at the bottom. It is a lovely soft leather.
Big Blotter - The design of this blotter done in 3D technique is very attractive. It is proportioned to the size of the piece. It may be a bit thick on the lower corners, but since the blotter is wide, one's arm wouldn't rest on that thickness anyway. The felt on the underside could have been a little closer to the edge and the edge of it a bit straighter. It is a pleasing piece.
Page 13
London Branch cont'd
Desk Set - Each piece of this set would be very nice on any desk. The 3D tooling design on either piece is very good and well done but as a matching set, it is inconsistent. One had pointed ends, the other had rounded 4 ends. The turned corners are well done and the felt on the bottom of both has been carefully put on.
Pen Set - The design is a Zodiac sign with initials within a crest shape. It is pleasant, well done and suitable for the piece. A different finish might have overcome the varnished look and minimized the flaws in the leather. The metal plates under the pens are dull. A polish on them would have added to the attractiveness of the piece. The edges are just about perfect; they are so well polished.
WOODSTOCK BRANCH
Clutch Purse - It is a very lovely bag. The material is turtle grain cowhide or calf. The top and flap are a bit stiff, but they will loosen up with use. The fronts of the gussets are a bit high. If you look at it from the side, the front seems too high. The gussets fit nicely. The closing is tight. It makes the corners of the flap stick out a little. It is a nice comfortable size for a clutch bag.
Page 14
Woodstock Branch cont!d
Belt - This belt is just about perfect. It is beautifully dyed and finished. The use of dye on the back of a belt was questioned. It could come off on clothing. However,:. there are so many new products coming on the market all the time, there may be one now which would seal in the colour permanently.
Wallet - The design on the front of the wallet is very well done. It is really over-designed -- too much design for the space and it would fit the space better if it were wider and not quite so high. The bevelling around the flag on the back is too obvious. Some of the details of the interior might have been more carefully done. It is a practical interior with a domed change purse and a domed picture insert.
Sandals - These are beautiful sandals. The construction technique is much the same as the previous pair. Again the use of colour was questioned. They are very well made. The interlacing of the toe straps is quite effective. They have a look of elegance.
Letter Holder - This is a nicely turned out piece. It is a bit puckered on the turns, but this isn't too obvious. The leather could have been trimmed a bit closer to the metal before lacing. For this reason, the edge is not as stiff as it should be and the corners could get bent over with use. A little contrast in colour might have added interest. The embossed design gives a quilted effect and looks quite difficult to achieve.
Page 15 — SALON AWARDS
SALON AWARDS
| Nan Astley | Tor. | Ladies Belt |
| Jean Fair | Tor. | Box |
| Irva Ford | Ham. | Pen stand |
| June Heatherley | Ldn. | Pin and earring set |
| Anne Hook | Tor. | Purse |
| Nora Huyck | Bar. | Notebook |
| Beula Reynolds | Wood. | Tray |
| Doris Richardson | Bar. | Totebag |
| John Trop | Tor. | Candle holder |
| CRAFTSMAN | AWARDS | |
| Nan Astley | Tor. | Correspondence box, handbag, belt, bracelet. |
| Clara Cavanagh | Bar. | Purse |
| Joyce Cavill | Bar. | Purse |
| Eleanor Coutts | Bar. | Paperweight |
| Hilda Darbyshire | Bar. | Match dispenser |
| Jean Fair | Tor. | Box |
| Irva Ford | Ham. | Morocco secretary, coasters |
| Sylvia Gerster | Ldn. | Deerskin gloves |
| Huldy Gutekunst | FLAG | Tray |
| Dorothy Harwood | Bell. | Black purse, passport case |
| June Heatherley | Ldn. | Pin and earring set |
| Anne Hook | Tor. | Purse |
| Nora Huyck | Bar. | Picture frame, notebook, box |
| Pearl Kolb | FLAG | Brown purse |
| Carol McLean | Wood. | Morocco secretary, rouge belt |
| Margaret Monteith | Ldn. | Green morocco desk blotter |
| Robert Muma | At lge. | Moulded leather chest |
| Jean Newton | Ham. | Bottle |
| Clarice Packham | Tor. | Gloves |
| Beula Reynolds | Wood. | Tray |
| Doris Richardson | Bar. | Maple leaf letter holder |
| Olivia Smith | Tor. | Opera glasses case |
| Tom Swafford | At lge. | Spectacle case, notebook |
| Dwayne Trew | Bar. | Candlestick |
| John Trop | Tor. | Candle Holder |
[June Heatherley, Sylvia Gerster and Margaret Monteith are all given as "Ldn.," London Branch. "At lge." against Robert Muma and Tom Swafford is At Large — a member not attached to any branch. "FLAG," against Huldy Gutekunst and Pearl Kolb, is the Frontier Leather Artisans Guild named on p3.]
Page 16
SALON
June Heatherly
Ann Hook
Irva Ford
Nora Huyck
Nan Astley
Jean Fair
John Trop
Doris Richardson
Beula Reynolds
[This page is a "Salon" sketch plate, nine leathercraft pieces each captioned with a maker's name in hand lettering, given above.]
