F. O. Baird

This is the Society’s own tribute to a leathercraftsman who was never a Canadian member: “Master Pioneer of Leather Carving,” Winter 1974, pages 6–7, by Irva Ford — herself a Past President of the Society, writing about the man the Society had named its first Honorary Life Member twenty-three years earlier.

A craft learned in secret

“Long before the Canadian Society for Creative Leathercraft came into existence in 1950, leathercraftsmen far and wide had great admiration for a brother carver in Western U.S.A., who by this time was a master craftsmen, artist and author of several books. That man was, of course, Mr. F. O. Baird.”

• A master leathercraftsman, artist and author working in the western United States, admired by Canadian leathercraftsmen even before the Society’s own founding in 1950
• Learned the craft as a boy watching saddle-makers, then took his first job washing and scrubbing leather in a saddle factory; inherited a master carver’s tools on the man’s death and was chosen to succeed him
• Sought out fellow leatherworkers in Mexico, where carving had long been popular, to widen the exchange of ideas after finding his own creative development had stalled
• Head leather carver for a large firm in El Paso; served as a troop saddler in the cavalry during the First World War
• Settled in Los Angeles in 1930 and wrote a textbook on leather arts, with examples of finished work and designs, teaching the craft’s methods rather than guarding them as the trade traditionally had
• Made an Honorary Life Member of the C.S.C.L. in 1951 — the Society’s first — a fact this article restates twenty-three years after the honour itself

“In the early twentieth century Leather Art suffered for many years from lack of progress fostered by the very artisans who would have benefited most by keeping their art abreast of the times. Skilled leather workers were very jealous of their art. Personal instruction was the only method of learning the craft. The closely guarded secrets of leather carving were handed down from father to son. The natural result of this closed circle was stagnation of creative development.”

“Mr. Baird ran headlong into the reticence of the leather artisans when as a boy he spent much time watching saddle-makers ply their craft. The craftsmen showed no interest in seeing their art become more generally understood. But this boy was determined to master the art of leather carving. His first job after leaving school was in a saddle factory — washing and scrubbing leather.”

Apprentice to master

“The young apprentice applied himself diligently to his tasks. One of the master leather carvers was so impressed by the young Baird’s earnestness that a warm friendship developed between novice and master and the fundamentals of the craft were soon mastered by the eager student. When the master carver died some years later, he left his tools to his apprentice. So well had the tiro learned his craft that he was chosen to fill the shoes of his master. Thus was Mr. Baird started on a long and distinguished career as a creative leather artist.”

Mexico, and a wider community of ideas

“The young leathercraftsman soon discovered shortcomings to his creative ability. He decided the trouble was a lack of interchange of ideas and a loss of touch with the trade. Mr. Baird packed his tools and started out in search of contempories. He found many people with ideas in Mexico where leather carving had long been popular. He decided to get more people Leathercrafting because when many people have ideas they are bound to broaden the base of their thinking and automatically catch the tempo of the times.”

“Contempories” is printed as set, for “contemporaries.”

El Paso, the cavalry, and Los Angeles

“To gain further experience Mr. Baird accepted a position of head leather carver with a large firm in El Paso. During the First World War he served as troop saddler in the cavalry.”

“Finally in 1930 he settled in Los Angeles and devoted his time to the Leather Arts problem. By teaching the secrets of the craft he did much to bring Leathercraft of age. He wrote a textbook on leather arts giving basic information with examples of completed work and several designs.”

“Leathercrafters everywhere have gained much from the long and distinguished career of F. O. Baird — teacher, author, artist and practical producer in his chosen field. Students who have been inspired by his unselfish devotion to his art are scattered throughout the land. They are teaching in a way that would not have been possible had not Mr. Baird by his unceasing efforts brought the fascinating art of leather carving within the reach of the abilities of thousands of eager craftsmen.”

“Mr. F. O. Baird was made an Honorary Life member of C.S.C.L. in 1951.”

The Society’s own record of that honour runs fuller than this article restates it: Baird accepted the Society’s first Honorary Life Membership by letter on 13 November 1951, and Dr. Ralph K. Larmour repeated the fact from the platform at the 1962 Annual Meeting — “In November 1951, Mr. F.O. Baird was given the Society’s first Honorary Life membership in recognition of his important contributions to the advancement in decorative leathercraft.” The Spring 1991 newsletter, forty years on, was still recalling him as an Honorary Life Member “in recognition of his contribution to the field of Leathercraft.”

From “Master Pioneer of Leather Carving,” the Winter 1974 newsletter, pages 6–7, by Irva Ford.