by Emily J. Heath
Esther Stevens Brazer was the accepted authority on what is generally referred to as "Early American Decoration"; that is the title of her book to which so many persons have had access, and through which many a person has been inspired to pursue further knowledge on the subject.
She earned that recognition not only by excelling in her own craft work and her willingness to teach others; but on another score, perhaps fundamentally even more important - her research, which was accurate and thorough.
Her influence extended far beyond her own necessarily limited decorating and class work, as the wide range of her personal correspondence attests. She was more than generous with her answers and information; her articles were eagerly read, and she was widely quoted. Few, if any, have ever tried a hand at Early American stencilling, country tin painting or the more intricate and elaborate free hand flower and bird designs, who are not in some measure indebted to Esther Brazer for basic information, received either personally, through her writings, or as handed down from student to student.
It was both appropriate and inevitable that her students should form some sort of organization to perpetuate their memories of happy hours with her and the friendships that they had made through her. At the same time they established the machinery for exchange of ideas and information for which, during her lifetime, she was the focal point. So far as these ends alone were concerned, the organization might have been limited to those who had the privilege of studying directly with her, but it was the feeling of those who conceived and organized the Guild that this would not best serve what might eventually be the broader aim of the Guild, nor would it have been true to the spirit in which she carried on her own work.
Therefore it seemed to us that we could do the most good, if we were to open the organization to other persons who were genuinely interested in the field and showed reasonable competence - if, instead of merely keeping it for those who had been started by her on the right road, we shared our enthusiasm with the many others who already are, or who might in the future find themselves interested in the subject.
This is what we have done, and that is what the Esther Stevens Brazer Guild has as its broad purpose.
Through formal meetings; through informal contact; by exhibitions we hope, not only to increase the range and skill of those who already are relatively expert, but also to stimulate and guide beginners; to educate the general public into recognition of the best in this field, and to imbue it with the desire to acquire and possess only that which is authentic and well done. We shall continue to record worthy patterns which come to our attention; and instruction will be available with competent teachers, to those who seek it.
With such purposes, it is entirely natural that we should consider the possibility of having our own home some day, with our own library of patterns and source material, as well as a collection of original examples of work. There is no other organization devoting itself to this field; there is no museum that features such material. Not only does this leave opportunity for us, but it creates a responsibility that we do something of the sort as soon as we are in a position to do so.
Naturally, in this connection, we think of Innerwick, in Flushing, Esther Brazer's home and workshop, chosen by her for her background and studio. Built about 1670, the second oldest home in Flushing, L.I., it is an example of the early American home which undoubtedly was at least partially decorated with our type of work during the eighteenth and nineteenth centuries.
The ideal - if it could be achieved - would be to acquire a library of literature and patterns, and a museum of actual pieces, starting with Esther Brazer's own collection and library. Esther Steven's Brazer's patterns, stencils, photographs, and research notes pertaining thereto, have been offered to our Guild, as soon as we can provide for their proper care with heavy cellulose envelope containers for each one of them, and permanent fireproof protection, under a careful curator. They have been arranged and her catalog brought up to date by Mrs. Max E. Muller. So we must work to build up a Fund that will help us to have them, as soon as possible. This could be done only if we could have permanent headquarters in which so valuable a collection could be adequately protected and cared for. To it would be added gifts of patterns, original decorated pieces, letters, printed articles, books, etc., as received.
The first such gift has been made already by the Oldham daughters, Esther Oldham and Anne Oldham Borntraeger, in memory of their mother, the later Mrs. Arthur Oldham. It is the collection of Ann Butler tinware, which originated in Greenville, New York, consisting of seven pieces, and was described by Esther Brazer in "Antiques" August, 1945. Thus the Oldham family, who were among Esther Brazer's earliest and most ardent supporters, have made the first contribution of this nature to the Guild.
Others have expressed their willingness and intention of donating letters and other manuscripts from Mrs. Brazer, in order that these things may always be preserved in a fitting manner. Her concern that her patterns and the harvest of her life work, should always be accessible to students under proper supervision was often expressed and discussed, and it is our desire to help carry out that wish.
To achieve these goals will require the building up of a substantial financial reserve, by gifts and contributions, as well as other means to be considered. It will also call for the services of all who are sympathetic with what we are trying to do.
The Guild's initial success has been most encouraging. More than 150 former students of Esther Brazer applied for Charter membership before the closing date fixed by the Charter Meeting, and although no general membership campaign was possible during the arduous period of organization, more than fifty applications for regular membership were sent in and have been referred to the Membership Committee for action. We have every reason to expect that a very sizable regular membership will be enrolled before the annual meeting, next spring.
But membership, however gratifying, is not an end in itself. It is merely a means to our ends. Even while we go ahead with the routine talk of enrolling those who are qualified and interested, we must make a beginning on some of the other important and difficult tasks.
We must establish and publicize standards of workmanship of which Esther Brazer would approve. We must create the machinery for recognizing and giving credit to decoration and teaching which attains those standards. It seems highly desirable that group meetings similar to the Hanover clinic should be sponsored, and it is to be hoped that the Hanover clinic may be resumed next summer.
We must establish our Decorator on a firm, self-sustaining base as a vehicle both for vitalizing the Guild and for spreading information.
We shall try, both through Contributing Memberships and by actively seeking donations and cooperation from persons and organizations who are interested in our work, to build up a library and collection, and a fund with which to provide a suitable home for both.
All of these matters are so important that I hope members will give them serious consideration at once, and freely express your opinions. This is your Guild!
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