Artist's Guild of Chicago

The Artists’ Guild traces its origins to a pivotal meeting called by the esteemed Sculptor Charles Mulligan on December 3, 1910, and formally incorporated on June 26, 1911. Its initial objective was to establish a cooperative shop within the Fine Arts Building that would serve as a dedicated sales outlet for the diverse works of all associated artists and craftsmen.[1] This spirit of cooperation was not new to the building; just two years prior, the resident creatives had collaborated on a joint exhibition under the unifying principle: “In unity lies strength.”[2]

Crucially, the Guild's initial self-sufficiency was secured through the generous commitment of influential local art patrons who guaranteed an annual sum for three years to cover the organization's operating expenses. This distinguished roster of guarantors included notable Chicagoans such as Edward B. Butler, Martin A. Ryerson, Mrs. Harold McCormick, Charles H. Swift, Edward F. Swift, and William Wrigley, Jr.[3]

Acclaimed art critic Lena McCauley lauded the organization, describing it as “a federation of active artists and craftsmen who may look for many sided assistances from the Shop, friendly encouragement from the guarantors and associate members, and the inspiration that arises from congenial association with fellow workmen.”[4] The Guild actively juried paintings for display and sale in its dedicated exhibition space, which was branded as “The Fine Arts Shop of Chicago,” and also hosted several special, curated exhibitions.[5] Artist Birger Sandzen spoke highly of the collective, deeming it both “a very fine art association” and a “quite distinguished art association,” albeit noting that the $25 membership fee made it “quite expensive to join.”[6]

Despite this promising start, the gallery faced an early crisis; a lack of financial support led to an announcement in June 1912 that the sales gallery would be closing.[7] However, this closure proved temporary, as the Guild successfully reopened its exhibition spaces and resumed its programs in January 1913.[8]

The Guild’s commitment to supporting regional art was further demonstrated when it adopted the Fine Arts Building Prize in 1915, following the discontinuation of the Society of Western Artists. Previously awarded annually at the Western Artists’ exhibitions, the prize was donated by the Chapin family, the owners of the Fine Arts Building, and was awarded annually at the Guild’s exhibitions to the best painting in the show, determined by a vote from a jury selected by the Guild members.[9]

As outlined in a 1912 brochure, the Guild’s core objects were clearly defined: a.) To promote the creation and sale of works of art. b.) To maintain a permanent salesroom. c.) To maintain a bureau of information for artists, craftsmen and clients.[10] The membership reflected this broad mandate, including prominent pottery makers such as W. H. Fulper, W. D. Gates, Charles B. Lansing (of Van Briggle Pottery), and Sarah Comer, alongside silversmith Robert R. Jarvie.[11]

In an art critic review it was said that:

The Fine Arts Building is unique from a world standpoint since nowhere else under one roof is gathered such an assemblage of studios and shops where art wares are offered for sale. Nestling in its shadow is a smaller building that houses the Artists' Guild and provided the cradle for the Arts Club. Of these two organizations, so friendly in spirit, the Guild is the business factor serving the artist and the public with a gracious efficiency. Its galleries display great stores of such treasures as cannot be elsewhere obtained, inspirations of true art whether fine or decorative. Does one wish to honor a friend with the best obtainable, something as distinctive and as rare as the best hours of a fine friendship? It is at the Guild rooms that one may hope to find the appropriate symbol in some lovely thing of use or ornament. It is a systematized selling organization affording a service to painters and craft workers, a service which no true artist can effectively perform for himself. To the public it offers expert guidance and the assurance of a standard of admission which precludes anything that does not possess real merit. It is a shop with a conscience and a character back of its personality, a place where things produced in the truest spirit of art are sold in the finest spirit of service to producer and purchaser alike.[12]

By 1919, the Guild's influence began to recede, likely due to the rising and competing interest generated by the Arts Club, which had formed in 1916 and attracted both artists and patrons. Early that year, the Guild relinquished its highly visible, street-level storefront space in the Fine Arts Building, moving to a less prominent inner location. Simultaneously, it ceased selling and exhibiting paintings, concentrating instead solely on craftworks.[13] The prestigious Fine Arts Building Prize, valued at one hundred dollars, continued, but was now awarded at annual competitions dedicated to craft workers. Demonstrating resilience, however, the Guild reorganized its board of directors and incorporated artists into its staff in 1924, successfully reacquiring a street-level space within the Fine Arts Building.[14]

The precise date of the Artists' Guild of Chicago's dissolution remains unconfirmed. While the organization showed resilience with its 1924 reorganization, its end is often attributed to one of two possibilities: either it was formally absorbed by the newly formed Association of Chicago Painters and Sculptors, or its operations simply ceased due to the devastating financial pressures and harsh economic climate ushered in by the Great Depression.

[1] Evelyn Marie Stuart, “The Work of the Artists’ Guild,” Fine Arts Journal, Vol. 35, August 1917, pp. 66-71.

[2] Lena M. McCauley, “Art and Artists,” Chicago Evening Post, 6/13/1908, p.4.

[3] Op. cit., Evelyn Marie Stuart, p.69. See also: Chicago Record-Herald, 11/5/1911 in Art Institute of Chicago Scrapbooks, vol. 28.

[4] Chicago Artists’ Guild, Annual report of organization, 1914.

[5] The opening of the Shop was announced in Harriet Monroe, “Exhibition Opens Today of Atlan Ceramic Art Club,” Chicago Tribune, 11/7/1911, p.8. It was hoped the Shop would become the main outlet for paintings by local artists as dealers did not want to compete with sales from the annual shows at the Art Institute of Chicago and hence were often reluctant, as Dr. Colburn told it, to handle local works; however, other reasons surely were in play. See also: “Art and Artists,” Chicago Evening Post, 11/2/1911, p.6.

[6] Letter to “Dear little Mother” from “Mother’s Birger” [Birger Sandzen], 2/14/1914, and 2/22/1914, Sandzen Gallery Archives.

[7] ^[7]“Art and Artists,” Chicago Evening Post, 6/22/1912, p.8, and H. Effa Webster, “Artists Fail in Efforts to Sustain Galleries Here,” Chicago Examiner, 6/28/1912, p11.

[8] Chicago Record-Herald, 1/1/13 in Art Institute of Chicago Scrapbooks, vol. 29.

[9] Perry R. Duis, “ ‘All Else Passes-Art Alone Endures’ The Fine Arts Building 1918 - 1930,” Chicago History, Spring 1978 Vol. 7, no.1, pp.40-51.

[10] Permanent Exhibition and Salesroom of Artists and Craftsmen, (Chicago: Artists’ Guild, 1912).

[11] “Who’s Who in The Artists’ Guild,” Annual Report of the Artists’ Guild, (Chicago: The Artists’ Guild, 1917), pp. 79-89.

[12] Evelyn Marie Stuart, “The Artists' Guild,” Fine Arts Journal, Vol. 36, No. 8, August 1918, pp. 17-18.

[13] “The Artists’ Guild,” in “News Of The Art World,” supplement, Chicago Evening Post, 1/21/1919, p.9.

[14] “Guild Opens Shop,” The Chicago Evening Post Magazine of the Art World, 10/28/1924, p.15. Eleanor Jewett, “Art and Artists,” Chicago Tribune, 3/20/1924, part 8, p.7.