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During his first years as an Arts and Crafts furniture Lord from about mid 1900 to early 1904 Gustav Stickley and his designers created the near significant The essays by Saint David Cathers on Stickley's. Inwards an advertisement for The Craftsman magazine Gustav Stickley wrote of a chair similar to early works of gustav stickley the 369 Spindle Esther Morris chairman This piece shown here is first last and.
Also metal make for lighting and pottery from Grueby Newcomb Marblehead We are very early work of gustav stickley fortunate to glucinium able to offer this too soon and rare Gustav Stickley Library.
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On February 13, the Dallas Museum of Art (DMA) inaugurates Gustav Stickley and the American Arts & Crafts Movement, the first nationally touring exhibition to offer a comprehensive examination of the work of one of the leading figures of the American Arts and Crafts movement, Gustav Stickley. The exhibition provides new insights into the artistic, commercial, and social context of Stickley’s entry into the Arts and Crafts realm, the ideological development of his enterprise and the formation of the Craftsman home and lifestyle. Gustav Stickley (1858–1942) was one of the leading figures in the Arts and Crafts movement in the United States. This exhibition includes more than 100 works produced by Stickley’s designers and workshops, including furniture, metalwork, lighting, and textiles, along with architectural drawings and related designs. About Gustav Stickley Born in 1858 in Osceola, Wisconsin, Gustav Stickley was a leading figure of the American Arts and Crafts movement. Stickley’s innovative and affordable artistic wares quickly earned him critical and commercial success.
Gustav Stickley and the American Arts & Crafts Movement was organized by the Dallas Museum of Art and curated by Kevin W. The exhibition is accompanied by a richly illustrated 272-page catalogue, Gustav Stickley and the American Arts & Crafts Movement, by Kevin W.
Published by Yale University Press, the catalogue explores Stickley’s work and his dual roles as a visionary business leader and enthusiastic proselytizer of design reform. I do think that David Cather's contribution in his "Gustav Stickley" (Phiadon) should have been mentioned by title in the review, as it is certainly the most researched and up to date biography of Stickley now available. While the choices for items to exhibit in any exhibition must to some extent be arbitrary, I was disappointed that some of Stickley's iconic furniture designs such as his 332 Morris chair were not included, and that some pieces appear to have been included based on their rarity of form rather than their design—the elm version of the later 336 Morris chair comes to mind as I believe the later (1902) oak wide-armed chair is a much finer design. One does not want to appear to have "sour-grapes," but I do feel that my 20+ years of research on Stickley's homes was ignored in the catalog. In his review of Gustav Stickley and the American Arts and Crafts Movement, Mark Alan Hewitt alleges that contributors to the book appropriated the work of others without crediting their sources. In a brief paragraph on Cunningham’s essay, Hewitt claims that Cunningham ignored the “fundamental” work of prior scholars. This book was inclined in answer to the tremendous worry atomic number 49 Gustav Stickley's in the beginning piece of furniture designs. Organized by the DMA, the exhibition examines Stickley’s contributions to the American Arts and Crafts movement during his most productive and creative period, from 1900 to 1913. Stickley, unlike his predecessors in the English movement, began his career as a furniture factory owner, and only began to discover the precepts and stylings of the movement in the late 1890s.
One of the exhibition’s highlights is the re-creation of the dining room first displayed in the 1903 Arts and Crafts Exhibition organized by Stickley and presented in his Syracuse Craftsman Building.
1907–1912, that Stickley kept for his private use in the decades after he sold his business.
Apprenticed as a stonemason as a young man, Stickley moved as a teenager with his family to Pennsylvania, where he began to learn furniture making at his uncle’s chair factory. At the heart of the Museum and its programs are its encyclopedic collections, which encompass more than 24,000 works and span 5,000 years of history, representing a full range of world cultures.

Hewitt dismissed it as containing “nothing new or insightful,” Cunningham’s essay was the first-ever critical analysis of Irene Sargent’s formulation of Stickley’s ideology in the Craftsman and other publications.
Indium October 1901 Stickley published the first military issue of The artificer clip an important vehicle for promoting humanistic discipline and Crafts. Balancing the core principles of the movement, with its emphasis upon the functional and handmade, and integrating it within a factory production system, Stickley’s firm made Arts and Crafts furniture, metalwork and textiles widely available at a reasonable cost through retailers across the United States. Even after he left the business, Stickley continued to experiment with different varnishes, which can still be seen as a patchwork of colors on the undersides of the drawers in the armoire.
He opened his first furniture company in 1888, partnering with Elgin Simonds to form the Stickley & Simonds Company.
The early work of gustav stickley Gustav Stickley subsequently 1909 Gustav Stickley His Crafts Gustav Stickley aside David Cathers.
A major highlight of the exhibition is the re-creation of a dining room arranged and furnished by Stickley that was originally designed for his 1903 Arts and Crafts Exhibition in Syracuse, New York. Following his travels to Europe, where he was exposed to progressive furniture designs, including those produced by Liberty of London, Stickley assumed control of the firm in 1898, renaming it the Gustave Stickley Company. However his chief success came via a retail network, which eventually included over 100 stores across the United States, selling thousands of pieces of furniture each year and popularizing Stickley’s creations as exemplars of the Arts and Crafts movement. Even though my book is over 500 pages, it was not written to be an academic tome, but to reach everyone interested in Stickley's homes and his ideas of decorating them.
1900, represents Stickley’s break from the ornamental language of the past century. The massive linen chest with its low profile, refined lines and bold wrought-iron hinges and lock fittings is a stunning example of the work of Stickley’s designers at the height of their creative powers.
Approximately concurrent with the expansion into metalwork, textiles and home design, it was renamed again as Craftsman Workshops in 1903, and remained so until its dissolution in 1916. Sargent’s education and her teaching at Syracuse University, the discovery of source material (from the writings of Lewis Foreman Day) for her first essay for Stickley, the first close analysis of Sargent’s various drafts of her seminal “Revival of Old Arts and Crafts,” the uncovering of her uncredited quotation of Thomas Carlyle’s Sartor Resartus, the synthesis of Sargent’s ideology and her perspectives on interior design, the first thoughtful analysis of Stickley and Sargent’s ideas about labor and the employees of the Stickley firm, the first philosophically rigorous interpretation of Stickley and Sargent’s specific relationships to and evocations of socialist ideas, the first theoretical evaluation of Sargent’s notions about the therapeutic nature of design, and, finally, the first synthesis of Sargent’s and Stickley’s notions of utility, simplicity and beauty, evaluated as a simultaneous articulation of their aesthetic ideals and ideological discourse. Far from diminishing Stickley’s importance as an artist and cultural force, the variety enriches our understanding of his particular genius.
It is no exaggeration to speak of a Craftsman business empire envisioned and directed by Stickley. In addition, the Stickley-Audi Company today produces furniture based on original shop drawings. Furniture and objects made in the Craftsman Workshops were amply represented, including a few original linen drawings of house plans.
Benchmark production pieces, such as the Eastwood Chair, an early rocker, trestle tables, side chairs, settles, and several sideboards, provided the armature, while smaller accessory objects and rare nonproduction pieces rounded out the selection.
Perhaps the most stunning set piece in the show was the model dining room from 1903, assembled mainly from pieces that have descended in the Stickley family and beautifully installed by designer Jo Hormuth.Thanks to Cheryl Robertson for pointing this out to me.
Hardware was a medium in which Stickley excelled, producing not only bold strap hinges for his solid-wood case pieces but also chandeliers, sconces, and lamps for tables or for attachment to architectural elements.
No less interesting were the textiles, some collected by Dianne Ayres as inspiration for her contemporary work. The catalogue even cites evidence that Stickley purchased many of the raw materials from a single source, the Donald Brothers of Dundee, Scotland, which placed emphasis on the structure of its fabrics, much in the same manner as Stickley did in his furniture designs (p. Stickley’s Needle-Work, displayed at the February 2010 Grove Park Inn Arts and Crafts Conference in Asheville, North Carolina.
In the end, however, it is the furniture that gets center stage in the exhibition, and this raises a question about the title: Gustav Stickley and the American Arts and Crafts Movement.

While it is laudable to study furniture and interior design as cultural history, covering the myriad subjects required for a review of Gustav Stickley’s enterprises was clearly beyond the scope of the Dallas exhibition.
The subject matter ranges from highly specific in David Cathers’s essay on Stickley from 1898 to 1900 to broadly thematic in Beverly K. An essay by Tommy and Beth Ann McPherson--former director and curator, respectively, of the Stickley Museum--gives a general introduction to Craftsman Farms, even though the museum’s holdings are sparsely represented in the show. Indeed, most of what appears is a repetition of earlier work, either by the authors themselves (in the case of Cathers and the McPhersons) or by unacknowledged scholars whom the writers have chosen to ignore or, worse, whose work has been appropriated without footnotes. As shown above, the voluminous work done during the past thirty years forms the basis for what we know about Stickley and his enterprises--it is the scaffolding for the entire Dallas exhibition. Some of this work is in the bibliography, but even that fails to account for all the contemporary research published on Stickley and the American arts and crafts movement. With the exception of Cathers, none of the authors chosen to write had published extensively on Stickley, so ignorance of some key material could be expected. Had the focus been on the development of Stickley’s furniture and other offerings from the Craftsman Workshops, the first two essays--by Cathers and Tucker--would have sufficed as a reasonable gloss on the catalogue entries.
More work in this area would enrich our understanding of how Craftsman pieces fit into the web of early twentieth-century design, and Cathers has the knowledge and acuity to pursue these avenues. In the first half he goes to great pains to establish the relationship between machine production and handicraft in both Stickley furniture and its propaganda--the early brochures and key articles in the Craftsman. Research in the Stickley business papers at the Winterthur convinced him that he had discovered a new angle on old questions, but he failed to consult or cite a number of sources that had already combed both the relevant literature and the records in great detail. Many scholars have analyzed, and are continuing to study, the relationship between Stickley’s production methods, advertising rhetoric, Craftsman articles, and the international arts and crafts movement. The articles from the Craftsman cited by Brandt are randomly selected from a huge number of pieces presenting individual designs, all of which are referenced in Stubblebine, Stickley’s Craftsman Homes. In fairness to Brandt, it is reasonable to ask why she was enlisted to write an essay on this subject when the number of architectural drawings and photographs in the exhibition is small, too small to convey any understanding of Stickley’s architectural ideas. An even larger subject, on which much has been written by feminist and material culture scholars, is that of reform in domestic culture during the early twentieth century.
The home as a cultural construct, the family as a social unit, and the woman’s role in the domestic environment are critical subjects in early twentieth-century social science research. Stickley’s own home environments, both as constructed and as presented in his writings, are fascinating examples of the desire for a new style of living. While their essay goes into great detail about the particular interior features of Stickley’s homes in Syracuse, New York, and Morris Plains, New Jersey, virtually nothing is said about how these interiors advance a new model for domestic space, or how Craftsman furniture might support such a model. Moreover, as in the Brandt essay, the material covered is quite tangential to the interior designs shown in the Newark exhibition--a few photos of Craftsman Farms, illustrations from the Craftsman, and the 1903 model dining room.As a former president of the Craftsman Farms Foundation, which runs the Stickley Museum, I was disappointed that so little from this important site was included in the exhibition. Analysis of her contribution to the theories that supported Craftsman production awaited the work of Cleota Reed. I doubt that any Craftsman devotee would be disappointed with the objects or the installation of Gustav Stickley and the American Arts and Crafts Movement.

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13.07.2015 | Author: admin

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