Stickley Traditional Furniture : Martha Stewart With Bernhardt Putnam Furniture Collection : Furniture Huntington Club
Stickley Traditional Furniture
- (tradition) an inherited pattern of thought or action
- consisting of or derived from tradition; "traditional history"; "traditional morality"
- Produced, done, or used in accordance with tradition
- Existing in or as part of a tradition; long-established
- pertaining to time-honored orthodox doctrines; "the simple security of traditional assumptions has vanished"
- Habitually done, used, or found
- Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working
- A person's habitual attitude, outlook, and way of thinking
- Small accessories or fittings for a particular use or piece of equipment
- Furniture is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things.
- furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"
- Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.
- Gustav Stickley (March 9, 1858 – April 21, 1942) was a manufacturer of furniture and the leading proselytizer for the American Arts and Crafts movement, an extension of the British Arts and Crafts movement.
- Origin La Mesa, Calif., Stickley 1967. Seedling of Vernon,less alternate in bearing. Broad vigorous tree. Fruit yellow-green, quite sweet, uniformly large. Ripens very early, sweet even if harvested immature. Keeps well when soft.
stickley traditional furniture - Stickley Style:
Stickley Style: Arts and Crafts Homes in the Craftsman Tradition
Beginning in the very first year of the twentieth century, Gustav Stickley made furniture that is prized almost a hundred years later for its honesty, simplicity, and usefulness. As a designer and manufacturer who emphasized careful workmanship, respect for natural materials, and simple lines, Stickley had a profound impact on the look of American homes. Today, Arts and Crafts design -- synonymous with Stickley to many people -- has become an American passion.
Elegantly designed and lushly photographed, Stickley Style is the first major publication to explore in full photographic color the central role Stickley played in the development of Arts and Crafts design. Author David Cathers invites us into the world of this influential furniture maker and provides us with an insider's tour of some of the country's most important Stickley collections and interiors. Here, imbued with pure and simple lines, are the comfortable Morris chairs, the upright settles, the solid oak chests, the hammered metalwork, and the delicate textiles that have come to epitomize Stickley's style.
But Stickley was more than a furniture maker -- he was a one-man phenomenon: book and magazine publisher, proponent of a simple and natural lifestyle, and de facto leader of the Arts and Crafts movement in America. Calling the composite of his ideas and activities "the craftsmanship of life," he used the word Craftsman to refer to his houses, his furniture, and his magazine.
Stickley Style captures the excitement and revolutionary zeal of these ideas and this era, a time when Victorian fussiness was being abandoned in the search for a modern way to live. The book opens with a vivid description of the Craftsman idea and describes Stickley's vision of ways to make a house conducive to a life of beauty and contentment. Cathers then goes on to show us the collections in a series of stunning Arts and Crafts homes, including Stickley's own family home in New Jersey. Finally, for those who want to furnish their own homes with appropriate reproductions, an extensive catalogue presents everything from Stickley tables and sideboards to tall case clocks and metal door latches. Throughout, specially commissioned photographs by Alexander Vertikoff show the overall harmony that will make the Stickley style as much a favorite for the new century as it was for the last.
The Arts & Crafts movement first gained popularity in England in the late 1800s as people became distressed by spreading industrialization and factory goods produced inexpensively with flimsy construction and inferior wood. Seeing that the new system treated workers as machines, the movement sought to revive a craftsmanship of earlier times. In the United States, Gustav Stickley gathered together many of the movement's shared beliefs as he tried to, among other things, clear the clutter typically found in Victorian interiors and replace it with something simpler. The book begins tracing Stickley's life in 1876 when, at 18, he found his life's vocation while working in his uncle's furniture factory in Brandt, Pennsylvania. Through wonderful photos (many of them full-page) and careful wording, David Cathers and Alexander Vertikoff demonstrate a clear appreciation for Stickley's style--unvarnished wood, exposed joinery, strength, no-nonsense forms, and the beauty of integrity. Stickley, in short, devoted his life to celebrating and making visible the elements of construction. The work of others who helped to shape the Arts & Crafts movement--including architect Harvey Ellis, Charles and Henry Greene, Elbert Hubbard's Roycroft community, and Charles Rohlf--is also examined. Among the highlights of the book is Craftsman Farms, an artisan colony, model farm, and school Stickley built on 650 acres, described in its time as "a log cabin idealized." The book also examines Stickley's Colonial Revival House in Syracuse, New York, which he turned into the first Craftsman residential interior after a fire damaged the house on Christmas Eve, 1901. It was also to be the house where Stickley, widowed and nearly penniless, lived out most of his final years (he died in 1942) with his daughter and her five children. Many of the details about Stickley's personal life come from his grandchildren's memories. "He was," one grandchild has written, "almost an evangelist in bringing new thoughts and new appreciation of things artistic and new social thinking. That is something that doesn't go bankrupt and he, as an inspiring person, never did go bankrupt." --John Russell
8200 Narrows Avenue House
Howard E. and Jessie Jones House, Bay Ridge, Brooklyn This distinctive residence, an important and rare example of the Arts and Crafts style of architecture in New York City, was designed in 1917 by James Sarsfield Kennedy, a Brooklyn architect, for shipping merchant Howard E. Jones. The Arts and Crafts movement, developed in the later 19th century, was influential in both the decorative arts and architecture. The protagonists of this movement emphasized the use of natural materials, craftsmanship, and picturesque silhouette and profiles. There was also a conscious reference to the rural cottage and an attempt to project its "homey" environment. In several ways the Jones residence is characteristic of Arts and Crafts design. It is built in rubblework of large, natural rocks and boulders of various colors. Select ground-floor openings are partially filled with stucco finish applied in heavy fan swirls demonstrating the handmade aspects of the house. The varying heights of the house step up to the massive end-wall chimney creating a picturesque profile and calling attention to the importance of the hearth within the structure. The asphalt shingle roof is rendered with an undulating surface and smooth molded edges in imitation of the thatch roofs of early rural cottages. The Neighborhood and the Client The neighborhood in which the house is located, named Bay Ridge in 1853, is the westernmost section of the old town of New Utrecht and was named for the high ridge that defines the eastern side of the Narrows. New Utrecht was established by the Dutch in 1657 and was one of the original six towns that made up what is now the Borough of Brooklyn. The town was an agricultural community until the late 19th century when a number of resorts and substantial suburban residences were built along the shore of the Lower Bay and the Narrows. One of the most important resorts in the area was the Crescent Athletic Club which began as a football club in 1884. The club grew to became the largest and most socially prominent such organization in Brooklyn and maintained facilities both in Brooklyn Heights and in Bay Ridge. The Brooklyn Heights facility was used primarily for winter or indoor sports, while the Bay Ridge property was primarily a country resort for summer sports. The first location of the club was in the Van Brunt mansion near 80th Street and Shore Road before a substantial tract bounded by 83rd Street on the north, 85th Street on the south, Colonial Road on the east, and the Narrows on the west was acquired. It was on this property that the club built its summer clubhouse, boathouse, and playing fields. The clubhouse was a very handsome Shingle Style building with broad circular tcwered corner and deep, rambling verandas. The boathouse, a commodious building shrouded by verandas at each of its two stories, was designed by James Sarsfield Kennedy in 1904. Hie site is now occupied by Fort Hamilton High School. The presence of a prestigious organization like the Crescent Athletic Club, ferry service to Manhattan, and rapid transit to downtcwn Brooklyn made the area an attractive one for middle-class professionals. About the time of World War I, large suburban houses began to rise on the subdivided farmlands of the old Bay Ridge families such as the Van Brunts, the Bergens, and the Bennetts. Die Jones residence is one of the earliest and most distinguished from this period of Bay Ridge's development. Howard E. Jones, born in Brooklyn in 1884, was an active figure In New York shipping circles. In 1919 he became president of the shipping firm, James W. Elwell & Co., retaining that position until 1942, two years before his death. He was a director of the Maritime Association Board of New York and was elected a vice president in 1932. In addition, Jones was active in local civic affairs serving as administrative chairman of the Brooklyn Civilian Defense Volunteers Organization and as president of Victory Memorial Hospital, an institution in which his wife Jessie was also involved. The Architect and His Design In 1917, Jones commissioned the Canadian-born architect James Sarsfield Kennedy (d.1946), to design his new residence. Kennedy, the son and grandson of architects, was born in Barrie, Ontario, about sixty miles from Toronto, and came to Brooklyn in 1898. His earliest known commission followed two years after his arrival in Brooklyn with the building of No. 169 Westminster Road in Flatbush. Flatbush at the turn of the century was undergoing rapid development as an attractive suburban area, part of which, Prospect Park South, was an important and influential planned canmiunity. Kennedy also designed one of Brooklyn's important early 20th-century residences in Prospect Park South, the Francis G. Delborn house at 109 Rugby Road. Built in 1919, the Delborn house is an unusual and sophisticated combination of the Prairie School and the neo-Georgian. Although Kennedy seems to have speci
aka Gillette Castle Middlesex County, CT Listed: 07/31/1986 Seventh Sister is a curious 24-room castle-like dwelling of stone dramatically sited atop the highest and southernmost of the seven hills south of Middletown on the east bank of the Connecticut River in the towns of Lyme and East Haddam. The picturesque fieldstone castle was designed and built between 1914 and 1919 by William Hooker Gillette (1853-1937), one of the foremost actors and playwrights of his day. Gillette is noted as America's first actor in the natural style, popularizing the speaking of lines rather than the traditional practice of declaiming them (criterion B). Very much the product of the man, the distinctive house reflects not only Gillette's theatrical bent, his love of the unexpected as demonstrated by his choice of the bizarre romantic styling of his house, and his mechanical interests, but also his highly developed appreciation of the Arts and Crafts aesthetic philosophy. Much of the interior detailing, complete with functional built-in furniture and ingenious oversized wooden latches and switches, was designed by Gillette and fabricated with his supervision. The house was erected by the Porteus-Walker Company, which was one of Hartford's leading contracting and woodworking firms between 1884 and 1938. Beyond its significance as the well-preserved estate of an important personage of the stage, Seventh Sister survives as a remarkably complete and highly personal statement of the Craftsman style popularized around the turn of the century by Gustave Stickley (criterion C). In contrast to the medieval massiveness of the exterior, the interior styling is decidedly Arts and Crafts, with medieval overtures subtly injected only as accents for the distinctive woodwork and furniture. Throughout the house the custom woodwork, built-in furnishings, lighting fixtures, and finishes reflect the functional honesty and use of natural materials popularized by Gustave Stickley.
stickley traditional furniture
With its emphasis on social reform and simplicity in design---bold lines, honest use of materials, and redeeming qualities of handmade goods---the Arts and Crafts movement offered an antidote to the perceived ills of a rapidly changing world and the ornate and artificial Victorian aesthetic of the late 19th century. In the first years of the 20th century, the movement was popularized in the United States through the efforts of Gustav Stickley (1858 – 1942), a businessman who promoted a progressive American style and the ideal of the simple life through the efforts of his furniture factory and publication, The Craftsman.
Gustav Stickley and the American Arts & Crafts Movement accompanies the first nationally touring exhibition of Stickley’s work and explores his dual roles as a visionary business leader and enthusiastic proselytizer of design reform. The full range of Stickley’s workshops is illuminated, including more than 100 objects of furniture, metalwork, and textiles, as well as architectural drawings and related designs, many of which are previously unpublished. Essays by distinguished contributors provide diverse viewpoints on the Arts and Crafts movement and Stickley's evolving role as tastemaker, and the often contradictory messages conveyed through the construction and promotion of his designers’ works.
This handsome volume provides fascinating new insight into the dramatic transformation of a factory owner into one of the leading figures of the American Arts and Crafts movement.