Stickley Highlands

Gustav Stickley was one of the principal figures in the American Arts and Crafts movement and the creator of the Craftsman style. In 1883, Stickley established a furniture company called Stickley Brothers with two of his brothers, Albert and Charles. Gustav’s other siblings, Leopold and John George, would later form L & J.G. Stickley Inc. in Fayetteville, New York, in 1905.

As a furniture designer and publisher of the magazine The Craftsman, Gustav adopted many of the ideals of the British design reform movement and popularized both its philosophy and its aesthetics in the United States.

Born in Wisconsin, Stickley moved with his family to Pennsylvania when he was a teenager and began working in his uncle’s chair factory in the town of Brandt. There, he learned the techniques of late-19th-century furniture making at a time when the vogue was for Victorian revival furniture, which was characterized by extensive ornamentation.

When Stickley Brothers foundered, Gustav partnered five years later with salesman Elgin Simonds to form a new firm, Stickley & Simonds, which produced traditional furniture that appealed to the burgeoning American middle class. The success of this venture enabled Stickley to travel to Europe, where he discovered the writings of John Ruskin and William Morris, the two preeminent thinkers of the British Arts and Crafts movement. Stickley also traveled to France, where the Art Nouveau movement impressed him with its imaginative designs and skilled craftsmanship.

Stickley parted ways with Simonds at the turn of the 20th century and decided to focus his creative energies on producing furniture in what became known as the Craftsman style, incorporating some of the elements of the designs and movements he had encountered in Europe.

The pieces Stickley created, which he stamped with the logo of a joiner’s compass, were rectilinear, largely free of ornament, made of oak, and built in such a way that the nature of their construction was plainly visible — all reflections of the tenets of the Arts and Crafts movement. While some people referred to Stickley’s furniture as Mission furniture — a term that references the furnishings of the Spanish missions in California — Gustav commonly called his work “Craftsman” owing to the inspiration he found in the British Arts and Crafts movement.

Stickley benches and rocking chairs were popular, and his leather-upholstered armchairs combine practicality, comfort and an understated silhouette. In 1901, Stickley launched The Craftsman magazine, which contained articles on all manner of domestic topics, from gardening and cooking to art and design, as well as poetry and fiction. In addition to popularizing Stickely’s own designs, the magazine acquainted Americans with the Arts and Crafts style in all its forms through its graphic design and the bungalows, art pottery, and hammered-copper lamps pictured in its pages. When Gustav Stickley died, in 1942, Arts and Crafts had been replaced by modernism as the favored aesthetic.

The work of L & J.G. Stickley flourished even as the Arts and Crafts style fell out of fashion because Leopold and John George adapted to the changing times.

L & J.G. Stickley changed their brand name and maker’s mark to Handcraft in 1906, and rather than continue to produce Arts & Crafts-inspired designs, their bedroom furnishings, dining room chairs and other items of the era reflected the influence of Frank Lloyd Wright and the Prairie School style as well as the work of the Wiener Werkstätte. Later, Leopold’s Cherry Valley collection appealed to enthusiasts of American Colonial furniture. 

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Emerging in reaction to industrialization and mass production, the Arts and Crafts movement celebrated handcrafted design as a part of daily life. The history of Arts and Crafts furniture has roots in 1860s England with an emphasis on natural motifs and simple flourishes like mosaics and carvings. This work is characterized by plain construction that showcases the hand of the artisan.

The earliest American Arts and Crafts furniture dates back to the start of the 20th century. Designers working in this style in the United States initially looked to ideas put forth by The Craftsman, a magazine published by Wisconsin native Gustav Stickley, a furniture maker and founder of the Craftsman style. Stickley’s furniture was practical and largely free of ornament. His Craftsman style drew on French Art Nouveau as well as the work he encountered on his travels in England. There, the leading designers of the Arts and Crafts movement included William Morris, who revived historical techniques such as embroidery and printed fabrics in his furnishings, and Charles Voysey, whose minimal approach was in contrast to the ornamentation favored in the Victorian era.

American Arts and Crafts work would come to involve a range of influences unified by an elevation of traditional craftsmanship. The furniture was often built from sturdy woods like oak and mahogany while featuring details such as inlaid metal, tooled leather and ceramic tiles. The style in the United States was led by Stickley, whose clean-lined chairs and benches showcased the grain of the wood, and furniture maker Charles Rohlfs, who was informed by international influences like East Asian and French Art Nouveau design.

Hubs in America included several utopian communities such as Rose Valley in Pennsylvania and the Byrdcliffe Arts and Crafts Colony in New York, where craftspeople made furniture that prioritized function over any decoration. Their work would influence designers and architects including Frank Lloyd Wright, who built some of the most elegant and iconic structures in the United States and likewise embraced a thoughtful use of materials in his furniture.

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