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About the Item
This is an antique LJG Stickley Chair from the early 1900s (Mission / Arts Crafts period).
The chair is model Stickley 788. It is very bulky from the Onondaga Shops. It is in very good condition with sharp edges. The chair is made of quarter sawn oak with a great finish. The leather is in good condition. The finish looks original, but some color added later. This a quality, early chair which continues to be STURDY and STRONG and ready to use in your home. We guarantee the chair is in good condition.
We purchase most of our Stickley and Limbert furniture from well known collections in New York and in Philadelphia. We may pay a little more but we get the BEST. We have over 5,000 pieces of real Stickley, Roycroft, and Limbert furniture. We buy from collections in New York and Pennsylvania. We buy only the best. We pay a little more than other dealers, but we get only the very best. We don’t deal with “problem” furniture. Watch 1stDibs for future listings of these pieces!
W3132Creator: L. J.G. Stickley Inc. (Designer)Dimensions: Height: 38 in (96.52 cm)Width: 18 in (45.72 cm)Depth: 18 in (45.72 cm)Seat Height: 18 in (45.72 cm)Style: Arts and Crafts (Of the Period)Materials and Techniques: Cotton,Leather,Oak,UpholsteryPlace of Origin: United StatesPeriod: Early 20th CenturyDate of Manufacture: early 1900sCondition: GoodSeller Location: Shamokin Dam, PAReference Number: 1stDibs: LU10080243331132Shop All L. J.G. Stickley Inc.
L. J.G. Stickley Inc.
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. Gustavs 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 uncles 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 forVictorianrevival 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 theArt Nouveau movementimpressed him with itsimaginative 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 joiners compass, were rectilinear, largely free of ornament, made ofoak, 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 Stickleys furniture asMission 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.
Stickleybenchesandrocking chairswere popular, and his leather-upholstered armchairs combinepracticality, comfort and an understated silhouette. In 1901, Stickley launchedThe 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 Stickelys 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 makers 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 Werksttte. Later, Leopolds Cherry Valley collection appealed to enthusiasts of American Colonial furniture.
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