Gustav Stickley (March 9, 1858 – April 15, 1942) was an American furniture manufacturer, design leader, publisher, and a leading voice in the American Arts and Crafts movement. Stickley's design philosophy was a major influence on American Craftsman architecture.
Early life
One of eleven children of German émigrés Leopold and Barbara Schlager Stoeckel, Gustav Stickley was born Gustavus Stoeckel on March 9, 1858, in Osceola, Wisconsin. The eldest surviving son, Stickley experienced the rigors of life growing up on a small Midwestern farm, forgoing his formal education in 1870 to continue work in his father’s field of stonemasonry and help support his struggling family. By early 1876, Stickley’s mother and siblings moved to Brandt, Pennsylvania, where Gustav worked in his uncle’s chair factory – his first formal training in the furniture industry.
Early career
With his brothers Charles and Albert, Gustav formed Stickley Brothers & Company in 1883, the same year he married Eda Ann Simmons. Within five years, the company was dissolved and Stickley’s ambitions led him to partner with Elgin Simonds, a salesman in the furniture trade, to form the firm Stickley & Simonds in Binghamton, New York. During the 1890s, Stickley divided his efforts between his new enterprise and the Auburn State Prison. At the prison, he and his brother Leopold served as a foremen of furniture operations. In 1898, he orchestrated the removal of his business partner and formed the Gustave Stickley Company (he dropped the use of the "e" from his first name in 1903).
In the summer of 1900, he worked with Henry Wilkinson and, possibly, LaMont A. Warner (soon his first staff designer) to create his first Arts and Crafts works in an experimental line called the New Furniture. In 1901, he changed the name of his firm to the United Crafts, issued a new catalogue written by Syracuse University professor Irene Sargent, and began to offer middle class consumers a host of progressive furniture designs in ammonia-fumed quartersawn white oak, as well as chestnut, mahogany, maple and other woods.
The Craftsman
In October 1901, Stickley published the first issue of The Craftsman magazine, an important vehicle for promoting Arts and Crafts philosophy as well as the products of his factory within the context of articles, reviews, and advertisements for a range of products of interest to the homemaker. Lead articles in the first two issues paid tribute to two influencers of Stickley and Sargent's design philosophies: William Morris and John Ruskin.
Nearly all of the first three issues of The Craftsman were written by Sargent, who thereafter wrote each issue's lead article, acted as the managing editor and designed the magazine's layouts. The magazine also featured articles by libertarian socialists.
Furniture design
Stickley's new furniture reflected his ideals of simplicity, honesty in construction, and truth to materials. Unadorned, plain surfaces were enlivened by the careful application of colorants so as not to obscure the grain of the wood and mortise and tenon joinery was exposed to emphasize the structural qualities of the works. Hammered metal hardware, in armor-bright polished iron or patinated copper emphasized the handmade qualities of furniture which was fabricated using both handworking techniques and modern woodworking machinery within Stickley's Eastwood, New York, factory (now a part of Syracuse, New York). Dyed leather, canvas, terry cloth and other upholstery materials complemented the designs.
Those ideals – simplicity, honesty, truth – were reflected in his trademark, which includes the Flemish phrase Als Ik Kan inside a joiner's compass. The phrase is generally translated 'to the best of my ability.'
His firm's work, both nostalgic in its evocation of handicraft and the pre-industrial era and proto-modern in its functional simplicity, was popularly referred to as being in the Mission style, though Stickley despised the term as misleading. In 1903, he changed the name of his company again, to the Craftsman Workshops, and began a concerted effort to market his works – by then including furniture as well as textiles, lighting, and metalwork – as Craftsman products. Ultimately, over 100 retailers across the United States represented the Craftsman Workshops.
