Gustav Stickley

executed by the Craftsman Workshops of Gustav Stickley, Eastwood, NY

Private Family, Massachusetts
Cathers & Dembrosky, New York
Acquired from the above by the present owner, 2001

Stephen Gray and Robert Edwards, eds., The Collected Works of Gustav Stickley, New York, 1981, p. 25
Stephen Gray, The Early Work of Gustav Stickley, New York, 1987, pp. 32 and 92
David M. Cathers, Furniture of the American Arts and Crafts Movement, Philmont, NY, 1996, pp. 26 and 134
Linda H. Roth and Elizabeth Mankin Kornhauser, eds., At Home with Gustav Stickley:  American Arts & Crafts from the Stephen Gray Collection, London, 2008, p. 50
David M. Cathers, Gustav Stickley, London, 2003, p. 47 (for the 1901 variant model in the collection of Crab Tree Farm)
Kevin Tucker, ed., Gustav Stickley and the American Arts & Crafts Movement, New Haven, 2011, pp. 118-119

Overall in very good condition. The oak surfaces throughout appear to retain their original finish, displaying a particularly deep and rich brown-red coloration. The oak surfaces throughout with some occasional surface scratches, surface abrasions, and minor edge wear with some associated edge losses consistent with age and gentle use. The top seat back rail with an old weathered loss (1 inch in length) along the rear top edge contour. The proper right arm, on the side profile, with an old diagonal light abrasion mark (1 x 2 inches). The top surface of the proper right arm with a small dark ring stain and transparent partial circular stain adjacent to the front edge, and with a few additional minor areas of staining. The top surface of the proper left arm with some old shallow surface bruises/abrasions and surface scratches to the front of the arm. The adjacent proper left top leg post with an old black linear stain just above the arm. Both arms are slightly lighter in color from gentle wear and surface contact over time. The leg posts with some occasional age cracks (all appear stable) as a result of the natural expansion and contraction of wood over time. With replaced rope webbing and leather seat cushions. The leather replacement cushions are beautifully executed, displaying a slightly aged patina in keeping with the period aesthetic. A strong example of this important and rare Stickley chair model distinguished by its original finish and exceptionally rich color.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The largest chair the Stickley firm ever produced, the “Eastwood” chair is exemplary of Gustav Stickley’s attention to craft and honesty in both construction and materials—all hallmarks of the American Arts and Crafts movement in the early part of the twentieth century.  This model was produced in limited quantities owing to its desirability as a rare example of Stickley’s finest work.  David Cathers' and Kevin Tucker’s research shows that the chair’s design was possibly inspired by a smaller chair designed by Mackay Hugh Baillie Scott in circa 1901.  Baillie Scott’s design, however, employs a smaller scale and a rush seat, although it does have the carefully constructed horizontal and vertical grid of the “Eastwood” frame.  Stickley’s publication, The Craftsman, published illustrations of both chairs in the early 1900s.  This compelling cross-influence of British Arts and Crafts in the American sphere shows how the two movements were connected, yet distinct.  The “Eastwood” chair is boldly reimagined from Baillie Scott’s initial design to adopt an almost monumental scale.  The dramatic scale and solid proportions evoke a sense of strength in the piece, and certainly have a potent effect on the user who would be enfolded by its contours while seated.  Stickley himself owned this form at both Craftsman Farms and his home in Syracuse, NY, attesting to his love of the design.  Kevin Tucker's apt analysis of the "Eastwood" chair highlights that Stickley's "design [for the chair] creates a childlike sense of scale for the sitter... it becomes a symbolic refuge of strength and permanence."

Examples of this important model are in the collections of the Wolfsonian-FIU, the Stickley Museum at Craftsman Farms and Crab Tree Farm.