Gustav Stickley

Estate of Gurdon Wattles, Hollywood, CA

"Screen:  Rose Motif," The Craftsman, February 1905, p. XVIII (for a period photograph and description of this model)
"Screen:  Wild Rose Motif," The Craftsman, February 1905, p. XX (for a period photograph and description of a related variant of this screen displaying a different rose motif)
Robert Judson Clark, ed., The Arts and Crafts Movement in America, 1876-1916, Princeton, 1972, p. 39 (for an example of this model in the collection of The Gamble House, USC)
Stephen Gray and Robert Edwards, eds., Collected Works of Gustav Stickley, New York, 1981, pp. 99 and 125 (for the related "Wild Rose Motif" screen, identified as model no. 81)
Tod M. Volpe and Beth Cathers, Treasures of the American Arts and Crafts Movement:  1890-1920, New York, 1988, p. 38 (for an example of this model formerly in the collection of James and Janeen Marrin, now in the collection of Crabtree Farms)

Stickley screen: Overall in very good original condition. The oak surfaces appear to retain their original finish, with some occasional light surface scratches, abrasions and minor edge losses consistent with age and use. There is a 2 x 1/8 inch vertical edge loss to the back outer edge of the proper right panel. The wood surfaces are dry and slightly faded and would benefit from a sensitive wax application. The textile panels are in remarkable original condition. The ground of the panels appears to be jute (identified by Stickley's firm as "Craftsman canvas"), and the appliquéd rose and petals appear to be linen. The panels are supported by an interior wood frame of open construction with a central crossbar stretcher, with a substantial tightly woven cotton lining. The cotton lining is tacked to the top and bottom members of the interior frame. The iron of the tacks has oxidized and bled over time through the jute, causing minor discoloration (darkening) along the top and bottom borders of the jute on the front of the screen. The interior crossbar support on the proper left panel has become separated from the interior frame. As a result, the interior frame is slightly out of alignment, and the crossbar support is telescoping (protruding) through the jute on the reverse side of this panel. As a result, there are two small tears with associated losses to the reverse side of this panel, and several small abrasions and tears with associated losses to the front of this panel (visible in the catalogue illustration). There is a slightly larger tear and loss to the front bottom right corner of this panel approximately 2 x 2 inches (visible in the catalogue illustration). There is a small tear and loss to the reverse side of the proper right panel approximately 3 x ¾ inch. The jute appears to have integrity, but has become fragile and embrittled (aged naturally over time). As a result, the jute has darkened naturally over time. The appliquéd linen elements have faded naturally over time, and the petals show traces of their original green coloration along the recessed contours of the string. There are a few minor traces of past insect infestation (minor staining, miniscule holes, frass) throughout. A few of the oak moldings on the reverse side of the screen which secure the inset panels are lifting slightly. A beautiful example of this rare Stickley textile screen in remarkable original condition. Proposed Conservation: X-ray the proper left panel to determine condition and status of detached crossbar support. It would be preferable and safest not to take the screen apart, but rather to mechanically by hand re-align and stabilize the interior frame back into position. Light vacuuming to textile panels. Stabilize the small tears and losses to the jute throughout. Insert textile or textured paper backings matching in color to visually ameliorate the losses. Proposed time for textile conservation: 10-15 hours.
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.

In the February 1905 issue of Stickley's Craftsman magazine, two appliqued textile screens were introduced displaying variations on the rose motif.  Stickley's use of these conventionalized floral devices was likely inspired from the progressive designs of Charles Rennie Mackintosh and other Glasgow sources of the period.  The screen presently offered was identifed as the "Rose Motif," and a detailed account of its colors and fabric were included by the editor:  "Never were Craftsman fabrics or Craftsman needlework more charmingly employed than in the screen here shown which we have called "the Rose Motif."  The soft olive green of the panel color suggests the deep tones of the hazel wood of which the frame is made, and in contrast we have introduced, as the appliqué of the rose form, a bloom linen of richest gold--this again finding a place in the little space enclosed at the base of the stem lines.  The tapering leaves of the rose, singularly decorative in line, are carried out in an appliqué of this clear green and outlined in a golden brown which also is again repeated in the stem lines, and the markings of the petal forms of the flower."  

Only a few examples of this rare textile screen are presently known.  The mate to this screen, which also came from the Wattles Estate, is now in the collection of Crabtree Farms.  Another example of the model is in the collection of The Gamble House, University of Southern California.