Gustav Stickley

Private Collection, acquired directly from the Stickley firm, circa 1905
Thence by descent 

Gustav Stickley, Craftsman:  Hand-Wrought Metal Work in Iron, Copper and Brass, New York, 1905, p. 42
Gustav Stickley, Craftsman Furniture, Syracuse, NY, 1909, p. 96
Stephen Gray, The Early Work of Gustav Stickley, New York, 1987, p. 166
David Cathers, Gustav Stickley, London, 2003, p. 141 (for a period photograph of model in the residence of R.M. Bond)

Overall in excellent original condition. To date this chandelier is the only known example of this rare model. The oak surfaces throughout appear to retain their original finish, with some occasional very light surface scratches, abrasions and gentle edge wear consistent with age and use. The hand-forged copper surfaces to the shade retain their original finish and show very gentle surface wear, rubbing, and very minor areas of discoloration consistent with age and use. The copper surfaces with a few very minor scattered surface imperfections inherent in the making. The brass wire cloth that covers the glass panels in the shade retains its original patina, with some light surface soiling and gentle rubbing. The chandelier retains its original wrought-iron chains and hand-hammered copper and oak ceiling plate. The hand-wrought copper surfaces on the ceiling plate show light surface wear, surface soiling and some occasional minute discolorations. The ceiling plate retains all of its original hand-wrought screws. The oak element of the ceiling plate with some minor surface scratches adjacent to the fastening hardware. The chains with minor surface wear and rubbing to the patina consistent with age and use. All four internal sockets appear original and undisturbed. The original “antique” glass, as described in the firm’s period advertisements, is in excellent condition and appears undisturbed with minor surface soiling. All elements of the very fine brass fringe which extend below the shade appear original and intact. When illuminated, the chandelier emits a rich warm glow that heightens the detail work of its various elements. The chandelier presents with strong visual presence and proportion. The patinated copper surfaces display an exceptionally rich russet brown patina with vigorous hand hammering, imparting a naturalistic aesthetic unusual in the early work of Gustav Stickley. A stunning example of Stickley’s elaborate lighting designs in remarkable original condition. -----
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 complex decorative scheme of this extraordinary chandelier distinguishes it as one of the most significant surviving examples of early lighting by Gustav Stickley.  It is exemplary of Stickley's attention to craft and honesty in both construction and materials, all early hallmarks of the American Arts and Crafts movement.  It is no surprise that this model was one of the most expensive produced by the firm, retailing for $65 according to the firm’s 1905 price list, and was likely produced in very limited quantities.  The present lot is the only known extant example of the model.

The harmony of distinct materials is a signature element of this exceptional design.  In a period advertisement, the firm poetically described the materials of this chandelier as “the frame of fumed oak, with corners and bands of dull copper; the sides of brass wire gauze, backed with hammered glass, a device which allows the light to come through in a mellow glow.  Over the gauze is a decorative design in copper and the fringe is made of tiny brass chains.”   This chandelier demonstrates the varied material selection within the firm's earliest production.

As Stickley design theorist Irene Sargent argued in A Revival of Old Arts and Crafts Applied Wood to Leather (1901), “Simplicity must be the guiding force in design.” This extraordinary chandelier personifies Stickley’s emphasis to utility, simplicity and harmony of materials.  The rigorous geometric structure conveys confidence and modernity, which is softened with the warmth of the copper and inclusion of the naturalistic decorative scheme of the shade.  The conventionalized foliate decorations are rare in Stickley’s early work and clearly inspired by natural forms while indebted to the design movements of Britain and Europe as well as the American Arts and Crafts style.