stickley williamsburg

by
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“ T h a t t h e F u t u r e M a y L e a r n f r o m t h e Pa s t”
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®
C O LO N I A L W I L L I A M S B U RG
E
eighteenth-Century Williamsburg, the capital of the colony of Virginia, owed its
inception to politics, its design to human ingenuity, and its prosperity to government,
commerce and war. Though never larger in size than a small English country town,Virginia’s
metropolis became Virginia’s center of imperial rule, transatlantic trade, enlightened ideas
and genteel fashion. Williamsburg served the populace of the surrounding colonies as a
marketplace for goods and services, as a legal, administrative and religious center, and as a
resort for shopping, information and diversion. But the capital was also
a complex urban community with its own patterns of work, family life
and cultural activities. Within Williamsburg’s year round populations, a
rich tapestry of personal, familial, work, social, racial, gender, and cultural relationships could be found.
In Williamsburg patriots such as Patrick Henry protested parliamentary
taxation by asserting their right as freeborn Englishmen to be taxed only
by representatives of their own choosing. When British authorities
reasserted their parliamentary sovereign right to tax the King’s subjects
wherever they reside, Thomas Jefferson, George Mason, James Madison,
George Washington and other Virginians claimed their right to govern
themselves by virtue of their honesty and the logic of common sense.
Many other Americans joined these Virginians in defending their
countrymen’s liberties against what they came to regard as British tyranny. They fought for and won their independence. And they then fashioned governments and institutions of self-rule, many of which guide
our lives today. These are the events, the personalities, the ideas from our
national past that can be experienced, appreciated and learned at
Colonial Williamsburg today. Virginia’s old capital was saved from destruction and is still in
th
the process of being restored. By the late 1930s, most of the major buildings of 18 -Century
Williamsburg had been restored or reconstructed thanks to the generosity of John D.
Rockefeller, Jr. Today, in the historic area of Williamsburg the story is told of how
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A Place in History
colonists of English, African and European decent fashioned from their lives together a
new order, an American society and culture and struggled to secure freedom and prosperity
for all. This is where America begins...This is America’s Williamsburg.
The Colonial Williamsburg Foundation has been collecting
decorative furnishings of the period 1650-1820 for over seventy
years, building one of the world’s premier collections of English and
American antiques. The styles represented in the Colonial
Williamsburg collection comprise four art historical periods:
baroque, circa 1660-1770; late baroque, circa 1710-1745; rococo,
circa 1745-1770; and neoclassical, circa 1770-1810.
History of the Reproductions Program
Reproductions of works of art have a long and honorable history. They have been
sought by discriminating people for many hundreds of years as reproductions of something divine and admirable. One of the most discriminating and creative men ever associated with Williamsburg was Thomas Jefferson. Like many educated people of his time, he
believed reproductions served an invaluable purpose, that they were enabling and dignifying
because they recalled a great original with proven powers to arouse profound emotional and
intellectual responses. Since 1936 the Colonial Williamsburg Foundation has been offering
reproductions, adaptations and interpretations of seventeenth-century and early nineteenthcentury antiques from its collection.
Committed to quality and education, Colonial Williamsburg’s program is guided by a
review committee of curators and historians with final say on each product. Items are carefully chosen for their enduring appeal. While the word “reproduction” is understood many
ways in the popular mind, in association with Williamsburg it has been widely recognized
as describing a copy that is as close to the original as modern industrial methods can possibly bring it.
At Stickley where reverence for tradition is coupled with an unwavering commitment
to honest craftsmanship, we are proud to carry on this noble and honorable tradition into
the twenty-first century.
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A
P E R S O NA L M E S S AG E
O
ver the past one hundred years Stickley has been weaving a rich tapestry of furniture designs
reflecting the lifestyle and culture of the various eras of this extraordinary century. The common threads in the Stickley tapestry are an unwavering commitment to quality, an ongoing quest
for innovative designs and an intimate connection to home — the center of our lives.
Since 1900 four generations of families have furnished their homes with Stickley. In the beginning it
was the historic Mission Collection which started as a rebellion against the ornate Victorian furniture
of the time and signified a return to simple ideals, honest craftsmanship and sturdy construction.
Since we reissued Mission in April 1989, Arts and Crafts or Mission furniture has regained the
prominence and popularity it once enjoyed. While steeped in history
and tradition, the collection has grown to over 700 pieces designed for
today’s living. Made of solid quartersawn white oak or wild black cherry,
each is signed and dated by a skilled and proud craftsman.
Now, in addition to the historic Mission Collection, the craftsmen
and craftswomen of Stickley proudly produce 18th-Century pieces,
21st-Century designs, Metropolitan, Directoire and Stickley Fine
Upholstery Collections.
As Stickley enters its second century we are honored and proud to launch
the WILLIAMSBURG Reserve Collection. This is the result of a new and
exclusive licensing agreement between Stickley and the Williamsburg
Foundation in Virginia. All pieces in this collection will carry the prestigious hallmark insignia of the Williamsburg Products Program and are
signed and dated by a Stickley cabinetmaker. In carrying on this tradition we follow in the footsteps of two great companies, Kittinger and
Baker, with whom our family has longtime association and friendship.
We hold both these names in high regard and esteem.
Our corporate philosophy, though, extends beyond making America’s finest furniture for America’s
most discriminating customers. It is the story of attracting, developing and nurturing people — the
outstanding people who add excitement, experience, creativity and new ideas to our corporate structure. Our commitment is both to a vision for the future and to the people who have been selected to
get us there.
In offering this premier issue of the WILLIAMSBURG Reserve Collection, we pay tribute to the outstanding people at Stickley and Williamsburg whose collective talents make this endeavor possible.
We also hope to leave an enduring legacy so “that the future may learn from the past.”
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A
W
T R A D I T I O N O F E XC E L L E N C E
hen in 1900 Leopold Stickley left the Craftsman Shops in Eastwood, New York, he
and his younger brother John George bought the Collin, Sisson & Pratt furniture factory
in Fayetteville, New York. Their company, L. & J.G. Stickley was incorporated four years later.
At the Craftsman Shops, Leopold worked for his older brother Gustav, who was a major
proponent of the Arts and Crafts movement in the United States.Gustav was greatly influenced
by John Ruskin and William Morris, two champions of the English Arts and Crafts movement. Leopold’s first furniture line, the Mission Oak, was very similar to what Gustav was
manufacturing at the time. In 1905, L. & J.G. Stickley did their first trade show in Grand
Rapids, Michigan displaying “simple furniture built on mission lines.”
Around 1916 changing public taste spelled the end for Mission furniture. Today there is
a very keen interest in Gustav and L.& J.G.Stickley Mission Oak pieces.They have been exhibited in some of the most prestigious museums in the United States. The same early pieces are
bringing premium bids in auction houses throughout the country. On December 10, 1988 a
record price of $363,000 was set for a Gustav
Stickley sideboard that was designed for his
own house on Columbus Avenue in Syracuse,
New York. The same piece sold in November
1999 for $596,500.
In 1922 Leopold Stickley announced a
“line of period designs in popular finishes.”
For his inspiration he turned to the old houses
of New England and Pennsylvania. He also
traveled widely throughout Europe collecting
trestle tables, corner cupboards, dressers and
Windsor chairs. Keeping English influence in mind, Stickley inaugurated his Cherry Valley
adaptations of American colonial design. He took full advantage of the beauty and durability of the wild black cherry wood that was abundant in the Adirondack region.
Experts over the years have recognized Stickley’s craftsmanship and acclaimed these
creations for their purity of form, soundness of construction and fitness of purpose. On
January 21, 1956 Leopold Stickley was named “Revered Dean of Cabinet Makers whose art
and craftsmanship has contributed mightily to American home life.”
At the time of Leopold’s death in 1957, L. & J.G. Stickley, Inc. was one of the most
respected and admired furniture companies in the nation. Leopold’s widow, Louise, aided by
many of the founder’s original staff, continued the tradition, insisting that all aspects of
quality manufacturing be preserved.
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History in the Making
A New Era
A new era began for Stickley when, in 1974, Alfred and Aminy Audi bought the
company. Together they nurtured it back to health. Their first priority was to train a new
work force to work closely with the skilled cabinet makers.
Having accomplished that, they turned their attention to
marketing the product and to surrounding themselves
with a winning team of knowledgeable experts who share
the same pride in the product and the deep admiration for
this very special furniture.
Widely respected as the premier manufacturer of solid
cherry furniture, Stickley is now making classically designed
pieces in solid mahogany as well. These pieces exhibit the
stately elegance of the mid-18th Century and add a more
formal look to the line. Authentic in design and meticulous in execution they add a touch
of beauty to any room.
While much has changed at Stickley
during the last twenty-six years, the comTHE STICKLEY FAMILY
mitment to quality craftsmanship remains
L. & J.G. STICKLEY
unchanged. The outstanding designs, the
Manlius, N.Y. (Present Location)
ALFRED & AMINY AUDI
1985 - Current
quality of construction and the quest for
Fayetteville, N.Y.
1974 - 1985
perfection in every aspect of the Stickley
L. & J.G. STICKLEY
operation earned the company a tribute in
Fayetteville, N.Y.
STICKLEY MANUFACTURING CO.
Syracuse, N.Y.
the Congressional Record calling attention to
1919 - 1974
a “story about the revitalization of an
STICKLEY ASSOCIATED CABINET MAKERS
New York City, N.Y.
American manufacturer and the restoration
December 19, 1916 - March 1, 1919
of a tradition of quality unmatched in its
CRAFTSMAN SHOPS L. & J.G. STICKLEY
STICKLEY
STICKLEY & BRANDT
BROTHERS CO.
CHAIR CO.
Eastwood, N.Y.
Fayetteville, N.Y.
Binghamton, N.Y.
1898 - 1916
1900 - Current Grand Rapids, Mich.
field.”
1891 - c. 1940
1898
A New Location
In Fayetteville since 1900, Stickley moved
to its present location in Manlius on July 10,
1985. The new facility began as 137,000
square feet of efficient production and
showroom display. Today, after several
expansions, it stands at 400,000 square feet.
1891 - 1919
1898
STICKLEY & SIMONDS
CHAIR CO.
Syracuse, N.Y.
1893 - 1898
1890
1890
1890
STICKLEY BROTHERS COMPANY
Binghamton, N.Y.
1884 - 1890
1884
GUSTAV
1858 - 1942
1888
LEOPOLD
1869 - 1957
1888
JOHN GEORGE
1871 - 1921
1884
ALBERT
1862 - 1928
1884
CHARLES
c.1865 - 1928
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E NDURING CRAFTSMANSHIP
B
eginning their craft in the new world, early American cabinetmakers followed
England’s leads. In the early 18th-century, English imports dominated American furniture designs. But gradually our early craftsmen declared their independence and created
furniture that was American in its own right.
Stickley is furniture rooted in the past, yet designed for the present. Over the years our
designs have been modified and many new pieces introduced. Today we still offer the simple,
informal and understated sophistication of Stickley’s Windsor Chairs and Trestle Tables, and
since 1985 we have added many more designs inspired by styles made popular during the
Queen Anne, Chippendale and Hepplewhite
periods. From the simple graceful lines to the
intricately carved finials and rosettes on the
Bombé Chest or shell carvings on the
Philadelphia Queen Anne chairs, lasting quality
features are built into each Stickley piece.
Our skilled craftsmen create timeless
works of art with loving hands, careful attention
to detail and an eye for exceptional beauty.
Solid Cherry and Mahogany
The creation of a Stickley piece begins with
the careful selection of the finest solid cherry or
mahogany: sides, tops and panels of all pieces
are carefully matched for grain and color.
Honduras mahogany has all the characteristics
of an ideal cabinet wood. Grade for grade, mahogany is superior to any other cabinet wood in
lengths, widths and freedom from defect, waste and sap. No other wood offers the wide
variety of figures created by the exciting twist and turns of the grains. Mahogany is
considered by many the king of cabinet woods.
The wild black cherry trees from the Adirondacks grow up to 150 feet high and 30
inches in diameter. Cherry is one of the strongest woods in existence. It can be readily
tooled, it holds its shape and mellows beautifully with age, developing a rich patina and a
warmth of appearance.
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The Art of Cabinet Making
Uniquely Stickley
The making of a piece of Stickley furniture incorporates the most durable methods
known to cabinetmaking … techniques reminiscent of those used by eighteenth-century
craftsmen. Among the unique features are sidehung and center guided drawers, which are being
incorporated in the WILLIAMSBURG Reserve
Collection.
Others include a special ogee foot, dovetailed
cross rails, tongue-and-groove glue joining, and our
own specially designed bed rail and casting receivers.
These methods have been securely
established by the test of time as the
standard of excellence. Recognition of Stickley construction
methods throughout the furniture
industry attest to their worth. The
cabinetmaker proudly puts his initials on each piece he builds.
Side-Hung and Center Guided Drawers
This method guarantees proper alignment of the drawer.
The center guide keeps the drawers from skewing sideways.
Suspension on the side guides keeps the drawers level even
when heavily loaded. There is never any pressure against the
bottom side edges, hence no scrape or screech or excessive
friction, pulling or tugging. One can literally stand in a
Stickley drawer!
Tongue and Groove Glue Joining
and Matching Lumber
It is extremely important to match the lumber
in every glued-up panel. Proper matching
makes the individual boards appear as one
solid piece. The tongue and groove insures a
stronger glue joint and allows for greater finished thickness on all tops.
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T H E F I N I S H I N G TO U C H
N
o two pieces are precisely alike when they come to the finishing room, where they
spend a minimum of four days. Here, the innate beauty of the wood is coaxed forth
with legendary Stickley care and craftmanship. Our finishing process entails a complex
series of applications, using clear dyes, rather than pigments. The most important of these
is the base stain, an oil finish applied by hand. This stain penetrates deeply to wet the wood
fibers and highlight the grain structure. Because it also penetrates unevenly, it creates an
illusion of extraordinary depth.
The finishing of our WILLIAMSBURG product is a complex process that entails 31 distinct steps. These include staining, highlighting, sealer sanding, glazing and antiquing.After
applying the top coat lacquer, which provides a heat, alcohol, and mar resistant surface, we
carefully sand, rub, wax and polish the
exteriors and interiors to give them a
warm, soft and mellow patina. The
three distinctive WILLIAMSBURG finishes evoke the mellow patina of aged
old masterpieces.
Handsanding
After intensive machine sanding, every piece of furniture
is thoroughly hand sanded — even the insides of the
drawers. Excess glue is carefully removed from all joints.
All sharp edges are eliminated, joints are flushed, any
scratch marks are removed, and the pores of the wood are
opened. Final hand sanding is meticulously executed by
skilled craftspeople using time tested techniques.
The Finishing Touch
Hand rubbing is one of the ways in which we are able to
achieve the depth and clarity of the legendary Stickley finish.
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OPPOSITE:
CW-12 Chair, CW-311 Table
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®
MASTERWORKS BOMBÉ CHEST-ON-CHEST
CW-190 H96 W46 D24
This is a remarkable reproduction of the rare Bombé Chest-on-chest. In the 18th-century, bombé or kettlebase furniture was most often crafted in
western European cabinetmaking centers. In the fledgling United States, coastal Massachusetts was the only area known to have produced what
some experts say is the rarest form of chest-on-chest furniture. The original chest, a symbol of wealth and affluence, was crafted in the Boston area
around 1780. It was acquired by Colonial Williamsburg in 1935 and is presently on display in the Masterworks Gallery at the DeWitt Wallace Museum
in Williamsburg. The lower chest has four fully contoured drawers—the hallmark of Bombé furniture. The upper section has four full width drawers below three smaller drawers, the smallest of which follows the profile of the cornice and the center drawer is carved with a fan. Fluted Doric
pilasters flank the drawers and finely carved finials and rosettes crown this piece. Like the antique, this Bombé Chest, is crafted of solid mahogany
and has working locks on all drawers. The Stickley reproduction has an ingeniously hidden secret compartment as well as Stickley’s unique side
hung and center guided drawer construction. Exquisite sand-cast brasses echo the unusual contour of the pediment of this piece.
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BLACKWELL
SERPENTINE CHEST
CW-201
H33 W46 D24
A particularly nice refinement of
the Blackwell Serpentine Chest is
the Chinese fretwork that replaces
the usual reeded quarter-round
pilasters in the canted corners.
Note also how the shape of both
the top and the feet conform to
the graceful lines of the facade.
Although experts attribute similar
chests to the craftsmanship of
EVERARD SETTEE
Jonathan Gostelowe, research now
CW-154
L54 D291/2 H37 Arm height 26
reveals that a number of cabinetmakers produced this elegant
form. Family tradition suggests
This small open arm sofa is a reproduction
the original Blackwell Serpentine
of an elegant English antique. Its late
Chest descended through the
baroque style, often called Queen Anne
Stryker and Blackwell families of
after the early 18th-century British
Germantown, Pennsylvania, but
monarch, is characterized by simple, flow-
the identity of the piece’s maker
ing lines. And as on the original, skillful
remains a mystery.
details complement the Everard Settee’s
straightforward design. Scroll-like wings
and pad feet grace the piece’s cabriole legs
while outcurving arms terminate into
graceful volutes.
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DANIEL SHUTE TEA TABLE
CW-8
H261/2 W301/2 D191/2
Afternoon tea was an important 18th-century social
institution. Tea, after all, was far more than a drink; it
was an event. Tea tables of this quality were intended to
demonstrate the owner’s place in society. A precise
reproduction of a piece crafted by an eastern
Massachusetts cabinetmaker, the Daniel Shute Tea Table
recreates the original’s delicate scalloped apron and
graceful cabriole legs. When guests were at hand, the
slides at either end of the table supported candlesticks
and the generously proportioned top displayed a teapot
and the essential accessories. The Reverend Daniel Shute,
pastor of the Third Parish of Hingham and a delegate to
the convention ratifying the Federal Constitution for
the new state of Massachusetts, was the table’s original
owner.
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OPPOSITE:
CW-174 Sofa, CW-13 Chair, CW-8 Tea Table
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WYTHE HOUSE
BOOKCASE
CW-164
H791/2 W47 D16
Also available CW-164L
with glass shelves and lights
NEW ENGLAND EASY CHAIR
CW-206
W34 D31 H46 Arm height 251/2
It’s easy to imagine the New England Easy Chair complementing a living room, den or study, but in the 18thcentury such a chair commonly occupied the bedchamber. Generally found only in the homes of the gentry, easy
chairs were costly to produce, since they required not only the cabinetmaker’s time, but also plentiful quantities of
fabric and talents of a skilled upholsterer. They were prized for the extra measure of comfort they provided and
for their ability to block drafts and cradle heat when placed in front of the fireplace. The New England Easy Chair
offers all these features beautifully executed in the neoclassic style.
This fine reproduction is based
on an antique now on exhibit in
the downstairs study of the
George Wythe House. One of the
most influential Americans of
his time, Wythe was a lawyer,
teacher, legislator and judge, and
represented Williamsburg in the
House of Burgesses. He was also a
close friend and advisor to
Thomas Jefferson and a signer of
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NEW ENGLAND
LOLLING CHAIR
the Declaration of Independence.
CW-13
W26 D27 H48 Arm height 26
as Wythe would have stored his
This striking reproduction exhibits the high back, flowing lines,
like this. The bookcase is made
boxwood inlay and sense of lightness and delicacy that are hallmarks
of solid mahogany with frame
of the neoclassic style. The 18th-century revival of interest in
and panel back construction
classical design was prompted in part by a growing fascination with
and pinned mortise and tenon
Pompeii and Herculaneum, the ancient Roman sites of archaeologi-
joinery. The lower drawer is side
cal excavations that began in the 1740s. As information spread on
hung and center guided to
the materials unearthed in the excavations, a renewed interest in
insure proper alignment. The
ancient civilizations and classical decorating schemes surfaced.
CW-164L bookcase has three
Although Robert Adam introduced the neoclassic style to England
adjustable glass shelves and a
in the 1760s, it gained wide favor in America after the Revolution.
dimmer switch.
A gentleman of distinction such
library in a bookcase,or a bookpress,
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BASSETT HALL
CHEST OF DRAWERS
CW-202
H361/2 W41 D22
By 1800, Portsmouth, New
Hampshire cabinetmakers had
developed the art of coaxing
beautiful contrasts in pattern and
color from the thin wood sheets
they applied to furniture. The
same mahogany and curly maple
veneers reveal their mysteries on
this reproduction of a neoclassic
chest of drawers, currently in
Bassett Hall, the home of Mr. and
Mrs. John D. Rockefeller, Jr. The
Rockefellers filled Bassett Hall
with their collections, creating a
home that was warm and invit-
THE MATTHEW EGERTON TABLE
ing. And the chest that bears their
CW-311
H29 W19 D15
home’s name lives up to their high
Work tables became popular in England and America at the end of the 18th-century. Apparently inspired by
French examples from the 1770s, they were intended for use by women and were usually fitted for storage of
sewing and, occasionally, writing equipment. Evidence indicates
that the lower drawer of the original mahogany antique once
supported a bag for storing sewing projects. Like the original,
our faithful reproduction displays an unusual construction feature: the front of the table has been gracefully hollowed to follow
the curved contour of the top. Boxwood inlay enhances the
mahogany veneer on top, drawers and legs.
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standards for furniture of beauty
and charm. The Federal style
chest
displays
drawers
of
mahogany and tiger maple
veneers outlined with fine cock
bead moulding around each
drawer. The sides and legs are
made of solid mahogany and all
the drawers are side hung and
center guided.
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JOHN TOWNSEND CHEST
CW-207
H35 W38 D21
WA-2001 Albemarle Arm Chair
H361/2 W23 D24
Arm height 271/2
Seat height 19
Block front shell carved case furniture reached the pinnacle of its
development in Newport, Rhode
Island during the 18th-century.
This beautifully proportioned
Townsend chest illustrates 18thcentury aesthetic principles and
decorative motifs in a distinctly
American furniture form. Its bold
design was inspired by classical
architecture and required the use
of large blocks of swirl-grained
mahogany. Carved in alternating
convex and concave blocks, the
wood-rich front resembled piers,
WA-2000 Albemarle Side Chair
each topped with a handsome
H361/2 W20 D23
Seat height 19
shell-carved cap.
The chest is a reproduction of a
ALBEMARLE CHAIR
WA-2000 Side and WA-2001 Arm
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cherished antique that resides in
the masterworks gallery of
Colonial Williamsburg’s DeWitt
Thomas Jefferson had a keen sense of beauty and style, and he acquired several pieces of fashionable furniture
Wallace Museum. The antique is
while ambassador to France. So it is no surprise that the president was responsible for introducing and interpreting
attributed to the cabinetmaking
influential European furniture designs to Americans. The Albemarle Chair illustrates this influence. Similar in style
shop of John Townsend of
to contemporary continental designs, the chair’s bolder proportions reveal its American origins. The antique
Newport, RI, whose craftsman-
chair is thought to have been made in the joinery, or cabinetmaking, shop that existed on the grounds of the
ship epitomized the block-front
president’s beloved Virginia estate, Monticello. The side chair is a recent addition to complement the versatile
form among New England furni-
Albemarle Arm Chair.
ture-making shops.
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NEWPORT CARD TABLE
CW-3
H29 W301/2 D16 (32 open)
The Newport Card Table is an elegant reproduction of the first antique formally
acquired for Colonial Williamsburg’s museum collection. Who could have imagined,
seventy years ago, that this stately piece would become
the cornerstone of today’s world-class decorative arts
collection of 75,000 historic objects. The original was
obviously crafted by a skilled cabinetmaker familiar
with the rococo style. Thomas Chippendale, the famed
English furniture designer, described this classic
design in his 1754 book, The Gentleman and the
Cabinetmaker’s Director.
ENGLISH ROCOCO SOFA AND LOVESEAT
WA-118 Loveseat
L36 D33 H381/2 Arm height 32”
In the 17th-century, English upholsterers developed their art of stretching webbing and soft
cushioning materials across furniture frames. This process upheld the sitter, and the
craftsmen became known as “upholders.” By the 18th-century,upholstering was a dominant
profession in the American furniture trade. The fashion of the day, obviously influenced by
available upholstery materials, dictated a preference for the crisp lines and smooth surfaces
achieved by tightly applied upholstery. The reproduction English Rococo Sofa and
companion adaptation loveseat honor this elegant tradition but include ample
cushioning to meet today’s requirement for comfort. The straight fluted legs on
the sofa and loveseat show the “neat and plain” version of the rococo style.
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OPPOSITE:
WA-118 loveseat (two shown), CW-311 Work Table, WA-1033 Cocktail Table
25
ENGLISH SERPENTINE SOFA
CW-174
L88 D331/2 H37 Arm height 32”
This reproduction has elegant proportions and Frenchinspired lines. Rococo carved scrolls and acanthus leaves
combine with serpentine curves, cabriole legs and ball and
claw feet derived from an original design of a dragon
clutching a pearl. Tradition suggests that the original
English Serpentine Sofa may have been in the house of
John Prince of Newburyport, Massachusetts, when
Washington and Lafayette were guests there. The antique
sofa was featured in the Girl Scouts Loan Exhibition
sponsored by the American Art Galleries, NY in 1929. This
was a milestone event because it was the first extensive
ENGLISH ROCOCO SOFA
public display of early American decorative arts. The
CW-118 Sofa
pieces exhibited were selected by many of the most
L91 D33 H381/2 Arm height 32”
Refer to page 24 for description
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prominent curators of the day and their selections influenced
scholars and interior designers for years to come.
MASSACHUSETTS DROP-LEAF SIDE TABLE
MEYERS CANDLESTAND
WA-1010
H27 D201/2
This handsome mahogany table is
an adaptation of an antique that
served an 18th-century household
as a tea table or candlestand.
CW-203
H26 W31 D14 (24 open)
A reproduction of a fine late baroque style antique, the Massachusetts Drop-Leaf Side Table features a scalloped
skirt, notched corners and cabriole legs with pad feet. Tables like this were a favorite in 18th-century American
homes because of their versatility. When not in use, they were often stored out of the way against the wall. But
with guests on the way, they could serve as a centerpiece for dining, tea-drinking or even gaming. Where better to
play a hand or two of loo, whist or quadrille?
Featuring a tapering shaft,
Stickley’s Meyers Candlestand is
supported by three graceful cabriole legs that terminate into snake
feet. We have named this piece
after Louis G. Meyers, a worldclass furniture collector, who
during the early years of the
restoration helped the Colonial
Williamsburg staff build its collection of fine antique furniture
with acquisitions like this table.
QUEEN ANNE COFFEE TABLE
WA-1033
H18 W46 D23
If the coffee or cocktail table form as we know it today had existed in the 18th-century, we think it would have
looked like this adaptation. In fact, we based the Queen Anne Coffee Table on the frame of an early to mid-1700s
couch (or daybed, as we would call it today). The cabriole legs and carefully turned center and end stretchers of
this fine mahogany table are indicative of the elegant design features found in late baroque period furniture.
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NEWPORT EASY CHAIR
CW-12
H46 W30 D29 Arm height 251/2”
In the 18th-century, a seating piece
like the Newport Easy Chair would
be found only in the homes of the
gentry. Easy chairs were costly
since they required expensive
fabric and a great deal of labor
to produce. This outstanding
reproduction shares its ancestor’s
pedigree of quality materials,
superlative craftsmanship and
great comfort. Just imagine what a
sensuous treat such a chair
would have offered in the days
before central heat. When facing
the fire on a blustery winter
evening, the chair’s ability to
cradle heat and block drafts
made this special seating piece
a veritable haven.
CW-12 Chair, CW-70 Tilt-Top Table
PHILADELPHIA ROCOCO TABLE
CW-70 TILT-TOP and WA-2004
An elegant 18th-century Philadelphia tea table is the inspiration for
our faithful mahogany reproduction and adaptation pieces. Like the
original, the reproduction has a revolving tilt top with a traditional
“birdcage” attachment to the base. Both tables’ ball and claw feet and
turned baluster pedestals are characteristic of the rococo style.
Prominent English cabinetmaker Thomas Chippendale, was one of
the chief contributors to the rococo style. His famous design book,
The Gentleman and the Cabinetmaker’s Director, remains an important
resource for modern day scholars and furniture makers.
WA-2004
H271/2 D32
28
CW-70 TILT-TOP
H281/2 D35
CW-118 Sofa, CW-13 Chair, WA-2004 Table
EWING HOUSE CHEST OF DRAWERS
CW-68
H30 W30 D18
A fine reproduction of an English chest, this small piece features an
ingenious pullout shelf, handsome brass hardware and subtly
graduated drawers. Made of fine-grained mahogany, it displays
the neat and plain version of rococo style that reflected the
contemporary English preference for classical order and clean
lines. The antique chest, crafted sometime between 1740 and
1760, resides today in the 18th-century home of Scottish merchant
Ebenezer Ewing.
29
NORFOLK DINING TABLE
WA-2002
H30 W48 L74
With two 20” Leaves
Also available with three 20” Leaves
The double-pedestal dining table
so beloved today became popular
in the late 18th-century when
homes began to be built with
rooms designed specifically for
dining. The drop-leaf table was
used heavily earlier in the century
when rooms of the home were
multi-functional and furniture
needed to be highly mobile. The
Norfolk Dining Table is adapted
from an important Virginia tilt-top
table now in the Colonial
Williamsburg collection. The
table was first owned by Norfolk
THE COATES CHAIR
CW-204 Side and CW-205 Arm
resident
Daniel
Barraud,
whose son Philip resided in
Williamsburg. It features a
The Coates Arm and Side Chairs have quite a history. The antiques on which they are based are true masterpieces
boldly turned pedestal and
of the late baroque style. In fact, they have been recognized as perhaps the most artistically successful late
graceful tripod base with beautiful
baroque chairs produced in America. According to
acanthus leaf carving and
tradition, these sophisticated chairs were handed
exquisite ball and claw feet.
down through the Coates family of Philadelphia
before their acquisition by Colonial Williamsburg.
Our reproductions capture all the fine details of
these important chairs including their angular balloon seats with recessed shells, voluted and acanthus carved knees, vase-shaped back splats and
double S-scrolled crest rails.
30
WA-2002 Dining table, CW-204 Side Chairs, CW-205 Arm Chairs, CW-158 China Top, WA-157 Buffet Base
31
WA-157 Buffet Base
H34 W671/2 D161/2
ENGLISH ROCOCO BREAKFRONT
CW-158 China Top and WA-157 Buffet Base
An extensive library in the home of an 18th-century gentleman was a true statement about his wealth, education and pedigree. Leather bound books
were costly. To protect and display their literary collections, gentlemen often relied on bookpresses. The glazed upper doors of these handsome
furniture pieces were almost always fitted with green silk curtains to protect books and papers from the deteriorating effects of light. A magnificent
circa 1750 English mahogany bookpress was the inspiration for the English Rococo Breakfront.Similar rococo bookpresses were illustrated in Thomas
Chippendale’s 1754 work, The Gentleman and the Cabinetmaker’s Director. The upper portion of the cabinet has four adjustable glass shelves, interior
lights and a dimmer switch. It is available with a mirrored back. The lower section has a Greek key motif that conceals three locking and silver lined
drawers at the top of the buffet. Four locking drawers in the center are flanked by swirled mahogany doors on either side allowing for ample storage
with one adjustable shelf behind each door. Top center drawer has a Pacific Cloth™ Silver tray.
OPPOSITE:
32
WA-157 Buffet Base, H34 W671/2 D161/2
CW-158 China Top, H621/2 W711/2 D181/2
Overall Size H97
33
CLASSICAL INLAY
SIDEBOARD
WA-2005
H36 W72 D27
It wasn’t until the end of the
18th-century, during the neoclassic period, that the sideboard
became popular in America.
CW-204 Coates Side Chair
This circa 1795 adaptation blends
H42 W21 D201/2
Seat Height 171/2
elements from two antique
sideboards found in Colonial
Williamsburg’s collection. A
Charleston antique lends this
handsome piece its overall
proportion, inlay decoration,
center drawer and end doors.And
a striking Baltimore sideboard is
the influence for the graceful cenCW-205 Coates Arm Chair
H42 W31 D221/2
Arm Height 291/2
Seat Height 171/2
ter arch. The center drawer contains a cloth liner with flap and
a sliding utility tray. The gracefully tapered legs are completed
with spade feet. A compass
motif adorns the sides, while the
inlayed husks, flutes and patera
THE COATES CHAIR
CW-204 Side and CW-205 Arm
The Coates Arm and Side Chairs have quite a history. The antiques on which they are based are true masterpieces
of the late baroque style. In fact, they have been recognized as perhaps the most artistically successful late
baroque chairs produced in America. According to tradition, these sophisticated chairs were handed down
through the Coates family of Philadelphia before their acquisition by Colonial Williamsburg. Our reproductions
capture all the fine details of these important chairs including their angular balloon seats with recessed shells,
voluted and acanthus carved knees, vase-shaped back splats and double S-scrolled crest rails.
34
reflect
the
neoclassic
style
employed by period craftsmen.
35
GOODWIN DINING TABLE
WA-2003
H30 W46 L72
With two 20" Leaves
Also available with three 20" Leaves
Before the neoclassic period, it
wasn’t unusual for a dining table
CW-16 Huntsman Side Chair
to be pushed to the room’s
H371/2 W23 D211/2
Seat height 18
perimeter when not in use.
Pedestal base tables like our
mahogany adaptation were a
response to the new era when
CW-16A Huntsman Arm Chair
H371/2 W25 D211/2
Arm height 271/2
Seat height 18
changes in living habits dictated
that furniture could be left in
place. The Goodwin Dining Table
is named after the Reverend
W.A.R. Goodwin, an early 20thcentury rector of historic Bruton
Parish Church.Reverend Goodwin
HUNTSMAN CHAIR
CW-16 Side and CW-16A Arm
inspired John D. Rockefeller, Jr. to
undertake the restoration of the
Historic Area of Williamsburg.
These fine chairs are based on a 1760s rococo antique stamped proudly by its maker, London cabinetmaker W.
With two-20" leaves, this table
Huntsman. They illustrate the complexity of the rococo style. A lightness of form and a profusion of carved and
extends to 112". A third leaf is
pierced ornaments are evident. Features flow from the naturalistic
crest rail to the back splat, comprised of an arch formed from ribbonlike elements flanked by elongated c-scrolls with a gothic-inspired
trefoil at its base. The chairs rest on Chinese inspired Marlborough
legs. Renowned cabinetmaker Thomas Chippendale described
pieces that feature such a compendium of design elements as being
in the “Gothic, Chinese and Modern” taste.
36
optional (WA-2003-3LVS).
WA-2003 table, CW-16 Side Chairs, CW-16A Arm Chairs, WA-2005 Sideboard
37
38
THE GOVERNOR’S
PALACE SILVER CHEST
WA-1068
H36W25 D131/2
CW-142 Sarah Richardson Side Chair
The Governor’s Palace Silver Chest
H401/2 W211/2 D201/2
Seat Height 181/2
is an adaptation of a fine 18thcentury English gentleman’s tool
chest-on-stand. The gentleman’s
tool chest of the late 1700s was a
beautiful, yet practical, piece
proudly displayed indoors and
fitted with tools required for
CW-142A Sarah Richardson Arm Chair
H401/2 W241/2 D221/2
Arm Height 271/2
Seat Height 181/2
occasional household repairs. On
February 13, 1773, London
ironmonger William Hewlett
sold the tool chest that the Colonial
Williamsburg Foundation would
acquire almost two centuries
later. Simple lines and delicate
SARAH RICHARDSON CHAIR
scale make it ideal for storage of
CW-142 Side and CW-142A Arm
silver or flatware in modern homes.
Our Sarah Richardson Arm and Side Chairs are reproduced from a set of six chairs that are now found in Colonial
Williamsburg’s extensive decorative art collection. The reproductions incorporate graceful mid-18th-century features,
including a flowing bowed crest rail and S-shaped stiles. We named these chairs in honor of the woman who stitched
the floral wool needlework used to cover the seats of the original chairs. Her circa 1740s handiwork survives today, but
The three top compartments
have working locks, and all
compartments
have
silver
liners.
it has been removed from the furniture for safekeeping.
OPPOSITE:
CW-87 Piedmont Sideboard
39
40
PIEDMONT SIDEBOARD
CW-87
H401/2 W57 D201/2
Called hunt boards by many modern furniture enthusiasts, small sideboards like this one gained
popularity in American homes by the late 18th-century. Our reproductions accurately portray the
original’s neoclassic slender legs, arched center and octagonal key escutcheons. Rounded beading outlining the drawer edges completes the look. Available in solid mahogany or solid cherry, the sideboard
has pinned mortise and tenon joinery, one piece drawer fronts, side hung and center guided drawers,
a silver tray in the center drawer and working locks.
ALBERMARLE CHAIR
WA-2000 Side and WA-2001 Arm
Thomas Jefferson had a keen sense of beauty and style, and he acquired several pieces of fashionable
furniture while ambassador to France. So it is no surprise that the president was responsible for
introducing and interpreting influential European furniture designs to Americans. The Albemarle
Chair illustrates this influence. Similar in style to contemporary continental designs, the chair’s
bolder proportions reveal its American origins. The antique chair is thought to have been made in
the joinery, or cabinetmaking, shop that existed on the grounds of the president’s beloved Virginia
estate, Monticello.
OPPOSITE:
4358V Table, WA-2000 Albemarle Side Chairs, WA-2001 Albemarle Arm Chairs, CW-207 John Townsend Chest
41
W ARRANTY
Warranty
We want you to be truly pleased with your Stickley furniture as it becomes an important
part of your family heirlooms. Should the furniture fail at any time during the lifetime of the
original owner because of workmanship or material, not because of normal use, misuse, neglect or abuse, we will either repair it or replace it upon our discretion. We believe so strongly
in the integrity of our workmanship that we guarantee our furniture for life.
This warranty does not apply to damage in transit or any defects resulting from abuse,
alteration or accident. Stickley warranty does not apply to company or customer supplied
fabric.
Design
Stickley reserves the right to change, modify, or improve any design, specifications and
details at its discretion without prior notice.
C E RT I F I C AT E O F AU T H E N T I C I T Y
Has approved this ARTICLE made under its
supervision and Special License by
All W ILLIAMSBURG Reproductions and Adaptations
bear the H ALLMARK of the Licensor as follows:
42
F INISHES
The finishes on these pages approximate the actual finish colors available.Variations in
the reproduction of color is inevitable due to printing limitations. For a true color sample,
please visit your nearest dealer.
Richmond - 46
Heirloom - 47
Old Virginia - 48
WILLIAMSBURG Reproductions Program
This hallmark, designed from an early shipper’s mark, is
used to identify authentic reproductions and adaptations of
17th and 18th-century English and American antiques in the
Colonial Williamsburg Foundation collection. The products
are produced by licensed manufacturers of the Foundation.
43
I NDEX
44
Style
Description
Page
CW- 3
Newport Card Table
24
CW- 8
Daniel Shute Tea Table
16, 17
CW- 12
Newport Easy Chair
11, 28
CW- 13
English Lolling Chair
17, 18, 29
CW- 16
Huntsman Side Chair
36, 37
CW- 16A
Huntsman Arm Chair
36, 37
CW- 68
Ewing House Chest of Drawers
29
CW- 70
Philadelphia Rococo Tilt top Pedestal Table
28
CW- 87
Piedmont Sideboard
38, 41
CW- 118
English Rococo Sofa
26, 29
CW- 142
Sara Richardson Side Chair
39
CW- 142A
Sara Richardson Arm Chair
39
CW- 154
Everard Settee
15
CW- 158
China Top
31, 33
CW- 164
Wythe House Bookcase
19
CW- 174
English Serpentine Sofa
17, 26
CW- 190
Bombé Chest-on-Chest
12, 13
CW- 201
Blackwell Serpentine Chest
14
CW- 202
Bassett Hall Chest of Drawers
21
CW- 203
Massachusetts Drop-Leaf Side Table
27
CW- 204
Coates Side Chair
31, 34
CW- 205
Coates Arm Chair
30, 31, 34
CW- 206
New England Easy Chair
18, 21
CW- 207
John Townsend Chest
23, 40
CW- 311
Matthew Egerton Work Table
11, 20, 25
WA- 118
Loveseat
25
WA- 157
Buffet Base
31, 32, 33
WA- 1010
Meyers Candlestand
27
WA- 1033
Queen Anne Coffee Table
25, 27
WA- 1068
Governor’s Palace Silver Chest
39
WA- 2000
Albemarle Side Chair
22, 40
WA- 2001
Albemarle Arm Chair
22, 40
WA- 2002
Norfolk Dining Table
31
WA- 2003
Goodwin Dining Table
37
WA- 2004
Philadelphia Rococo Table
28, 29
WA- 2005
Classical Inlay Sideboard
35, 37
T HE CARE OF STICKLEY FURNITURE
Since 1900 Stickley Craftsmen have been making history by creating masterful pieces by hand.
From designing each piece to executing the intricate details of making it a work of art, each step is
meticulously perfected. The WILLIAMSBURG Reproductions by Stickley are the epitome of fine
craftsmanship. Because we have taken so much care in making the antiques of the future, we hope
you will cherish each WILLIAMSBURG piece as a precious work of art and care for it accordingly, preserving its original beauty which will undoubtedly be enhanced with age.
• Avoid exposure to strong sunlight. This may cause discoloration.
• When protecting the tops with glass, do not use felt dots, plastic dots,
or cork under the glass.
• Lift objects, do not drag them.
• Avoid exposure to extreme heat or cold. Table pads are advisable. Trivets
and placemats are useful, but will not prevent blushing if utensils are
extremely hot. Should a blush occur, use Stickley furniture polish. Rub with
a soft cloth in a circular motion. 4-0 steel wool can be used on extreme
cases. This procedure is successful in removing recent water rings.
• Do not use nail polish remover, hairspray or perfume, most of which
contain alcohol, near the furniture.
• Be cautious about placing rubber or plastic products on the furniture since
a chemical reaction may cause deterioration of the finish. Avoid vinyl
tablecloths. Use protective pads under telephones, clocks, or radios.
• Do not use products containing silicone.
• Apply Stickley furniture cleaner/polish two or three times a year. It provides
a low gloss eggshell sheen. For a high gloss sheen we recommend a good
quality cream polish such as Guardsman. Never pour any polish directly on
the furniture.
• Never place heavy objects or table pads on freshly polished surfaces.
• Touch up pens and wax sticks are available at most furniture refinishing
shops. In case of severe damage to the furniture, write our service
department at L. & J.G. Stickley, PO Box 480, Manlius, New York13104.
by
L . & J . G . S t i c k l e y, I n c . , S t i c k l e y D r i v e , P O B o x 4 8 0 , M a n l i u s , N . Y. 1 3 1 0 4 - 0 4 8 0
( 3 1 5 ) 6 8 2 - 5 5 0 0 FA X ( 3 1 5 ) 6 8 2 - 6 3 0 6 h t t p : / / w w w. s t i c k l e y. c o m