Notes from the Farms the Journal of the Stickley Museum at Craftsman Farms

NOTES FROM THE FARMS THE JOURNAL OF THE STICKLEY MUSEUM AT CRAFTSMAN FARMS

Looking Forward to 2016!

From the Photo by Tom Gleason Director’s Chair —Vonda K. Givens

hen I lead a tour, I begin Wwith questions, including the query, “Are any of you Stick- ley fans?” Usually one or two timid hands go up, and I raise mine to join them, “Me too!” I say, smiling, “You’re in good company here.”

Asking this question helps me steer the tour, but I’m also trying to coax the Stickley fans in the “I am concerned that Stickley and his Craftsman mission furniture be placed in crowd to show their true col- the proper historical place; looking forward, not backward….” ors (brown and green, natch!), –John Crosby Freeman, The Forgotten Rebel: without hesitation. Once inside Gustav Stickley and his Craftsman Mission Furniture the Log House, amid the glow- ing lanterns, the pleasant scent s John Crosby Freeman advised in Newcomb Memorial College at Tulane of wood and the burnished Ahis groundbreaking book, pub- University. This exhibition will explore copper hoods, their enthusi- lished 50 years ago, the Stickley Mu- connections between these two Arts asm will often bubble over into seum at Craftsman Farms is “looking and Crafts enterprises. It is inspired by good questions, and even better forward” in 2016 and planning a for- Women, Art, and Social Change: The conversation, and in the best ward-thinking year. Here’s a preview: Newcomb Pottery Enterprise, the com- circumstances it becomes con- prehensive traveling exhibition orga- tagious, spreading through the Building upon the success of the nized by The Smithsonian Institution group. exhibition Live, Play, Eat (through Traveling Exhibition Service and the March 5, see page 5), we’re launching Newcomb Art Gallery at Tulane Uni- At the National Arts and Crafts a new exhibition this spring. Early versity. The exhibition will also serve Conference, the atmosphere in Newcomb Pottery From the Barbara as a companion show to the nearby the Great Hall of the Grove Park and Henry Fuldner Collection (see Princeton University Art Museum’s Inn has this feeling—the “you’re- above) will be on view for six months, simultaneous staging of the Smithso- in-good-company” feeling I beginning May 7. Contemporaneous nian exhibition. want to spread through a tour. with Gustav Stickley’s multi-faceted The stone hearths, the crackling Craftsman endeavors, the Newcomb The 30th anniversary of the launch of fires, the rocking chairs, and the College Pottery was established in Style 1900 magazine is a key milestone pleasant buzz of friendly chat- New Orleans in 1895 by the H. Sophie we’ll be marking in 2016. Begun by Continued on page 2 Continued on page 2 Winter 2015-2016 Vol. 24, No. 4 Notes From The Farms

Director’s Chair continued from page 1 Looking Forward continued from page 1 ter—these parts combine into David Rago in 1986 as the short black-and-white newsletter Arts & Crafts Quar- a convivial feeling that is hard terly, the magazine evolved into a full-color publication—its name changing to to describe and even harder to Style 1900 in 1994. With thousands of subscribers and distribution nationwide manufacture. For most, they and abroad, the magazine took an expansive view of Arts and Crafts around the impart a feel of welcome, and world. After publication for more than 20 years, the Great Recession coupled for the Arts and Crafts enthusi- with volatility in the publishing industry, brought a decline in sales and forced ast, the feeling is akin to coming an end to the magazine. Publication ceased with the Winter issue 2012-13, but home. the magazine left behind an important legacy, as a catalyst for renewed world- wide interest in the Arts and Crafts movement and as a rich reserve of original When I visited Pasadena, CA scholarship. After publication ended, a substantial inventory of back issues of the and East Aurora, NY in 2015, I magazine were gifted to the shop at the Stickley Museum at Craftsman Farms by experienced this same feeling. I David Rago Auctions/Lambertville, NJ. In honoring the 30th anniversary of the had left Craftsman Farms, trav- magazine, sales to the public of these back issues will launch in 2016, accompa- eled hundreds of miles, passing nied by a program on April 2 featuring special guest David Rago. through towns and time zones, weather and rest stops, finally 2016 also brings another key milestone: The 50th anniversary of the publication reaching the Gamble House of The Forgotten Rebel: Gustav Stickley and His Craftsman Mission Furniture and the Roycroft campus. Each by John Crosby Freeman. Published in 1966, this pioneering book is widely time I knew—without aid of acknowledged as an important early touchstone of the Arts and Crafts Revival, a signpost—I was where I was sparking interest in Gustav Stickley and raising awareness of his significance as supposed to be. Back amid the an American designer. Throughout the year, we’ll be celebrating this anniversary wood, stone and copper, the for the book, which played a role in putting Craftsman Farms on a path toward handcrafted textiles, pottery, public recognition and its future as National Historic Landmark. and prints—I was, ahhh, home again.

I experienced that feeling yet eet us in sheville again on a recent whirlwind trip M A ! to Boston, MA. As we visited po- re you attending the National Arts & Crafts Conference, February 19-21? If tential stops for our 2016 Farms Aso, be sure to say hello! We’re participating in the Conference in a variety of Afield (see page 5), whether ways. gazing at the windows of Trinity Church or the wood-paneled Our annual Kick-Off Party will be held on Thursday evening at 6:30 p.m. in the walls of Stonehurst, that familiar Skyline Room of the Grove Park Inn (see right). Along with live music, craft beer, feeling of belonging, of finding a and BBQ, this can’t-miss evening features a friendly table vs. table trivia contest. home here, returned. Live, Play, Eat: Around the Table at Gustav Stickley’s Craftsman Farms, a “spin-off” Though it is an ever-evolving of the current exhibition in the Log House at Craftsman Farms, both curated by city, Boston retains abundant Pete Mars, will be on view in the Great Hall. Learn more about this exhibition at treasures associated with its Mars’ Small Group Discussion. early embrace of Arts and Crafts. We can’t wait to share them Executive Director Vonda Givens will lead a Small Group Discussion about shar- with you! When you step into ing our passion for the Arts and Crafts movement with a new generation. Givens these buildings and galleries and will make practical suggestions and discuss her own successes and failures with grounds, you’ll feel at home and engaging with the “smartphone generation” at the Stickley Museum at Crafts- know you are where you’re sup- man Farms. posed to be. I hope you’ll join us in late July. I can assure you. Visit the museum’s table in the Contemporary Craftsfirms Show for shop mer- You’ll be in good company. chandise and information, including the 2016 Events Calendar.

Page 2 Winter 2015-2016 Notes From The Farms

The Stickley Museum at Craftsman Farms Kick-Off Party Bluegrass, BBQ anD Brew!

Join The Stickley Museum at Craftsman Farms for an evening of casual fun. Thursday, February 18, 2016 at 6:30 p.m. at the Grove Park Inn’s Skyline Room

Your ticket includes: w BBQ and Southern comfort food with an Asheville flair. Arts and Crafts w Local craft beers and wine. Trivia Challenge! w Live bluegrass music by County Farm band. Impress your friends, w Floor-to-ceiling views of Asheville and the win prizes and stretch your Blue Ridge Mountains. brain in this table vs. table w An evening of camaraderie and fun with fellow friendly competition. Arts and Crafts enthusiasts. Make plans now to w Arts and Crafts Trivia Challenge! be part of the fun! ?? Net proceeds from the Kick-Off Party directly support the maintenance and operations of The Stickley Museum at Craftsman Farms, the early 20th-century home of Gustav Stickley in Parsippany, NJ. Kick off your GPI weekend with a good time for a good cause!

Purchase your tickets at StickleyMuseum.org or mail this form with your payment to: The Stickley Museum at Craftsman Farms, 2352 Route 10 West, Morris Plains, NJ 07950. You may also fax credit card info to 973.540.1167 or call the Museum at 973.540.0311. $55 of each ticket is fully tax deductible within the limits of the law. Reservations must be received by February 12, 2016.

2016 Kick-Off Party r.s.v.p Name(s):______Address:______City:______State:______Zip:______Phone:______Email:______Yes! Please reserve ____ ticket(s) at $140 per person

___ A check payable to The Stickley Museum at Craftsman Farms in the amount of $______is enclosed. ___ Please charge my credit card __Discover __Visa __MC __AmEx in the amount of $______. Card Number:______CVC:______Expiration:______Zip:______Signature:______

Winter 2015-2016 Page 3 Notes From The Farms

Twilight Tours Electrify! You too can be a his after-hours tour begins at twilight in the cozy Stickley Museum Docent! TNorth Cottage and visits Gustav Stickley’s Log hare your love of Stickley by becoming a museum House as the sun sets. Explore the development of elec- Sdocent! A new session of The Stickley Seminar, our free tricity as we tour Stickley’s home in the soft evening 5-session docent training course, starts in January and we light. Bring someone special—make it a date! are in need of enthusiastic new recruits!

And linger in the museum shop for light refreshments Docents are the face of the museum, leading tours for after the program. visitors from around the world. But being a docent is about more than learning a script. Docents bring their own style, Evenings at Craftsman Farms: The Twilight Tour interests and skills to tours, providing engaging, educational, Saturdays, January 23, 30 & February 13 and memorable experiences for museum visitors. Being a 5:00 p.m. docent is a rewarding job that is great for anyone with a cu- $5 Members rious mind, the desire to continue learning, and the spirit $12 Non Members of a storyteller. Advance Registration Required For more information or to purchase tickets, please visit Contact Education Manager, Kristen McCauley or email StickleyMuseum.org or call 973.540.0311. [email protected] for more information.

Monthly Giving: Daily Impact

he New Year is the perfect time to say thank you to those donors who sustain us throughout the year with Tongoing, monthly contributions. These supporters, known as “Stickley Sustainers,” have designated an amount they are comfortable with contributing each month. Those funds are automatically sent in or securely processed on their credit card. With this simple process, these dedicated individuals help us save paper, postage and time. They don’t receive renewal notices or reminder phone calls. They only receive our gratitude, while they provide a stream of steady, reliable support, which allows us to thoughtfully plan our activities and programs.

Want to make a difference every month by becoming a Stickley Sustainer? Call us at 973-540-0311 to sign up or visit us at StickleyMuseum.org/support.

Page 4 Winter 2015-2016 Notes From The Farms

2016 Farms Afield: Boston ave these dates: Wed-Sat., July 27-30! For our 2016 Farms Photo courtesy of MFA, Boston SAfield trip, we’re meeting in Boston, “home base” of the early Arts and Crafts movement in America, a city whose artisans, designers, architects, writers, and teachers helped shape and disperse the movement’s ideals and aesthetics across the nation.

See Beacon Hill and the North End, home to the Saturday Evening Girls and the Paul Revere Pottery, on a walking tour planned just for our group. Have a meal at Quincy Market. Take a curator’s tour of the outstanding Arts and Crafts collections of the Mu- seum of Fine Arts, Boston. Visit Copley Square’s extraordinary landmarks, including H.H. Richardson’s Trinity Church and the Boston Public Library by McKim, Mead and White. Explore Stonehurst in nearby Waltham, one of Richardson’s residential Bressler Gallery, Museum of Fine Arts, Boston masterpieces, featuring grounds designed by Frederick Law Olm- sted.

We’ll take in Boston’s abundant sites while leaving time for individual exploration. Not only is this a chance to see this historic city from a specially-planned Arts-and-Crafts perspective, you’ll see it among friends who will share your enthusi- asm for all the details.

Farms Afield: Boston Wed-Sat., July 27-30, 2016 Member Exclusive. Participants will meet in Boston. Trip fees to include hotel, all planned activities, and 5 meals. Transportation to Boston is not included. Check our website: StickleyMuseum.org for fees and updates.

Last Day for Live, Play, Eat !

oin us for a closing celebration, on Saturday, March 5, of the exhibition JLive, Play, Eat: Around the Table at Gustav Stickley’s Craftsman Farms. Pete Mars, exhibition curator, will present the insightful lecture, “Live, Play, Eat: Crafting an Exhibition,” at 6 p.m. Doors will open at 5:30 p.m., providing an opportunity to view the exhibition one last time. Saturday, March 5 FREE to Members with RSVP $12 to Non Members Visit StickleyMuseum.org to RSVP or for tickets.

As we say goodbye to Live, Play, Eat: Around the Table at Gustav Stickley’s Craftsman Farms, Thank you! the Museum gratefully acknowledges the generosity of the following lenders to the exhibition: Joan Albin and Tom Bird; Christine Campbell; Ben Cassara and Joe Bucci; Barbara Chas; The Collection of Amparo and Mitchell Codding; Mike Dawson; Barbara Nitchie Fuldner; Vonda Givens; Lynn Leeb; David W. Lowden; The Elaine K. Marlowe Collection; Lana and Peter Mars; Peter K. Mars; The Sue Ann Genet Costume Collection at Syracuse University; Jean Marie McCauley; Kristen McCauley; Julia and Robert Peterson; Dr. Robert Price; Tom Repasch; Kristen H. Sensenig; Wes Sherman; The Walenta Family; Marti Weinstein; Nancy and Davey Willans; Betty Wyka and Cutting Edge Glass

Special thanks to Nan Mutnick, Joan Schaible and Heather E. Stivison for the benefit of their valuable knowledge and assistance and to Mike Dawson for his inspired art direction and graphic reproductions.

Winter 2015-2016 Page 5 Notes From The Farms Headquarters for Home-Builders: “to be able to visit some place that will building for our patronage.”4 Stickley’s show us all that The Craftsman stands desires for ample space, luxurious inte- for.”1 Similar to many other department rior fittings, and fireproofing mirrored store owners, Stickley portrayed his that of department stores. business as meeting a public need. In order to mitigate the potentially adverse The Craftsman Building stood “practi- moneymaking associations of this ven- cally in the heart of New York.”5 Stickley ture, Stickley was eager to align himself boasted that he would share a stretch with the progressive cultural experience of sidewalk with such well-regard- that a new urban retail environment ed department stores as McCreery’s, could offer. He was quick to point out, Altman’s, Lord & Taylor’s, Bonwit, “I realize that this is a towering ideal Teller & Co., and Franklin Simon & to be associated with a commercial Co.6 When planning the layout of his enterprise, but after all, with us the store in twelve distinct sections, Stickley ideal came first, and our enterprise likely looked to the layered floor plan of has grown out of it.”2 Here Stickley the department store as a model. In the reassured his readership that the moral Craftsman Building the first two floors Figure 1: Diagram of The values and wholesome lifestyle philos- offered an artful display of wares, meant Craftsman Building, ca. 1913 ophy of his enterprise were the guiding to intrigue customers and encourage principles of the Craftsman Building. exploration into the depths of the n the early twentieth century sophis- Stickley communicated this philosophy building. Rugs, carpets, and furniture Iticated retailing, exemplified by the through the organization and design en masse were featured on the upper monumental department store, was of the building’s interior, from the sales selling floors due to their bulk. Mean- hailed as a principal commercial as well floors to the restaurant. while amenities such as rest rooms and as artistic asset of the city of New York. a restaurant featured at the top of the Department stores played the proud The Craftsman Building (Figure 1) can store so as to draw consumers upstairs role of urban landmarks, stood for the be interpreted as an extension of Stick- for good views and a breath of fresh air strength of industry and a command of ley’s populist project by which he aimed away from the bustle of the sales floors international trade, as well as in every to offer new living standards to the below. In between the sales floors and detail of their design, communicated American people. He promoted that the amenities, Stickley placed his offices ultimate fashionability. At the height “a trip through the Craftsman Build- and workshops, where the on-site pro- of Gustav Stickley’s success in May of ing will show the home-builder all that duction of goods and ideas occurred 1913, he added to the retail landscape good sense, art and science can do, in that fueled the store’s success. of New York with his own version of a combination, for the department store; he called it a “Head- American house.”3 quarters for Homebuilders,” better Built by Simon I. known as the Craftsman Building, Schwartz and Arthur on 39th street between Madison and Gross, active residen- Fifth Avenue. This article will identify tial and commercial how Stickley adopted a number of the architects, the struc- department store’s primary commercial ture was promoted by characteristics and visual techniques in Stickley as “the best order to shape a financially successful, lighted building we comfortable, attractive, as well as mean- could find. Its length ingful consumer experience. of 200 feet, its double entrance, wood finish, In his Craftsman magazine, Stickley and absolute fireproof Figure 2: “A Group of Furnishings at the described the “incessant call” from the construction all com- 39th Street Entrance of the Craftsman Building,” public who when in New York wanted bine to make an ideal The Craftsman, December 1913, 300 Page 6 Winter 2015-2016 Notes From The Farms

Stickley’s Retail Program — Emily Marshall Orr Being in the business of designing uni- fied interiors, Stickley was likely in- trigued with new developments in harmonious commercial aesthetics that the department store expertly executed. Stickley cleverly used model rooms and furniture groupings to format consumer experience (Figure 2). These displays of furniture, rugs, draperies and more, shown all together in the sales rooms on the first four floors were replete with inspiration and guidance for the consumer who aimed to furnish a home in good taste. Here Stickley harnessed the Figure 3: “Tapestry Brick Fireplace in One of the Rest Rooms power of display to cultivate an intimacy of the Craftsman Building,” The Craftsman, April 1914, 107 between consumer and product via the simulation of the domestic environment. the city (Figure 3). Stickley particularly Workshops or chosen by Stickley and noted that “The men’s rest room is an his employees. Thus in all aspects of the Floors five through eight of the Crafts- excellent example of all the richness Craftsman Building, from the sales floor man Building made up what Stickley and comfort combined that exclusive to the restaurant, Stickley designed and deemed “The Craftsman Homebuild- Craftsman furniture and fittings can controlled the presentation of his wares ers Permanent Exposition.” In its title, show. As the room has been designed to the public. With the department store this section exemplifies one of the great with an open fire, it in many ways as his guide, Stickley devised a compre- underlying contradictions of depart- becomes a realized ideal of Craftsman hensive retail environment that aimed to ment store culture; these displays were beauty.”8 Comfort secured the customer turn consumers into homebuilders.9 on permanent view yet in constant flux in the store for a longer period of time, with changing expositions, frequently therefore increasing their opportunities 1 Gustav Stickley, “Als Ik Kan, The Craftsman’s in the form of model rooms, in order to for a purchase. On the top floor the Birthday Party,” The Craftsman, May 1913, 253. 2 encourage repeat visitors. The Craftsman Craftsman Restaurant offered its patrons Ibid. 3 “The Craftsman Building,” The Craftsman, described that on these exposition floors, a wholesome dining experience that May 1913, 254. consumers “will be able to see actual inte- embodied the Craftsman lifestyle, while 4 Ibid. riors, complete in every detail…They will encouraging sociability and promoting 5 Ibid. find not merely abstract color schemes a groundbreaking farm-to-table food 6 Ibid. and illustrations, but the actual objects philosophy. At first glance the restaurant 7 “Home Furnishing and Decoration in the and materials, used with due regard might even appear as another show- Craftsman Magazine and the Craftsman Building,” The Craftsman, May 1913, 551. to the requirements of good taste and room space in the form of an elegant 8 “Furnishing the Home: The Opportunity 7 economy.” In the Craftsman Building the Craftsman interior fitted with furniture, Afforded in the New Craftsman Building,” diagrams and floorplans that Stickley fre- fabrics, table linens, curtains, silver, The Craftsman, December 1913, 303. quently published in his magazine could dishes, all either made in the Craftsman 9 “The Craftsman Building,” 254. be experienced in built form. This practical angle of merchandising also catered to About the Author: interior decorators and architects. A speaker at the museum’s 2015 Symposium (see pg. 8), Emily Orr is the Assis- tant Curator of Modern and Contemporary American Design at Cooper Hewitt, The Craftsman Building persisted with a Smithsonian Design Museum. She is also a Ph.D. Candidate in the History of strategy of complete room settings on Design at the Royal College of Art/Victoria & Albert Museum. Her dissertation the upper tiers, where amenities lured “Displaymen: Designing the Department Store, 1880-1920” explores how visual consumers to feel at home. An evocation merchandising advanced as a design profession in department stores in London, of the domestic environment signaled New York, and Chicago at the turn of the twentieth century. a clear break with the outside world of

Winter 2015-2016 Page 7 Notes From The Farms

Crafting the Future of Scholarship Photo by Ray Stubblebine

2015 Symposium speakers (l to r): Michelle Bonomo, Emily Marshall Orr, Glenn Adamson, Wendy Kaplan, Ted Bosley, and Kevin Tucker.

eaturing presentations by both emerging and highly-regarded established scholars, the 5th Annual Emerging Scholars FSymposium, held on Saturday, October 17, provided attendees with a thought-provoking program. While tackling a wide range of subject matter, the Symposium also adhered to the weekend’s “Crafting the Future” theme, illuminating the state of Arts-and-Crafts-related scholarship and shedding light on both current and future research opportunities.

Two presentations by emerging scholars, Emily Marshall Orr and Michelle Bonomo, launched the Symposium. Orr, Assis- tant Curator at Cooper Hewitt, Smithsonian Design Museum and a Ph.D. Candidate at the Royal College of Art/Victoria & Albert Museum, presented her dissertation research on approaches to merchandise display in early department stores of major cities, from 1880 to 1920, paying special attention to Gustav Stickley’s showrooms (see page 6, for more on Orr’s research). Bonomo, a recent graduate of Sotheby’s Institute of Art, shared her groundbreaking investigation into The Sturdy-Lange Company, tracing the history and principal employees of the Company, which produced art glass for Greene and Greene.

In his presentation, Edward “Ted” Bosley, the Director of The Gamble House, introduced attendees to the museum’s new publication The Gamble House: Building Paradise in California, which presents new research related to this important Greene and Greene landmark in chapters by Bosley, Anne Mallek, Ann Scheid, and Robert Winter and features photo- graphs by Alexander Vertikoff.

Kevin Tucker, the Director of the new Museum of the American Arts and Crafts Movement, opening 2018, shared a compre- hensive update on the museum’s development, from the architectural vision shaping its design to the collection it will house.

In his presentation, keynote speaker and Amy Stahl Memorial lecturer Glenn Adamson, Director of the Museum of Arts and Design, explored the museum’s approach to craft, from its founding to the present day. Using the new exhibition Wendell Castle Remastered to represent the museum’s current vision of craft, Adamson explored Castle’s new works and the robot technology used to produce them.

Special guest Wendy Kaplan, Department Head and Curator of Decorative Arts and Design at the Los Angeles County Museum of Art, provided a brief update on the museum’s Arts and Crafts collections and its plans to tour the collection in the coming years.

A dynamic Q & A rounded out the presentations and brought a satisfying end to this milestone Symposium.

Page 8 Winter 2015-2016 Notes From The Farms

2015 Crafting the Future Gala All photos by Alisa DiPaolo Photography ur 2015 Gala brought together good friends, Odelicious food, terrific auctions, and incredible generosity! Thank you to honoree Ulysses Grant Dietz, Chief Curator and Curator of Decorative Arts at The Newark Museum, for his stirring remarks to commence the evening and to emcee Bruce Johnson and auctioneer Rob Gawley for their always enter- taining “tag team” efforts during the live auctions.

Honoree Ulysses Grant Dietz was introduced by Pete Mars, Vice President of the Board of Trustees

Bruce Johnson and Rob Gawley

Balloons dotted the room after the evening’s Crafting the Future Reverse Auction

(l to r) Tim and Cindy McGinn and Lou Glesmann (l to r) Nancy and David Willans with Debbie Goldwein and Dave Rudd

Winter 2015-2016 Page 9 Notes From The Farms

Special Thanks

In Honor: Auction Donations: We are grateful for gifts in honor of: We extend our thanks to the following individuals and businesses Mark Weaver who contributed items to our Gala and Beer Pairings Event: from Arnge/Peter Mars and Mike Dawson Cynthia and Ralph Redman. Astor Center Brooklyn Brewery The grandson of Dave Rudd and Debbie Goldwein Robert C. Burchell and Catherine J. Mathis from Cask & Kettle Homebrew Lynn M. and Stanley Leeb. Mitch and Amparo Codding Gail Cornell Catherine Mathis and Bob Burchell Depasquale The Spa from Michael dePierro Jill Totenberg. Ephraim Faience Pottery Barbara Nitchie Fuldner Gus Fuldner In Memory: The Gamble House We are grateful for gifts in memory of: Jenene and Michael Garey Stephen Jones Gary’s Wine & Marketplace from Linda Gerlach Lynn M. and Stanley Leeb; Debbie Goldwein and David Rudd David W. Lowden; Loretta Gragnani Ula Ilnytzky and Raymond Stubblebine. Harvest Restaurants Hilton Short Hills Anna Buggeln Hollyhock House from The Huntington Bruce and Leigh Ann Johnson Richard G. Buggeln. Judson Studios Dr. Neil Cherniack L. and J.G. Stickley Co./Mrs. Aminy Audi David Lowden from Dr. Irvin Lubis Sandra Cherniack. The Madison Hotel Melovino Meadery Allan L. Beattie Morris Tap & Grill from Museum of Arts and Design/Dr. Glenn Adamson Nancy and Davey L. Willans. Newark Museum/Ulysses Grant Dietz Raymond Weil, USA Corp./Thomas Edwards Laura Reilly Gifts to the Collection: Laura and Guy Russell We are grateful for recent gifts from: Wes Sherman Jill Thomas-Clark; The Station at Mountain Lakes Mark E. Weaver. Heather E. Stivison Ray Stubblebine and Ula Ilnytzky Tesla Gifts In Kind: Jill Thomas-Clark We are grateful for gifts in kind from: Peggy Walz Edwin C. Heinle, AIA; Marti Weinstein Pete Mars and Mike Dawson; Barbara Weiskittel Anne Miller; Laura Wilder Susie Traverso; Mary and Karl Wiles Nancy and Davey L. Willans. Nancy and Davey Willans Page 10 Winter 2015-2016 Notes From The Farms Recent Memberships August 20, 2015 to November 30, 2015 We extend a warm thank you to the following members who joined or renewed their membership during the past few months. Karen and Stuart Slifkin Martha and Harold Wrede Sponsor Mary Rose and Larry Younghouse Dorothy A. Beattie Heather E. Tori Simms and Rev. Douglas S. Stivison Pennie and James Vanderlin Individual and Raymond Hofmann Marcia J. Anszperger Dual / Family Holly Bohman Michael Brancato Patron Deborah and Albert Amadei Joan Albin and Tom Bird Doreen M. Calder Carol and Joel Anderson Jeff Colson Christine Campbell Suzanne and John Andrews Thomas Gibbons Catherine L. Natalie and Jack Beck Anne M. Gordon and Nicholas H. Carlozzi R. Steven Boshart, Jr. Patricia Kanischak Thomas P. Edwards Cynthia Coritz Linda Lawhun and Clinton L. Rataczak Paula Klimek and Robert Cornett Bobbi A. Longstreet Patricia Sepulveda-Giebfried, Kathryn and Candida DeMarco Mary Mills Frank Giebfried, Dolores and Michael dePierro Bonnie-Lynn Nadzeika Reverend Dr. Sally and Ronald Dolch Frances S. Owren and Olivia Giebfried Judith Faley Franklin Piccirillo Christine Halka and Ian Haring Deborah and Kurt Ghering Sharon Pitts Joseph Jannarone, Jr. Ellen Gorman Forbes Paula Scerbo Thomas A. Kligerman and Edward W. Forbes Douglas B. Sutherland Robin Kelsey and Michael Lehr Jennifer Harper Seth M. Thompson Betty and Gary Heuer William B. Thomson Victor Maisano Robert Vander Vliet Carolyn Olenowski Doreen and James Hurley Michael Taranto Elinor and Robert Iracane Students and Seniors Mary and Karl Wiles Daniel Johnson and Tom Elkas Tsipi and Robert Kaplan Kathy Appis Irvin G. Lubis, M.D. Hensley M. Ball Neil Macy Gail and Rollin LaFrance Rosalie Berberian James Madara Friend Maren Lawson-Cleary Barbara F. Cardinale Jane Michener Gladys and James Banta Mimi and Howard Letts Beth Cathers Nan H. Mutnick Susan and Ed Bennett Kathy and Marc Lorber Carol Cathey Earlene Nofziger Joyce Chapin Michael Parasolle Linda Tenner Blume Lana and Peter Mars Sandra Cherniack M. Elaine Patton and Gerald Blume Victoria and Richard McGlynn Warren L. Forman, Esq. Beverly Perry Brian Bosenberg Diane and John McGreevy Lawrence Forster Alan Powell Ellen and Jeffrey Cohen Susan and Michael Ochman N. Gordon Gray Janet Reckenbeil MaryJane and Paul Penzo John E. Gross Paul J. Rickerson Jane and Terence Dwyer Deborah Harrington Cheri Sayer Elizabeth and David Eliason Pat Pickering and Steve Pickering Mary Emma Harris Carol Steen Terri Epstein Howard Prince Janet Heise Karen Toepper Lesley Quinlan and William Schlimbach Thomas H. Judd Doris Wells Anne and Mason Flemming Cameron Quintal and Brian Smith Craig Kathe Ben Wiles, Jr. Kathryn and James Gouldie Kathleen Lopes Karen and Johannes Segboer Elaine Hirschl Ellis and John Ellis Martha and Rich Seidler Bernadette and Richard Marcel Kristen H. Sensenig Institutional Hinda Marcus and Arthur Marcus Angela and Ian Sims Friends of the Madison Public Library Jerome and Barbara Piernot Kathleen and Richard Truelove Parsippany-Troy Hills Public Library Rosanne and Dennis Sargent Su Walenta Hunt Rutgers University Libraries Monique and Gregg G. Seibert Veronica Herrera and Benjamin Wiles Winterthur Museum Library //Printed James Sens Renee and Christopher Wiles Book and Periodicals

Winter 2015-2016 Page 11 Visiting Craftsman Farms Museum Tour Schedule The Stickley Hours: Craftsman Farms is located at Thursday through Sunday, year-round Museum at 2352 Route 10 West Tours depart hourly 12:15 to 3:15 p.m. Morris Plains, New Jersey 07950 Craftsman Group Tours available by reservation. Farms is committed to The entrance is located on Route 10 Call 973.540.0311 West at Manor Lane, about 3 miles assuring that all individuals west of I-287 in Parsippany-Troy Hills, Museum Shop Hours can participate in our New Jersey (mailing address is Morris Thursday through Sunday Noon to 4 p.m. programs. If you require the Plains). Driving directions are available use of assistive listening at StickleyMuseum.org. Contact Us Voice: 973.540.0311 devices or other special Free to members and children under 2 Fax: 973.540.1167 Adults: $10; Seniors & Students $7 assistance please call at least Email: [email protected] two weeks in advance. Closed on Major Holidays. Web: StickleyMuseum.org Craftsman Farms, the former home of noted designer Gustav Stickley, is owned by the Township of Parsippany-Troy Hills and is operated by The Stickley Museum at Craftsman Farms, Inc., (“SMCF”) (formerly known as The Craftsman Farms Foundation, Inc.). SMCF is a 501(c)(3) not-for-profit organization incorporated in the State of New Jersey. Restoration of the National Historic Landmark, Craftsman Farms, is made possible, in part, by a Save America’s Treasures Grant administered by the National Parks Service, Department of the Interior, and by support from Morris County Preservation Trust, The New Jersey Historic Trust, and individual members. SMCF received an operating grant from the New Jersey Historical Commission. SMCF gratefully acknowledges a grant

from the New Jersey Cultural Trust. Educational programs are funded, in part, by grants from the Arts & Crafts Research Fund.

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