NOTES FROM THE FARMS THE JOURNAL OF THE FOUNDATION

FROM THE DIRECTOR’S CHAIR SAVE THE STONE PIERS! —Heather E. Stivison f you have visited Craftsman Farms and trailing vines and the natural forms Ilately, you will know that we have of the stones harmonized perfectly with made great strides in restoring the build- the surrounding landscape. DREAMING THOSE ings and beautifying the grounds. In the past five years alone we have raised over They have had very little maintenance BIG DREAMS $1 million to protect this unique place since those days. And now, more than a in history. Significant restoration of the hundred years later, they look aban- n the early spring of 2007 I found Log House interior, rehabilitation of the doned and unloved. Recent storms have Imyself considering a position at Annex (now the Education Building) badly damaged the already deteriorating Craftsman Farms. Accepting it would and the North Cottage are just a few of piers and now water makes its way mean leaving a place where I had been the many projects that have taken place between the joints with every rainfall. for a decade, so this was not a decision here in recent years. Time is of the essence to save these I could take lightly. As I considered piers and maintain the authenticity of the offer, my usual yellow legal pad As we begin the next phase of returning Craftsman Farms. with columns listing pros and cons Craftsman Farms to its original beauty, didn't quite work. On paper there we have turned our eyes toward the A detailed restoration plan has been were other opportunities that looked stone piers that once marked a walkway developed to rebuild the piers to their grander and that certainly paid more. in front of the Log House. These his- Stickley-era appearance. Developed What was it about Craftsman Farms toric piers were built from large stones within the guidelines of the Museum’s that kept calling to me? dug on the property during the building Historic Site Master Plan, it meets or of Craftsman Farms. In Stickley’s day exceeds the Secretary of the Interior’s Craftsman Farms was saved from the piers were planted out with flowers destruction by individuals who had Continued on page 2 little or nothing to gain from their Photo from the archives of Craftsman Farms Foundation, Inc. actions. They became vocal advocates of preserving the site simply because they believed in it. And because they had big dreams.

Having big dreams and believing in them resonated with me. One of my favorite quotes comes from Eleanor Roosevelt, who said,

“The future belongs to those who believe in the beauty of their dreams.”

Continued on page 2 The stone piers and walkway as they looked in Stickley’s day. Spring 2013 a Vol. 22, No. 1 NOTES FROM THE FARMS

Director’s Chair continued from page 1 Stone Piers continued...

FARMS AFIELD TRIP TO Photo courtesy Brian Bosenberg I knew that if I worked at Craftsman Standards for Farms, I'd be surrounded by other indi- EXPLORE THE 1913 Historic viduals who truly believe in the beauty Preservation of their dreams. ARMORY SHOW Projects. Each pier will Well, you all know what happened. he Craftsman Building, Stickley’s be carefully Here I am, six years later, still dreaming Tmulti-story department store and disassembled, big dreams of what this national treas- restaurant in , opened to each stone ure can become. Doing things right is the public in 1913. This significant numbered paramount. Mediocrity is just not an event was contemporaneous with anoth- and each option. er momentous New York City event, the one’s original location noted on a map opening of The International Exhibition of the pier’s construction. Sturdy below Colin Powell offered a sober reminder of Modern Art, better known today as ground construction and interior about dreams when he said, The Armory Show. The Montclair Art drainage will be installed so that the Museum’s exciting new exhibition The piers can withstand the elements. The “A dream doesn't become reality New Spirit: American Art in the Armory piers will then be carefully rebuilt plac- through magic; it takes sweat, deter- Show, 1913 attempts to replicate various ing each original stone back to its origi- mination and hard work.” aspects of the original installation, and nal location. Using the stones that were is the first to spotlight the contributions dug on the property more than 100 And we have had no magic wand. In of American artists. You are invited to years ago and placing them exactly as fact, we’ve faced tremendous obstacles learn about this groundbreaking and they were when Gustav Stickley lived as we our dreams have led us into controversial show with a private tour here will maintain the treasured uncharted land. But we can be incredi- led by the Museum’s chief curator Dr. authenticity of Craftsman Farms. bly proud of the sweat, determination Gail Stavitsky. and hard work that has brought us this Now we need your help to make these far — and that will see us through to Taking place on Friday, May 31 at 10:15 plans a reality. We invite you to visit the full realization of our dreams. a.m., our exclusive tour will be limited StickleyMuseum.org to see the photos to only 25 participants. Please register and drawings of this project. If you A lot has happened in the past six years. early for this unique opportunity. would like to be part of the solution, Back in 2007 we had quirky hours and you can make a donation of any amount were closed entirely four-and-a-half Meet at the Montclair Art Museum at to the project on our website, by phone, months each year. Beginning this 10:15. Transportation is not provided. or by mail. Or, if you prefer, you can spring, we will be open four days a The fee is for the private curator’s tour make a donation of any size that will be week, year-round. only. Participants will be provided with used wherever the need is greatest. a list of nearby destinations for lunch. Either way, you will make an impact on Since 2007 we’ve also raised over $3.5 the future of this National Historic million for restoration, operations, and Landmark! education. We’ve made the site signifi- cantly more beautiful and more friendly and welcoming to visitors. We’ve become more relevant to the communi- ty, to tourists, to scholars, to children, and to collectors. We’ve seen attendance increase more than 400%.

We still have challenges ahead, but our Farms Afield Curator’s Talk path is clearer and our potential for at the Montclair Art Museum success greater still. The Board of Friday, May 31, 10:15 a.m. Trustees will be meeting this year to $25 Members develop the next long-range plan for the $30 Non Member Stickley Museum at Craftsman Farms. To register or for more information, call 973.540.0311 Stay tuned for great things! or visit StickleyMuseum.org. Reconstructed pier drawing not to scale. Spring 2013 a Page 2 NOTES FROM THE FARMS RE-EXAMINING THE ARTS AND CRAFTS MOVEMENT The Influence of Material Things

n the late spring, Dr. Jonathan Clancy will lead a thought- Iprovoking 2-session course at the Stickley Museum. About the Entitled The Influence of Material Things: Re-Examining the Instructor: Arts and Crafts Movement, this course, to be held on Dr. Jonathan Clancy Saturdays April 20 and May 4 from 10:00 a.m. — 12:30 p.m., is Director of the will explore how the philosophy of Arts and Crafts was American Fine and expressed in objects made by the movement's leaders. Decorative Art Programme at The Museum is pleased to welcome back Dr. Clancy, an Sotheby’s Institute of engaging and entertaining lecturer, who is integrally involved Art in New York. A with our annual Emerging Scholars Symposium. Dr. Clancy's frequent lecturer at previous course at the museum sold out quickly. This new the Stickley Museum offering is an ideal beginning point for new members, Clancy was also a potential collectors and anyone interested in decorating in featured speaker at the Craftsman Style. It will offer a broad and deep survey of the 2010 Grove Park Inn Arts and Crafts Conference. His Arts and Crafts objects and philosophy. publications include Beauty in Common Things: American Art and Crafts Pottery from the Two Red Roses Foundation As an article entitled “The Influence of Material Things” (with Martin Eidelberg), Warman’s Rookwood Pottery, as from The Craftsman (January 1902) stated: “In choosing well as chapters in Frans Wildenhain 1950-75: Creative and things which we are to have constantly about us, we should Commercial American Ceramics at Mid-Century (2012), subject them to as rigorous an examination as we do those and Art and Authenticity (2012). His articles have persons whom it is our purpose to make friends. In both appeared in numerous journals including The Journal of cases, certain moral and agreeable qualities should be requi- Modern Craft (London), The Journal of Design History, and sites for admission to our heart and home.” the Smithsonian’s American Art among others. Clancy received his doctorate in art history from the City During this course, Clancy will examine how the philosophy University of New York’s Graduate Center in 2008 and is of Arts and Crafts impacted designs for living and the home. currently finishing work on a catalog of the Redwood While Stickley’s magazine maintained that “The Artistic is Painting Collection in Newport, Rhode Island. His work not the eccentric or on the metalwork collection of the Two Red Roses the unusual, but rather Foundation is scheduled to be published later this year. the thing which frankly and perfectly meets the require- The class will use the Stickley Museum at Craftsman Farms ments and respects the and its collection as a starting point but will also examine art limits of its use and pottery, metalwork like that done by Dirk Van Erp and office,” this viewpoint Robert Jarvie, and the interiors of Arts and Crafts houses. was not shared by all. Figures like George This course will meet in the Education Room. Enrollment is Ohr and Charles limited. Please register early. Rohlfs in particular, force us to consider The Influence of Material Things: the broader and per- Re-Examining the Arts and Crafts Movement haps unintentional Led by Dr. Jonathan Clancy meaning of “the mate- Course takes place on two Saturdays, April 20 and May 4 rial influence of 10:00 a.m. – 12:30 p.m. Photo from the archives of the Craftsman Farms Foundation, Inc. Photo from the archives of Craftsman This piece of Dedham pottery from the things” that Stickley $45 Member; $65 Non Member Stickley Museum’s collection is one of the endorsed. For more information or to register, call 973.540.0311 objects to be discussed in the class. or visit StickleyMuseum.org Spring 2013 a Page 3 NOTES FROM THE FARMS PAMELA BECKER NAMED 2013 ARTIST-IN-RESIDENCE FUNDED BY ROBERT C. BURCHELL & CATHERINE J. MATHIS IN MEMORY OF AMY STAHL n April 13, the Stickley Museum were a disaster but none of the first ones Owill welcome the 2013 Artist-in- could stand the test of time.” Residence Pamela Becker. For the annual Photo courtesy Pamela Becker residency, an artist whose work is reflec- In conjunction with her residency, tive of Stickley and/or Arts and Crafts Becker will demonstrate her commit- ideals is invited to Craftsman Farms for ment to teaching with a three session CLOSED COIL a weeklong stay to use its buildings and course (see box at left). Participants will grounds as the inspiration for new receive instruction in closed coil bas- BASKETRY COURSE work. Art produced during the residency ketry techniques, benefitting from BY 2013 ARTIST-IN-RESIDENCE is then revealed during a special evening Becker guidance and years of commit- ment to her craft. oin the Museum’s 2013 Artist-in- program that concludes the week.

JResidence Pamela Becker for a This year's Artist-in-Residence is Pamela Photo courtesy Pamela Becker three-session introduction to the art Becker, a New Jersey artist who special- of closed coil basketry. During the izes in closed coil basketry. A maker of course, to be held on Saturday April baskets for over 30 years, Becker's inspi- 6, 13, and 20 from 10 a.m. — 12:30 ration comes from years of gardening, p.m., participants will learn to adapt hiking and careful observance of the this ancient basket-making method world. She admires the simplicity associ- to create baskets reflecting their own ated with Stickley and his commitment interests and will, at the class’ com- to being true to materials. A longtime pletion, know everything necessary fan of Stickley furniture, Beckers writes, for making their own baskets. “I find the simple lines and beautiful Beginners are welcome. No previ- materials used in the furniture very ous knowledge of basketry is appealing. That same simplicity of form 2013 Artist-in-Residence Pamela Becker required. Please bring a pair of and truth to materials comes out in the sharp scissors. All other materials baskets which I make.” As has become a tradition, Becker’s resi- will be provided. dency will culminate in a special pro- Commenting on the Chaucer motto, gram, “An Evening with Pamela Becker,” Becker’s work has been featured in “The life so short, the craft so long to th th th at 6:30 p.m. on Saturday, April 20. the 5 ,6 and 8 International Fiber learn,” utilized by Stickley on the Living Biennial at Snyderman-Works During this program, which is offered Room fireplace hood, Becker writes: free to members of the Stickley Museum Galleries in Philadelphia, in a 2011 “That quote from Chaucer resonates and the Hunterdon Art Museum in solo exhibition at the Hunterdon Art with me on many levels. I think for this Clinton, New Jersey, where Becker has Museum, and in the 8th specific situation it would apply to my been actively involved for many years, International Triennial of Textiles at decision 5 years ago to begin teaching Becker will make a presentation reflect- the Central Textile Museum in Lodz, the basketry technique I have been using ing on her residency, demonstrating her Poland. She will teach a course at for so very long.” craft, and unveiling work produced dur- this year’s 7th Biennial National ing her weeklong stay. Please join us for Basketry Organization Conference “It occurred to me one day that I had this exciting program which will be fol- in October. acquired a lot of knowledge about this lowed by a reception. particular technique using it day after Closed Coil Basketry Course day and year after year. I decided then I An Evening with Pamela Becker April 6, 13, and 20 would like to share what I have Saturday, April 20 at 6:30 p.m. 10:00 a.m. — 12:30 p.m. learned...They [students] would not FREE TO MEMBERS with RSVP! $120 Member; $145 Non Member have to spend so much time learning $10 Non Members For more information or to register, through trial and error. It was years For information or reservations, call 973.540.0311 before I made a basket that still holds up call 973.540.0311 or visit StickleyMuseum.org. today. Some were interesting, some or visit StickleyMuseum.org. Spring 2013 a Page 4 NOTES FROM THE FARMS RICHARD GUY WILSON TO INNOVATIVE NEW CHILDREN'S BE KEYNOTE SPEAKER AT PROGRAM EXPLORES OUR SUMMER RETREAT CONCEPTS OF HOME r. Richard Guy Wilson will be the museum’s honored Dguest and featured speaker at its upcoming Summer On Saturday, May 11, 11 a.m. - 4 p.m., Retreat at Great Camp Sagamore. The Retreat, which begins the Stickley Museum will host its first on Friday, July 19 with a “meet-up” and special program at the Family Fun & Games program. The nearby Adirondack Museum, will include a keynote lecture by day’s activities are built around the Dr. Wilson on Saturday evening and on Sunday, a luncheon theme “My Home” and will include cruise and tour of Camp Pine Knot. bilingual components. Children of all ages will be invited to explore Dr. Wilson’s lecture, entitled “Wilderness Rusticity and and learn about homes of all American Identity,” will address American architecture and kinds, including family homes, design in the 19th and early 20th century, considering the influ- like the Stickley family's ence of nature, wilderness, and rusticity. He will look at the Log House at Craftsman emergence of the rustic style around the country in western Farms, which Mr. Stickley parks, the Adirondacks and elsewhere, including the Log called his Garden of Eden. House at Craftsman Farms. An educational live-animal Dr. Wilson holds the Commonwealth Chair in Architectural program will offer a special History at the University of Virginia. A frequent lecturer for opportunity to consider the universities and museums, and a television commentator for homes of many kinds of animals, “America’s Castles,”“American Experience” and the History and the natural world, which is Channel, he has also curated numerous exhibitions and pub- “home” to us all. Animal Special bilingual lished many articles and books including: The American Experiences, an entertaining and storytime to be offered in the Renaissance, 1876-1917 (1979), McKim, Mead & White educational progam, will be a spe- North Cottage will feature Architects (1983), The Colonial Revival House (2004), and cial feature of this event, with fami- P.D. Eastman’s classic Harbor Hill: Portrait of a House (2008). His book on Edith lies invited to reserve a spot at one children’s book. Wharton’s architecture and houses was published in 2012. He of three 30-minute programs. has led the Victorian Society’s 19th Century Summer School that has been located in Boston, Philadelphia, and now While focused on family fun, Newport, RI for 32 years. He received the Outstanding this program will also encour- Professor award in 2001 at the University of Virginia and he age children to consider con- was the Thomas Jefferson Fellow at Cambridge University, cepts that Stickley held dear, England in 2007. like the value of nature and To learn more about the meaning of home. this extraordinary retreat, visit The North Cottage at StickleyMuseum.org. Craftsman Farms will be the Space is limited. Early site of a story time reading, in registration is strongly both English and Spanish, of encouraged. classic children’s book, The The tiny fennec fox will be part of Best Nest by P.D. Eastman. The Animal Experiences’ live animal Summer Retreat program will also include program, in which children can Fri. -Sun., July 19 – 21 scavenger hunts both indoors imagine the habitats of the animals. $450 Members and out to encourage a fun Photo courtesy Richard Guy Wilson $495 Non Member exploration of the Log House and the beautiful natural envi- ronment in which it is set. For info or reservations, call 973.540.0311 “My Home” Family Fun & Games or visit Saturday, May 11, 11 a.m. – 4 p.m. Dr. Richard Guy Wilson, the keynote StickleyMuseum.org. FREE FOR MEMBERS at Dual/Family and Above! speaker for Summer Retreat at Great Non Member Admission: $10 for Children; $5 for Adults. Camp Sagamore. Spring 2013 a Page 5 NOTES FROM THE FARMS GUSTAV STICKLEY, “THE CRAFTSMAN,” AND NAT

uring the late nineteenth and early guilds and by individ- errors — there is not a Dtwentieth centuries, both general and ual artists and crafts- single shape that is specialized periodicals catering to mid- men.”1 ugly or inappropriate dle-class tastes in architecture, art, and to the works for which interior decoration flourished. These Even prior to this it is needed.”3 domestic shelter magazines helped bring article, The Craftsman American Indian bas- the aesthetic and social philosophies, advertised “hand- kets also developed designers, products and styles of the Arts made” Indian rugs, into highly collectible and Crafts movement into closer contact and textiles became a decorative objects in with a larger audience. Encouraged by a particularly mar- many Arts and Crafts burgeoning faction of tastemakers and an ketable form of native homes. For his part, attendant market for these magazines, craft; numerous mag- James set the tone for members of the middle class sought to azines extolled their Arts and Crafts afi- distinguish and identify themselves decorative virtues cionados by writing through their homes and furnishings. By with several suppliers that “the house beau- the turn of the nineteenth century, these emerging that sold “Nursery Wall Coverings in Indian Designs,” tiful is to help in the shelter magazines played a significant role indigenous-made or The Craftsman, October 1903, p. 95. furnishing of the in disseminating and popularizing Arts inspired bathrobes, minds and hearts of its and Crafts aesthetics and ideals, including blankets, bedspreads, couch covers, rugs, dwellers. I’d far rather have a house…” the role and uses of Native American shawls, and tapestries. In a November filled with “Indian baskets in my dining craft and design. 1903 article in The Craftsman,George room, and Indian pottery in the drawing- Wharton James, a much ballyhooed turn- room and bedrooms.”4 Aside from a Gustav Stickley first turned his attention of-the-century authority on Native number of articles promoting the art to the subject of Native American art in American art, celebrated the merits of form, Stickley also advertised Native 1903, when he debuted his first textiles Indian weaving, claiming that “it may American basketry retailers that offered based on indigenous designs, embroi- confidently be said that there is not a sin- readers a wide variety of styles from a dered motifs inspired by and taken from gle stitch or weave known to modern art, number of regions, and articles in The Pueblo pottery and basketry. In an made with loom however complicated, Craftsman promoted Native American accompanying article in The Craftsman, that the Indian woman did not invent, basketry in language that Arts and Crafts Stickley followed the paradigm estab- and has not had in actual use for cen- collectors could understand, stressing lished by Arts and Crafts luminaries turies.” 2 As an associate editor for The their repetitive, abstract patterns and and in Craftsman from 1904 to 1905, a frequent emphasizing their “linear combinations, England, replacing the ethnographic con- contributor to several shelter magazines, mosaic-like in character,” that “show their text of Native and through his designers to have been space decora- American art with an influential 1901 pub- tors…who appreciated the effects obtain- artistic and aesthetic lication Indian able from the proper assemblage and one, connecting Basketry, James com- alteration of ‘lights and darks.’”5 indigenous designs to manded particular ancient British and attention, and helped In his efforts to establish a market for Irish ones: “North establish a model American Indian art, Stickley used the American Indian wholly in line with expertise of Irene Sargent. A professor of decorative Arts and Crafts ideol- art at , Sargent served motifs…known and ogy in which Native as the founding editor of The Craftsman valued by ethnolo- American art was an magazine from 1901 to 1905 and acted as gists, have been neg- expression of a love an influential shaper of Stickley’s empire. lected by artists. But of nature and joy in In a December 1904 article in The they are worthy to be handcrafting: “We, Craftsman, Sargent reinforced the emerg- ranked with the the highly cultured ing position of Native Americans as the Briton and Celtic sys- and civilized, are the world’s artistic progenitors: tems, which are now followers; they the in active enthusiastic leaders…in copying It has been proven by thorough revival in England, George Wharton James, “Primitive Inventions,” Nature the Amerind research that the more backward the furthered alike by the The Craftsman. November, 1902, p. 129. has avoided our people, the less they borrow artistic Spring 2013 a Page 6 NOTES FROM THE FARMS

TIVE AMERICAN ART AND DESIGN — BRANDON K. RUUD

motifs. Originality and independence white counterparts, scolded are, then, two claims which can be Native Americans who now made for barbarous art….These North created “for money, not for American Indians, so long despised love,” lamenting that “genuine save by a few specialists, will be proven curios of antiques are already to be designers obedient to sure artis- becoming rare, except in tic principles, working spontaneously, museums, and sometimes creating for pleasure, rather than for command fabulous prices. As display, as is too often the case with the older generation passes, those who follow a similar calling in there is danger of losing alto- highly civilized communities.6 gether the secret of Indian art and craftsmanship.”8 Even as late as 1914, as American tastes were changing, Stickley continued to clas- Many turn-of-the-century sify Native American art and craft as the consumers encountered Native antithesis of mechanized production, American art and craft—bas- when in the November issue of The kets, pottery, and textiles Craftsman he published an article by among them—through the Charles Eastman. Eastman, a Dakota urban spectacles of depart- (Santee Sioux) Indian and the grandson ment store window displays of painter Seth Eastman, was an Ivy- and specialty shops, and inter- League educated physician and an active national expositions. The lobbyist for Native American rights. In majority, however, likely his treatment, Eastman echoed Sargent received their introduction and Stickley’s attitude toward the “primi- through shelter magazines: Cover, The Craftsman, February 1910. tive” work ethic by asserting that Native House Beautiful, Craftsman, and Americans combined “love of the work” Roycroft founder Elbert End Notes with “perfect sincerity,” contrasting their Hubbard’s general interest periodical, The 1 “Nursery Wall Coverings in Indian Designs,” efforts with modern commercial society’s Philistine, as well as niche magazines such Craftsman 5, 1 (Oct. 1903), p. 95. “cheap machine-made garments and as Keramic Studio and the Basket,all 2 George Wharton James, “Primitive utensils, without beauty or durability.”7 devoted articles and advertising space to Inventions,” Craftsman 5, 2 (Nov. 1903), p. As a result, Eastman mourned the the subject. In the pages of these periodi- 129. encroachment of civilization, and, like his cals, Arts and Crafts ideologues and 3 Ibid., pp. 126, 128. reformers deliberately positioned Native 4 American art and design as the antidote Ibid., p. 236. to industrial modernity’s failings, as 5 Irene Sargent, “Indian Basketry: Its Structure handcrafted products of love resulting and Decoration,” Craftsman 7, 3 (Dec. 1904), from instinctual creativity and thus p. 334. absent the demeaning qualities connected 6 Sargent, pp. 329–30. with modern labor practices. The very 7 Charles Eastman, “’My People’: The Indians’ magazines discussed above, however, were Contributions to the Art of America,” themselves products of the very modern Craftsman 27, 2 (Nov. 1914), p. 181. mechanisms against which the Arts and 8 Ibid. Crafts movement rebelled: mass-pro- duced, these subscriber-based magazines About the Author: were whisked to far-flung subscribers’ Brandon K. Ruud is the Curator of mailboxes via the railroad. Thus to Transnational American Art at the counter the industrial taint that might University of Nebraska's Sheldon otherwise curdle the journals’ pages, these Museum of Art. His upcoming dis- Arts and Crafts essayists constructed a sertation considers Native American narrative that located Native American craft and design and the American Irene Sargent, “Indian Basketry,” art and craft outside the boundaries of Arts and Crafts movement. The Craftsman, December 1904, p. 327. hegemonic society. Spring 2013 a Page 7 NOTES FROM THE FARMS THE 2012 CRAFTSMAN GUILD We are extremely grateful to the following members of the 2012 Craftsman Guild Donor Circle whose generous support had a significant impact on the operations of the Stickley Museum at Craftsman Farms. The name Craftsman Guild was chosen because Gustav Stickley deeply admired the medieval practice in which artisans worked cooperatively within a guild. Our Guild is an alliance of advocates working together to further the mission of the Craftsman Farms Foundation.

PRESIDENT’S CIRCLE Kiwanis Club of Greater Ron Ceglia ($20,000 and above) Parsippany Foundation, Inc. Dolores and Michael dePierro Barbara N. Fuldner Peter Mars and Mike Dawson Susan Devenish-Meares Susan and Frank Finkenberg Catherine J. Mathis Barbara and Robert Nickerson Laura Daly Russell and Guy Russell Christopher Forbes and Robert C. Burchell Charles W. Galliker Barbara A. Weiskittel Donald C. Stahl Elizabeth Ventura Rebecca and Scott Graham New Jersey Historical Commission and Stephen Eisenmann Hyatt Summerfield Suites Township of Parsippany-Troy Hills Mark E. Weaver John Toomey Gallery JoAnn and Paul Young Suzanne and Stephen Jones DIRECTOR’S CIRCLE Scott M. and Elizabeth M. Leeb Seth A. Leeb, Architect ($10,000 to $19,999) JOURNEYMAN Terri and Louis Glesmann, III Emily and Robert Leon ($1,000 to $1,999) Je and W. Michael McCracken Cynthia and Timothy McGinn AGL Welding Supply Co., Inc. Barbara Long Pitney and Philip Pitney Acorn Hill Foundation Inc. Karen Plastoris BENEFACTOR Susan and David M. Cathers Laura and Richard Reilly ($5,000 to $9,999) Janet and Peter A. Copeland Erika Sebens Aminy Audi Crab Tree Farm Foundation, Inc. Lawrence Schlegel Arts and Crafts Research Fund Debbie Goldwein Cameron O. Smith Dorothy A. Beattie and David Rudd, Jr. Somerset County Library System Nancy and Stephen Calderwood Sheila and Richard Gottardi Standard & Poors Amparo and Mitchell Codding Edwin C. Heinle Heather E. and Rev. Douglas S. Stivison College of Visual and Performing David W. Lowden Brian Stowell Arts, Syracuse University Lynn M. and Stanley Leeb Victor Maisano Michael Taranto Leigh Ann and Bruce Johnson Kristen E. Tarantola The McGraw-Hill Companies Richard D. McClure Suzanne Perrault and David Rago Diane and Alan Tenenbaum L. & J.G. Stickley, Inc. Mary Jane Van Horn Monique and Gregg G. Seibert Nancy and Davey L. Willans and Joseph O’Neill William A. Stout Martha and Gerald Weinstein Jacqueline Strigl MASTER Jan S. Wells, Ph.D. Emily and Bill Young Stephanie Willinger ($2,000 to $4,999) Joan Albin and Tom Bird ARTISAN APPRENTICE Beacon Trust ($500 to $999) Catherine L. ($250 to $499) Alexandria C. Arnold Anytime Fitness and Nicholas H. Carlozzi and John R. Haigh Lori J. Ashley and Gary Miller Ellen and Jeffrey Cohen Dianne Ayres and Tim Hansen Ashley and Riley Booker Cara Corbo and Theodore Lytwyn BlackRock Financial Management Inc. Margaret Booth and Marvin Schechter Stephanie F. and Russell C. Deyo Mary and David Blair Brian Bosenberg Lori and Donald Hafner Freya and Richard Block Jess Bryant Budget Print Center Ula Ilnytzky Kevin Brancato and Raymond Stubblebine Maria and Glenn Ceponis Lynda G. and Art Brender Christie’s Mandy and Jay Kiely Beth Cathers Rhonda Cumming Spring 2013 a Page 8 NOTES FROM THE FARMS

Ulysses G. Dietz Photo: courtesy Barbara Weiskittel Linda and Walt Dlugolecki Elizabeth Flower and Arnold Duke SPECIAL THANKS The Honorable Rodney Frelinghuysen Gelman, Vreeland and Associates RECENT GRANTS: Jeanne Genzlinger We are grateful for a recent grant from: N. Gordon Gray Glaxo Smith Kline. Jessica Greenway and Ken Nelson Christina and Christopher A. Guido Christine Halka and Ian Haring GIFTS IN KIND We are grateful for a gift in kind from: The Honorable John J. Harper Louis Glesmann, Cindy McGinn, and Nancy and Mrs. Barbara Harper Barbara A. Weiskittel. Calderwood, presenting a check to executive Denise Holmes and Michael Moore director Heather Stivison. Joyce Hoyle GIFTS TO THE Hughes Environmental Engineering RUTH CRUESS GLESMANN Nancy Leonard Hunt COLLECTION Sylvia A. and Donald J. Jester We are grateful for a recent gift to the MEMORIAL WALKWAY Kerri and Steven Kliewer collection from: hanks to a generous gift from three Lisa Koenigsberg and David Becker Ms. Susan Tarlow Stickley descendants, the walkway to Craig A. Kuhns and Dr. Donald Davidoff. T Monica and John F. Latko our Education Building has been named Marlene and Richard Levine the Ruth Cruess Glesmann Memorial Jasmine L. Lim IN MEMORY: Walkway. Louis Glesmann, Cindy Irvin G. Lubis, M.D. We are grateful for gifts in memory of: McGinn, and Nancy Calderwood made Bruce Lynch Henry Fuldner the gift in memory of their mother, who Neisa and Michael Maute from passed away in 2012. Ruth was Gustav Carol McMurry Mary Kay Nitchie and James Lodwick Stickley's granddaughter, and lived here Mary and Greg Mix at Craftsman Farms when she was a Richard Mohr and Robert Switzer Stephen Gray child. A formal naming ceremony will Diane Neff from take place on October 6. Barb Nelson and Mike Nelson Jessica Greenway and Ken Nelson Christopher Padgett and Brian Voelker Harold Krauss Anna and Phillip Pappas from SAVE THE DATE! Dianne and Michael Peich Heather E. and Rev. Douglas S. Stivison Patricia and Robert Perlett ark your calendars for the Jan and Robert Price Peter Leonardis MMuseum’s annual gala, which will Cathy and Robert Randall from take place at the Mountain Lakes Club John and Ann Reynolds Mary Leonardis on Saturday October 5. This year’s gala Donald Rosenthal To the Amy Stahl Education Fund chair is Elaine Hirschl Ellis, who was the Lisa and Stephen Santini in Memory Of Dr. Seymour Wheelock founding chair of the Craftsman Farms Sebens Consulting LLC from Foundation. Elaine is also president of Patricia Sepulveda-Giebfried Jemma Kopel Arts & Crafts Tours — a company she and Frank Giebfried founded in 1992. Lindsey Slater and John J. Cartier Lana and Peter Mars Pete Mars Karen Slifkin The honorees of the 2013 gala, Design J. Parkhill Smith for Living, will be Parsippany Troy-Hills Suzanne and Richard Solch IN HONOR: Business Administrator, Jasmine Lim, Anne M. Sullivan We are grateful for gifts in honor of: who was the first administrator of the Maura and Barry Swan Craftsman Farms Foundation; State Susan Tarlow and Donald Davidoff Catherine Mathis and Bob Burchell Assemblywoman Betty Lou DeCroce, Kathleen and Richard Truelove from Barbara VanHanken Margaret Booth and Marvin Schechter who has been a longtime supporter of Craftsman Farms; and the memory of Ann Wallace Mark Weaver April Webster the late Assemblyman Alex DeCroce, from Carol A. Wenk and Ken L. Wicks who served as a Trustee of the Melanie Redman Wanece N. and Conrad Witte Foundation for a decade. Watch your Martha and Harold Wrede Cynthia and Ralph Redman mail for more information soon! Spring 2013 a Page 9 NOTES FROM THE FARMS

RECENT MEMBERSHIPS November 1, 2012 to January 31, 2013 We extend a warm thank you to the following members who demonstrated their support of the mission of the Stickley Museum at Craftsman Farms by joining or renewing their membership during the past three months.

SPONSOR Bernadette and Richard Marcel Monica and John F. Latko Kathy and John Marinovich Mimi and Howard Letts Amparo and Mitchell Codding Betsy and James McClure Kathy and Marc Lorber Barbara Fuldner Barbara and Robert Nickerson Lucy Loux and Marie Della Pella Lori and Donald Hafner Deanna and Arthur Lutz Jenny and Jon Ogborn Mary-Ann and Thomas Mac Ewen Peter Mars and Mike Dawson Patricia and Robert Perlett Lynn Magnusson ASA Mark E. Weaver Lisanne Renner and Adam Grace Ann G. and David R. McCann Emily and Bill Young Nancy Green and Donald Robbins Diane and John McGreevy James Sadock, Jr. Tyler Merson Mary Kay N. and James R. Lodwick, Jr. PATRON Rosanne and Dennis Sargent Erika Sebens Jennifer and Steve Nix Denise Holmes Kathleen and David Mark Norwine Leonora M. Shelsey Susan and Michael Ochman and Michael Moore Cameron O. Smith Thomas A. Kligerman Barry Oleksak William A. Stout Barbara and John Padmos David W. Lowden Robert Zarrow Janet Westlund and S. Mark Palmer Victor Maisano Bernadette and Michael Parasolle Laura and Richard Reilly DUAL/FAMILY MaryJane and Paul Penzo Donald Rosenthal Hoa and Gus Bostrom Doralynn and Jeffrey M. Pines Lindsey Slater and John J. Cartier Karen Bright and Lois Bright Linda Pitney and Douglas Pitney Lesley Quinlan J. Parkhill Smith Nancy M. and Harry E. Brown Duane and Sherilyn Burnett and William Schlimbach Suzanne and Richard Solch Cathy and Robert Randall Carol A. Wenk and Ken L. Wicks Susann and James Cadmus Beth Cathers Diane and Patrick Reilly Martha and Harold Wrede Susan and David M. Cathers Thomas A. Repasch Ellen and Jeffrey Cohen John and Ann Reynolds RIEND Sharon and Thomas D'Amico Mary and Roger Riley F Patricia H. Rose Elizabeth and Robert Acosta-Lewis Dolores and Michael dePierro Stephanie and Thomas Eckert Jean-Pierre Sabarots and Duane Miller Maria and Glenn Ceponis Judith Faley Karen and Johannes Segboer Nancy and Ralph Currey K and Joseph Ferri John S. Sinclair Margaret A. and Michael J. Davo Lidia Fouto and Steven Cancro Karen Slifkin Jane and Terence Dwyer Carl Fuldner Susan and Alan Stultz Elizabeth and David Eliason Joyce Garrow and Linda Kelly John Sulpy and Thomas Conroy, O.D. Nancy and Philetus H. Holt III Maggi and David Gordon Jessica Greenway and Ken Nelson Kristen Sensenig Diane and Richard Kahn and Mike Thompson Mary Ann Karolchyk The Honorable John J. Harper and Mrs. Barbara Harper Kathleen and Richard Truelove Craig A. Kuhns Timothy Hart Patricia and Sam Turvey Ann and Seth Leeb Florence and Robert Jennes Mary Ann and Steve Voorhees Robin Kelsey and Michael Lehr Ellen and Thomas H. Judd Renee and Christopher Wiles Nancy Leonard Hunt Tsipi and Robert Kaplan Mary Rose and Larry Younghouse Diana and Joseph Zanko Ned Lipford Laura Koeck Kathleen and Michael Kotarba Spring 2013 a Page 10 NOTES FROM THE FARMS

INDIVIDUAL Laurie A. Baty FOR MEMBERS ONLY: Bruce T. Benson Elizabeth G. Croft DON’T MISS THESE TWO GREAT OPPORTUNITIES! Robert D'Alessandro Enjoy two special offers for Stickley Museum members from the American Art Mark Eckhoff Pottery Association (AAPA) and the Appraisers Association of America (AAA). Katieanne M. Harrison Diane Hoffman irst, the AAPA’s 2013 Convention, which will be Sonya Hulbert Fheld May 2 – 5 at the Crowne Plaza Hotel in Jim Kane Trevose, Pennsylvania is offering our members a spe- Genie Keese cial discount. Bruce Johnson will be the featured Mary A. Leonardis seminar speaker at the Convention on Saturday, May Kathleen Lopes 4, from 9:00 – 11:00 a.m. Bruce is well known to our Glenda McFeeters members as the founder of the National Arts and Marcella M. Moran Crafts Conference and Antiques Show held each Priscilla Nelson February at the Grove Park Inn. In addition to Kerry O'Brien directing the Arts and Crafts Conference, he has Stephen Platt David Rogers written and published several books, including Arts Paula Scerbo & Crafts Shopmarks, Tales of the Grove Park Inn, The Arts & Crafts Collection of the Grove Park Inn, and Paula R. Spizziri The Journal of the American Art The Pegged Joint, which is a reprint of an early Linda M Stephens, M.D. Pottery Association. Jacqueline Strigl Dedham Pottery catalog and of the 1912 Seth M. Thompson Craftsman Furniture catalog. Bruce has also authored a number of books on Eric Timsak antique restoration, wood finishing, and home improvement and publishes the Robert Vander Vliet weekly web update in the field, ArtsAndCraftsCollector.com, which contains news, James Wyse feature articles, price guides, classified ads, and auction reports of special interest to art pottery and Arts and Crafts collectors. Johnson’s presentation at this year's STUDENTS AND SENIORS AAPA Convention is entitled “1901: The Year that Set the Arts and Crafts Movement in Motion” and will explore the lives of such notable personalities and Franklin C. Atkins Lee L. Benton, Jr. innovators as William Grueby, Artus Van Briggle, William Gates, and Gustav Bruce A. Bristow Stickley. Also taking place on Saturday, May 4 is the AAPA’s show and sale, featuring Lee Delitzscher 35 of the country’s premier pottery dealers. Nancy S. Finby Maria Georgiadis The regular price to attend both the lecture and show is $35.00, but the AAPA is John E. Gross offering Stickley Museum members the special rate of $20.00 per person. Attend the Margaret Jorgensen lecture, and then stay for the opening of the show at noon. For more information or Craig Kathe Deane A. Keller to reserve your spot, email [email protected], or call 609.407.9997. To get the spe- Eliot Lerman cial rate, be sure to call in advance and mention the Stickley Museum at Craftsman Bobbi A. Longstreet Farms member rate. Georgette McHale Robert C. Morris he second special members’ offer is for a unique program on Thursday, June 20, Mary Lynne Norris Thosted by the AAA and Dr. Thomas Folk. This full-day program, entitled “The Linda Pendergrass Arts & Crafts Movement in New Jersey: Furniture, Ceramics, and Metalwork,” is Fredric M. Rabel an investigation of the Arts and Crafts Movement with a special focus on New Jersey Virginia A. Walton Ben Wiles, Jr. makers. The day begins with a private viewing, led by Curator Ulysses Dietz, of the Richard G. Wilson Newark Museum’s extraordinary collection of American Art Pottery. Lunch at the Katie Weiss Tabor Road Tavern in Morris Plains will be followed by a visit to the Stickley Peter S. Wood Museum for a tour with Pete Mars, vice-president of the Craftsman Farms Foundation. The final stop in Short Hills will feature a viewing of the private INSTITUTIONAL Corbo-Lytwyn Collection of Arts and Crafts furnishings, pottery, and metalwork. Friends of the The General Admission fee is $185 for this comprehensive program; however Westfield Memorial Library Stickley Museum Members have been invited to enjoy the $125 member price. For Friends of the more information or to register for this program, call 212.889.5404, ext. 11, or email Fanwood Memorial Library [email protected]. Spring 2013 a Page 11 Non-Profit Organization U.S. Postage PAID Caldwell, NJ Permit No.1003

Introducing Exclusive Member Benefits! FREE events (see pages 4, 5); SAVE $15 or $60 on partner events (see page 11); SAVE $5, $20, or $45 on SMCF events (see pages 4, 5, 6).

Return service requested

& Crafts Research Fund and PSE&G. and Fund Research Crafts &

gratefully acknowledges a grant from the New Jersey Cultural Trust. Educational programs are funded, in part, by grants from the Ar the from grants by part, in funded, are programs Educational Trust. Cultural Jersey New the from grant a acknowledges gratefully ts

Farms Foundation received an operating grant from the New Jersey Historical Commission. The Craftsman Farms Foundation Foundation Farms Craftsman The Commission. Historical Jersey New the from grant operating an received Foundation Farms

and by support from Morris County Preservation Trust, The New Jersey Historic Trust, and individual members. The Craftsman The members. individual and Trust, Historic Jersey New The Trust, Preservation County Morris from support by and

made possible, in part, by a Save America’s Treasures Grant administered by the National Parks Service, Department of the Interior, the of Department Service, Parks National the by administered Grant Treasures America’s Save a by part, in possible, made

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Craftsman Farms, the former home of noted designer Gustav Stickley, is owned by the Township of Parsippany-Troy Hills and is is and Hills Parsippany-Troy of Township the by owned is Stickley, Gustav designer noted of home former the Farms, Craftsman

Closed on Major Holidays. Major on Closed e:StickleyMuseum.Org web:

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