Past Exhibitions:

The American Arts & Crafts Chair:
A Message of Honesty & Joy

June 1, 2019 to January 5, 2020


 Exhibition image with text

The exhibition will feature thirteen exemplary examples of side chairs by handicraft-oriented furniture manufacturers--among them Gustav Stickley’s Craftsman Workshops, the L&JG Stickley Company, the Charles P. Limbert Company--as well as smaller, craft-oriented workshops such as Charles Rohlfs, the Roycroft Shops, Byrdcliffe Arts Colony, and Rose Valley Association. The exhibition will explore the usefulness and appealing designs of these vital products of the American Arts and Crafts movement, and show how these chairs brought a message of honesty and joy to their makers and their possessors.





Original Exhibition imageOriginal: Gustav Stickley Furnishes His Log House

May 20 to December 31, 2017


The exhibition Original: Gustav Stickley Furnishes His Log House, co-curated by Dr. Jonathan Clancy and Peter K. Mars, will explore the original interior of the Log House, Stickley’s family home and the heart of his ideal country estate, Craftsman Farms. From 1911 to 1917, the Log House served as a showcase for Stickley’s signature Craftsman Workshops furnishings and for his Arts and Crafts aesthetic. The exhibition, which commemorates the 100th anniversary of Stickley’s 1917 sale of the property, celebrates his achievement at Craftsman Farms with a fresh, comprehensive focus on the Log House interior and its original furnishings.

Presenting a comprehensive view of Stickley’s material world, the exhibition is incorporated throughout the Log House, and will feature furniture, home furnishings, and cherished family belongings known to be original to Gustav Stickley’s home before it was sold in 1917. It will offer insights into the Log House’s interior aesthetic—a blend of special commissions, English and French decorative arts, and furnishings with sentimental value—and into Stickley’s personal taste and style.


An original elm cabinet from the collection of the Metropolitan Museum of Art.

Important original furniture and furnishings on loan to the museum during this commemorative year will be featured, including the Metropolitan Museum of Art’s generous loan of a green-stained elm cabinet with copper hardware that is visible in published photos of the Log House dining room. In sharing new research on the Stickley Museum’s collection, the exhibition will highlight the institution’s long-term commitment to return original furnishings to the Log House.

Original will give viewers the opportunity to experience Stickley’s aesthetic vision by bringing together objects that have not been seen collectively since Craftsman Farms was sold in 1917. Assembled at the height of his entrepreneurial success, the original furnishings of the Log House provide a unique look into the taste and mind of one of the Arts and Crafts movement’s most original thinkers.


Newcomb Pottery


Early Newcomb Pottery:

From the Barbara and Henry Fuldner Collection

May 7 to
November 6, 2016 



This exhibition features a private collection of 28 examples of early Newcomb Pottery assembled over the past three decades by Barbara Fuldner, a great-granddaughter of Gustav Stickley and a Stickley Museum at Craftsman Farms Trustee, and her late husband, Henry Fuldner.

WATER PITCHER with large yellow lily on long green stems, 1905. Harriot Joor, decorator; Joseph Meyer, potter. 8 x 6 in.


The dining room of the Log House—Gustav Stickley’s own home which he not only designed but built and lived in from 1910 to 1917—will be the setting for the exhibition, affording a rare opportunity to see Newcomb Pottery in an authentic period Arts and Crafts setting. Stickley’s Craftsman furniture and the home’s interior will serve as the backdrop for the pottery, and examples of textile work from both Stickley and Newcomb will provide a rich, visual context.


Founded in 1895 as part the H. Sophie Newcomb Memorial College, the women’s coordinate of Tulane University in New Orleans, Newcomb Pottery produced some of the most distinctive and recognizable works of art of the period. During the 45 years it was in operation, approximately one hundred women were affiliated with the enterprise; the majority of the craftswomen were decorators of pottery, but others worked in needlework, metalsmithing, and bookbinding. While Newcomb Pottery

Newcomb Exhibition2embodies its southern origin—decorators were encouraged to draw inspiration from their immediate surroundings—the designs demonstrate a thorough understanding of contemporary design reform principles such as conventionalized, repetitive motifs based on nature.


This focused exhibition will highlight the work of a dozen decorators, focusing on the early period of production at Newcomb Pottery. An accompanying catalog will explore connections between these two contemporaneous Arts and Crafts enterprises, drawing visual and ideological parallels in their approach to design. Newcomb Pottery and Stickley’s multi-faceted endeavors shared many of the same design principles espoused by leading educators and artists of the 

COVERED INKWELL with small forget-me-nots, 1910. Gerald Mauberret, decorator; Joseph Meyer, potter. 3 1/2 x 3 1/2 in

period. Period publications, including Stickley’s magazine, The Craftsman, were critical to the dissemination of information and served as manuals of good design. These texts will be explored, along with the close networks of educators, artists, editors, and students advocating for design reform, illuminating how these ideals were put into practice.


The Early Newcomb Pottery exhibition will complement the nearby Princeton University Art Museum exhibition, Women, Art, and Social Change: The Newcomb Pottery Enterprise(May 7 to July 10, 2016) organized by The Smithsonian Institution Traveling Exhibition Service and the Newcomb Art Gallery at Tulane University.





Live, Play, Eat logoLive, Play, Eat:

Around the Table

at Gustav Stickley's

Craftsman Farms

September 5, 2015 to
March 20, 2016

Curated by Peter Mars

games and an Edison amberola on the green table in the Living Room of the Log House--photograph by Barbara WeiskittelFrom dining and entertaining to working and recreation, tables have always been hubs of home activity.


This exhibition sets its sights on, under, and around tables in the Log House, the Stickley family home, and employs multi-sensory vignettes spotlighting the intentional and inextricable link between design and function in Stickley furniture.


Design is used as a starting point to explore the literal and symbolic function of tables within the Stickley household, offering visitors a broader understanding of home life in early 20th-century America and Craftsman Farms' context within it.





Styling an American Family:

The 1910s at Gustav Stickley’s Craftsman Farms

September 8, 2012 to
January 6, 2013


This exhibition featuring fashions from Syracuse University’s Sue Ann Genet Costume Collection will allow visitors to Gustav Stickley’s Craftsman Farms to view the human form in the home as it may have looked from 1911-13 when the Gustav Stickley family was in residence.



“Styling an American Family: The 1910s at Gustav Stickley’s Craftsman Farms” will be on view Sept. 8, 2012 - Jan. 6, 2013 at the Stickley Museum at Craftsman Farms, 2352 Route 10 West, Morris Plains, N.J. The exhibition will be accompanied by several related educational programs and a full-day conference.


“The highly successful PBS series, ‘Downton Abbey,’ and the wide public awareness of the 100th anniversary of the sinking of the Titanic have both combined to build a strong interest in the lifestyles of this time period,” says Stickley Museum’s executive director Heather Stivison. “The opportunity to partner with Syracuse University on a high-quality 1910s style exhibition came at the perfect time. This exhibition will appeal to a broad audience and will offer visitors a much deeper understanding of life at Craftsman Farms in the 1910s.”


STEPHEN SARTORI-2Exhibition curator Jeffrey Mayer, an associate professor and program coordinator of fashion design at SU’s College of Visual and Performing Arts, selected the garments in “Styling an American Family” from the fashion design program’s Sue Ann Genet Costume Collection, which he also curates. The exhibition features outfits arranged in eight environmental vignettes styled as moments frozen in time, with such themes as “Motoring,” “Music,” “Entertainment at Home” and “After the Party.”


The Sue Ann Genet Costume Collection was selected for the exhibition because it boasts an unusually large collection of garments and accessories from 1910-1915, and the majority of the pieces were purchased, made or worn in and around the Syracuse, N.Y. area, the location from which the Stickley family moved to Morris Plains in 1911.


“No clothing belonging to the Stickley family from this era seems to exist, nor do many reference photos of the family as a whole or in domestic settings within the farm, so therefore all details of the fashionable life at Craftsman Farms must be drawn from the few glimpses given in the extant photos and descriptions of everyday life as found in journal entries and newspaper clippings,” says Mayer, who especially relied on a scrapbook kept by Stickley’s daughter Marion. “The styles and types of clothing selected for this exhibition reflect an American family of comfortable means whose father was well known as an architect and internationally recognized as an arts movement leader.”


The Sue Ann Genet Costume Collection is comprised of more than 1,500 women’s garments and accessories from 1820 to the present. The focus of the collection is women’s high fashion, and it includes examples of garments that are indicative of each era, are by well-known designers or were worn by notable women.


Craftsman Farms was established by Gustav Stickley during the Progressive Era, a period in American history brimming with innovation and social change. Innovators and game-changers of this era, such as Theodore Roosevelt, Henry Ford, the Wright Brothers, William Randolph Hearst, Upton Sinclair, Sigmund Freud, and Albert Einstein, led the way across a spectrum of fields with transformative ideas that would make this era a direct precursor to our modern world. American style and style-makers of the early 20th century kept pace with the world around them, mirroring the rapid pace of innovation and change, but tastemakers, like Stickley, also sought to drive change. Throughout the Progressive Era these tastemakers worked to steer the American aesthetic and shape it into an identifiable American style. The exhibition, set within the context of the Log House at Craftsman Farms, shines a light on this unique period in American history.




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14 August 2020



August 12, 2020


The Museum and Grounds will be CLOSED as we recover from extensive damage caused by Tropical Storm Isaias. We apologize for any inconvenience. 


More about temporary closure due to Covid 19.


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