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Billy OBrien, REALTOR®, Calif.
Century 21 Award, Calif.
562-726-4183
DRE 01952648
hello@iambillyobrien.realtor
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  • THE POWER OF THE BRAND
  • ABOUT US
    • ABOUT BILLY
    • CONTACT BILLY
    • CERTIFICATIONS
    • OUR COMPANY
    • OUR BLOG
  • SUCCESS STORIES
  • WHAT’S MY HOME WORTH?
  • BUY WITH CONFIDENCE
  • GET YOUR LOCAL MARKET DATA REPORT
  • SCHEDULE A BUYER OR SELLER CONSULTATION
  • SCHEDULE A HOME TOUR
  • HOMES FOR SALE
    • MORE ABOUT THE 18 HISTORIC DISTRICTS
    • LONG BEACH HISTORIC HOMES
    • ◊ BELMONT HEIGHTS ◊ EST 7 MAY 2002
    • ◊ BLUFF HEIGHTS ◊ EST 13 JULY 2004
    • ◊ BLUFF PARK ◊ EST 29 JULY 1982
    • ◊ BRENNER PLACE ◊ EST 1 JAN 1994
    • ◊ CALIFORNIA HEIGHTS ◊ EST 29 AUG 2000
    • ◊ CARROLL PARK ◊ EST 24 JULY 1990
    • ◊ CRAFTSMAN VILLAGE ◊ EST 27 OCT 1992
    • ◊ DRAKE PARK / WILLMORE CITY ◊ EST 28 APR 1998
    • ◊ ELIOT LANE ◊ EST 9 SEP 2003
    • ◊ LOWENA DRIVE ◊ EST 11 FEB 1992
    • ◊ LINDEN AVENUE ◊ EST 5 APRIL 1994
    • ◊ MINERVA PARK PLACE ◊ EST 7 NOV 1989
    • ◊ NEHYAM NEIGHBORHOOD ◊ EST ?15 OCT 2019?
    • ◊ ROSE PARK ◊ EST 9 SEP 1997
    • ◊ ROSE PARK SOUTH ◊ EST 7 AUG 2001
    • ◊ SUNRISE BOULEVARD ◊ EST 20 DEC 1990
    • ◊ WILTON STREET ◊ EST 1 AUG 1995
    • ◊ WRIGLEY ◊ EST 12 DEC 1989
    • LONG BEACH HISTORIC DISTRICT VIDEOS
    • CLIFF MAY HOMES
    • LEISURE WORLD SEAL BEACH
    • POMONA, CALIFORNIA HISTORIC DISTRICTS
    • HISTORIC HOME TOURS & RESTORATION VIDEOS
  • OLD HOMES RESOURCE GUIDE
    • ANTIQUE METAL REFINISHING
    • APPLIANCES
    • ARCHITECTS
    • ARTWORK
    • BLOGS
    • CLOCKS
    • CONSERVATORIES
    • COPPER WARE
    • ELECTRICAL
    • FABRICS AND TEXTILES
    • FIREPLACE TOOLS
    • FURNITURE
    • FURNITURE REFINISHING
    • GARAGE DOORS
    • GATES
    • GENERAL CONTRACTOR
    • GLASS
    • HARDWOOD FLOORING
    • HISTORIC HOME RESTORATION
    • HISTORIC PAINT COLORS
    • INTERIOR DESIGN
    • KITCHEN CABINETRY
    • LANDSCAPING
    • LOCKSMITH
    • PREFERRED LENDER
    • PRINTING
    • ROOFING
    • NATIVE PLANTS
    • LIGHTING & HARDWARE-PERIOD & REPRODUCTION
    • SALVAGE
    • STYLE
    • TILE ◊ REPRODUCTION, VINTAGE, SALVAGE, COLLECTIONS, REPAIRS, HANDMADE, BRAND NAME
    • WALLPAPER
    • WINDOWS AND DOORS
    • WOODWORKING
    • PAINTER
    • PLASTER/STUCCO
    • PLUMBING
    • POTTERY
  • PREFERRED LENDER
    • LENDER PAPER WORK 101
    • MORTGAGE CALCULATOR
  • LONG BEACH UNIFIED SCHOOL DISTRICT
    • SEARCH LONG BEACH UNIFIED SCHOOLS BY ZIP CODE OR HISTORIC DISTRICT
  • COMMUNITY WATCH STARTER KIT
  • LONG BEACH RESTAURANTS, PUBS & BARS
  • LONG BEACH TRAFIC SIGNAL BOX ART
  • CITY OF LONG BEACH HISTORIC LANDMARKS
  • LONG BEACH HISTORY | 1784 to 1988
    • IMPORTANT DATES IN THE HISTORY OF RANCHO LOS CERRITOS
    • VIDEOS ON LONG BEACH HISTORY
    • ELIZABETH MILBANK ANDERSON HOUSE
  • THE ARTS AND CRAFTS MOVEMENT AROUND THE WORLD
    • ARTS AND CRAFTS MOVEMENT DESIGN
    • ERNEST A BATCHELDER
  • GREENE&GREENE
    • ADELAIDE TICHENOR HOUSE
    • JENNIE A REEVE – TOWNSEND HOUSE
  • GUIDE TO RESIDENTIAL ARCHITECTURAL STYLES
  • TED WELLS
  • PRESERVATION
    • MOST HOMES HAVE A PAST …
    • LEVELS OF HISTORIC DESIGNATION
    • MILLS ACT
    • HISTORICAL SOCIETY OF LONG BEACH
  • LONG BEACH MEDIA
  • STAGING 1,2,3
  • Home
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THE ARTS AND CRAFTS MOVEMENT AROUND THE WORLD

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The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles and subsequently spread across the British Empire and to the rest of Europe and America. Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced, the movement flourished in Europe and North America between about 1880 and 1920. In Japan it emerged in the 1920s as the Mingei movement. It stood for traditional craftsmanship, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation. It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s, and its influence continued among craft makers, designers, and town planners long afterwards.The term was first used by T. J. Cobden-Sanderson at a meeting of the Arts and Crafts Exhibition Society in 1887, although the principles and style on which it was based had been developing in England for at least 20 years. It was inspired by the ideas of architect Augustus Pugin, writer John Ruskin, and designer William Morris. In Scotland it is associated with key figures such as Charles Rennie Mackintosh.

William Morris (Britain)                                                                            John Ruskin (Britain)

MORRIS, MARSHALL (His stained glass work), FAULKNER & CO. (The Firm)

Morris, Marshall, Faulkner & Co. (1861–1875) was a furnishings and decorative arts manufacturer and retailer founded by the artist and designer William Morris with friends from the Pre-Raphaelites. With its successor Morris & Co. (1875–1940) the firm's medieval-inspired aesthetic and respect for hand-craftsmanship and traditional textile arts had a profound influence on the decoration of churches and houses into the early 20th century.

Although its most influential period was during the flourishing of the Arts and Crafts Movement in the 1880s and 1890s, Morris & Co. remained in operation in a limited fashion from World War I until its closure in 1940. The firm's designs are still sold today under licences given to Sanderson & Sons, part of the Walker Greenbank wallpaper and fabrics business (which owns the "Morris & Co." brand) and to Liberty of London.

Edward Burne-Jones (Britain)                                                          Philip Speakman Webb (Britain)

Webb is often called the father of the Arts & Crafts Movement, along with his friend William Morris. Burne-Jones was a British artist and designer who worked with William Morris on decorative arts as a founding partner in Morris, Marshall, Faulkner & Co.

 

Dante Gabriel Rossetti (Britain)                                                                      Ford Madox Brown (Britain)

Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones.  Brown founded the Hogarth Club in 1858, with William Morris, Edward Burne-Jones, and his former pupil Rossetti

 

May Morris (Britain)

In 1887 T. J. Cobden-Sanderson (Britain)

In 1897 Cobden-Sanderson suggested the new group be named the "Arts and Crafts Exhibition Society," and in so doing gave the movement its name. (ENGLAND)

 

William Morris's Red House | Designed by his long time friend Edward Burne-Jones

 

 

 

  

 

   William Morris's Kelmscott Manor

  William Morris's Chaucer

  William Morris | Hill House

 

 

 

 

 


Charles Rennie MacKintosh (Scotland)


Elbert Hubbard (North America)                                        Gustav Stickley (North America)

 


 

(716) 655-0261
31 South Grove Street
East Aurora, New York 14052

Roycroft was a reformist community of craft workers and artists which formed part of the Arts and Crafts movement in the United States. Elbert Hubbard founded the community in 1895, in the village of East Aurora, New York, near Buffalo. Participants were known as Roycrofters. The work and philosophy of the group, often referred to as the Roycroft movement, had a strong influence on the development of American architecture and design in the early 20th century.

The name "Roycroft" was chosen after the printers, Samuel and Thomas Roycroft, who made books in London from about 1650–1690. And beyond this, the word roycroft had a special significance to Elbert Hubbard, meaning King's Craft. In guilds of early modern Europe, king's craftsmen were guild members who had achieved a high degree of skill and therefore made things for the King. The Roycroft insignia was borrowed from the monk Cassiodorus, a 13th-century bookbinder and illuminator.

Elbert Hubbard had been influenced by the ideas of William Morris on a visit to England. He was unable to find a publisher for his book Little Journeys, so inspired by Morris's Kelmscott Press, decided to set up his own private press to print the book himself, founding Roycroft Press.

His championing of the Arts and Crafts approach attracted a number of visiting craftspeople to East Aurora, and they formed a community of printers, furniture makers, metalsmiths, leathersmiths, and bookbinders. A quotation from John Ruskin formed the Roycroft "creed":

A belief in working with the head, hand and heart and mixing enough play with the work so that every task is pleasurable and makes for health and happiness.

(727) 943-9900
355 4th Street North
St. Petersburg, FL 33701

The Museum of the American Arts and Crafts Movement (MAACM) is the only museum in the world dedicated exclusively to the American Arts and Crafts movement. Founded by local philanthropist and collector Rudy Ciccarello, MAACM will be the city’s newest museum, featuring stunning architecture and incredible works of art ideally located in the beautiful waterfront arts district of downtown St. Petersburg.

Ciccarello, along with Alfonso Architects, designed and oversaw the incredible task of creating the Museum of the American Arts and Crafts Movement in St. Petersburg, Florida. The five-story, 137,000 square-foot= museum is a work of art itself, with incredible architectural elements such as a grand atrium, skylights, and a dramatic spiral staircase—all adorned with period art, light fixtures, windows, fireplaces, and more. MAACM features more than 40,000 square feet of gallery space, as well as a destination restaurant with private dining rooms, a retail store, an upscale café, a children’s gallery, a reference library, a theater, a graphic studio, a beautiful event space for weddings and corporate events, and an outdoor green space enhanced by original period tiles and fountains.

Emerging at the end of the Victorian era in England, the Arts and Crafts movement was fueled by anxieties about the quality of life in the industrial era and the rise of mass-produced goods. Arts and Crafts designers sought to reform both decorative design and daily life, creating objects that were beautiful and functional. In America, the Arts and Crafts movement spread across the country from approximately 1890-1930. The tenets of the movement – simplicity in design, honesty in materials, hand craftsmanship, and depicting the natural world – are still widely valued today.

The most important artists and enterprises of the American Arts and Crafts movement are represented at MAACM. Visit us to see fine examples of Gustav Stickley, Charles Rohlfs, Frank Lloyd Wright, the Roycrofters, William Grueby, Newcomb Pottery, Margaret Patterson, Greene and Greene, Louis Sullivan, and many other gifted craftsmen and women. Immerse yourself completely in the movement with furniture, pottery, tiles, lighting, textiles, photography, finearts, woodblocks, metalwork, period room installations, and more.

(973) 540-0311
2352 Route 10 West
Morris Plains, NJ 07950

The Stickley Museum at Craftsman Farms is a 501(c)(3) not-for-profit organization entrusted with oversight of the preservation,
interpretation and daily operation of Craftsman Farms, the early 20th-century country estate of Gustav Stickley. The museum works in partnership with the Township of Parsippany-Troy Hills, which owns the site and rescued the property from private development in 1989, putting it on a path to public use.

Formerly, The Craftsman Farms Foundation, Inc., the Stickley Museum at Craftsman Farms was formed in 1989. The property was designated a National Historic Landmark the following year. In 2019, the museum marked its 30th anniversary and is proud to welcome thousands of visitors from around the world to its interpretive programs, both onsite and online, each year.


The Craftsman

The Craftsman was a magazine of the Arts and Crafts movement, edited by Gustav Stickley and published in New York in the early 20th century.The Craftsman published its first issue in October 1901, and its last in December 1916. It was absorbed by Art World in 1917.

BY CLICKING ON THE ABOVE VOL 1, NO.1, YOU CAN VIEW ALL EDITIONS OF THE CRAFTSMAN

Gustav Stickley and The Craftsman

Gustav Stickley was born in Wisconsin in 1857, the eldest of Leopold and Barbara Stickley's eleven children. He apprenticed to his stone mason father at a young age but dropped out of school and the trade when his father abandoned the family. By the time Gustav reached sixteen, the family had relocated to Pennsylvania to be near his mother's relatives. As the eldest child, he accepted the task of supporting the family, working at the Brandt Chair Company, owned by his uncle, where he became a manager and foreman. In 1883, he opened a furniture business with his brothers.

Within five years, Stickley split from the company he formed with his brothers, and partnered with well known furniture salesman, Elgin Simonds, to produce traditional American furniture popular at the time. The firm was successful though unremarkable, affording Stickley the opportunity to travel to Europe to study manufacturing abroad.1 There he found inspiration in the work of William Morris and the writings of John Ruskin.2


Following the dissolution of his partnership with Simonds in 1898, Stickley began to produce his own furniture in the simple arts and crafts style he admired while traveling abroad. He named the firm after himself and adopted a William Morris motto, Als Ik Kan, for his own, with the image of a joiner's compass.

In October of 1901 his publication, The Craftsman, made its first appearance. Issues of the magazine were published monthly and included essays on art and design, crafts and gardening, but also fiction, poetry, and even sheet music. Throughout, the editorial perspective remained steadfast, decrying the effects of industrialization while advocating for simplicity in life, and encouraging a do-it-yourself ethic and aesthetic.

In what seemed a logical extension of The Craftsman and the Craftsman Homebuilders Club, Stickley proposed an arts and crafts colony in the New Jersey countryside. He began acquiring land in earnest for his community around 1908 and constructed a clubhouse home for his family on the property. However, the concept of the Craftsman farms did not succeed.


For Stickley, the magazine provided a forum for both his work and his artistic beliefs. He critiqued the over-embellished styles of design, while espousing his own simple forms. Working with a number of architects, he established the Craftsman Homebuilders' Club in 1904. Readers of The Craftsman could order architectural plans for homes published in the magazine. These designs proved so popular, that the title of the magazine became ubiquitous for a style of home, the bungalow.

At about the same time, in 1913, Stickley opened the Craftsman building in New York City.3 Stickley envisioned the building as an office, showroom, and destination. But the Arts and Crafts building, at 12 stories and occupying space on neighboring blocks in Manhattan, proved to be the undoing of his fortune. Moreover, the failures at the Craftsman Farms proved too much for the business.


The Craftsman ceased publication in December of 1916. Numerous factors, including several business failures, and changing tastes in American furniture doomed the once strong company. Gustav Stickley returned to Syracuse, NY, moving in with his son-in-law and daughter. He died in 1942 in relative obscurity.

Main House at Craftsman Farms

To quote from Stickley’s magazine, The Craftsman (November 1911): “There are elements of intrinsic beauty in the simplification of a house built on the log cabin idea. First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture….The quiet rhythmic monotone of the wall of logs fills one with the rustic peace of a secluded nook in the woods.”

“As I can, not as I
would.”

Stickley signed each of his pieces with the Flemish phrase Als Ik Kan centered in a joiner’s compass. Stickley borrowed the phrase from Jan van Eyck, a 15th century Renaissance artist who signed his paintings with the personal motto Als Ik Kan, which is taken from the Flemish saying “As I can, not as I would.

 

 

 


 

 

 

 

 

 

 The Arts and Crafts Society of Ireland was formed in Ireland in 1894 to promote Irish decorative and fine arts. The held exhibitions to showcase these Irish arts.

Lily Yeats and her assistants in the embroidery room at Dun Emer Guild, Dundrum, 1905

Jack Butler Yeats (1871–1957, designer), Dun Emer Guild (maker), Sodality banner depicting Naomh Iarfhlaith (Saint Jarlath), 1904. St. Brendan’s Cathedral/Clonfert Diocesan Museum, Loughrea

 

Arts and Crafts Society of Ireland and Guild of Irish Art-Workers: Catalogue of the fourth exhibition - 1910.

Mia Cranwill (1880–1972), Senate casket, 1924. Royal Irish Academy, Dublin

Ethel Mary Rhind (c. 1878–1952, designer), Dun Emer Guild (maker), Smuainteach (Reverie), c. 1912–13.
National Museum of Ireland, Dublin

Cassandra Annie Walker (1875–1936, designer), Della Robbia Pottery (maker), Two-handled vase, 1904.
National Museum of Ireland, Dublin

Eva McKee (1890-1955), Panel (box lid) with peacocks, flowers, and Celtic interlace, c. 1920–25.
Private collection

 

 

 

 

 

 

 

 

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562.726.4183
hello@iambillyobrien.realtor

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