| Good, Better, Best: A Beginner's Guide To The Morris Chair |
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| Gustav Stickley, model 332, Morris Chair |
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| The Morris Chair by Bruce Johnson
Considered the classic example of Arts & Crafts furniture, the Morris chair always occupies the most important place in any room of the house. Nearly every firm that produced Arts & Crafts furniture, from the most obscure to the heralded Craftsman Workshops of Gustav Stickley, designed their version of a Morris chair. Knowing what to look for in each model is critical for any Arts & Crafts collector wanting to add an example to their home.
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| William Morris (1834-1896) |
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| Called the Father of the Arts & Crafts Movement, the Englishman William Morris is credited with having been the first to put the philosophical teachings of John Ruskin into practice. More skilled as an administrator than a craftsman, Morris hired designers, printers and woodworkers to create handcrafted items that were at once simple and elegant. His retail business and interior design service, Morris & Company, rose to prominence in England, spreading their influence to both Europe and America.
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| The first Morris chair. |
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| While researchers have proven that William Morris did not, in fact, design what is considered to be the first reclining chair, it became so popular at Morris & Company that it has since bore his name. The design of what was originally called the Suffix chair, a reference to where an early version was discovered, reveals its debt to the reigning Victorian style while hinting at a new style that would shun unnecessary decoration.
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| The bar style adjustable back. |
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| American designers and entrepreneurs, such as Elbert Hubbard of the Roycrofters, Leopold Stickley of L. & J.G. Stickley and Gustav Stickley of Craftsman Workshops, invested countless hours and dollars coming up with their unique version of the Morris chair. Leopold Stickley preferred the adjustable bar shown here, Gustav Stickley opted for movable pegs holding the back, and Elbert Hubbard's model utilized a brass and steel rod. While each is interesting to study, none are considered better than the others in determining a value for any Morris chair.
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| "Good"
This Morris chair by an unknown maker suffers from a variety of design ills. First, the back is too short in relation to the size of the framework. While the arms do exhibit exposed tenons from the legs, the lack of any slats under the arms or any corbels supporting the arms alongside the legs definitely diminishes the appeal of this chair. Overall, the proportions of the chair make it appear awkward. Approximate value: $400.
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| "Good"
Both Leopold and Gustav Stickley, along with Charles Limbert, designed a lightweight Morris chair with open arms and no exposed tenons. While their versions are always better made than those of lesser firms, the lack of any slats under the arms and the utilization of thinner boards in a form that collectors prefer a strong, heavy, masculine look delegate them to the "Good" category. Collectors who like a lighter look, however, can mount a strong argument in favor of the open arm versions. Approximate value for a signed Stickley or Limbert open arm version: $1000-$1500.
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| "Better"
This version of a Morris chair illustrates the power of the slat. Even though the dimensions of the slats under the arms and the proportions of the spacing between the slats seems just a little awkward, they do bump this chair into the "Better" category. Holding it back is the lack of exposed tenons on the tops of the arms and, once again, a lighter feel to what is often deemed a heavy, masculine design. Approximate value: $1200-$1600.
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| A Stickley Brothers version |
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| "Better"
The knock against Stickley Brothers' designs is that they were inconsistent, but this Morris chair reveals their ability to stand alongside Gustav and Leopold. The three slats under the arms contribute to the design, but could have been improved by bumping the number up to five. The graceful corbels under the arms are a welcome addition. The low positioning of the side stretcher between the front and rear legs "roots" this chair to the ground, teaming up with the thick lumber to give it a beefy appearance. A fine example. Approximate value: $1750-$2500.
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| Gustav Stickley, model 332, Morris Chair |
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| "Best"
This "flat arm" Morris chair has it all: perfect proportions, a beefy look, firmly rooted to the ground, exposed tenons wherever possible, quartersawn oak, and five slats properly spaced under each arm. After its initial introduction by Gustav Stickley in 1901, the model #332 remained virtually unchanged throughout his 15 year career, and for good reason. Collectors continue to battle for the finest examples in the best condition whenever they become available. Approximate value: $4000-$6000.
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| Gustav Stickley "slant arm" version |
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| "Best"
Two small changes to the basic form of the previous "flat arm" Morris chair (model #332) increased the attraction of collectors to this model #354, also called the "slant arm" version. Tilting the arm at a slight angle required additional work, but made the chair even more comfortable. If you compare the corbels of the #332 (flat arm) to this model, you will see that the corbels are now longer and even more graceful. Considered rarer than the flat arm version, the slant armed recliner in the same condition will typically bring more money at auction - but any debate over which is a better design would end in a draw. Approximate value: $6000-$8000.
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