L. & J.G. Stickley Onondaga Shops Bookcase (#327)

In the world of American Arts and Crafts furniture, the Stickley name carries a weight matched by few others. While Gustav Stickley and his Craftsman Workshops receive the lion's share of attention, his younger brothers Leopold and John George Stickley built their own legacy through L. & J.G. Stickley, producing furniture of exceptional quality from their Onondaga Shops in Fayetteville, New York. The #327 bookcase is one of their finest designs: a tall, substantial piece that embodies the Arts and Crafts philosophy of honest construction, visible joinery, and the natural beauty of quartersawn oak.

The Stickley Brothers

The Stickley family produced more furniture makers than any other family in American history. Gustav Stickley (1858 to 1942) was the eldest and most famous, founding his Craftsman Workshops and publishing The Craftsman magazine. But Leopold (1869 to 1957) and John George (1871 to 1921) were accomplished designers and businessmen in their own right.

Leopold and John George established L. & J.G. Stickley in 1902 in Fayetteville, New York, marketing their products under the "Onondaga Shops" brand (named after the nearby Onondaga Nation). They produced Mission-style furniture that was similar in philosophy to Gustav's work but with subtle design differences and, in some cases, more accessible pricing.

After Gustav's company went bankrupt in 1915, L. & J.G. Stickley actually acquired some of his designs and equipment. The company survived the decline of the Arts and Crafts movement and continues to operate today, making it one of the longest-running furniture manufacturers in America.

The #327 Bookcase

The model #327 is a tall, single-door bookcase with a gallery top, typically standing approximately 56 inches tall, 32 inches wide, and 13 inches deep. It features classic Arts and Crafts design elements:

Construction. Quartersawn white oak, chosen for its dramatic ray fleck pattern and structural stability. The wood is typically finished in a fumed ammonia finish or a dark brown stain that deepens the grain pattern.

Door. A single glass-paned door, usually divided into multiple panes by wooden mullions. The glass allows book spines to be visible while protecting them from dust. The door typically features original hammered copper or iron hardware.

Shelves. Multiple adjustable interior shelves, allowing the owner to customize spacing for different book sizes.

Gallery top. A raised back rail on the top surface, a characteristic Stickley design element that prevents items placed on top from sliding off and adds visual interest.

Joinery. Visible through-tenon construction on the sides, a hallmark of Arts and Crafts furniture. These exposed joints are both structural and decorative, celebrating the skill of the craftsman.

Back panel. Typically a solid wood panel (not plywood), sometimes with a chamfered or beveled edge treatment.

The Onondaga Shops Mark

Authentic L. & J.G. Stickley pieces from the Onondaga Shops period (roughly 1902 to 1918) carry distinctive marks. The earliest pieces may have a red decal reading "The Onondaga Shops / L. & J.G. Stickley / Fayetteville, N.Y." Later pieces use a branded mark or paper label. The specific mark helps date the piece within the production period.

The "Handcraft" label, introduced around 1906, is another common mark on L. & J.G. Stickley pieces from this period. Pieces with clearly legible original marks are more valuable than those with worn or missing marks.

Condition Grades

Grade	Description
Museum Quality	Original finish (fumed or stained), original hardware, original glass, all joints tight, no repairs, mark clearly legible, possibly with original key
Excellent	Original or very early finish, original hardware (may show honest patina), glass intact, minor wear consistent with age, mark present
Very Good	Original finish with some wear or touch-up, hardware original or period-appropriate replacement, glass intact, joints stable, mark may be partially legible
Good	Refinished (sympathetic refinish in appropriate color), hardware may be replaced, glass intact, structurally sound, may have minor repairs
Fair	Refinished (possibly in non-original color), replacement hardware, possible glass replacement, some structural repairs, mark absent or illegible
Poor	Heavy refinishing, major repairs, missing elements, primarily valuable for the form and remaining original components

Value and Price Guide

Condition	Approximate Value Range
Museum Quality (original finish, hardware, mark)	$8,000 to $15,000
Excellent (original finish, minor wear)	$5,000 to $9,000
Very Good (mostly original, some restoration)	$3,000 to $6,000
Good (refinished, structurally sound)	$1,500 to $3,500
Fair (heavily restored)	$800 to $1,800
Poor (project piece)	$400 to $1,000

For context, comparable pieces from other makers:

Maker / Type	Excellent Condition Value
Gustav Stickley single-door bookcase	$8,000 to $20,000
Roycroft single-door bookcase	$5,000 to $12,000
Limbert single-door bookcase	$3,000 to $8,000
Charles Stickley single-door bookcase	$2,000 to $5,000
Generic Mission oak bookcase (unknown maker)	$500 to $2,000

L. & J.G. Stickley pieces generally trade at a modest discount to comparable Gustav Stickley designs but command a clear premium over unattributed Mission furniture.

Authentication and Identification

Maker's mark. Look for the Onondaga Shops decal, branded mark, or paper label. Common locations include the inside of the door, the back panel, or the underside of a shelf. UV light can sometimes reveal faded or painted-over marks.

Construction details. Authentic Stickley pieces use specific construction techniques: through-tenon joinery, hand-hammered hardware, quartersawn oak, and period-appropriate finishing methods. Machine-made reproductions may lack the subtle irregularities of handcrafted original pieces.

Hardware. Original hardware on L. & J.G. Stickley bookcases is typically hammered copper or iron. The hardware should show appropriate age patina. Replacement hardware is common but reduces value. Original keys for locking bookcases are rare and add value.

Wood grain. Quartersawn white oak has a distinctive ray fleck pattern (sometimes called "tiger stripe" or "butterfly" grain). This grain is a hallmark of Arts and Crafts furniture and should be prominent on the front and sides of authentic pieces.

Finish analysis. Original fumed finishes have a specific depth and character that develops over more than a century. A fumed finish penetrates the wood deeply, creating a color change throughout the surface layer rather than sitting on top like a stain. An expert can often distinguish between an original fumed finish and a later applied stain.

Dimensions and proportions. Compare the piece's dimensions against published catalogs and reference books. L. & J.G. Stickley catalogs are well-documented, and the #327's specific dimensions should match the catalog specifications.

Provenance. Documented ownership history, especially for pieces that have been in the same family since the early 1900s, provides strong authenticity evidence.

The Arts and Crafts Market

The American Arts and Crafts furniture market has matured significantly since its collecting boom in the 1980s and 1990s. Prices for top-tier pieces (Gustav Stickley, Roycroft, early Limbert) have stabilized at levels that reflect genuine connoisseurship rather than speculative frenzy.

L. & J.G. Stickley pieces represent an appealing middle ground in this market. They offer the design quality, construction excellence, and historical significance of the best Arts and Crafts furniture at prices that are often more accessible than comparable Gustav Stickley pieces. For collectors building a representative Arts and Crafts collection, L. & J.G. Stickley is an essential inclusion.

Living with the Bookcase

Unlike many collectibles that sit in cases or vaults, an Arts and Crafts bookcase is meant to be used. These pieces are structurally robust, designed to hold heavy books for generations. A well-maintained #327 will serve as a functional piece of furniture while simultaneously being a museum-quality work of American decorative art.

Place it away from direct sunlight, which can fade the finish. Keep the interior dry. Oil the door hinges periodically. And fill it with books. That is what Leopold and John George intended.

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