When it came time to furnish the Great Camps of the Adirondacks, it quickly became evident that dainty antiques and delicate fabrics looked simply inappropriate within the bold and rugged lines of buildings fabricated from trees, bark, uncut stone, and moss. The “back to nature” approach, which had lured these wilderness tourists, soon influenced their sense of design, inspiring them to seek furnishings, which also incorporated native materials from the surrounding area.  Rustic, natural, rugged, and earthy characterized the distinctive shape and feel of this new trend in decor, which, by 1910, was nationally recognized as “Adirondack” style. 

In its most basic form, one might characterize Adirondack as “stick and twig furniture” created from materials found in the woods by caretakers, guides, and a few talented craftsmen.  After all, what else had they to do during the long, cold winters? But with New York society flocking to the region in record numbers, these local artisans simply couldn’t keep up with demand, and frankly, much of the furniture was too crude and uncomfortable and quickly dispatched to the porch or lawn. Production quality furniture, which had a certain rusticity yet also offered stability and comfort, soon became en vogue. Wicker, hickory chairs, Mission Style furniture, log and planed wood built-ins, and even recycled and refinished shipping crates all worked well and became quite popular. 

Yet as much as Adirondack furniture seems unsophisticated and simplistic, it does possess distinctive stylized elements.  Ralph Kylloe, Ed.D., the premier authority on rustic furniture and author of Adirondack Furniture and the Rustic Tradition, categorizes it as follows: stick furniture, root and burl, mosaic twig, applied bark, peeled pole and branch, Black Forest, and bentwood. 

Stick furniture: built from sticks specifically selected for the functionality of the piece to be constructed and then bound together with nails, wedged, or tied. As a result, some of the early work appears haphazard.  Ernest Stowe, Joseph Bryere and Lee Fountain were considered to be the most successful at this type. Yellow birch and cedar are most often used in stick furniture and while hickory is manufactured — it actually flourishes in the rich soil of Indiana — it is still considered under this category. 

Root and burl: often characterized as Gothic and medieval because it exploits bizarre and grotesque shapes, these objects create quite intricate, sculptured furniture. Roots from trees and shrubs (yellow birch and maple are most often used) are used as bases for tables and then coated with beeswax, linseed oil, and mineral spirits and polished to bring out their unusual grain pattern. 

Mosaic twig: a true testament to folk art, these “bark on twig” creations are made from wood harvested in winter when the bark does not fall off. Twigs are selected for tone and straightness, seasoned for a few months, cut in half, and nailed (bark side up or out) to a template featuring designs reminiscent of a patchwork quilt (stars, hearts, baskets, etc.). Birch, cedar, cherry, red oozier dogwood, and other trees are used to create variation in texture and color. 

Applied bark: this technique can be traced back to Indian work on canoes and shelters and consists of a veneer of bark which is applied to a piece of furniture, often creating scenes. Ernest Stowe was considered a master, reversing the bark and contrasting the paper white of birch against the pink hue of its rind to create water, land, and sky.  

Peeled pole and branch: the most closely associated style with typical “finished” furniture. Pine, spruce, and cedar are used, the bark is peeled away, and the wood is lightly stained and finished. Long straight sections in a standard diameter provide a “loggy” look.