The members of the Martin family of Swannanoa, NC were known for their talents as Appalachian wood carvers and musicians. Marcus L. Martin, the father, carved scrolls on violins, built dulcimers and banjos, and was a champion fiddler in North Carolina. His wife, Callie, played the five-string banjo. The couple had five children: a daughter named Zenobia and five sons, Fred, Quentin, Wade, Wayne and Edsel. Fred made dulcimers. Wayne carved. Quentin crafted furniture and played the guitar. Edsel and Wade excelled at wood carving. Edsel and Wade both made great contributions to the craft community as members of the Southern Highland Craft Guild.
Mountaineer Carving by Edsel Martin |
Edsel Martin was born in 1927. After being wounded in World War II he started marketing his carvings in 1946. Edsel carved figures, birds, fish, dogs, snakes and rabbits. His carvings were worked in walnut, cherry, redwood, white pine and maple. His major tool was a pocket knife. Like his father Edsel also made dulcimers, completing 175 by 1965. He was an expert dulcimer player and made several recordings. Edsel's wife Elsie was also a craftsperson. She carved maple flowers, roosters and pine trees, shaving curls of wood to create petals, feathers, and tree limbs.
Edsel joined the Southern Highland Craft Guild in 1962 and became a Life Member in 1991. He maintained an active membership until his death in 1999. He exhibited and demonstrated at the Craft Fairs for thirty years and participated at Folk Art Center special events such as Heritage Weekend occasionally. The Smithsonian Institute selected Edsel to demonstrate at the 1968 Festival of American Folklife in Washington, D.C. That same year he participated in the History of Transportation at Hemisfair in San Antonio, TX. In 1965, he created a dulcimer which was presented to Lady Bird Johnson, and a collection of state birds for the Smithsonian Institute. In 1986, Edsel provided carved gifts for the Southern Governor's Conference.
Wade Martin served as an Army paratrooper in the Pacific during World War II. During his service in the Philippines, he met a wood carver and borrowed his knife. According to Wade, after borrowing the knife he went out to an old Japanese barge with a machete, knocked off a chunk of wood and started carving. His first piece was a three to four inch hula girl. His second carving was of his father as and old time fiddler. He continued whittling mountain characters, including musicians, moon shiners, wood choppers, women washing clothes, hog butchers and boys fishing. Wade's best known figure was "Lazybones," a mountaineer propped against a stump relaxing. He also carved hounds with every wrinkle and tendons showing through the flesh. Like his father and brother he also made dulcimers from time to time. Wade worked in the offset printing shop at Beacon Manufacturing in Swannonoa, NC later in life.
Old Time Band Carving by Wade Martin |
Wade was a member of the Guild from 1951 until 1963 and demonstrated wood carving at the Craft Fairs. His carvings attracted numerous admirers at Allanstand Craft Shop and other Asheville outlets. In 2000, the Guild designated Wade Martin as a Heritage Craft Affiliate member. He died in 2005.
In 1986, Wade created a scrapbook, "Swannanoa's Wood Carving Mountaineer Style" which chronicled his family's crafts. The book includes Wade's sketches, as well as stories, clippings, photographs, sayings and humor. It revealed that Wade Martin's creativity extended beyond wood carving. A play, Woodcarvers Christmas, was adapted from the book by Rebecca Williams and produced in 2003 - 2004.
In Memoriam
Oak Ridge, TN
Newland, NC
Clyde, NC
Meadows of Dan, VA
Knoxville, TN
Murphy, NC
Spruce Pine, NC
Asheville, NC
Candler, NC
Editor's Note: This post is the second in a series called "From the Archives" - a look back at the people who served and helped shape the Southern Highland Craft Guild. The author of the series is Bonnie Krause. Bonnie works at Allanstand Craft Shop and volunteers in the
SHCG Library.
With the economic troubles of the Depression, Pratt found a position from 1933 to 1937 teaching weaving in the Works Progress Administration Women's Program in Knoxville. This was one of the many programs aimed at increasing unemployed women's skills and helping them find work to support their families. According to the Knoxville News Sentinel in 1936, nearly 1,000 women worked seven hours a day, five days a week at a sewing room on West Jackson Avenue . They created cotton dresses, overalls, infant and children's clothing. The women earned $33 a month and the clothing was distributed to those in need. Some women made quilts and others wove rag rugs, linens and draperies. They also learned additional skills in family and childcare, health and literacy. At an exhibition of products from the Women's Program, Pratt participated by demonstrating loom weaving. One of her students later wrote , "I have you to thank for one of the great joys of my life. We built a loom and began learning and have never stopped."
Following her work in Knoxville, Pratt advanced to Regional Supervisor of Handicrafts for the Farm Security Administration Homestead Project with headquarters in Raleigh, NC. The Homestead Project created new communities for unemployed and homeless families and taught new skills. From 1938 to 1940, Pratt set up craft rooms, gift shops, working 2 - 3 months at each site. She worked in Crossville and Cumberland in Tennessee, Eleanor in West Virginia, and Wolf Pit Farms and Rockingham in North Carolina. During this time, Pratt met with Eleanor Roosevelt, a supporter of crafts and new communities.
Through the late 1940s to the 1960s, Pratt taught weaving in a variety of educational settings: University of Tennessee Home Economics, Asheville College, Warren Wilson College and the Asheville Recreation Department. After studies in social work at the University of North Carolina, she served as a caseworker and therapist at the Asheville Sanatorium and Appalachian Hall. She also taught crafts for paraplegic World War II veterans at the Regional Veterans Center in Asheville.
Throughout her life Pratt attended summer school weaving classes at Penland School of Crafts. She joined the Southern Highland Craft Guild in 1942 and received Life Membership in 1978. She served on the 1945 Guild incorporation board, the nomination committee, and the craft fair exhibitions committee. She continued weaving until her death in 1990.
Alice Pratt dedicated her weaving studies to traditional work, saving weaving drafts in an album for coverlet and counterpane designs, including family drafts dating back to the 1830s. Her contemporary weaving included napkins, towels, placemats and runners. She donated numerous samples of her work as well as family counterpanes to the Southern Highland Craft Guild's Permanent Collection.
(New Member Orientation at the Folk Art Center, March 6, 2012 - shown left to right:
John Turner, Tony Dills, Greg Shaffer, JJ Brown, Simona Rosasco,
Paul Weller, Shelby Mihalevich,
Harry Hearne, Patte Vanden Berg, Lucy Gibson, Bob Gibson, Barb Butler,
Donata Jones, Beth Andrews, David Wright)
The following artists were accepted into the Southern Highland Craft Guild following the first jury of 2012:
Beth Andrews
Greer, SC
FIBER
JJ Brown and Simona Rosasco
Fyreglas Studio
Bakersville, NC
GLASS
Barb Butler
Sutherland Handweaving
Asheville, NC
FIBER
Tony Dills
Weaverville, NC
WOOD
Karen Donde
Candler, NC
FIBER
Robert and Lucy Gibson
Cruso Studios
Canton, NC
MIXED MEDIA
Harry Hearne
Turning Point Clay Studio
Murphy, NC
CLAY
Donata Jones
Bostic, NC
FIBER (HERITAGE)
Alex Matisse
East Fork Pottery
Marshall, NC
CLAY
Shelby Mihalevich
SMetal Designs
Waynesville, NC
JEWELRY, MIXED MEDIA
Annette Romines
Pigeon Forge, TN
FIBER
Denissa Schulman
Skyland, NC
FIBER
Greg Shaffer
Three Springs Forge
Bristol, VA
METAL
John Turner
Reidville, SC
CLAY
Patte Vanden Berg
Pattecoats
Asheville, NC
FIBER
Paul Weller
Aero Pablo Designs
Asheville, NC
METAL
David Wright
Tazewell, TN
WOOD (HERITAGE)
The Robert W. Gray Library at the Folk Art Center was able to add several new titles to the collection this month. We are keeping an eye on Lark's 500 series, since the books often include the work of Guild members. We added 500 Vases, 500 Tables, and 500 Raku. We also purchased the latest Foxfire books, so we now have all 12 volumes.
Of special interest to our membership is a new book titled Heirlooms & Artifacts of the Smokies, Treaures from the National Park's Historical Collection. The Great Smoky Mountains National Park artifact collection contains prehistoric items such as arrowheads and pottery shards, so the book begins there with a sampling of items that have been cataloged for their collection. In the 1930s and 40s collecting did not focus on Cherokee objects, leaving that field of research to the Cherokee Historical Commission and their own collections. Rather the park supervisors were interested in preserving a sense of what life in this isolated area was like for early pioneers right up to the time that people began leaving their mountain cabins.
The book is concerned with the artifacts left by early settlers in the Great Smokies region. Chapters are divided into the various occupations and needs of isolate families. For instance Farm & Field includes photos of tools used for planting, harvesting, tending livestock, clearing forests, and trapping animals - all items made by regional artisans. Crafts such as Blacksmithing, Woodworking, Spinning and Weaving, and Quilting merit their own chapters. Looking at the photographs of the old artifacts gives one a sense of the rugged, unadorned life of Appalachian immigrants. As the opening section states "To scratch with a garden hoe, day after day, in a rocky hillside cornpatch had to be exhausting work. To wear out that hoe, and start on a new one, simply taxes comprehension. This book is about the people who did that kind of work, and the tools they used to do it."
Aside from the object photographs there are historical photographs of the people who lived on this land. Nearly all of the people photographed have been identified. Former Guild members Matt and Mary Ownby are shown making rifles. Claude Huskey, a relative of current Guild members is shown working at the draw horse to shape a chair leg.
Each chapter is introduced with a brief essay about why the objects were important to their owners and how they were used. Seeing the old tools in their rough condition adds to the story and the sense of connection one feels with these artifacts. It is not difficult to imagine the isolated families and the strength it took to survive in these mountains. As Guild members, there is a special connection to the items in this book. Whether or not you grew up in the Appalachian mountains, by living here and working with crafts you help to keep the traditions and the story of mountain folk alive.
About the Robert W. Gray Library:
The mission of the Robert W. Gray Library is to collect, preserve, and make available for research materials concerning the appreciation and knowledge about traditional and contemporary crafts - particularly the craft heritage of the Southern Appalachian region.
Library materials relate to craft work from around the world and in all media with historical background as well as "how-to" information. There are also materials on regional history and development.
The collection contains over 7,000 books and exhibition catalogs, 45 current periodical titles as well as many that have been donated and are no longer available. A recent addition is an audio-visual area where visitors may choose from over 100 craft-related videos.
While the resources do not circulate, the materials are available for use on site.
The Library is open whenever the Folk Art Center is open- every day from 9-6 (5pm in winter). It is housed on the second floor, to the left of the receptionist desk. The collection catalog is available on the library's computer at all times and a librarian is present four day's a week ( T-W-Th-F ) to assist users.
SHCG Library.
O.J. Mattil
Mattil created the first woodshop at Pi Beta Phi School funded through the industrialist Louis E. Voorhees of Cincinnati. Voorhees would later donate his Tennessee property and buildings for the founding of the Great Smoky Mountains National Park. At the shop students constructed cabinets, furniture, mountain furniture reproductions, miniature beds and chests. He researched, searching remote mountain homes, then reproduced traditional mountain designs in his pieces as well as creating new designs. Many of the Gatlinburg, TN woodcarvers such as Carl Huskey studied and worked under Mattil and created their own woodshops and carving businesses.
In the 1930s - 40s Mattil taught adult education at the Tennessee Valley Authority Center in Norris, TN after the TVA created the lake and electrification at Oak Ridge. Many of his students were workers on the 1933 dam construction. He worked with the Civil Conservation Corp (CCC) and with young men in thirty-four east Tennessee counties.
Mattil joined the Guild at its official founding in 1932 representing his business Woodcrafters and Carvers. He participated in the first traveling exhibition of the Guild in 1933 under the American Federation of Arts sponsorship. That show with over 500 items traveled to Washington, D.C., New York, Illinois, Nebraska, Missouri, Pennsylvania, Wisconsin, Virginia and Kentucky. Mattil served on the Guild Board over 34 years, being President from 1937 to 1940and 1966 to 1967. He was regarded as "Mr. Craftsman's Fair" by assisting with the Guild fair from its founding in 1948 and leading its organization and set-up for 43 fairs. When the TVA founded the craft organization, Southern Highlanders, Mattil participated on the Board of Directors until it joined the Guild in the 1950s. He served on the Guild's Old Crafts Committee which supported a museum of old crafts for the Great Smoky Mountains National Park resulting in the historic farm at the Oconaluftee Visitor Center. Mattil was awarded a Guild Life Membership in 1965 and was declared "Director Emeritus" of the Guild in 1971. He died in 1976. Mattil and his woodworking were mentioned several times in Allen Eaton's Handicrafts of the Southern Highlands. Mattil and his incredible volunteerism over three-quarters of the twentieth century contributed significantly to the success of crafts and craft organization in the Southern Highlands.
Claudia and John moved to Yancey County in 2003. By 2005 they were both members of the Southern Highland Craft Guild. John recalls visiting the area before the move and one of the places which resonated with him, assuring him this was the right place for them was the Folk Art Center. He appreciated Allanstand Craft Shop and the exhibition galleries and their obvious support of regional craftspeople. Their work is now represented at the Folk Art Center, Guild Crafts, Parkway Craft Center and Arrowcraft.
Claudia’s attachment to the Guild was formed years earlier. Her mother was a lifelong advocate of the arts and took Claudia year after year to Guild fairs – in Gatlinburg and later in Asheville. She grew up wanting to be a member of the Southern Highland Craft Guild. After her graduation from UNC – Greensboro she studied under legendary potter and SHCG member Charles Counts at Rising Fawn in Georgia.
Claudia and John have been blown away by the inspiring and supportive community in Yancey and Mitchell County. With its close proximity to Penland, the area is a mecca for talented craftspeople. The couple (who have each lived in several other art towns) notes that it is like no other place on earth – not only the quality of work being made but the amazing support that is provided by other artists and area galleries. They are both involved with the Toe River Arts Council and regularly participate in the TRAC studio tours. Claudia also regularly exhibits at the Spruce Pine Potters Market. She also plans to exhibit at the Craft Fair of the Southern Highlands, perhaps in October 2012.
Spending time at Yummy Mud Puddle is an opportunity to see a couple creating not only art, but living life as an artful collaboration. As business partners they share responsibilities. For example, Claudia handles the online elements and computer-related aspects of their work, and John makes regular trips to galleries to deliver work and check in with buyers. As artists they bounce ideas off one another and occasionally collaborate for exhibitions. They enjoy their lifestyle, living moment to moment, embracing the risks and solitude afforded craftspeople, and making up their own rules as they go along.
W.B. Tatter Studio/Gallery in St. Augustine, FL.
Artists' Reception
Saturday, January 28, 5 - 9pm