FIRE AND CLAY foothills NC Pottery • Seagrove • Catawba Valley • Moravian • Cherokee • Modern Display until 4/15/24 $10.95 Digest
Send a check for $32 to: Foothills Digest 3838 Cleary Road Laurel Springs, NC 28644 Name: Address: Phone: Card Number: Expiration: CVV Code: subscribe On the cover: Demmie Stewart turns a pot at Old Salem, in the style of the Moravian Potters.
4 foothills Digest 3838 Cleary Rd Laurel Springs, NC 28644 Winter 2024 Phone: 828.475.1323 E-mail: [email protected] Website: foothillsdigest.com Stock by Adobe Stock Created using Adobe Suite Edited with the assistance of Open AI PRINTED IN USA PARTNER COMPANY: ECKARD PHOTOGRAPHIC CARMEN ECKARD Editor in Chief Author, unless otherwise noted JON ECKARD Principal Photographer JOEY OSBORNE Partner SPECIAL THANKS TO: Anna Fariello, Steve Abee "Put it before them briefly so they will read it, clearly so they will appreciate it, picturesquely so they will remember it and, above all, accurately so they will be guided by its light." -Joseph Pulitzer
5 Dear Readers, I'm so glad you are joining me on this deep dive into North Carolina's pottery. I love pottery. If you love pottery, I hope this issue gives you a deeper understanding. If you don't currently love pottery, I'm hoping that this issue helps change your mind. We will look at the history of pottery across the state, and some of the fabulous potters who are working today, and we'll tell you where to find your next beautiful pot! Happy reading!
6 Purchase this print & others at EckardPhotography.com/Prints.
5 Letter from the Editor 8 From Clay to Pots 18 Earthen Bonds 20 Cherokee Pottery 32 Pottery Festivals 36 Catawba Valley Pottery 50 The Beauty of Kiln Openings 58 The Science Behind the Art 60 Catawba Valley's Clay 62 Kaolin Clay 64 Wild Clay 66 From Earth to Art 69 Fire Festival 70 Sustainable Pottery 72 Barry Huffman 74 Pottery Memories 76 A Chat with Mark Guess 79 Edgefield Pottery 84 Moravian Pottery 94 Alternate Firings 96 Groundhog Kilns 98 Seagrove Pottery 118 Pottery and Archaeology 120 Three Jugtowns 122 Pottery Traditions of Western NC 128 St. Asaph's Tradition 130 Face Jugs 132 Setting a Table 134 Making Pots is Good for You 137 Birds of a Feather 138 Clay Virtuosos 154 Additional Reading Table of Contents
8 Across the rolling landscapes of North Carolina, where the Blue Ridge Mountains give way to the gentle plains, there unfolds a narrative as old as the land itself. This tale is not only etched in the verdant scenery or whispered in the rustling pines; it is a saga of earth and fire, of hands that have coaxed clay into timeless forms. From the coastal tidewaters to the rugged highlands, North Carolina has harbored a pottery tradition as diverse and expansive as its geography. Here, the story of ceramics is not confined to a single region but is a testament to the entire state’s rich deposits of clay and its inheritance of cultural artisanship. As we trace the contours of North Carolina's pottery heritage, we discover a legacy that traverses far beyond local boundaries, engaging with a broader history of human and material connection. From the esteemed Native American potters, whose ancestral knowledge is imprinted in every curve and pattern of their creations, to the myriad of influences that have shaped this craft over centuries, North Carolina has stood as a beacon of ceramic mastery. FROM CLAY TO POTS
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11 EARLY BEGINNINGS: FOUNDATIONS IN CLAY Long before the European settlers set foot on this fertile land, the first potters were already shaping North Carolina's destiny. These were the Native Americans, particularly the Cherokee and Catawba, with a pottery lineage stretching back an astonishing three millennia. Their technique was as pure as it was primal: the coil-building method. Imagine hands deftly rolling clay into sinuous lengths, stacking them in perfect synchrony to conjure vessels of purpose and artistry. Artifacts unearthed today—bowls and jars from the early sixteenth century— speak of a people intrinsically connected to their environment. The indigenous population wasn't merely passing through this mountainous realm; they were leaving behind legacies. The eight fluted points from the Appalachian Summit, as reported by Phil Perkinson in 1973, became silent testimonials of their intimate bond with the land, even 10,000 years ago. When European settlers arrived, they didn't just encounter a bountiful terrain but a treasure trove of knowledge. The majority of North Carolina, with the exception of the coastal plain, was a potter’s dream. Its clay-rich soil provided the foundation for settlers, who, using skills from their homelands, crafted their own unique styles of pottery. These newcomers, whether learning from the Native Americans or infusing their European wheel-built pottery traditions, began a synergistic dance with the earth that yielded more than just utilitarian wares. They crafted stories. While they recognized the functional value of pottery—creating jars, jugs, and vessels that spared them the cost of storage—the true magic was in the cross-pollination of techniques. From the Moravians of Salem, who by 1766 had curated distinctive pottery designs, to communities in the Catawba Valley and Seagrove, the canvas of North Carolina began to fill with various pottery traditions. Yet, amid this tapestry, one thing was clear: pottery was not just about function or even art—it was the soulful reflection of a people and their land. ARCHAEOLOGICAL DISCOVERIES: REVEALING THE DEEP PAST OF THE TAR HEEL STATE The diverse terrain of North Carolina, from its sweeping mountains to its expansive plains, serves not only as a backdrop for natural splendor but also as a vault of human antiquity. These lands are silent custodians of millennia, cradling the secrets of ancient societies and their harmonious existence with the earth. Throughout North Carolina, the echoes of the Paleo-Indians traverse time, their legacy embedded in the soil and their narratives captured in the vestiges of their presence. As archaeologists uncover the subtle imprints of Archaic era humans, each layer unearthed contributes to the complex tapestry of the state's history. The discovery of stone points and primitive tools paints a vivid picture of the daily lives and Crafted between 1000 and 300 B.C. Reconstruction of jar found in Swannanoa Courtesy of ancientnc.web.unc.edu
12 ingenuity of these early inhabitants. Transitioning into the Woodland period, the storyline of North Carolina's ancient inhabitants takes a creative turn. Here, the earth reveals stories not just of survival, but of expression and craft – the age-old tradition of pottery. This journey into the heart of North Carolina's prehistoric pottery unfolds a saga of artistry interwoven with cultural evolution, showcasing a people intimately tied to the very clay beneath their feet. The Woodland period in North Carolina stands as a significant juncture in the annals of ancient craftsmanship, marking the advent of pottery in the region. The early phase of this period, known as the Swannanoa phase, witnessed the debut of ceramics. These pioneering creations, often decorated with cord-marked or fabric-impressed designs, encapsulate the prevailing artistic sensibilities of the time. As we progress into the Middle Woodland period, or the Pigeon phase, the pottery underwent remarkable refinement. Materials like crushed quartz began to be integrated into the ceramic fabric, leading to a more robust and compact paste. This advancement was coupled with meticulous finishing techniques, notably burnishing the interior surfaces using steatite pebbles, lending a polished finish to the creations. REGIONAL DISTINCTIVENESS AND EXTERNAL INFLUENCES North Carolina's pottery spectrum further blossomed with regional nuances and external influences. The coastal regions, with their distinctive Colington phase, produced pottery that often bore simple stamped designs or punctations. The Piedmont region, on the other hand, showcased the Yadkin phase, characterized by simple, tempered pottery often devoid of surface treatments. Simultaneously, the cultural amalgamation in the region, aided by trade and migration, led to the infusion of external pottery styles. One can witness the influences from the Mississippian culture, especially in the later periods, where complex stamped designs and effigy vessels began to emerge. Pottery in North Carolina was not just an artistic expression; it was intrinsically linked to the daily and ceremonial lives of the communities. Utilitarian pots, used for storage, cooking, and serving, were commonplace. However, certain specialized vessels, adorned with intricate designs or symbolic motifs, likely held ceremonial or ritualistic significance. The presence of burial urns and other such ceremonial pots in archaeological sites underscores the cultural and spiritual importance of pottery. The legacy of pottery in North Carolina offers a window into the lives, beliefs, and artistic endeavors of its ancient inhabitants. Every shard, fragment, and complete vessel unearthed speaks of a time when hands molded clay into functional and symbolic masterpieces
13 .INFLUENTIAL FIGURES SHAPING NORTH CAROLINA'S POTTERY LEGACY In North Carolina, pottery is more than an art—it's a legacy, passed down through generations, each bringing their own flair, innovation, and passion. Some individuals have left an indelible mark on this tradition, shaping its course and ensuring its survival amidst changing times. Within the rich tapestry of pottery traditions in the Catawba Valley, the name Daniel Seagle stands out prominently. Active in the heart of the 19th century, Seagle wasn't just another potter; he was an innovator whose distinct craftsmanship significantly influenced the pottery landscape of the region. He is especially celebrated for introducing the alkaline glaze, a pioneering technique that brilliantly utilized wood ash and lime to produce a unique finish on pottery. This wasn't merely a decorative choice; it was an innovation that melded function with aesthetic appeal, resulting in pieces that were treasured both for their utility and their beauty. Seagle’s influence transcended his lifetime. His introduction of the alkaline glaze did not just add another method to the potter's toolkit—it set a new standard. As a result, generations of potters who followed in the Catawba Valley adopted, adapted, and revered this technique, making the alkaline glaze an emblematic signature of the region's pottery. Through his work, Seagle cemented his legacy, ensuring that his contributions to the craft would be remembered and celebrated for centuries to come. In the intricate tapestry of North Carolina's pottery heritage, J.B. Cole stands out as a towering figure, inseparably intertwined with Seagrove, one of the most celebrated pottery hubs in the state. Founding the J.B. Cole Pottery in the nascent days of the 20th century, Cole's craftsmanship was marked by an exceptional versatility, creating an array of pieces that ranged from essential utilitarian objects to captivating decorative artifacts. With an unwavering commitment, he was passionate about utilizing local clays and emphasized the importance of preserving and promoting indigenous pottery techniques. Because of this dedication, Seagrove's ceramic works retained their genuine allure, reflecting the profound historical and cultural roots of the region. But J.B. Cole's lasting legacy is not just encapsulated in the exquisite ceramics he left behind; it resonates vibrantly in the enthusiastic community of potters he mentored and galvanized. His seminal contributions transformed Seagrove into a thriving epicenter of pottery, magnetizing both seasoned artisans and eager enthusiasts from various corners of the world. Images courtesy of Leland Little Auctions, Ltd.
Within the illustrious history of North Carolina pottery, the Moravians of Old Salem stand out as exemplars of ceramic artistry. Their legacy, deeply entrenched since the 18th century, shines particularly brightly through the seminal contributions of figures like Rudolph Christ. Christ, as a master potter, played a pivotal role in establishing and refining the Moravians' distinctive style. He was instrumental in perfecting intricate slip decoration techniques and championing signature forms such as animal-shaped bottles and the emblematic "Moravian Star." These innovative potters masterfully amalgamated traditional European methodologies with the rich resources of the New World, crafting ceramic pieces that seamlessly blended functionality with aesthetic splendor. The profound influence of Christ and his fellow Moravian potters is undeniably present in today's ceramic landscape. Modern-day potters, while fostering their unique identities, frequently pay homage to the ageless Moravian designs, drawing deep-rooted inspiration from their unmatched artistry. As we trace the lineage of North Carolina's pottery, it's evident that it isn't just about clay and fire. It's about visionaries who molded the future with their hands, leaving behind legacies as enduring and captivating as their creations. North Carolina Pottery Center Display, with Cole pieces and other early Seagrove pottery.
RESHAPING TRADITIONS: THE EVOLUTION OF NORTH CAROLINA'S POTTERY In the annals of North Carolina's history, the Industrial Revolution stands as a formidable turning point, reshaping its storied pottery traditions. Before this seismic shift, pottery was not just a craft but a necessity. Typically, rich clay deposits in regions like Seagrove and the Catawba Valley fueled a thriving pottery industry, essential in a world yet untouched by industrialization. Then came the age of glass jars, sweeping across the landscape with the unstoppable force of modernity. As these jars became widely accessible, the once-crucial demand for pottery plummeted, almost overnight. This sudden change hit North Carolina's potters like a storm, drying up markets and extinguishing long-standing traditions. In many places, pottery practices vanished, leaving behind only echoes of a once-vibrant heritage. In this crisis, North Carolina's potters faced divergent paths. The Catawba Valley witnessed an extreme contraction of its pottery community, with Burlon Craig emerging as the lone torchbearer. Unencumbered by competition, Craig steadfastly adhered to tradition, crafting pot after pot in the age-old manner. Over decades, his dedication caught national attention, igniting a resurgence of interest among young potters. This led to a renaissance of sorts, with the valley's pottery now bearing Craig's unmistakable imprint—a testament to his loyalty to tradition. Seagrove's story took a different turn. Here, the number of potters dwindled but never to the brink of extinction. The persisting competition, coupled with changing market dynamics, spurred a pivot towards collector's pottery—pieces valued more for their aesthetics than utility. This environment of creative rivalry fostered a hotbed of innovation, attracting more potters and diversifying the region's pottery landscape. Today, Seagrove stands as a vibrant hub of artistic pottery, marked by an abundance of styles and creative expressions.
Meanwhile, the Cherokee potters navigated these turbulent waters by adapting their styles to appeal to tourists. This strategic shift ensured the survival of their craft through tough times. In recent years, a return to their roots has seen Cherokee pottery once again reflect its traditional styles, preserving a vital part of their cultural heritage. Shiny, black exteriors replaced the traditional smoke patterns, and the pottery became more decorative than functional. The latter part of the 20th century saw a resurgence in interest towards the older, traditional Cherokee pottery styles. While the postcard is labeled “Making Cherokee Pottery,” the woman at left is working on a bead loom. The three artisans are believed to be Cora Arch (Wahnetah); her mother, Ella Arch; and her sister-in-law, Sarah Arch. National Museum of the American Indian, Smithsonian Institution: P29272 Thus, the Industrial Revolution, a game-changer in the truest sense, carved distinct paths for North Carolina's pottery regions. Each area's response to this challenge has left an indelible mark on the state's pottery landscape, shaping a diverse and rich tapestry of ceramic art that continues to evolve and inspire. POTTERY ACROSS NORTH CAROLINA TODAY In North Carolina, the rich soils and cultural tapestry of the entire state have fostered a profound appreciation for pottery. This tradition thrives vigorously, nurtured by a dynamic arts community that honors ancestral craftsmanship while embracing modern artistic expression. The potter's wheel turns across the state, not just confined to the crafting of functional ware, but also spinning narratives, shaping experiences, and sparking dialogues in every finished work. The state is alive with pottery events that celebrate this time-honored art form. Schools like the esteemed Penland School of Craft and the John C. Campbell Folk School, not limited to the mountains but influential throughout the state, exhibit the work of both rising and renowned artisans,
17 providing education and community engagement through workshops and shows. Festivals and markets, including the famed Seagrove Pottery Festival, the Catawba Valley Pottery Festival and the WNC Pottery Festival become lively hubs for potters to exhibit their creations, foster connections, and revel in collective artistic passion. Attendees at these gatherings are regaled with an array of pottery styles, each narrating a unique story of its maker. From the coastal plains to the Piedmont and up to the Appalachian Range, clay speaks of the state's multifaceted cultures, ingenious craftsmanship, and community narratives. North Carolina's pottery scene reflects not just a record of artistic endeavors but also a dynamic mirror that showcases the evolving aspirations and innovative spirit of its populace. The enduring legacy of pottery in North Carolina is a testament to the state's enduring spirit of resilience and inventiveness. Every pot, be it a product of necessity or an artifact of artistic whimsy, embodies a piece of history, a snapshot of the present, and the aspirations of the artisan. As North Carolina steps into the future, its pottery remains a powerful emblem of cultural continuity. It is a call to preserve our heritage, to seek out new methods and ideas, but above all, to keep weaving stories of aspiration, determination, and splendor. These stories, imprinted in earthenware and stoneware, kiln-fired with ambition, reveal the very essence of North Carolina's heart and spirit. f D M. Anna Fariello is telling the stories of Southern Appalachia. You can purchase her books at local book stores or using the QR code.
18 Earthen Bonds By Carmen Eckard Assembling this edition of Foothills Digest has been a reflective journey, prompting me to delve into the depths of my fascination with pottery. This introspection has seen me contemplating my personal pottery collection, which is richly adorned with pieces from Catawba Valley, each with its unique alkaline glaze that never ceases to captivate me, as well as some cherished Cole Pottery artifacts that hold a special place in my heart. Time and again, I am drawn to these familiar forms and textures, as if they were old friends with whom I share an unspoken bond—a dance of shadows and light captured in solid form. My exploration into the storied past of North Carolina's pottery has greatly expanded my appreciation for the magnetic pull of this art form. It's as though the very essence of pottery—clay that for millennia was enriched with the water of our flowing rivers, waiting to be dug out of the banks, then given form and permanence by the heat of kilns fueled by the wood of local trees—creates an indelible link to the land itself. This alchemical marriage of the elemental— earth, fire, and water—gives rise to creations that are not just objects of utility or beauty, but vessels that encapsulate the energy and ethos of a specific place and moment in time, echoing with a resonance that is deeply meaningful and personal to me. In my collection stands my favorite piece: a distinguished Rebecca Jug, expertly crafted by Michael Ball, its surface boasting a lizard motif that adds a touch of whimsy to the traditional design. The Rebecca Jug, with its historical significance rooted in the biblical story of Rebecca at the Well, became a cultural icon in North Carolina during the 1930s, capturing the hearts of many—a sentiment clearly reflected in the Cole Family's catalog offerings and the fervent demand they witnessed. This particular form of pottery, with its historical roots and personal significance, continues to hold a place of honor as my preferred choice of craft. My own journey to the rolling foothills of North Carolina was not that of a native born, but rather that of a soul seeking its true home. Originating from Sanford, North Carolina, my early years are laced with fond recollections of the Cole Pottery Store, a place of wonder where, as a child, I would often attempt to catch a glimpse of the magic taking place at the potter's wheel. Those early encounters with the Rebecca jugs that adorned the shelves imprinted upon me a lasting appreciation for this form, which remains a testament to my childhood wonderment. Upon completing my studies at ASU, I was drawn to the Catawba Valley, a move that would prove to be destiny as I became intertwined with
19 a family who not only appreciated pottery but lived and breathed its tradition. It was Granny Eckard, my beloved mother-in-law, who introduced me to the exceptional work of Burlon Craig—a family friend—and other eminent Catawba Valley potters. She ushered me into the enchanting world of kiln openings, a pivotal experience that marked the beginning of my lifelong passion as a pottery collector. The jug that now sits among my treasured possessions is more than a mere container; it is a chronicle of my life's journey, a testament to the red piedmont clay upon which I walked during my formative years, and a playful homage to our pet lizards. This piece not only embodies the traditional aesthetics of Catawba Valley with its greenish-brown glaze, but it also showcases a mesmerizing pattern of dripped glass and cobalt that I find myself completely enamored with. The refrain "I'm a tar heel born, and a tar heel bred, and when I die, I'll be a tar heel dead," captures the essence of my bond to this region. The profound connection I feel to this land, to its fertile earth, to the state of North Carolina, is a feeling that pottery celebrates in its very form—a manifestation of joy and connection to place that would surely garner Marie Kondo's approval for sparking joy. It is with great hope and earnest intention that through the pages of this issue, you, too, will discover that singular piece of pottery that tugs at your heartstrings, as mine does to me. This edition is crafted as an ode to pottery—a love letter to its timeless art form, and a celebration of the hands that shape it, the earth that gives it, and the fire that breathes life into it.
ᏣᎳᎩ ᎦᏓᎫᎦ ᎪᎱᏍᏗ ᎤᏬᏚᎯᏍᏓᏅᎢ Cherokee Pottery: Something Made Pretty By M. Anna Fariello "The rich vocabulary of the Cherokee describes “things made” and “things that are made to be beautiful,” but not “art” in the way it is generally known. There is no distinction in their language that separates “art” from other objects made. This is not to say that the things they make are not aesthetically beautiful, but that beauty is only a part of their reason for being." Quote from Of Land & Spirit: Cherokee Art Today, by the author. Pottery is one of the oldest of human activities and, for Eastern Band Cherokee, it is an activity that connects today's community to elders long passed away. Touching, holding, using a piece of pottery, or any craft for that matter, connects us across the bounds of time and space. Taking shape within a potter's hands, a vessel grows outward from a mass of clay, turning, shaping, completing a cycle of creativity that repeats itself again with each new pot made. In the hands of indigenous makers, this cycle contributes to an unbroken tradition of shared knowledge and community production. In Cherokee lore, the water spider was the inventor of pottery. Eastern Band storyteller Kathi Smith Littlejohn explains, “[The water spider] went down to the river and got some mud…and she made a little bowl. And she put it out in the sun/and let it get real hard, and then she tried to put water in it, after she had put it in the fire and made it real hard. And sure enough/she could carry more water that way, and without it leaking like the basket did.” This is how pottery was invented ages ago.
Traditionally, native potters made round-bottomed cooking pots that could balance in the embers of a fire. This rendering of a Native American cooking pot was made during John White’s Voyage to North Carolina’s Outer Banks. Watercolor painting by John White, 1585. This reconstructed large Middle Qualla jar (AD 1500-1700) was excavated from the Birdtown Mound in Swain County, North Carolina on the western edge of the Qualla Boundary. Photograph courtesy of Research Laboratories of Archaeology, University of North Carolina at Chapel Hill. Archaeologists and ethnologists have their own explanations for the evolution of pottery. In examining excavated clay objects, they’ve identified numerous clay forms including cooking pots, storage jars, gaming pieces, toys, and clay tools. One of the earliest written first person descriptions of Cherokee pottery comes from James Adair’s History of the Indians, published in 1775. “They make earthen pots of very different sizes,” he wrote, “so as to contain from two to ten gallons; large pitchers to carry water; bowls, dishes, platters….They place them over a large fire of smoky pitch pine, which makes them smooth, black, and firm.”
A century after Adair’s observations, Smithsonian ethnologist James Mooney began visiting the Qualla Boundary. There, Mooney observed a family of three potters who lived in Birdtown, near Bryson City. Uhyunli, Katalsta, and Iwi Katalsta were all part of an extended family of pottery makers. By the time Mooney encountered the group, two of them—Uhyunli and Katalsta—were quite elderly. Even though Uhyunli was 75 and Katalsta ten years older, both were still making pottery. Katalsta’s daughter, Iwi Katalsta (1840 – c. 1926) was the youngest of the three and she was 50 years old. Mooney was impressed to have found a family of potters whose traditions and skills dated back three generations. Mooney was primarily interested in the Katalstas’ pottery because he believed it to be authentically Cherokee. The Katalsta family produced a high quality stamped ware that he claimed resembled archeological specimens. In Mooney’s photograph of Katalsta and her daughter, a small finished pot is sitting to her left. Its rounded body is necked in, flaring out at its upper rim, a visual document attesting to the authenticity of this round-bottomed form. The pot made by Katalsta is comparable to a paddlestamped jar photographed for a 1903 Smithsonian report.
Katalsta (left) and her daughter, Iwi Katalsta. James Mooney photograph in the collection of the National Anthropological Archives. Cherokee jar with paddle stamping and notched rim, pictured in the Twentieth Annual Report of the Bureau of American Ethnology, 1903. Twenty years after Mooney made his historic visit, archaeologist Michael Raymond Harrington arrived on the Boundary. By the time of Harrington’s visit in 1908, the elder Katalsta had passed away. Harrington photographed Iwi Katalsta, who not only consented to be photographed, but gave Harrington a step-by-step demonstration of a process that had never before been captured on film. His photo-essay begins with the potter working on the porch of her home and processing clay for use. She is dressed in a calico print, common attire of the time and, like almost any photograph of a Cherokee woman at the 645 Tsali Boulevard Cherokee, NC, 28719 828.497.3103
As a demonstration, Iwi Katalsta made a pot for Harrington. She began by making a form today referred to as “pinch” pot. Such a modeled form began with a fist-sized ball of clay and was pinched, using the thumbs and fingers, to depress the center of the ball to form the shape of a small bowl. In this photograph, Katalsta has used the pinch method to form the base of a pot that she will finish by coiling. Much of the pottery made by Cherokee people was formed in the round using the coil method. Applying this technique, a potter made a thick rope of clay by rolling it between the hands or over a flat surface. The coil was then wound around a clay base to build up the sidewalls of a pot. Using a polished stone, the potter burnished the pot's surface, leaving a smooth finish. This series of photographs of Iwi Katalsta was made by M.R. Harrington in 1908. Museum of the American Indian Heye Foundation Report, 1922.
turn of the 20th century, she is wearing a patterned head wrap. While the photographs are in black and white, typically, these cotton headscarves were brightly colored, wrapped over the hair and tied behind the neck. Also typical of her attire is her white overskirt, a form of female garment that was common to native women and Euro-American settlers alike. In these photographs, Katalsta began to build up the sidewalls of her pot. She had carefully laid a rope of clay along the upper edge of the modeled base. Using her thumb on the inside of the pot, she pressed the coil onto the base to create a secure join. She will add additional lengths of clay to raise the sidewalls further. Katalsta demonstrated her use of a stamping paddle on a shaped pot. She was careful to hold the inside of the pot with one hand as she paddled the outside to produce an overall pattern on the vessel’s exterior surface. This step not only had the benefit of adding a decorative element to the clay, but also served to compress it, securing the coils one to the other. Her paddle was carved with grooves that left impressions in the soft clay. Wood paddles, such as these, were used historically and today to mark the pot’s exterior surface. Photograph from the Twentieth Annual Report of the Bureau of American Ethnology. This large open jar, collected in 1885, is believed to have been made by Iwi Katalsta. It is a good example of a vessel that Harrington would call “old style” Cherokee ware. Its base is rounded. Its sidewalls swell outward before tapering in. Overall, its exterior is paddle stamped to produce a soft patterned surface. Research Laboratories of Archaeology, University of North Carolina at Chapel Hill.
26 Both Harrington, and Mooney before him, believed that the potters whom they observed on the Qualla Boundary were the last makers of traditional Cherokee pottery or what they called “old style” pottery. In many ways, both ethnologists were mistaken, but their ideas do hold some merit. At the turn of the 20th century, the old-style Cherokee pottery made by the Katalstas was giving way to a more “modern” and popular style made to appeal to a growing tourist clientele. Today we think of Cherokee, North Carolina as a popular hub of tourism. With the building of the Blue Ridge Parkway and the Great Smoky Mountains National Park in the 1930s, tourists began to discover the cultural wealth of the Cherokee. Visitation boomed and continues today. The 1940s and 1950s saw the formation of a number of cultural destinations including Oconaluftee Indian Village, Museum of the Cherokee Indian, and Qualla Arts and Crafts Mutual. Visitors come for events like the annual Cherokee Indian Fair and Unto These Hills historical drama. This audience affected the production of pottery, which came to be used for display rather than functional use. The following potters were active during this tourist boom. Lillie Beck Bryson (1876 – 1951) was a Cherokee woman who was raised off the Qualla Boundary in Rabun Gap, Georgia. In 1930, she married former Principal Chief Joseph Saunooke and moved to Western North Carolina where she continued to make pottery for another 20 years. This postcard labeled “Making Cherokee Pottery” shows Lillie Bryson on the porch of her home. Although Bryson was Cherokee, the pottery vase (lower left) is made in the Catawba style. W.M. Cline postcard in the collection of the Southern Highland Craft Guild Archive.
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Rebecca “Amanda” Wolf Youngbird (1890 – 1984) was born in 1890 and lived on the Qualla Boundary until she was 13, when she was sent away to boarding school in Carlisle, Pennsylvania. Back home in Cherokee in her twenties, Youngbird began experimenting with clay. In 1934, at the Southeastern Fair in Atlanta, Youngbird exchanged ideas with Pueblo potter Maria Martinez, adopting the double-spouted wedding vase as a signature piece. Rebecca Amanda Youngbird. National Archives and Records Administration. The double-spouted Wedding Vase merges two forms into one. Amanda Swimmer explained that after the bride and groom drank out of one side or the other, they threw the vase over their shoulder. “If the vase didn’t break, the marriage would stand,” she said. Wedding vase by Rebecca Amanda Youngbird. Qualla Arts and Crafts Mutual, Inc.
Maude French Welch (1894 – 1953) was born near Cooper's Creek in the Birdtown section of the Boundary. She had strong ties to the Catawba tribe, east of the Qualla Boundary. Welch learned to make pottery from her Catawba extended family. In the mid 1930s, she taught for a time at the Cherokee Boarding School. Maude Welch, circa 1950. North Carolina State Archives, Travel and Tourism Division Photographic Files; photograph by Bill Sharpe. Flame-smoked vase made by Maude Welch. Qualla Arts and Crafts Mutual, Inc. Charlotte Welch Bigmeat (1887-1959) was steeped in the pottery tradition. When Charlotte married Robert Bigmeat, she forever made the Bigmeat name synonymous with high-quality Cherokee pottery. She had five daughters, all of whom made pottery: Tinie Bigmeat Thompson (1913-1999), Ethel Bigmeat Queen (1916-1942), Elizabeth Bigmeat Jackson (1919-2008), Mabel Bigmeat Swimmer (1925-1991), and Louise Bigmeat Maney (1932-2001). Louise Bigmeat Maney later opened up a storefront studio and called it the Bigmeat House of Pottery. Charlotte Bigmeat is shown demonstrating at the 1948 Craftsman’s Fair of the Southern Highlands in Gatlinburg, Tennessee. Her nametag reads, “Cherokee School Pottery.” Southern Highland Craft Guild Archive. Bear paw. Made by a member of the Bigmeat family. Southern Highland Craft Guild.
30 Cora Arch Wahnetah (1907-1986) learned the techniques of both coiled and modeled pottery from her mother, Ella Long Arch (b. 1889). She used the coil method to form her pots and paddle stamped them to add a surface design. She was active in cultural preservation, working with the Oconaluftee Indian Village to create authentic pottery demonstrations and joining Qualla Arts and Crafts Mutual artisan cooperative as a charter member in 1946. By the time Cora Wahnetah became a potter in her own right, she was the first potter to produce forms from older pottery traditions. Cora Wahnetah is using a carved paddle to produce a curvilinear pattern. Qualla Arts and Crafts Mutual, Inc.; Indian Arts and Crafts Board photograph. Wedding vase. Cora Wahnetah. Qualla Arts and Crafts Mutual, Inc. Amanda Sequoyah Swimmer (1921 - 2018), a self-taught potter, was born and raised in the Strait Fork section of Big Cove, a remote section of the Qualla Boundary. For many years, she worked at the Oconaluftee Indian Village where she was originally hired to demonstrate finger weaving. She quickly switched to pottery, learning from fellow demonstrators. Swimmer used traditional techniques and tools, never a potter’s wheel. She pressed designs onto the surface of the clay with wooden paddles or incises linear designs using sharp stick. The subtle coloration on her pots came from burning them with different types of wood. Amanda Swimmer demonstrating at the 2010 Cherokee Voices Festival. Photograph by the author.
Amanda Swimmer shown demonstrating the process of incising using a sharpened stick. Qualla Arts and Crafts Mutual, Inc. Tripod effigy pot. Amanda Swimmer. Qualla Arts and Crafts Mutual, Inc. Today’s Cherokee potters make both traditional and contemporary pieces. Their work can be purchased from Qualla Arts and Crafts Mutual, Medicine Man Crafts, and the Museum of the Cherokee gift shop, among other local shops. In taking home a piece of Cherokee pottery, one brings home an object of both history and creativity and helps sustain a valued tradition. Curator and scholar, Anna Fariello is a former Smithsonian Renwick Fellow in American Craft. Among her publications, she is curator of multiple exhibitions, author of three books on Cherokee crafts, art editor for the Encyclopedia of Appalachia, and co-author of the textbook, Objects & Meaning: New Perspectives on Art and Craft. More information on Cherokee pottery can be found in her book, Cherokee Pottery: From the Hands of our Elders.
32 North Carolina is a vibrant center for ceramic arts, hosting a variety of festivals that celebrate the rich clay heritage of the region. From the rolling hills of Seagrove to the scenic mountains of Spruce Pine, these festivals not only showcase an array of pottery ranging from functional wares to sculptural artworks but also honor the skilled artisans of the Tar Heel state. Below is a curated list of major pottery festivals in North Carolina, featuring events that embody the charm and diversity of the state's pottery culture, complete with their usual timings and locations for those interested in experiencing the legacy and contemporary pulse of North Carolina ceramics. Catawba Valley Pottery & Antiques Festival - Normally held in March at the Hickory Metro Convention Center in Hickory, NC. This festival and the John C. Campbell Folk School l celebrates the pottery tradition of the Catawba Valley area, including contemporary potters and historical wares. Foothills Digest is a proud sponsor of this event. Celebration of Seagrove Potters Fall Festival and Tour- Typically takes place in November at the historic Luck's Cannery in Seagrove. It features potters from the Seagrove area, which is often referred to as one of the largest communities of potters with the longest continual history of pottery making in the United States. The Mint Museum Potters Market Invitational - This festival usually occurs in September at the Mint Museum Randolph in Charlotte, NC. It brings together North Carolina Pottery Festivals
potters to offer their wares and showcase the diversity of pottery in the state. Spruce Pine Potters Market - Held annually in October, potters from the surrounding Blue Ridge Mountains gather at the Cross Street Building in Spruce Pine to exhibit their work. Clay Matters Pottery Guild’s Spring and Fall Sales - These sales events are typically held biannually in Spring and Fall in Charlotte, featuring works by members of the guild. Specific dates can vary from year to year. Cleveland County Arts Council’s Pottery Festival - This festival generally occurs on the first Saturday in November at the LeGrand Center in Shelby, NC. It is a celebration of both traditional and contemporary pottery. WNC Pottery Festival - Taking place in Sylva, this event is typically scheduled for the first Saturday in November. The festival showcases highly recognized artists from across the United States and is held in the picturesque mountain Jackson County. Cedar Creek Gallery Pottery & Glass Festival – Held biannually the first two weekends of April and October for the last 56 years, this festival celebrates pottery and glassblowing demonstrations from artists working on the property and artists from other parts of the United States. For the most current information, it is always best to search for the event name along with the year to find official announcements, as details and dates may vary slightly each year.
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37 Catawba Valley pottery, with its distinctive mosaic of earthen browns and subtle green hues, embodies a narrative that extends beyond its physical form. Each piece is a testament to a rich heritage, molded from the fertile clay of the Catawba River—a heritage where the ancient artistry of the Catawba Nation converges with the intricate styles brought by European settlers. These are not just utilitarian objects or artistic treasures; they are storied vessels that carry the weight of history and the resilience of a craft passed through the ages. The unique blend of cultures and the unyielding dedication of artisans have given this pottery a voice, one that speaks of the unbroken bond between the earth's gifts and human expression. The resilience of this pottery tradition is a marvel; it is a chronicle of survival, of the preservation of techniques passed down through the whisper of generations. It mirrors the steadfast flow of the river that gave it life, surviving the march of time and the flux of human history. In the revivalist hands of artisans like Burlon Craig, Catawba Valley pottery experienced a renaissance, a reclamation of its glory, affirming the profound connection between creation and the pulse of the earth. This is the story of Catawba Valley Pottery: a journey through time, a fusion of cultures, and a living lineage of craftspeople who speak through their hands, molding a tradition that stands defiant against the transient nature of the modern world. Catawba Pottery at the Crossroads of Cultures As European settlers began to carve out new homes in the southeastern territories of what would become the United States, they encountered a vibrant tapestry of indigenous cultures. One of the most captivating encounters was with the Catawba Nation, whose pottery-making traditions predated the settlers by centuries. Catawba Nation Pottery, courtesy of Leland Little Auctions, Ltd
38 By the time European feet touched these shores, the Catawba people had already mastered the art of pottery. Their distinctive creations bore the mark of generations of knowledge, crafted from clay sourced from the banks of the eponymous Catawba River. These earthenwares, burnished to a high sheen and often devoid of the stamped designs prevalent in other southeastern tribes, told tales of the landscape, the seasons, and the very soul of the Catawba people. Women of the Catawba Nation, traditionally the bearers of pottery knowledge, became pivotal agents of a new cross-cultural exchange. They engaged with European potters, and taught them with their own pottery techniques, and passed down a hybrid craft to the next generation of both Catawba people and the settlers. This dynamic exchange ensured that Catawba Valley pottery, even as it evolved, remained a vibrant reflection of a community at the intersection of change and tradition. The Catawba Nation has a continuing pottery tradition today, and modern potters are creating beautiful works in the same style of their ancestors, even digging the clay from the same riverbanks for 600 years. The early settlers of the Catawba Valley, primarily of German descent, journeyed from Pennsylvania via the Great Wagon Westerwald Pottery from 1730, demonstrating the traditions that settlers brought with them. Courtesy of Leland Little Auctions, Ltd. Road, bringing with them cherished Rhineland pottery traditions. These traditions encompassed the crafting of sizable whiskey and molasses jugs, utilitarian milk crocks, and essential kraut jars used for pickling. While the Catawba's coiled pots were primarily hand-built, European settlers introduced the potter's wheel, allowing for greater consistency and the ability to produce larger quantities. The influence of European ceramics, particularly saltglazed stoneware and slipware, started to emerge in the local pottery. The pottery of the Catawba Nation and early Catawba Valley settlers during this period of cultural melding serves as a testament to adaptability, resilience, and the power of art to transcend boundaries. Each piece from this era not only holds clay and glaze but also a moment in time when two worlds met, learned, and created together. One of the earliest recorded potteries in the Catawba Valley was helmed by Daniel Seagle (ca.1805-1867) of Lincoln County. Seagle's pottery, representing the region's foundational years, was not Catawba Indian Pottery. Courtesy of Leland Little Auctions, Ltd.
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40 just a testament to craftsmanship but also to the perseverance of the craft in the face of evolving societal needs and demands. After Seagle's demise, the legacy was capably carried forward by his son and various apprentices, ensuring the continuation of the craft into the late 19th century. The Seagle name became synonymous with dedication to the pottery tradition, setting a benchmark for quality and craftsmanship in the Catawba Valley. By the 18th century, Catawba Valley had established itself as a hub for pottery production. As settlements grew, so did the demand for pottery. Jugs, crocks, and other vessels were needed not just for households but also for the burgeoning industries, like distilleries, which required large stoneware vessels. Advancements in kiln technology, especially the introduction of the groundhog kiln, enabled Catawba Valley potters to fire larger quantities of pottery with better control over temperature. These elongated, chambered kilns, partly buried in the earth, were more efficient and produced a consistent heat, ensuring higher-quality output. The 19th century saw a surge in pottery production, paralleling the growth of the American nation. As roads and transportation improved, Catawba Valley pottery began to find markets outside the immediate region. Potters became more experimental, introducing new glazes and decorative techniques. Alkaline glazes, using ash or lime, became popular, imparting a glossy, often greenish hue to the pottery. However, the industry wasn't without its challenges. The Civil War disrupted production and trade, but the resilient potters of Catawba Valley adapted and persevered. Postwar, the region saw an influx of potters from other areas, further diversifying the styles and techniques available. This era also witnessed the emergence of other significant potteries that etched their mark on the Catawba Valley pottery landscape. These included potteries operated by the Hartzog family, the renowned Hilton family, and the siblings Harvey Ford Reinhardt and Enoch William Alexander Reinhardt. Each of these families and individuals contributed distinctively to the craft, infusing their own flair and techniques, while firmly rooting their work in the tradition of the Catawba Valley. Their potteries, known for their distinctive designs and impeccable quality, played a pivotal role in elevating the status of Catawba Valley Pottery to a respected art form.
41 Towards the end of the 19th century, with the advent of industrialization and mass-produced containers, there was a sharp decline in the demand for handmade pottery. And this is where Catawba Valley Pottery could have faded into the annals of history. It very nearly did, save for the work of one man. It was Burlon B. Craig, a man whose hands danced in the rhythm of clay and fire, who emerged as the steward of this Catawba Valley pottery heritage. Born in 1914, not into a lineage of potters but to the pastoral serenity of Lincoln County, North Carolina, young Craig's initiation into pottery was a serendipitous trade-off. James Lynn, a neighbor, imparted the nuanced techniques of Catawba Valley pottery to Craig in exchange for the lad's help in chopping wood. This humble beginning soon turned into an unquenchable passion. Above, Reinhardt Brothers Pottery. At left, Daniel Seagle Pottery. Images courtesy of Leland Little Auctions, Ltd. Below, Jon Eckard's photograph of Burlon Craig.
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43 Diving into the heart of Catawba Valley pottery, Craig acquainted himself with the two pillars that defined the art. First, the use of alkaline glazes, a combination of ashes, crushed glass, and clay slip. Tradition holds that the glaze was originally from China, this unique formula was shared with Charleston through 18th-century French Jesuit missionaries. Charleston potter, Abner Landrum, became privy to this formula and introduced it to Edgefield, South Carolina, in the early 19th century. From there, it is said, the distinctive glaze found its way to the Catawba Valley, sealing its place in the region's pottery heritage. It’s a unique blend of seven parts wood ash, five parts ground glass, and two parts clay. The second pillar was the iconic “groundhog kiln.” Mirroring the dragon kilns of ancient China, this structure was built partially underground. Its subterranean design, culminating in a chimney above ground, was a marvel of primitive engineering. Loading this kiln was no simple task. Potters would crawl into the chamber, passing pots deep into the structure, placing them meticulously on wooden boards. When fired, temperatures inside would soar above 2,000 degrees Fahrenheit. Post World War II, the tapestry of Craig's pottery journey grew more intricate when he acquired the pottery complex of Harvey Reinhardt, a renowned potter in Vale, North Carolina. This included the oldest continuously running groundhog kiln, a testament to time and tradition. Yet, for Craig, the tools and kilns were just the stage; the real magic lay in the technique. As he famously remarked, "Well, nobody done teach you to do this. You got to do it yourself. You got to get your hands in the mud." His commitment to innovation and experimentation was evident every time his kiln was fired. Out of the approximately 500 pieces inside, a handful would be dedicated to artistic explorations, be it new glazes or intricate decorations. These exploratory ventures birthed some of Craig's signature styles, such as the “swirlware” and the face jugs, both of which spoke of both tradition and Craig's unique touch. As consumer needs shifted with the advent of modern technology, Craig's pottery adapted, reflecting the changing tides. The face jugs, an ode to African traditions and believed to ward off evil spirits, emerged not just from Craig's reverence for the past, but also from his keen business acumen. These jugs occupied minimal kiln space but fetched higher profits, a testament to Craig's efficiency as an artist-businessman. However, it wasn't just about profits. Craig was a storyteller, and each piece of pottery was a chapter from the grand narrative of Catawba Valley. His artistry didn’t go unnoticed; following his participation in the 1981 Folklife Festival, he surged in popularity. Collectors vied for his pieces, so much so that kiln unloadings became a significant event, necessitating crowd management. The Smithsonian Institution, too, recognized his genius, showcasing his work. Image courtesy of Leland Little Auctions, Ltd.
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45 These photos of Burlon Craig were taken by Jon Eckard circa 1998. In the first photograph, he wedges his clay. In the second, he uses a ball opener. In the third, he turns the pot, and on this page, he puts finishing touches and regards the photographer. These are the only photographs that show the whole process of Burlon Craig throwing a pot.
46 By the twilight of the 20th century, Craig stood as one of the last bastions of traditional Catawba Valley pottery. His belief in the art's resurgence and his mentoring of the next generation, like Kim Ellington and Charles Lisk, ensured that the ember of tradition wouldn't extinguish. Today, his legacy echoes in the hum of the potter's wheel in Catawba Valley. The annual Catawba Valley Pottery and Antiques Festival stands as a testament to Craig's indomitable spirit and love for the craft. The man might have seen himself as an "old farmer that makes some pottery," but to the world, Burlon B. Craig is the guardian of a heritage, a bridge between epochs, and an icon of American artistry. The intricate balance between adhering to age-old techniques and embracing new innovations has been a hallmark of Catawba Valley potters. This dynamic blend of old and new is what has made Catawba Valley Pottery so captivating to both aficionados and the general public. Its unique designs, the tactile allure of the clay, and the stories each piece holds are an embodiment of the region's cultural and historical fabric. The horizon of Catawba Valley Pottery stretches wide with promise, as the venerable art continues to thrive, evolving with the times while holding steadfast to its soulful heritage. The craft's durability and dynamism owe much to the foundations laid by pioneers like Burlon
47 Craig, whose hands shaped more than clay—he shaped a future. In his wake, a lineage of skilled artisans has risen, each leaving their indelible mark on the legacy of this earthen tradition. Among these modern custodians is Charles Lisk, a potter who carries the torch with a reverence for the old ways yet dares to dip his fingers into the clay of innovation. His work speaks a contemporary language that resonates with both purists and new audiences, bridging gaps and threading the past with the present. Steve Abee's name, too, is etched in the valley's evolving pottery narrative. His creations, like those shown in the kiln on the previous page, are a dialogue between creator and earth, a testament to the craft's enduring allure. Abee's work retains the raw, elemental nature of Catawba pottery while speaking to the aesthetics of a new era, inviting onlookers to partake in a dance of ancient rhythms remixed for contemporary sensibilities. These artisans, including Lisk, and Abee, are the new guardians of Catawba Valley Pottery's legacy, ensuring that this age-old craft remains a dynamic part of the region's cultural fabric. This is not simply an art form; it is a living heritage, continuously reshaped and enlivened with every turn of the potter's wheel. Their dedication to the craft is evident in each piece that emerges from the kiln, a blend of tradition and innovation. As they carry this tradition forward, their work ensures that the rich narrative of Catawba Valley Pottery will endure and flourish for future generations, burnished as brightly as the glaze on each unique creation. WPCC.EDU (828) 448-3500 1001 BURKEMONT AVE, MORGANTON Achieve Success! Experience the pioneering spirit that awaits you.
This was painted by Folk Artist Arie Taylor, who grew up surrounded by pottery in the Catawba Valley. The art depicts her memories of attending Burlon Craig's kiln openings. She is part of a strong lineage of artists, with her mom being Minnie Reinhardt and her daughter being Audrey Sherrill, both accomplished artists. You can buy their art at Etsy at etsy.com/shop/jagartist.
50 The Beauty of Kiln Openings By Steve Abee-Catawba Valley Potter I fire my groundhog kiln three times a year, and each time is exciting. From the loading, to the hours of stoking the fire, and days of cooling, the process remains extremely traditional. People tell me that they relished the days of Kiln Openings, of longing for the anticipation and the excitement of seeing the new pieces the potter had made. And these reminiscences reminded me of the days when I would visit the Craig homestead when he would open his kiln to reveal his creations. It was 1988 when I was first introduced to Burlon Craig's pottery. I was 19 years old and had been asked by a co-worker to join him at one of Burlon's Kiln Openings. My co-worker had shown me a couple of pieces that his wife had picked up at one of these events and honestly, I didn't see the attraction. But I soon learned why so many people appreciated Craig's artwork. But, at that time, I had no idea that the trajectory of my entire life would be forever changed by what I was about to experience. My co-worker explained to me that Craig's Kiln Openings started at 8:00 AM on a Tuesday, which I thought was odd that he would sell his works on that day of the week and that early in the day. He also explained to me that to be able to get a good piece, we needed to get there at 5:00 AM to get a good spot in the line. Now, I really was thinking "This is so odd". However, both my co-worker and myself informed our employer that we would be a few hours late getting to work that Tuesday, without telling them the specific reason for our tardiness.