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On the Cover: Hamilton Williams
crafts a nautilus plate. See page 112.

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foothills
Digest

Foothills Digest

PO Box 2670
Lenoir, NC 28645

Fall 2021
Phone: 828.475.1323
E-mail: [email protected]
Website: foothillsdigest.com
Stock by Adobe Stock

PRINTED IN USA

PARTNER COMPANY:
ECKARD PHOTOGRAPHIC

CARMEN ECKARD

Editor in Chief
Author

JON ECKARD

Principal Photographer

JOEY OSBORNE

Partner

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Letter from the Editor

I’m beyond honored to be able to bring this story of Appalachian crafts to you. I’ve
been surrounded by these crafts for much of my life, but until I made this issue, I didn’t
really understand how important they are to the story of North Carolina.
People on this land have been crafting some of these traditional crafts since before we
have recorded history. There was a time when the crafts were in danger of becoming
extinct, as industry made them less necessary. But a dedicated group of people worked
tirelessly to expose the rest of the world to traditional Appalachian crafts, shaping
the Craft Revival and ensuring the survival of large parts of our culture.
We salute those people, as well as the makers who are keeping the crafts alive today.
Western North Carolina is positively filled to the brim with artisans. They still work
with traditional materials using the old ways, and the work they produce is part of
the continuous thread of history.
We look at pottery, basketry, metal smithing, fiberwork and woodworking, and we’re
telling you how to go see (and purchase) these crafts today. We hope you’ll drive the
Blue Ridge Craft Trails Foothills Road Trip and chat with the artisans you meet along
the way.
It’s also time for MerleFest, a music festival that’s very important to us here at
Foothills Digest. We’re happy to be a sponsor of the festival, and we think it highlights
the very best of traditional music. Be sure to check it out, March 29 to April 1.

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Table of Contents

4 Letter from the Editor
8 Traditional Appalachian Crafts
26 Craft Revival
28 Sheep to Shawl
32 Selected Works of Doris Ulmann
50 Blue Ridge Craft Trails
52 John C. Campbell Folk School
58 Folk Art Center
64 Penland School of Craft
66 Crossnore Weavers
70 Green Energy Park
72 Shira Forge
76 Craft Trails Foothills Road Trip
78 Foothills Arts Center
80 Yadkin Valley Fiber Center
81 November Room
82 Yadkin Valley Quilts
84 Blue Ridge Woodcrafts
86 Woodcrafting with Hedrick
88 Alleghany Arts and Crafts
90 Mangum-Cater Pottery
94 Three Crows Metalworks

96 Pottery Place
97 Sunset Fiberworks
98 Wilkes Hardware
100 Taupe Gallery
103 Brey Quality Crafts
105 Kogut Violins
106 Folk Keepers Gallery
108 OSusannah’s
110 Oak Hill Iron + Wood
112 Hamilton Williams
114 West Union Art Studio
116 Whimmy-Diddles
118 MerleFest





We are happy to work with Blue Ridge Craft
Trails to bring you a Foothills Craft Road Trip.
Visit www.blueridgeheritage.com/blue-ridge-
craft-trails/ to learn more about the program.
Blue Ridge Craft Trails is created by Blue
Ridge National Heritage Area. This group is
dedicated to protecting and promoting the
unique aspects of western NC, including
crafts, music and Cherokee culture.

Traditional
Appalachian Crafts

Some 16,000 years ago, Native Americans began to gather in the Southern
Appalachian Mountains. Most of these were Cherokee, but there were also Iroquois,
Powhatan, and Shawnee people. By the time Europeans began to arrive in the 1700s,
the Appalachians were dotted by more than 50 Cherokee settlements, connected
by trails. As Europeans arrived, they claimed land in the mountain range and settled
there. Most of these immigrants were Scotch-Irish and German, and they brought
many traditions with them.

It’s this blending of people and the cultures they carried with them that built the
foundation for the traditional Appalachian arts. As Europeans learned to survive in
this rugged new land, they learned which wood worked best for houses, and which
was best to make into a toy. They learned the seasons, the dirt, and the livestock, and
they learned how to survive, and even thrive, in a land that was far more unforgiving
than they were used to.

Each of the traditional arts are a solution to a common problem or need
Basketry was developed because people needed to carry things. Pottery
developed because people needed to store and can food. Weaving, spinning,
dyeing, and quilting kept people warm. Blacksmithing was vital because
horses need shoes, and all sorts of needed items can be crafted from wood.

Perhaps it was the fact that these makers were surrounded by the exquisite and
unspoiled beauty of the Appalachian Mountains. Perhaps it was the satisfaction
of creating something beautiful with their hands. Perhaps it was just that people
are prone to making art. We can’t be sure of the why, but we know that regarding
Appalachian Traditional Arts, the utilitarian was elevated to art.

Pottery solved a very distinct need. Food preservation was a matter of survival.
Pottery traditions from Europe adapted for the climate of Southern Appalachia
blended with Native American methods, and potters learned how to make the best
possible pottery. They learned what kind of clay to dig, usually from riverbanks, and
they experimented with glazes and firings.

Pottery is a specialized craft, and potters tended to pass the craft to their children.
In this manner, the outside world had little impact on regional pottery traditions.
Catawba Valley Pottery is still crafted in a very traditional manner. Clay is dug from
specific banks, then processed and spun on a (usually foot-powered) wheel. The
pottery’s glaze is alkaline, made from ash and other ingredients.

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Sweater by Martha Owen

THE FOLK SCHOOL

CHANGES YOU.

Engaging hands and hearts since 1925.
Come enjoy making crafts and good friends on 270 natural,

scenic acres in western North Carolina.

JOHN C. CAMPBELL FOLK SCHOOL

folkschool.org 1-800-FOLK-SCH

BRASSTOWN 10 NORTH CAROLINA

The pottery is fired in a wood-fired groundhog kiln. Groundhog kilns are uniquely
Southern, built partially underground and featuring a long, low area for firing
and a large chimney that pulls the heat to the pottery. The kiln can hold up to
150 pieces, and are heated for many hours. The firing can be an especially social
event, and kiln opening sales have been a fixture for decades.

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Basketry is an essential
Appalachian craft. The
Cherokee have been
making elaborate,
beautiful baskets long
before Europeans arrived.
In fact, the Cherokee have
been making baskets
since before history was
recorded. Archaeologists
have found impressions
of baskets on ancient
Cherokee pottery. Their
double-woven baskets
are the oldest form of
basket in the Southeast.
Clans had unique basket
patterns with different
names that envoke nature.
Historically, Cherokee
have used bundled pine
needles, rivercane, white
oak, honeysuckle, and
hickory bark for basket
making. Most designs
feature dyed materials
and colorful patterns.
The dyes were made of
plants like butternut,
walnut, bloodroot and
yellowroot. Today, most
large museums feature
Cherokee baskets.

Also important to our
history are the white
oak split baskets of the
Appalachian settlers
(shown at left). It is
assumed that settlers
learned how to make
these baskets from the
Cherokee, because they
are built on a base of
split white oak, identical
to a known Cherokee
technique.

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Above, historical Cherokee baskets.
Below, a woman crafts a basket at Qualla Arts and Crafts Mutual in Cherokee.

Photo courtesy of VisitNC.com.
At left, a white oak basket available at Wilkes County Hardware

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Textile arts were of the utmost importance. Even the story of Adam and Eve tells us of
people’s most basic need for clothing. In the very cold winters of Southern Appalachia, wool
was vital. To get wool fabric for clothing, one must first keep sheep, shear the sheep, clean
and card the wool, spin the wool, and then weave the fabric.
At the turn of the century, trains were crossing the region, and this brought industry. Before
then, the area was very isolated, and the traditional crafts were necessary. Once the world
came to Appalachia, the culture of Appalachia was at risk.
Fortunately, some people did see the importance of traditional arts, and the need to
preserve them. The best way to preserve something in America is to market it, and that’s
just what some enterprising folks from Appalachia did. Across the region, different schools
and centers were opened that helped create a market for hand-crafted Appalachian art.
One of these was Crossnore Weavers, shown in these pictures. It opened in 1936 with the
goal of helping mountain people making a living creating Appalachian crafts. Crossnore
Weavers is still operational, and they train weavers in the traditional ways.
Weaving is done on a loom, which can be quite large. Below, you can see the warp, a set of
vertical threads set in a desired pattern. At right you can see the shuttle which carries the
weft, the thread that is woven through the piece. Pedals are used to lift some of the warp
threads, and the shuttle is moved across the piece. As the pedals are released, the shuttle
is moved back through in the opposite direction. This pattern repeats and the fabric grows
longer, row by row. The tedious process requires constant attention but the result is truly
artful. At right, a weaver is creating the Tartan for the Daughters of the American Revolution.

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You can visit Crossnore 19
Weavers and watch the
process live.

Spinning wool was also
an important craft,
using a specialized
wheel and a high level
of skill. This work was
always performed by
women.

Dying was also
essential, requiring an
in-depth knowledge of
the plants and animals
used for dyes. Onion
peels can be used to
create a vivid gold
dye. Queen Anne’s
Lace creates an earthy
green color. Pokeberry
makes a delightful
reddish purple color.

Most communities
usually had one person
dedicated to the task of
dyeing fabric, because
of its complicated
nature. Before dyeing,
fabrics must be treated
with a mordant. A dyer
would get some pieces
of iron, preferably
rusty, put them in a
jar and cover with
vinegar. After two
weeks, this produced a
good mordant. Fabric
was soaked in this,
or another mordant,
then soaked in dye
overnight. After that it
was boiled. The fabric
or wool was then
rinsed and hung to dry.
Much of this was trial
and error which means
there was room for it to
turn into an art.

I build each of my
violins one at a
time, from specially
selected tonewoods,
and finished with
hand tools in the
traditional way.

828-493-4875

[email protected]

The importance of woodworking simply can’t be overstated. When settlers arrived here,
timber was the most abundant resource. Forest land had to be cleared to make room
for farms and homes, and the cleared lumber was used to build houses, churches, one
room school houses, furniture, children’s toys and instruments, among other things.

Many of these items were necessary for survival, but others exist simply for the joy they
brought to people. Each different species of wood behaves differently when carved. As
settlers learned the land, they also learned the wood. As they learned to make the items
they needed, they began to make beautiful pieces, and they passed their knowledge to
their children.

The Brasstown Carvers are a group of carvers based at the John C. Campbell Folk School.
They can trace their start to 1929 when Mrs. Olive Campbell (see page 39) witnessed
a group of men on the porch of Fred O. Scroggs’ general store, idly whittlin’ with their
pocket knives. Mrs. Campbell saw the potential skill and productivity in these men and
provided them with blocks of wood and direction. National attention was brought to
the group when President and First Lady Roosevelt happened upon their work at the
Mountain Handicrafts exhibit in Washington DC. A local paper reported that the First
Lady was taken with their carvings. They said she visited the exhibition six times and
bought “a whole flock of geese (see page 47).”

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Carving was traditionally considered man’s work, but World War II saw women
pick up the craft. By 1946, women were the majority in the Brasstown Carvers.
Since that time, men and women have participated equally in the group, which
still meets to carve together. The Brasstown Carvers carved such objects
as crèche figures/nativity scenes, animal figurines, and napkin rings. But
woodworking takes many forms.

Crafting furniture has been important to the foothills since the many small
towns were incorporated. Hickory is especially well-known as a furniture town,
and it’s sometimes called “The Furniture Capital of the World.” It is still home to
many furniture manufacturers, like Vanguard Furniture. Nearby in Taylorsville
you’ll find Mitchell Gold + Bob Williams. These high-end furniture companies
rely on the heritage of woodworking these communities possess.

Vernacular Architecture is a term that refers to architecture that is specific
to the traditions of a certain geographic area. The vernacular architecture
of the Southern Appalachians is fascinating. Log homes were created
from cleanly hewn logs. In addition to the main house, a homestead
may also have “a milk house, smokehouse, woodshed, stable, carriage
shed, chicken coop, hog house, or pigpen, wash house, spring house,
ice house, root or vegetable cellar,corn crib, storm cellar, and others,”
according to Everett Wilson in his 1961 book Vanishing America.
More commonly, you might find a house, barn, woodshed, pigpen,
spring house, and outhouse. Each of those structures would also
be built from logs, crafted by hand. In between the logs, builders
would spread chinking. This was pure red clay mixed with water
until it was sticky. Many of these homes still exist, sprinkled
throughout the mountainsides. Others have been purchased
and preserved in private collections.

Instrument building has also been very important for
Southern Appalachia. Specifically, the traditional violin,
base, guitar and banjo are very popular. Settlers came
to these mountains with only the bare necessities,
and they were not trained in making the instruments.
Through trial and error, and by taking apart old
instruments to see how they work, Appalachian
woodworkers developed excellent methods for
crafting instruments. Now, they are sought after,
and musicians come from around the world to
purchase violins made in these mountains.

Wood is tremendously versatile, and knowing
how to build, carve or craft with it has always
been an important skill. Without woodworkers,
our earliest communities would not have been
possible. Wood provides shelter from the
environment, tools and items of comfort and
culture.

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Of all the traditional crafts, perhaps the most important to survival was blacksmithing.
Every community needed a blacksmith to create a variety of things, from horseshoes,
knives and wagon wheels to nails and hardware for wagons. They made knitting
needles,cooking equipment, latches, gates, fences, tools and chandeliers, plus countless
tools.

As transportation shifted from wagons to cars, the need for blacksmiths has decreased.
The Bureau of Labor Statistics categorizes blacksmiths as part of the Metal and Plastic
Machine Workers industry, which is an industry that is in steady decline. Industrial
blacksmithing is becoming less common, but artisan blacksmithing is on the rise.
Custom knives, cooking pans and fireplace tools are especially popular among artisan
blacksmiths.

Blacksmithing has always been dangerous, highly specialized work. The metal must be
worked at extremely high temperatures, and hammered into shape. It’s a very physical
and demanding job. The John C. Campbell Folk School and Penland School of Crafts
both train blacksmiths in traditional techniques.

The traditional arts of Southern Appalachia are a reminder that our people will do
what it takes to survive, and we will do it with style. Consider purchasing traditional
Appalachian crafts. If we want these crafts to flourish, we need to support the artists
doing the hard work. There are artisans all over Southern Appalachia, but western
North Carolina is particularly bursting with creative energy. Explore your community,
and support the people making traditional art!

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Nestled between Mineral

Springs Mountain and Lake
Rhodhiss, Valdese is the
perfect place to spend the
weekend. Conveniently lo-
cated along I-40, between
Morganton & Hickory. The
quaint small town offers a
great getaway. Plan to catch
a show at the Cranford
Amphitheatre, experience
Waldensian heritage at the
local museum, take a hike
to McGalliard Falls and en-
joy the lake views at Valdese
Lakeside Park.

Upcoming Events

Spring Craft Market April 30, 2022
Hunchback of Notre Dame April 15, 16, 21, 22, 23, 28, 29 & 30

Family Friday Nights Concerts May 27-Sept. 2
visitvaldese.com

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Craft Revival

In the time before trains and tunnels that And so, the Craft Revival Movement was
cut through mountainsides, Appalachian born, out of absolute necessity and in the
communities were isolated. People were nick of time. Author Allen Eaton wrote
incredibly self-sufficient, and they knew defined the movement in Handicrafts of the
how to live off the land. They made Southern Highlands. He said, “Every kind of
practically every thing by hand, and work will be judged by two measurements:
folks could go months without leaving one by the product itself...the other by the
their own homestead. But once trains effect of the work on the producer.” This
came, the outside world let itself in. No concept is at the heart of Craft Revival.
one could argue that life wasn’t easier The movement aimed to improve both the
after modern amenities arrived, but the quality of the crafts, and also to improve the
traditional Appalachians ways of being quality of life of the artisan.
were quickly fading.
The Craft Revival required the skill and
It became clear, starting in the early effort of two types of people: the artisans,
1920s, that if something wasn’t done and another group, dedicated to marketing
quickly, the traditional arts would likely traditional crafts to the world. That group
die out all together. is responsible for creating a marketplace so

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that these crafts could support the families beginnings as a road-side shop. Started
of the artisans. by Frances Goodrich, the company was
gifted to the Southern Highlands Craft
Countless people were responsible for this Guild upon her death.
movement. Lucy Morgan, John and Olive
Campbell, George Bidstrup, Marguerite The Brasstown Carvers were a cooperative
Butler, Mary Sloop, Edward Worst, Louise group based out of the Campbell Folk
Pitman, Elanor Vance and Charlotte Yale School, and they also helped create a
were all immensely important. Each of them marketplace for their carvings.
would warrant a chapter in any book on
the subject. Photographers Doris Ulmann The Cherokee Indian Fair was also integral
and Bayard Wootten photographed these to the movement. The annual event has
people and the artisans they worked with. occurred for over 100 years, and by selling
Several organizations have been integral to baskets at this event, Cherokee basket
the success of the movement. These include designs became world-known. You can
John C. Campbell Folk School, Crossnore attend this event each October.
Weavers and Penland School for Crafts.
Because of the work and artistry of
Allanstand Cottage Industries was countless people, and intentional
responsible for creating much of the marketing and focus on education, the
marketplace for traditional arts. This was traditional Appalachian arts were saved
the nation’s first craft shop, with humble from potential extinction.

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Sheep To
Shawl

When you wrap yourself in something
made from wool, you’re taking part in
one of the oldest traditions on earth.
Archaeologists have found woven wool
garments that date to 400 BC, although
it’s likely that wool was used much
earlier. Man domesticated sheep 11,000
years ago, and we’ve been breeding
selectively ever since, resulting in sheep
will the typical wool coat we see today.

Generally speaking, wool comes from
sheep. Some wools do come from other
animals, like cashmere and mohair,
which come from goats and angora,
which comes from rabbits. Wool is a
fabulous insulator, and it has helped
mankind survive and thrive in cold
climates and during the winter.

As ubiquitous as wool has become, the
process of creating wool from the fur
of sheep is tedious and labor intensive,
with many steps.

Firstly, sheep must be sheared. The first
shear was used during the Iron Age.
Shearing is important not only for the
wool that it produces, but also for the
health of the sheep. Shearing a sheep is
hard work, and if it isn’t done correctly,
it’s very easy to cut the sheep, so it’s
best to leave this part to a professional.
When properly sheared, the coat comes
off in one large piece.

Next, the coat is cleaned of dirt and oils
like naturally occurring lanolin. The coat
is separated to prepare it for the next
step.

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The wool must be carded, which is
the process of pulling it through fine
metal teeth. Traditionally, this is done
using carding paddles, as you see at
left. Now, many manufacturers use
machines for this.

Wool is naturally very curly, and
carding gets all the fibers properly
oriented and it fluffs up the material
as well. After wool has been carded,
it’s called wool roving.

Wool roving is then spun into yarn.
A spinning wheel is used to combine
between 2 and 5 pieces of roving,
twisting it into recognizable yarn that
is much stronger than the roving.

At this point, you could take this yarn
and use it to knit or weave fabric. But,
most of the time, we don’t want to
wear only ivory colored items, so
wool must be dyed.

Fortunately, wool is very easy to dye,
and it holds the colors very well. The
goal is to submerge the yarn into
boiling water that has dye added to
it. Generally speaking, this is done
after the yarn has been formed, but
you can actually dye wool at any
stage during the process. The longer
your wool is submerged, the more
vibrant your color will be.

Wool remains fashionable and
utilitarian, but we shouldn’t forget
that it was absolutely vital to the
earliest settlers in our region. Our
winters can be brutal, and wool
provided settlers with the protection
they needed from the elements.

Wearing a beautiful woven shawl
created by an artisan is a great way
to honor our heritage, and by making
purchases like this, we are helping to
keep this ancient tradition alive. You
can also take classes to learn to spin,
30 weave, knit, or felt wool.

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Selected Photography of

Doris Ulmann
Photos are courtesy of John C. Campbell Folk School Archives.

Doris Ulmann (May 29, 1882 – August 28, 1934)
was an American photographer. She’sW known
for her captivating portraits. Many of her subjects
were people in Southern Appalchia. She spent time
at the John C. Campbell Folk School in Brasstown
in 1933 or 1934, near the end of her life, and she
photographed many people in the community.
She practiced Pictorialism and was a member of
the Pictorial Photographers of America. Pictorialism
was an aesthetic movement that was very popular
in the early 1900s. Typically these photos have a
much softer focus than a standard portrait and
they are often printed in browns or blues instead
of black and white.

“Sarah Sanoma Hatchett with carding paddles and spinning wheel “
This photograph of Sarah Sanoma Hatchett was taken by Doris Ulmann

in the Brasstown, N.C. area, in the summer of 1933. Hatchett, known
locally as “Granny Hatchett,” was a weaver and spinner from Bellview,
North Carolina. Hatchett is shown sitting in front of a spinning wheel with

carding paddles in her lap.

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33

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“William Johnson
with Carving“

This photograph,
taken by Doris

Ulmann in 1933
or 1934, shows

William “Gyp”
Johnson holding his

carving knife and
a small carving.
Johnson was an

early student and
one of the first

woodcarvers at the
John C. Campbell
Folk School.

“Louise L. Pitman at the dye pot“
This photograph, taken by Doris Ulmann in 1933 or 1934,
shows Louis Pitman dyeing natural fibers. Louise Livingston
Pitmancame to the John C. Campbell Folk School in 1926 as an
instructor and later became the Director of Handicrafts. Pitman
was a specialist in natural dyes and dyeing.

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“Hayden Hensley and Bonnie
Logan Hensley carving“

This is a photograph of Bonnie
Logan Hensley and Hayden Hensley

sitting next to a box of carving
blanks and carving small animals.
Bonnie Hensley and her husband
Hayden Hensley were some of the

first woodcarvers at the John C.
Campbell Folk School participating
in the cooperative that later came

to be known as the Brasstown
Carvers. Their woodcarving

supplemented farm income and
made it possible for them to

purchase a house, often referred to
as “the house that carving built.”

“Bonnie Logan Hensley
with baby John Hensley”
This photograph is of Bonnie
Logan Hensley holding her

son John.

“Hayden Hensley carving“
This is a photograph of Hayden
Hensley with several carving blanks.

36

37

“Marguerite Butler Portrait” “Olive Dame Campbell Portrait”
This photograph shows Marguerite Butler.
Butler cofounded the John C. Campbell folk This is a portrait of Olive Dame
school with Olive Dame Campbell. Butler Campbell. Campbell cofounded
became Marguerite Bidstrup when she the John C. Campbell Folk School
married the school’s Danish farm manager, in 1925 with Marguerite Butler.
Georg Bidstrup in 1936. During Ulmann’s several trips to
photograph in the Brasstown area,
38 she and Campbell cultivated a deep
friendship that lasted until Ulmann’s

death in 1934.

39

“Woman Sewing”

This photograph was taken by Doris “Floyd Laney Carving”
Ulmann in 1933 or 1934, the two
years she spent in Brasstown, North This photograph depicts Floyd Laney carving.
Carolina. Ulmann was particularly Laney was an early student at the John C.
interested in the work-worn faces of
older people Campbell Folk School. Students could learn
carving through the school and could also

produce and sell carvings through the school’s
woodcarving cooperative, which later became

40 known as the Brasstown Carvers.

41

”Wanda Scroggs”

This photograph is of Wanda Scroggs Wanda Scroggs is the daughter of Fred
O. Scroggs, store keeper and active community member in Brasstown, and
granddaughter of L. L. and Lillie Scroggs, who donated land to establish the John C.
Campbell Folk School. Ulmann sometimes posed her subjects in old fashion dress, like

the sun bonnet worn by Wanda Scroggs in this photograph.

42

43

“Georg Bidstrup with Wood Toy”
This photograph of Georg Bidstrup was taken by Doris Ulmann in 1933 or 1934 at the John
C. Campbell Folk School. This photograph shows Bidstrup holding an Appalachian folk toy
called the Limber Jack or Dancing Man. Bidstrup came to the school in 1926 and was initially
employed as the Danish farm manager and instructor for folk dancing and gymnastics. He
married co-founder of the school, Marguerite Butler, in 1936. Bidstrup eventually became

director of the Folk School in 1952.

“Woodcarving: Gaggle of Geese”
This photograph depicts a large group of hand carved geese. These carvings of geese are
representative of the work produced and sold by local carvers through the John C. Campbell
Folk School’s woodcarving cooperative which came to be known as the Brasstown Carvers.

44

45

46

“Jason Reed at the Draw Horse“
This photograph, taken by Doris Ulmann in 1933 or 1934, depicts chair maker Jason Reed
using a draw knife to shape a piece of wood. Reed, a native of Blairsville, Georgia, was
a chair maker who was commissioned to produce chairs for the 1927 Dedication Day of
the Community Room at the John C. Campbell Folk School. Ulmann took several pictures
of Reed, one of which appears in Allen Eaton’s 1937 book “Handicrafts of the Southern
Highlands.”

“Park Fisher with Bellows”
This photograph depicts Park Fisher holding hand-made hearth bellows. Fisher was in
charge of the woodshop at the John C. Campbell Folk School when the shop was located at

the Mill House. Note the woodcarvings in the background.

47

2 page
Ad

$2500

Call 828.475.1323
or email

editor@
foothills
digest.com

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Blue Ridge
Craft
Trails

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