For the past 21 years, in late February, an event has come to town unlike any other. Housed in the historic Grove Park Inn on a hillside north of Asheville, the annual Arts and Crafts Conference  is a four-day affair that includes an antiques auction, a host of seminars and demonstrations, walking tours of the area’s Arts-and-Crafts buildings, and juried craftspeople showing and selling their wares. It’s enough to make a woodworker dizzy with delight.

Up on the hill. Held at the Grove Park Inn, Asheville’s well-known Arts-and-Crafts hotel, the annual Arts and Crafts Conference staged its 21st show this year. 

Founded in 1988 by local author, collector, and furniture finisher Bruce Johnson, the conference has been recognized for two decades for its dedication to the education of the Arts and Crafts collector.  Spread out along hallways and in seminar rooms in the east wing of the hotel, the conference was a feast for the eyes and ears. There were numerous examples of Arts-and-Crafts goods, from pottery, rugs, lighting and accessories to books, magazines and periodicals. If you’re a collector, this is the place to find practically everything you need for the home. And if you want the real thing, the Antiques Auction can net you an original Gustav Stickley—assuming you have deep pockets.

A man with a mission. Founder Bruce Johnson, a respected woodworker in his own right, keeps the conference alive and well year after year.

A gamut of crafts. Ceramics, rugs, lighting and accessories represent a large portion of the show.

The real thing. Vendors at the conference give you your pick of authentic hardware. I counted at least eight vendors displaying everything from door knobs and hinges to cabinet and furniture hardware.

Of course, what always draws my eye at the conference is the furniture—and the craftspeople that make it. This year saw a crop of high-quality woodwork you won’t find anywhere else. Some are repeat exhibitors; some came for their first year. Either way, there’s fierce competition to be at the show, and only juried makers get the green light to come and display their work. One of the featured furnituremakers this year was Debey Zito, a woodworker and designer from the California Bay area who fuses Asian, American and European Arts-and-Crafts traditions into a distinct style . Her seminar, “Elements of the Arts and Crafts Furniture Design” sparked a lively discussion on design, and her work on display in her booth backed up the talk. Known for her rich woods, custom hardware, and the carved details (executed by partner Terry Schmitt), Debey’s work stands out even in a room full of other exquisite designs.

Carved wall. Zito’s booth showcased an entire wall paneled in mahogany, including highly detailed cravings on the frieze panel.

Wonder in walnut. This impressive armoire in walnut by Zito included intricate flower carvings on the door panels (photo left).

Other makers abounded. In the main aisle, I ran into Stewart Crick,  a Virginia woodworker who specializes in pieces made from fumed, quartered white oak, a wood near and dear to the traditions of the Arts and Crafts movement. Crick’s hinged chest displayed a level of craftsmanship seen only in fine art galleries—an example of the quality seen throughout the show.

Inside and out. Furnituremaker Stuart Crick shows off his white oak blanket chest. Attention to detail marks even the inside of the piece, which is lined in aromatic cedar.

In one of the side rooms, I ran into Peter and Marcie Maynard, makers from New Hampshire who work in domestic woods such as oak, maple, and cherry. We chatted about their Morris chair, a beautiful example of a standard Arts-and-Crafts design. Looking around their booth, a stunning side chair in curly maple caught my eye, with clean lines and a sit-on-me look. It didn’t disappoint.

Modern craft. Inspired by the Arts-and-Crafts tradition, Peter Maynard’s side chair in curly maple with chenille upholstery displayed an updated look and proved comfortable to boot.

At the very end of the hall was a lounge chair made from curly red oak. An untraditional wood for sure, and not your everyday Arts-and-Crafts piece, the chair was nevertheless an interesting example of what you’ll come across at the conference. The maker, Dennis Bertucci, based the piece on an original Westport chair from the Adirondacks in upstate New York. Originally from New York, and now hailing from Utah, I asked Bertucci if it was worth the long drive to North Carolina every year. “For me, it is," he said.  "I bring furniture, but I also teach. My specialty is in furniture restoration and finishes. My first conference was in 1988. This year, I gave a few 30-minute presentations on furniture restoration, as well as a three-hour hands-on workshop using dyes. People loved it.” Bertucci is a good example of how the educational aspect of the conference goes hand-in-hand with all the sales going on.

Updated Adirondack. This modern Adirondack chair by Dennis Bertucci in curly red oak shows that diversity is encouraged at the conference. Through tenons on the arms (photo right) give the chair visual impact.

On my way out, I spotted a dark chest sitting all alone in the hallway. Upon closer examination, I realized the piece was a stunning advertisement for Craftsman-style hardware, with beautiful hand-hammered copper hinges, braces and latches adorning its surface. The company, Arts and Crafts Hardware  from Mississippi, creates a line of hardware for Arts-and-Crafts furniture that would have made Stickley, Limbert, Hubbard, the brothers Greene—and all the other fathers of the Arts-and-Crafts movement—proud.

Hammering it home. The hammered, copper hardware on this frame-and-panel chest is hand-made by Gerald Rucks, owner of Arts and Crafts Hardware.

Next year’s conference is slated for February 20-22, 2009.

Old is beautiful. A hammered copper sign lets attendees know that the Craftsman style is more than a passing fad, and takes time and energy to create.