“The beauty of independence, departure, actions that rely on themselves, The American contempt for statues and ceremonies,      the boundless impatience

This conversation has been reprinted with permission from “The New American Craftsman: First Generation ” by Wharton Esherick, Donald McKinley and Sam

  "Mary Esherick Plate" Henry Varnum Poor, Ceramic, 1926. Guests to Wharton Esherick’s Studio see his daughter Mary’s likeness in

  One of several sketches of musicians in Mexico, Wharton Esherick, 1947. Wharton's sketch of a fiesta in Tsin

  Left - Reverence, Wharton Esherick's first design for Sherwood Anderson's grave marker; Right- Esherick's alternate design chosen by Anderson's widow.

Wharton Esherick's iconic Three-Legged Stools, 1950 - 1970 Wharton Esherick’s Three-Legged Stools are some of his most iconic and recognizable

"The Lane" wood engraving, 1931. A tree-lined drive, simple and clean in it’s balanced symmetry creates the scene of Wharton

Ken McNelis sketching in the bedroom. Though celebrated by a younger generation of woodworkers, Wharton Esherick never embraced the role

Katelin cataloging the models in Esherick’s bedroom. We’ve been soaking up the summer sun on the hilltop here, and with it

Hedgerow Theatre, Image courtesy of Wikicommons and Smallbones. This month's article was originally published in the Wharton Esherick Museum Quarterly