Cincinnati's art-carved furniture movement officially ended with William Fry's death in 1929 - one month before his 100th birthday.
Today, a handful of Cincinnati woodcarvers carry on in the tradition of Henry and William Fry and Benn Pitman. But modern carvers say many things have changed over the years.
"The biggest issue is the cost of time," says Phil Smith, who chips away at a piece of wood as he conducts a telephone interview from his Madeira studio. "You have to be super-efficient to remain economically viable. That's why there are very few carving businesses around. It's trying to make a 15th-century business work in the 21st century - and it's not the same."
Often furniture-carving businesses evolve into furniture construction operations, says Smith, whose custom projects range from architectural elements such as staircase banisters and mantels to beds and other furniture.
"I'm trying to maintain the idea that carving is the primary product," Smith says. "But you have to keep figuring out ways to do it more cost-effectively and still get the same quality."
Jack True, a Milford woodcarver who's taught furniture design at the Art Academy of Cincinnati and other local universities, gives his students a similar warning.
"Students coming out of academia now have to be so incredibly diverse and versatile to create an income," he says. "The Fry generation concentrated on woodcarving itself. That would be a tall order to follow in 2003. Now to be overspecialized could be detrimental and career-limiting. Not only do I do wood carving and furniture design, but I also place paintings, and I'm a photographer."
True believes the opportunity to create custom furniture for clients is a woodworkers' most rewarding call.
"It requires a rare combination of tenacity, craftsmanship and the willingness to allow your customer to be absolutely right no matter what the circumstances," he says. "As one of my clients used to say, you have to be fearless and try something that you'd never in your wildest dreams try."
Michele Day
