The Bradley County Historical Museum-Warren, AR

08/27/2026

We wish to thank the Bradley County Medical Center Auxiliary for their generosity in donating two quilt/display racks to The Bradley County Historical Museum. As you can see, we have already put them to good use!

08/22/2026

Famous Bradley Countians

Reece "Goose" Tatum: Courtesy of https://www.arkbaseball.com/tiki-index.php?page=Goose+Tatum

Tatum born May 3rd, 1918 near Jersey, AR (2) was a Negro League baseball player from 1940-1949, as well as a Hall of Fame basketball player with the Harlem Globetrotters. Footnote 2: Most modern sources give Tatum's birthplace as El Dorado, AR. However, most sources during Tatum's life, including his WWII draft card, death certificate and obituary, give his birthplace as Calion, AR. Furthermore, in Untold Stories: Black Sports Heroes Before Integration, by Darren Ivy and Jeff Krupsaw, Tatum's sister Dr. Thelma Powell suggested that Tatum was actually born near Hermitage, AR. This latter birthplace is more likely, since the Tatum family was living in Bradley County, AR near the town of Jersey in the 1920 U.S. Census. Tatum's next oldest sibling, his sister Thelma, was born in Jersey, AR in 1916, and his next youngest sibling, his brother Clenton Taylor, was born in nearby Harrell, AR in 1923. The Times (Shreveport, LA), 1/29/1956 and the Arkansas Gazette, 4/18/1954 both suggest that Reece was also born in Harrell, AR. The Times (Shreveport, LA), 1/23/1966 suggests that Reece was born in "Bradley, Ark.", which probably refers to Bradley County, thereby making Jersey, AR the most likely place of Tatum's birth.

Biography

Tatum was the fifth of seven children born to Benjamin Franklin Tatum and Mary Alice (nee Burns) Tatum.3 He spent his earliest years growing up in rural south Arkansas near the communities of Jersey in Bradley County, AR and Harrell in Calhoun County, AR before moving as a young child to small town of Calion in Union County, AR. Later, Tatum attended Burnt Mill High School near Norphlet, AR and Washington High School in El Dorado, AR.4 He acquired his nickname "Goose" as a youth, though it's not entirely clear when or how.5 Multiple origins for the nickname were reported, but the most common version claimed that Tatum picked up the nickname while playing youth football,6 perhaps because of his long, flapping arms.7 8

Tatum's athletic career was most noted, and still best remembered, for his showmanship and comedic performances, primarily as basketball player with the Harlem Globetrotters. Yet, during the prime of his baseball career in the 1940s, Tatum was also one of the most popular players and best drawing cards in the Negro leagues.9 10 Among his well-known antics as a baseball player were to perform pantomime on field, kneel to pray before at-bats, participate in infield shadowball, and attempt hidden ball tricks. And though his strong on-field personality undoubtedly made him overrated as a player, he also possessed a naturally athletic physique of considerable skill and ability. He was only 6'3'' tall, but had remarkably large hands and notably long, lanky arms that spanned about 84 inches, making him an ideal first baseman.11 And notwithstanding his gangling form, Tatum also had good coordination and could jump well. 12 At his peak, he was an average or better switch-hitter. And though his performance as a player fell in the later years of his career to be among the league's worst, he remained a fan favorite throughout and developed a lasting legacy that ultimately helped define black baseball.

Tatum's baseball career began in the late 1930s with semi-pro teams in his hometown of El Dorado,13 including the El Dorado Black Lions in 1937 and 1938.14 He may also have played around this time with the Forester Braves in the sawmill town of Forester, AR.15 In 1939, Tatum attempted to begin his professional career by responding to a newspaper ad seeking prospective players to join the independent Louisville Black Colonels.16 17 According to one report, Tatum made his way to Louisville by freight train.18 Later, in the spring of 1941, Tatum earned a position with the Birmingham Black Barons after attending spring training with the team in Shreveport, LA.19 20 He quickly drew attention for his showmanship skills, which were regarded as among the best in baseball.21 These skills were particularly noted by Birmingham manager W. S. Welch and co-owner Abe Saperstein, who were also the manager and owner of the Harlem Globetrotters of basketball fame. Tatum returned to Birmingham at the beginning of the 1942 season, but his performance failed to impress and he was sent in June to play with the Minneapolis-St. Paul Gophers in the short lived Negro Major Baseball League of American, a league organized and controlled by Saperstein. When the league and team ceased operation in July, Tatum briefly toured with the other former Minneapolis-St. Paul players on a team billed as the New York Lincoln Giants.22 In late August, Tatum was picked up by the independent Cincinnati Clowns, with whom he quickly became a fan favorite.23 Tatum's growing popularity persuaded Welch and Saperstein to give him a position with the 1942-1943 Harlem Globetrotters, despite any notable experience in basketball. Tatum made good with the Globetrotters and earned considerable fame, maintaining a position with the team through 1955.

Tatum's most successful year in baseball came in 1943 with the Cincinnati Clowns, who were admitted to the Negro American League for the first time that season. He enjoyed what one paper called a "meteoric rise" in Negro baseball, gaining recognition for both his showmanship and his performance as a player.24 Though not exceptional, his hitting paced well-above league average that season.25 In July, he was selected to his first East-West All-Star game, which was played on August 1st at Comiskey Park in Chicago.26 Though he did not play in the game, Tatum did perform an exhibition of his comedic abilities beforehand.27 A week later, on August 8th, Tatum was recognized with "Goose Tatum Day" during a double-header between the Clowns and the Birmingham Black Barons in Minneapolis, where he had played the year before. He went 4 for 4 in the first game and hit a home run in the second.28 Tatum later said in 1945 that this double-header was one of the highlights of his baseball career up to that point.29 In September, Tatum was selected to play in the annual North-South all-star game to be played on September 26th in New Orleans, but did not appear in the game.30

Tatum entered the Army Air Force in late 1943 and was stationed at the Lincoln Army Air Field in Lincoln, NE.31 While there, he obtained the rank of Sergeant and also starred with the integrated Lincoln Army Air Field Wings basketball and baseball teams. In 1944, Tatum helped the Wings baseball team win the Nebraska state semi-pro tournament.32 The Wings also earned a entry into the 1944 National Baseball Congress semi-pro tournament in Wichita, KS, but were quickly eliminated.33 In June 1945, Tatum was able to briefly return to Cincinnati Clowns while on furlough, but returned to play the rest of the summer in Lincoln.34 In July, Tatum went 9 for 16 with 20 total bases in the Nebraska semi-pro finals, helping the Wings repeat as champions.35 Tatum was expected to again play with the Wings in the 1945 National Baseball Congress tournament, but was transferred to McDill Field in Tampa, FL in August, just shortly before the tournament began. Before reporting to McDill Field to begin his new role as a physical trainer,36 Tatum was again able to make a brief return to playing with the Clowns for a few days while furloughed.37 Tatum remained at McDill Field until March, 1946, when he was granted his discharge.38

Tatum quickly returned to professional athletics after leaving the service. He rejoined the Harlem Globetrotters for a tour of Hawaii in April and returned to the Cincinnati-Indianapolis Clowns for the 1946 Negro American League season. He was once again selected to the East-West All-Star games, but did not play in either the first or second game.39 He finished the baseball season with the Cincinnati Crescents on an exhibition tour of Hawaii under the management of Globetrotters directors W.S. Welch and Abe Saperstein.40 He rejoined the Clowns in 1947, but his performance began to decline, especially as a hitter.41 Despite this, he was again named an East-West all-star, going 2-4 with four runs scored in his first and only career appearance in the first 1947 East-West game played at Comiskey Park in Chicago on July 27th.42 In addition, he headed a Negro league all-star team that toured with the Clowns in September,43 and singled off Hall of Famer Bob Feller during an off season exhibition game in Los Angeles with the Kansas City Royals winter team on October 19th.44 Meanwhile, it was well reported that Tatum was being scouted by the Philadelphia Phillies.45 Although a $10,000 contract was rumored,46 a deal with Philadelphia failed to materialized. Personal issues had began to plague Tatum, among which was a fine for spiking an umpire, and a recent fight with Hilton Smith of the Kansas City Monarchs in which Tatum reportedly stabbed Smith.47 Tatum's showboating at the East-West all-star game also received scrutiny from famed sports writer Wendell Smith in the Pittsburgh Courier.48 Moreover, Tatum was hospitalized in April 1948 with a case of appendicitis, which threatened to delay his start to the baseball season. He recovered quickly and was able to play out the rest of the season with the Clowns, but was not selected to another East-West game. In late December, he was arrested and briefly jailed for failing to pay lawyer's fees, days after the birth of his son, Reece Tatum Jr.49

Tatum's last regular season in Negro baseball came in 1949. With the Negro American League suffering from a loss of talent due to the integration of organized baseball, Tatum was able to improve his batting average to .320 for the Clowns.50 In the fall, he toured with the Harlem Globetrotters baseball team51 before returning to the court with the Globetrotter's basketball team in the winter as usual. The following year, however, the Globetrotters began playing a year-round schedule, including during summer months, and Tatum opted to thereafter focus solely on basketball. Tatum's international profile as a Globetrotter continued to rise for several more years, but his personal issues also continued to add up. He faced various legal battles, including child support,52 alimony53 and tax evasion54 suits, and also fought a bitter salary dispute with owner Abe Saperstein.55 In addition, he was also prone to drink and argue, as well as occasionally go missing for days. In April 1955, after reportedly missing seven scheduled games, Tatum was suspended and ultimately released from the Globetrotters.56 In the aftermath of the fallout, it was reported that Tatum was being recruited to return to baseball in the Negro American League.57 However, Tatum instead decided to partner with former Globetrotters teammate Marques Haynes to form the Harlem Magicians, a barnstorming basketball team similar to the Globetrotters.58 After this partnership ended a couple years later, Tatum formed and operated his own independent basketball team, the Harlem Stars.59 Meanwhile, he made an ostensible return to Negro baseball in 1958 when it was purported that he had purchased and taken over the management of the Detroit Stars of the Negro American League, subsequently renamed the Detroit Clowns.60 However, it was later clarified that the Detroit club was in fact retained by owner Ted Rasberry and Tatum was only named the nominal owner as part of a publicity stunt.61 Tatum did make breif appearances with the Clowns that season,62 63 but otherwise had minimal involvement with the team and frequently disappointed fans by failing to show up for games in which he was the headlining attraction.64 As a result, the Detroit club dropped Tatum the following year and reverted to being known as the "Stars."65 Similarly, Tatum teamed in 1962 with Negro baseball legend and business partner Satchel Paige to form and co-star on a Harlem Stars baseball team. Paige, who had also toured with the Harlem Stars basketball team, regularly pitched a few innings of each game. Tatum, now in his mid 40s, occasionally appeared as a pinch-runner,66 but otherwise only appeared as a clown67 or failed to show up to games altogether.68

For several more years, Tatum continued to perform with his basketball team, renamed the Harlem Road Kings in 1962. His teenage son, Reece Jr., joined the tour for a time before he was killed in an auto accident near Texarkana, TX on April 2nd, 1966 while driving to a tour stop.69 In early January 1967, Tatum himself was hospitalized near his home in El Paso, TX with a liver condition.70 Shortly after he was released from the hospital, he collapsed at home on January 17th and died later that night in a nearby emergency room.71 72 He was buried in Fort Bliss National Cemetery in El Paso after a private family funeral.73 In 1974, he was posthumously inducted into the Arkansas Sports Hall of Fame, the institute's first black inductee.74 In 2011, he was selected to the Naismith Memorial Basketball Hall of Fame.

1 Tatum's WWII draft card and most other contemporary sources give his birth date as May 3rd, 1921. However, Tatum appears in the 1920 U.S. Census, enumerated in February 1920, and is listed as 1 year and 7 months old, suggesting that he was actually born in May 1918.

2 Most modern sources give Tatum's birthplace as El Dorado, AR. However, most sources during Tatum's life, including his WWII draft card, death certificate and obituary, give his birthplace as Calion, AR. Furthmore, in Untold Stories: Black Sports Heroes Before Integration, by Darren Ivy and Jeff Krupsaw, Tatum's sister Dr. Thelma Powell suggested that Tatum was actually born near Hermitage, AR. This latter birthplace is more likely, since the Tatum family was living in Bradley County, AR near the town of Jersey in the 1920 U.S. Census. Tatum's next oldest sibling, his sister Thelma, was born in Jersey, AR in 1916, and his next youngest sibling, his brother Clenton Taylor, was born in nearby Harrell, AR in 1923. The Times (Shreveport, LA), 1/29/1956 and the Arkansas Gazette, 4/18/1954 both suggest that Reece was also born in Harrell, AR. The Times (Shreveport, LA), 1/23/1966 suggests that Reece was born in "Bradley, Ark.", which probably refers to Bradley County, thereby making Jersey, AR the most likely place of Tatum's birth.
3 1920 U.S. Census and 1930 U.S. Census.
4 Arkansas Gazette, 1/8/1974
5 Tatum was called "Goose" in the press as early as 1938. Pittsburgh Courier, 7/9/1938, p.23
6 Daily News (New York, NY), 3/29/1951
7 The Weekly Review, (Birmingham, AL), 9/29/1945, p.7
8 Sawmill: The Story of Cutting the Last Great Virgin Forest East of the Rockies, by Kenneth L. Smith, p.190-191
9 Alabama Citizen (Tuscaloosa, AL), 9/24/1949

10 Indianapolis Recorder, 8/25/1945
11 Tatum's height and arm measurements were often exaggerated. He was listed as 6'3" in his WWII draft card. 84 inches was the most commonly reported arm span for Tatum.
12 Pittsburgh Courier, 8/2/1947, p.14
13 The Weekly Review, (Birmingham, AL), 9/29/1945, p.7
14 Chicago Defender, 8/7/1937, p.19; Pittsburgh Courier, 7/9/1938, p.23
15 Sawmill: The Story of Cutting the Last Great Virgin Forest East of the Rockies, by Kenneth L. Smith, p.190-191
16 Barnstorming to Heaven: Syd Po***ck and His Great Black Teams by Alan J. Po***ck, p. 28
17 Untold Stories: Black Sports Heroes Before Integration, by Darren Ivy and Jeff Krupsaw
18 Courier-Journal (Louisville, KY), 4/23/1939
19 The Times (Shreveport, LA) 4/14/1941
20 The Weekly Review (Birmingham, AL), 4/11/1941, p.7
21 The Weekly Review, (Birmingham, AL), 5/2/1941, p.7
22 The News Palladium, (Benton Habor, MI) 8/11/1942; Cincinnati Enquirer, 8/11/1942
23 Cincinnati Enquirer, 8/30/1942; The Weekly Review (Birmingham, AL), 9/15/1942, p.6
24 The Weekly Review, 8/14/1943, p.7
25 The Seamheads Negro Leagues Database gives Tatum a 124 OPS+ in 1943.
26 Pittsburgh Courier, 7/31/1943, p.19; Indianapolis Recorder, 7/31/1943
27 Indianapolis Recorder, 9/2/1944, p.3
28 Minneapolis Star, 8/9/1943; Weekly Review (Birmingham, AL), 8/21/1943
29 The Nebraska State Journal, 5/27/1945
30 Pittsburgh Courier, 9/18/1943, p.17; 10/2/1943, p.16; 10/2/1943, p.17
31 Pittsburgh Courier, 12/25/1943, p.14
32 Nebraska State Journal, 9/11/1944, p.5
33 Lincoln Journal Star, 8/17/1944
34 Weekly Review (Birmingham, AL), 6/9/1945, p.7; Pittsburgh Courier, 6/23/1945, p.12
35 Council Bluffs Nonpareil, 7/29/1945, p.19
36 The Weekly Review, (Birmingham, AL), 9/29/1945, p.7
37 Indianapolis Recorder, 8/25/1945
38 Weekly Review (Birmingham, AL), 3/9/1946
39 Pittsburgh Courier, 8/10/1946, p.16
40 Indianapolis Recorder, 8/3/1946
41 Seamheads.com Negro Leagues Database credits Tatum with a 60 OPS+ in 1947.
42 Pittsburgh Courier, 8/2/1947, p.15
43 Council Bluffs Nonpareil, 9/19/1948
44 The Pomona Progress Bulletin, 10/20/1947
45 Indianapolis Recorder, 6/28/1947, p.1; 7/12/1947, p.1; 7/12/1947, p.2
46 The Knoxville Journal, 7/26/1947
47 Indianapolis Recorder, 9/13/1947, p.3
48 Pittsburgh Courier, 8/2/1947, 14
49 The South Bend Tribune, 12/30/1948
50 1949 Negro American League Statistics at CNLBR.org.
51 Knoxville Journal, 9/9/1949, p.19
52 Jet, Vol. 16 No. 4, p.20, 5/21/1959
53 Knoxville News-Sentinel, 5/5/1957
54 Nashville Banner, 1/21/1961, p.11
55 Alabama Citizen, 4/29/1955, p.7; Pittsburgh Courier, 1/28/1967, p.14
56 Knoxville Journal, 4/21/1955, p.18
57 Camden News, 4/25/1955, p.8; Pittsburgh Courier, 6/25/1955
58 Pittsburgh Courier, 10/8/1955, p.12
59 Kansas City Times, 8/31/1957, p.21
60 Chattanooga Daily Times, 4/22/1958
61 Indianapolis Recorder, 5/10/1958, p.11
62 1958 Negro American League Statistics at CNLBR.org. Tatum as listed as playing in less than 10 games.
63 Alabama Citizen, 5/31/1958, p.5; Lincoln Star, 8/10/1958; Des Moines Tribune, 6/9/1958
64 Indianapolis Recorder, 9/6/1958, 11; Evening Independent, 7/15/1958; Palladium-Item (Richmond, IN), 8/29/1958
65 Alabama Tribune, 4/10/1958, p.7.
66 Birmingham News, 8/6/1962; Huntsville Mirror, 8/11/1962
67 Tampa Bay Times, 8/13/1962; Chattanooga Daily Times, 6/25/1962, p.9
68 Cedar Rapids, 8/2/1962; Indianapolis Recorder, 9/8/1962, p.11
69 Abilene Reporter-News, 4/3/1966; Fitchburg Sentinel, 6/3/1967, p.8
70 El Paso Herald-Post, 1/9/1967
71 Tatum's Death Certificate.
72 El Paso Herald Post, 1/18/1967, p.1
73 El Paso Times, 1/20/1967
74 Arkansas Democrat, 1/15/1974

08/11/2026

The Preservation of Our Bradley County Heritage - by Mark Deal

Why is the historic John Martin House, built in 1860, so important to our community? Why is the continued support of the efforts of the Bradley County Historical Museum essential to keep Bradley County history alive?

We often think about major national events or famous figures, but important history is also made in places like Bradley County—through the lives of ordinary people who built homes, raised families, worked the land, and helped create the community we know today. Local history is where the larger history of America becomes personal.

The John Wilson Martin house is more than a beautiful building. The craftsmanship, architecture, and materials reflect the time in which they were built and the people who lived here. When we walk through these rooms, we are quite literally walking through history. Preserving this structure and others like it allows us to maintain that connection in a way that memorabilia and photographs alone cannot.

Much of the early growth of Bradley County was shaped by the timber industry. The vast pine forests of South Arkansas made this region one of the most important timber-producing areas in the nation. Sawmills, logging camps, and railroads helped transform Bradley County into what it is today.

The railroads also played an earlier, vital role in the development of Bradley County. Rail lines connected our community to markets across Arkansas and beyond. They made it possible to transport timber, agricultural products, and other goods efficiently, which helped local businesses grow and prosper. In many ways, the railroad enabled Bradley County timber industry to attain explosive growth and helped place Warren on the map. Both the railroad and the timber industry continue their contribution to the economic foundation of the county.

Agriculture has also been a central part of our heritage. Generations of Bradley County residents have worked the land—raising crops (in early days, cotton and later tomatoes in particular), tending livestock, and sustaining their families through hard work and determination. The tools, photographs, and documents preserved in the museum help us remember that way of life and the people who lived it.

But history is also about people. The museum holds photographs and letters of families, records of businesses, letters and everyday objects that once played a role in someone’s life. These items tell the human story of Bradley County. They remind us that the community we live in today was shaped by countless individuals whose efforts and experiences deserve to be remembered.

Museums like ours serve as the collective memory of the community. Without places like the Bradley County Historical Museum, many of these stories could easily disappear, and despite our efforts, many have been lost to time. Old photographs fade, family documents are lost, and artifacts are discarded when people move or homes change hands. When those items are preserved in a museum, they become part of a shared heritage that belongs to everyone.

Local museums are educational resources. They allow younger generations to see history firsthand rather than simply reading about it in a textbook. When a student holds an old farming tool, looks at a photograph of Warren from a century ago, or reads a letter written by a Bradley County resident long ago, history suddenly becomes real. It becomes something they can see, touch, and understand.

Preserving that history, however, requires effort and commitment. Maintaining a historic building like the John Wilson Martin House is not simple. Historic structures require careful upkeep in order to protect them from time, weather, and deterioration. Artifacts and exbibits must be properly stored and preserved so they can survive for many years to come.

Like many small community museums, we operate with very limited resources and our budget is modest. Much of what we are able to accomplish is made possible by volunteers, grants, donations, fundraising events and the dedication of people who care deeply about preserving our local history.

Every contribution—whether it is time, financial support, or the donation of historical materials—helps ensure that the museum can continue to serve Bradley County.

Many of the most meaningful items in the museum’s collection were donated by local families who wanted to ensure that their stories would be remembered. Each photograph, document, or artifact adds another piece to the larger story of Bradley County.

Conservation and preservation of our history is also an investment in the future. The history we preserve today will become the foundation for how people understand Bradley County many years from now. If we fail to protect these buildings, documents, and artifacts, future residents may never fully know the story of the community in which they live. The John Martin House and the Bradley County Historical Museum represent a commitment to preserving that story.

The vision of the Woman’s Club and others in the community all those years ago to begin preserving the John Martin House and supporting the work of the Bradley County Historical Museum, has been vital to protecting those stories and ensuring that the heritage of Bradley County will continue to be shared for generations to come.

Thank you for your support and for helping keep the history of Bradley County alive. If you are interested in making a tax-deductible donation to the museum, your contribution may be mailed to: The Bradley County Historical Museum, Attn: Kim Cathey, Treas., Post Office Box 311, Warren, AR. 71671.

08/03/2026

Wonderful article about Warren and Bradley County written by Rex Nelson.

https://www.facebook.com/share/1DU6H1dudM/?mibextid=wwXIfr

In a 1987 issue of the Arkansas Historical Quarterly, Ellen Compton wrote about the Bradley County seat of Warren.

08/03/2026

The Dr. John W. Martin home at 200 West Ash St. in Warren, AR currently houses The Bradley County Historical Museum. The home is on The National Register of Historic Places. The following narrative is from the actual narrative to place the structure on the Register. Several photographs are included from the application and other show the building in its current state. The narrative includes many fasinating details about the building, its use by the Martin Family and by Dr. Martin in his medical practice.

From The National Register of Historic Places Archives: The Dr. J. W. Martin House

The Dr. John Wilson Martin House (currently housing The Bradley County Historical Museum) is both the oldest known standing residence in the city of Warren and the best surviving example of the vernacular interpretations of the Greek Revival that were far more common in the Arkansas countryside during the antebellum period than the more popular, high-style designs. Furthermore, the documentary evidence that survives regarding its original outbuildings, combined with the visible surface record, distinguishes it as both the best known example in Warren of an urban farmstead and that most likely to reveal further information about such farmsteads in this vicinity.

Elaboration

The Dr. John Wilson Martin House is a two-story, wood frame residential building designed in a simplified, vernacular interpretation of the Greek Revival style. The main, two-story section is an I-House; the single-story rear ell creates an "L"-shaped plan overall that also features a full-length, shed roof, two story open front porch supported by six turned posts on each story, a single-story screened porch on the eastern elevation of the two-story section, a single-story, gable roof, open entrance porch on the gable end of the rear ell and a shed roof enclosed room running along the western side of the ell and the northern side of the two-story, main section of the house. A single exterior end brick chimney with fireboxes on both floors rises through the center of the eastern gable end (an original identical chimney on the opposite elevation has been removed within the last fifteen years). A continuous brick foundation supports the weatherboarded walls, and the roof surfaces throughout are covered with asphalt shingle.

The southern or main facade of the house is six total bays in length, with the screened porch forming the sixth bay on the eastern end and the front wall of the house - divided into two window bays on each side of the central entrance - forming the other five. The first and second floors on this elevation are almost identical, with central, double-leaf entrances opening out onto the porch and two six-over-six wood sash windows placed to either side. The only difference between the entrances is that the first floor entrance is surrounded by an eleven-pane transom (noteworthy through its use of three smaller panes at each end flanking the five larger central panes) and two six-pane fixed half-sidelights, while the second story entrance lacks the transom. The two-story, full-length porch is supported by six turned posts on each story. A jig-sawn wood balustrade connects the posts on the second story, while the first story posts lack the balustrade and rest upon the wood porch deck and foundation. The screened porch bay at the eastern end is accessed via a central entrance and is itself supported upon three chamfered columns running its full length along the eastern elevation of the I-house portion.

The eastern elevation is lighted by two symmetrically-placed six-over-six wood sash windows on the second floor that flank the central brick chimney; a single leaf entrance stands to the south of the chimney on the first floor, with a single six-over-six wood sash window lighting the wall to the north of the chimney. The overhanging eaves feature decorative Craftsman-style brackets (added later), and the screened first story porch is accessed via a screen door placed toward the southern end of the house. The single story ell to the north. is lighted by three three-over-one wood sash windows. The western elevation of the I-house section is essentially identical, with the exception of the removal of the chimney. To the north, a smaller six-over-six wood sash window lights the shed roof room and the side of the rear ell is punctuated by a single leaf entrance and a two-over-two wood sash window placed toward the northern end.

The northern elevation of the rear ell is accessed by the single story, gable roof rear porch, placed to the east. The ell's gable end is lighted by two three-over-one wood sash windows placed to the west of the gable roof porch. To the west, the wall of the shed room attached to the rear of the I-house section is lighted on the first story by three six-over-one wood sash windows; it is lighted on the second story by a single six-over-six wood sash window placed directly above the middle window below.

The interior of the building is typical of such vernacular interpretations of the Greek Revival style. The large, single panel doors that provide access through the front entrances on both floors are matched by the single panels below the side-lights. Inside, the trim is characterized by the unmilled baseboards and door facings throughout. An extremely simple balustrade ornaments the stairwell at the back of the central hall and continues around the top of the stairwell above.

Though this building appears basically the same as it did when it was completed after the end of the Civil War, it has suffered some significant alterations. Historic photographs reveal the existence of squared, Greek Revival columns on the front porch that were designed so as to slope inward toward their capitals (a visual effect known as entasis that was first developed by the Greeks to make relatively small buildings appear more vertical). These were later replaced with columns formed from connected planks grouped together in a dec. orative fashion. The current posts were probably installed by 1910, as the Folk Victorian style began to go out of fashion thereafter. Other alterations include the extending of the eaves on the roof of the I-house section of the house and the addition of decorative brackets to support them.

Furthermore, a comparison of even the latest Sanborn map with the current structure seems to indicate a significantly longer rear ell originally, a theory that is further supported by the fact that later Craftsman windows have been installed around the entire rear of the ell. And finally, the western chimney was removed within the last fifteen years, probably due to deterioration.

Included in the nomination is the entire lot surrounding the house that has not been subdivided. Extant on this property are three outbuildings: an early brick structure (locally known as the kitchen), a deteriorated, gable roof wood frame building, and a Craftsman-style, wood frame, gable roof automobile garage that may or may not be historic. However, Sanborn maps from the early twentieth century (1912, 1920 and 1931) reveal the existence on this property of at least six other outbuildings of as yet undetermined use, though it is virtually certain that they were subsistence farming-related.

Elaboration on Dr. Martin’s Use of the Home

John Wilson Martin was born in mountainous Harrison County, Virginia on June 8, 1819, the grandson of Colonel Benjamin Wilson, a veteran of both the Indian and Revolutionary Wars. He first studied medicine under a Dr. Clark of Parkersburg, West Virginia, and then came toNew Orleans c. 1843 to attend lectures at Tulane University. Upon completion of the lecture series at Tulane, Martin came north by boat from New Orleans to join his older brother in southeast Arkansas, who had preceded J.W. Martin into the region by two years to work for Phelps and Company, commission merchants from New Orleans.

His first years in this new country were apparently quite lonely and difficult for the young doctor, as letters written by him to his siblings back in Virginia reveal a desire to know more about news from his native state and a hunger for more information about family and old friends. However, he also notes that the country around Warren is improving very fast as more settlers are arriving and clearing the land for farmsteads.

It is known that he settled in Warren by 1848, as the county marriage records indicate that he married Mary Elizabeth Franklin in that year, a daughter of one of the original ten families to settle the area around the present-day site of Warren. Dr. J.W. Martin established a flourishing practice throughout Bradley County over the next several decades, often riding on horseback all day to reach the frequently remote residences of the afflicted. He also became active in the Methodist church, where he served as both deacon and teacher. He took his relaxation in hunting, of which he found abundant opportunity in the game-rich wilds of mid-nineteenth century southeast Arkansas.

Naturally, his medical practice was especially active, if not profitable, during the Civil War. Stories abound of Dr. Martin's nightlong rides around the countryside to reach wounded Confederate soldiers while trying all the while to avoid Yankee patrols. He was less successful at keeping his valued collection of horses from the Federals, who frequently requisitioned whatever mounts they needed from his family stables.

Dr. J.W. Martin embarked in the mercantile business after the Civil War in partnership with a Mr. Goodwin and pursued that line of work in addition to his medical practice for several years thereafter. He died on February 11, 1910, living to be over ninety years old.

There is virtually no documentation regarding the construction of the house, though the oral tradition maintains that construction was begun in 1860, and then delayed until after the end of the Civil War, when the building was completed. The earliest surviving historic photograph of the house was taken in the 1880's and gives us our first glimpse of the original supports for the full-length front porch. However, Dr. Martin was a slave-owner before the war, and it is likely that among his slaves were craftsmen who helped him design and construct the building according to the designs of other local residential construction they had seen.

The style of the building is typical of the vernacular interpretations of the Greek Revival that abounded throughout Arkansas during this period. The standard transom and half-sidelights, the six-over-six wood sash windows, the full-length, two-story porch galleries along the front of the house, and the long rear ell in which meals were prepared and brought around through the covered rear shed rooms to the dining room are all features of the Greek Revival houses of this period constructed in this part of the state. In spite of the alterations, the Dr. John Wilson Martin House remains the best surviving example in Warren of this particular floor plan and vernacular architectural style.

The section of the original lot that remains intact around the house and the surviving outbuildings also have the potential to reveal further information about the occupation of the site by Dr. Martin, his family and possibly even his slaves.

The earliest Sanborn map on which this lot appears, that for the year 1912, reveals no fewer than nine wood frame outbuildings in addition to the extant brick building. The two westernmost buildings (now demolished, with their site having become part of another house lot that was subdivided from this one) were identified as stables; the purpose of the others is not indicated. However, when one considers that J.W. Martin was a doctor, it is likely that at least one of the buildings was an office and medicine preparation area (Dr. Martin made all of his own remedies and powders).

Furthermore, with a total of twelve children living in the house, food storage facilities, a privy or privies, livestock shelters, smokehouses and other such facilities common to most farmsteads, rural. or urban, must have been required. Though only the brick building to the north of the house and the small frame building to the west of the house survive from the historic occupation of the site, the relatively undisturbed nature of the site combined with the afore-mentioned documentary evidence of the abundance of structures that existed as of 1912 clearly indicate the site's archeological potential to reveal further information about the urban farmstead and the professional practice that was operated 'here by Dr. Martin and his family. Specifically, the evidence may reveal valuable information about early rural medicine in southeastern Arkansas; the extent to which this family may or may not have enjoyed commercial, cultural and social interactions with the outside world, given the relatively landlocked nature of this area; and about the agricultural practices and methods employed by the family in the process of maintaining this urban farmstead and providing for their daily subsistence needs.