Tag Archives: Connecticut

Letters

"Pen," Carol Crump Bryner, colored pencil, 2015

“Pen,” Carol Crump Bryner, colored pencil, 2015

Among the Whirlwind Hill documents my mother treasured were a dozen or so letters written between 1812 and 1815 to my great-great-grandfather Salmon Hall. Until recently I assumed these letters to be written by his brother Aaron Chauncey Hall. All the signatures on the letters were either A. C. Hall, or A. Hall.

A. C. Hall signature

A. C. Hall signature

But just last week I discovered upon closer reading, that many of these old letters were written by my great-great-uncle, Asahel Hall, son of Aaron Hall Esq., older brother of Salmon Hall, and younger brother of Aaron Chauncey Hall. His signature is different than Aaron’s and the letters he wrote more detailed and informal. I was happy to be able to finally connect this Asahel to the Dr. Asahel Hall lauded in an obituary that my mother kept with these letters.

Dr. Asahel Hall signature

Dr. Asahel Hall signature

Asahel grew up on the farm, became a doctor, and during the war of 1812, when he was just twenty years old, became a surgeon’s mate at Fort Griswold in New London, Connecticut. (I wonder what this says about the medical profession in those days, that a twenty-year old could become a doctor?) Later in his life he settled in Poughkeepsie, NY, where he practiced medicine, married, and had four children. One of his sons, Henry Clay Hall, was a long-serving United States diplomat to Mexico, Cuba, and Central America, and was consul-general in Matanzas and Havana, Cuba. Abraham Lincoln signed Henry’s appointment as vice-consul general of Matanzas.

Asahel’s letters home to his brother from his post at Fort Griswold are affectionate and personal. He often laments the fact that he hasn’t heard from his four brothers and six sisters, and wishes he could come home to see them.

“Dear Brother, The mail has come in & nought [sic] do I hear from you & why? Are you too busy to give me a line, or your mind & attention given to the fair daughters? If the latter be the case, I will not presume but admonish you to relax a little and give me a word or two to revive a flagging spirit.” – Asahel Hall, in a letter to his brother Salmon from Fort Griswold, Connecticut, May 20, 1814

He also spends time thinking about women.

“Dear Brother, I am comfortably seated by a good fire in a warm room, although it is devilish cold without & in fact it has been so cold for a number of days, I have hardly made the daring attempt to call on the fair ones. Just after my return, I attended two parties & my favorite lady was there. She almost tempted me to sin. Her glistening arms & ruddy cheeks – her fine fair form & lips so sweet, would almost raise the devil with any fellow.” – Asahel Hall, in a letter to his brother Salmon from Fort Griswold, Connecticut, February 1, 1814

And he gives Salmon advice on planning for the future.

“I had some conversations with Father, about you & business. He said he had not mentioned to you anything about living with him the ensuing year, but was of the opinion it would be best for both for you to tarry another year, as in the course of that time the prospects of affairs might change, & some good opportunity arise for you. He said he would give you so much per month or give you a proportional part of the products of his land, etc. etc. Under all circumstances I could but believe an agreement in one or the other of those points, would be better than entering into any other business.” – Asahel Hall, in a letter to his brother Salmon from Fort Griswold, Connecticut, February 1, 1814

Salmon took his brother’s advice, and so the Hall farm was passed down for generations to enjoy.

Letters sustained me for much of my life. I became homesick easily, and newsy letters arriving at camp, college, summer jobs, and my eventual exile in the far west were always welcome. Both of my grandmothers and my mother regularly wrote me news of all sorts. In this letter sent to me at camp in 1958, my grandmother reports on all of my Hall first cousins except Dean, who hadn’t yet been born.

Grandma Hall's letter to me at Silver Lake Camp, front page, summer, 1958

Grandma Hall’s letter to me at Silver Lake Camp, Front page, summer 1958

Grandma Hall's letter to me at Silver Lake Camp, back page, summer 1958

Grandma Hall’s letter to me at Silver Lake Camp, back page, summer 1958

During my teenage years I corresponded with a pen pal, Merle. She and I wrote letters back and forth from her home in England to my little red house in Wallingford, Connecticut. We talked about lipstick, nail polish, new dresses, our parents, our siblings, our pets, and boys.

I never met Merle, but felt I knew her through the details she sent to me about her everyday life. And now I’m gradually starting to get acquainted with my distant and sometimes mysterious forefathers and mothers. Although their lives and times were different from mine, we shared a similar desire to stay connected, to send and receive news, and to give advice. Maybe the ancestors didn’t talk about lipstick and perfume as I did with Merle, and I certainly never advised anyone to take Calomel the way one brother advised another, but we enjoyed the process of writing a letter – of putting pen to paper and using words to bring another person closer to us and to let them know we care.

A letter from Asahel to Salmon

A letter from Asahel to Salmon

On Monday:  Foraging

Painters in the Family

I’ve been wondering lately about the force that nudges a person onto their life path. Is it heredity? Is it serendipity? Is it a desire to be like someone they admire? It’s probably a bit of everything, but, yet, I don’t think it’s an accident that there is, in my family, a line of artist/painters descended from the Harts of Durham, Connecticut. There must be something genetic in the desire to not only observe the world but to record those observations.

My great-grandmother, Lydia Jane Hart Hall, the woman whose journals I quote frequently in this blog, introduced the Hart blood into the Hall family. The Harts were a prominent and long-time Durham family who lived for four generations in the little homestead memorialized in this picture. The Hart family will be the subject of a future post, but today I’m concentrating on Mary E. Hart and the other women in our family who admired and emulated her.

"Original Hart Homestead," Melissa Hall, copy of a painting by Mary E. Hart

“Original Hart Homestead,” Melissa Hall, copy of a painting by Mary E. Hart

I’ve written about Mary E. Hart before in “Violets,” and “Violets, An Addendum.” She lived the prime of her life during the Civil War years – she was born in 1836 and died in 1899 – but her paintings radiate peace. In her early life she’d been a teacher but later on became a prominent artist in the Durham area. She was especially famous for her depictions of violets. Her touch with paint was as delicate when she used oil as it was when she painted with watercolor.

"Pinks and Violets," Mary E. Hart, watercolor, around 1870

“Pinks and Violets,” Mary E. Hart, watercolor, around 1870

"Pansies," (detail), Mary E. Hart, oil on canvas, around 1870

“Pansies,” (detail), Mary E. Hart, oil on canvas, around 1870

Melissa Hall, my mother’s much-older cousin, was born around 1896, and exposed early on to Mary Hart’s paintings. She, like Mary, never married. In this photo from a 1904 Thanksgiving at the farm, she sits to the left of her two sisters, Alice and Gertrude.

"Melissa Hall (left), Alice Hall (top), Gertrude Hall (right front)

“Melissa Hall (left), Alice Hall (top), Gertrude Hall (right front)

Cousin Melissa made copies of many of Mary’s paintings, (the picture of the Hart Homestead is a copy made by her of a Mary Hart painting), but she had a style of her own. To the end of her life she made and sent me and other family members Christmas cards, Easter cards, birthday cards, and postcards.

Melissa's flowers565

My mother, Janet Hall Crump, began painting early, influenced not only by Mary Hart but also by her cousin Melissa. She especially loved painting the flowers she picked from her garden. Here she’s set up her pansies – maybe to be painted – next to Mary Hart’s painting.

Janet's pansies with Mary's painting

Janet’s pansies with Mary’s painting

And Janet, too, liked to make cards and decorations with her brush and paint. This must have been a place card for a dinner.

"Place Card," Janet Hall Crump

“Place Card,” Janet Hall Crump

I grew up surrounded by the paintings done by these three women. There’s no denying their influence on the path I chose. Paintings by Mary, Melissa, and Janet will surface again in my blog posts. Here’s an early still life done by my mother when she was at Boston University. Watercolor was the perfect medium for her. She was a woman who “lived in the moment,” and the immediacy of watercolor suited her perfectly.

"Still Life with Yellow Cup," Janet Hall Crump, watercolor, 1938

“Still Life with Yellow Cup,” Janet Hall Crump, watercolor, 1938

Sixty years later I did my own painting of a yellow cup.

"Morning Light," Carol Crump Bryner, oil on canvas, 1998

“Morning Light,” Carol Crump Bryner, oil on canvas, 1998

I can’t resist closing with this example of how the artistic influence travels down the family tree. My daughter did this painting of flowers when she was nine years old. It made me smile today when I took it down from the wall to scan it and noticed that she had signed it Mara “Crump.”

"Flowers," Mara Bryner, acrylic, 1986

“Flowers,” Mara Bryner, acrylic, 1986

On Monday:  Washday

Cornelia and The Sea

My great-great-grandmother Cornelia Andrews Hall was a stern woman. At least that’s the way I always pictured her. A portrait that used to hang in the living room of the farmhouse is said to be of her. She has a serious and tired countenance, and she wears a brooch containing a lock of an ancestor’s hair.

Possibly Cornelia Andrews Hall, around 1860

Possibly Cornelia Andrews Hall, around 1860

Five years before she died she tried to evict my great-grandfather William E. Hall from the farm. Her husband Salmon had been dead for thirteen years, and it would be five more years before her own death.  William wrote a comment on the eviction notice that says “Thirteen years of pleasure – five years of hell.” Something went amiss between Cornelia and her son William to cause this rift. I’ve never been able to find out what it was or if my great-grandparents actually had to leave the farm for awhile. It’s another mystery waiting to be solved.

Until last fall I didn’t know much else about Cornelia. But after my cousin Ellen sent me a photo of Cornelia’s childhood home in Sheffield, Massachusetts, and I was doing research about that homestead, I stumbled upon a letter Cornelia had written home to her family in the third month of her marriage to my great-great-grandfather, Salmon Hall:

Wallingford, August 12, 1832

Dear Parents,

It has been three months since I left you. I enjoy good health and am perfectly contented with my new situation, and much pleased with my new neighbor. I should like to have brother Dwight with me. He would find enough here to amuse him. He could pick whortle berries and go to school, drive my cow and feed my chickens. Last Monday we went to the sea. We had a very pleasant time and I enjoyed myself very much. We sailed to Kids Island and took a pleasant walk. I went in the water over my head. Mr. Hall gave me my choice to go to Sheffield or the sea. I hope my friends will not forget me. We have long waited for a line from you but have not received any. Mr. Hall says he shall not write anymore unless you write to us. I hope you will come and visit us this fall. I shall expect a visit from grandpa and grandma this season and I hope they will not disappoint me. Give my love to all inquiring friends and tell them I have not seen one homesick moment yet. Tell Brothers and Sister to write to me.

Good evening parents –  This is from your daughter C.T. Hall  &  S. Hall

Her home in Sheffield was a stately-looking place. A photo of it hangs in my cousins’ cottage in Madison, Connecticut, but until last fall I didn’t realize it was the Andrews Homestead. The fact that she chose not to go back home for her outing, but to have an adventure at the sea gives me a younger and more lively picture of her.

Andrews Homestead, Sheffield, Massachusetts

Andrews Homestead, Sheffield, Massachusetts

Nearly one hundred years after Cornelia wrote this letter, her granddaughter, Ellen Hall Norton, bought a cottage near Circle Beach in Madison, Connecticut. A copy of the above photograph of the Andrews Homestead hangs on the cottage’s living room wall. Later this summer I’ll write about the cottage – a place loved and often visited by our family. I’m glad that Cornelia “chose the sea,” and glad that my aunt Ellen did the same. My aunts and uncles and cousins have generously shared their cottage with me, and I’ve enjoyed painting the views into and out of its windows and doors. When Cornelia went to the sea for an outing it must have been a welcome respite from the busy life of the farm. Our family on the farm always kept a close connection to the sea – a connection I try to continue through my paintings.

"Sleeping Porch Windows," Carol Crump Bryner, oil on canvas, 2010

“Sleeping Porch Windows,” Carol Crump Bryner, oil on canvas, 2010

On Wednesday:  July Window

Violets – An Addendum

Two weeks ago I wrote here about violets and about Mary E. Hart’s painting of violets. When I visited Whirlwind Hill recently I took a drive to Durham, Connecticut to visit the old cemetery in the town center. My mother loved this drive, and we went there together often to visit the Hart graves. My great-grandmother, Lydia, was a Hart, and her family had been long-time Durham residents.

So it seemed fitting that when I found Mary’s little grave marker, the grass surrounding it was full of violets.

Mary E. Hart's grave stone with violets, May 2014

Mary E. Hart’s grave stone with violets, May 2014

On Monday:  The Letter