Category Archives: Ancestors

Agnes

In 1888, my grandmother, Agnes Maud Biggs, came to America from England with her parents, Joseph Biggs and Maud Pawsey Biggs. She was six months old. A photo of her taken before they sailed shows an eager and well-dressed little baby perched on a fur rug.

Agnes Maud Biggs, six months old

Agnes Maud Biggs, six months old

The Biggs family settled in Glastonbury, Connecticut along with other Pawsey relatives. My great-grandfather got work in a woolen mill. On the back of a photograph of the mill building my grandmother wrote, “This is the factory where Joseph Biggs spent all his working days in America.”

Agnes was always a good student. In one of her report cards from 1900 she ranked first in her class. She went to nursing school in New Haven, Connecticut and graduated with honors. Her specialty was maternity, and I’m fairly certain she met my grandfather when she was nurse to one of his newborn nephews. When Ellsworth Hall and Agnes Biggs married in December 1913, she gave up her nursing career and her life in Glastonbury, and went to live at the farm on Whirlwind Hill.

Agnes Biggs, (right) in the maternity ward, New Haven Hospital, 1910

Agnes Biggs, (right) in the maternity ward, New Haven Hospital, 1910

According to my great-grandmother’s journals, Agnes was up to the challenge of living in a large house with her in-laws. She entered into marriage, not only to my grandfather, but also to his aging parents, a large house, and a busy farm. During her courtship she was referred to in the journals as Miss Biggs. “Miss Biggs has gone back to her home in Glastonbury. We like her more and more each time she visits.”

Agnes and Ellsworth had three children by 1918. Nine years later, when she was forty years old, my grandmother gave birth to twin boys in the downstairs bedroom of the farmhouse. My mother, who was nine at the time, described the event like this. “I didn’t even know she was going to have a baby. And suddenly there were two little babies, and my mother hadn’t made a peep.”

Agnes with the twins, Luther and Aaron, 1927

Agnes with the twins, Luther and Aaron, 1927

How tired my grandmother must have been all the time. She rarely had a minute to herself. She was responsible for keeping the whole show together. She was the nurse, the mother, the grandmother, the daughter, the bookkeeper, the chauffeur, the cook, the veterinarian, the letter writer, the stockbroker, and the babysitter. And she was the go-to person in any emergency.

She treated sick cows, put gentian violet on their wounds, gave my uncle emergency shots when he got stung by bees, rocked new-born grandbabies, herded cows, and lifted my two year old brother up by his heels one day to dislodge a wayward cough drop from his throat. When something went wrong, we called Grandma Hall, and she answered on the big black telephone in the dining room. She embraced new technology, and would, I’m sure, have bought herself an ipad if they’d been invented during her lifetime.

That my grandmother was smart I have no doubt. She was the adult I went to for help with math homework. She called a zero a “cipher.” She kept the farm records, did the driving, and the planning of the meals and activities for her children. When she became a grandmother she often took care of as many as seven grandchildren at one time.

It’s nearly impossible to describe my grandmother Agnes in a few paragraphs. Families are often strengthened by the addition of outsiders, and my grandmother brought new life to the two-hundred-year-old farm. Along with her dark brown eyes, her magnificent hair, and her sturdy body, she brought a desire to educate her children and grandchildren and send them out into the world. My grandmother and I were close. I loved her with a fierce attachment, and I miss her every day.

Agnes Maud Biggs Hall

Agnes Maud Biggs Hall

On Wednesday:  The Creamery

Independence Day

On July 4th, 1776, one of my ancestors added his signature to the Declaration of Independence. Lyman Hall, a grandson of John the Immigrant (I wrote about him here) was born in Wallingford, Connecticut, but as an adult he moved to Georgia and became a Congressman. Celebrating Independence Day took on more meaning for me because someone in my family had played a part in its making.

For the past few years we’ve celebrated the Fourth of July in Portland, Oregon at our daughter’s house, where her very careful husband sets off a modest, but still impressive, display of fireworks at the end of the driveway, followed by sparkler waving in the wet grass of the back yard.

When I was growing up we had picnics at the farm. Mostly I remember quiet feasts outside in the yard.

Farm Picnic, 1948

Farm Picnic, 1948

But one year in the 1950’s, someone in the family brought to the farm a car load of fireworks. After the day’s celebrations, when dusk turned the night sky a deep blue, we rode in cars and pickup trucks down the lane toward the cow pond and up the hill to the field with the lone tree. On blankets spread over the stubble of mown hay we waited for the men to start the show. One minute we were sitting in the dark, and the next the sky lit up with one burst after another. Under the “rockets’ red glare” we shared together a magical evening marking the birthdate of our country.

Happy Birthday America!

"The Rockets' Red Glare," Carol Crump Bryner, 2014

“The Rockets’ Red Glare,” Carol Crump Bryner, 2014

On Monday:  The Back Staircase

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

Three Notches

The southern Connecticut towns of Wallingford and Durham are separated by the Totoket Mountains. My great-grandfather William E. Hall grew up on the Wallingford side, and my great-grandmother Lydia Jane Hart on the Durham side. At some point before they married in 1863, one of them must have crossed the Totokets by a now unused road and met the other.

My brother has the dried skin from an impressively large rattlesnake killed by an ancestor on one of these trips over the mountain. In a horse and buggy the journey was long and arduous. These days the drive from Whirlwind Hill to Durham Town Center takes about fifteen minutes.

The section of the mountain range that fascinates me is called “Three Notches.” In a letter written in 1944 to his future wife Betty, my uncle Austin tells her about his home and the things he loves:

“When I was a kid I used to be crazy to go out to Mother’s home [his mother was my great-aunt Ellen, my grandfather Ellsworth’s sister] and help them hay and milk. I would ride my bicycle out there every Saturday just to get in the way and watch. That must be a satisfying way of life, farming I mean…There is a range of hills beyond the farm which we love to climb for a picnic lunch…Our favorite spot on the range is called “Three Notches,” and on the highest notch, Mother’s dad [my great-grandfather William E. Hall] has his name chipped into the rock. That’s the highest point of land in Wallingford and you can see for miles around, Long Island Sound on one side and Hartford, the capitol on the other.” – Austin Hart Norton

After my cousin Margy shared this letter with me this spring, I became obsessed with the “Three Notches.” I love a mystery, and for me these mountains always seemed off-limits and mysterious. My mother warned me about unsavory people in that area, and signs around Paug Pond at the foot of the mountains still say “Danger – Quicksand.”

So when I came east this April, my brother and I began looking at maps and reading histories and going to the library to find out more about the routes taken across these mountains by George Washington in 1775 and 1789 and by our grandparents and great-grandparents in the nineteenth and twentieth centuries. We didn’t get a chance to climb to the top of the Notches on this trip, and we’ve only begun to discover the old routes and roads, but when we learn more I’ll give a full report. How I will ever be able to find that stone with my great-grandfather’s name chipped into it, I have no idea, but I’m determined to try.

"The Three Notches,"  Carol Crump Bryner, gouache, 2014

“The Three Notches,” Carol Crump Bryner, gouache, 2014

On Monday:  Cornelia and the Sea

The Front Door

A front door is all about expectations. It’s the place where a house greets its visitors and lets them know what might be inside. I’m timid when I approach a front door. I’m never sure whether my knock or my doorbell ring will delight or disturb. I like clear instructions and am happy when I see a sign telling me what to do. Signs that advise, “Do not ring bell – sleeping baby,” or “Knock loudly,” are always helpful. My mother was even more timid than I, usually saying as we drove up to a house “Oh, I don’t think they’re home!”

When Aaron built the farmhouse on Whirlwind Hill he must have wanted people to know that the inhabitants were doing well. The front door was classical and elegant – the surrounding molding simple and substantial – the stone step ancient and enduring. It’s no wonder so many family portraits were taken in this south-facing spot. My parents posed here before they were married.

Janet and Charlie Crump, 1942

Janet and Charlie Crump, 1942

And three years later they posed me in a pair of overalls standing against the threshold.

Carol at the front door, 1946

Carol at the front door, 1946

But despite its welcoming beauty, I rarely used the front door. The kitchen door was always unlocked, and it was there I usually entered. When I walked into the kitchen I expected a hugging welcome from my grandmother and maybe a donut or a cookie. There was life and activity in the kitchen, and I wanted to be a part of it.

I do believe in the importance of a well-kept and impressive front door, and in having expectations to guide the day. I’m bothered by a mediocre entryway, and I’m unsatisfied by a day where I wonder aimlessly. A door is a focus and a way in, and this lovely door marking the entryway to the farmhouse beckoned generations of my family inside to gather together in warmth and comfort.

"Front Door," Carol Crump Bryner, gouache and pencil, 2013

“Front Door,” Carol Crump Bryner, gouache and pencil, 2013

On Wednesday:  Three Notches

The Gold Beads

My grandparents, S. Ellsworth Hall and Agnes Maud Biggs Hall, were as much a part of my growing up life as my parents were. I saw them almost daily until I went to college in 1963. When they died – my grandfather in 1968 and my grandmother in 1970 – they left me photos and letters and memories and a feeling of being connected to a world that came before me.

My grandmother also left her gold beads. First they came to my mother, and then, when I married, my mother passed them on to me. They were probably a wedding present to Agnes when she married Ellsworth in 1913.

"Gold Beads," Carol Crump Bryner, colored pencil, 2014

“Gold Beads,” Carol Crump Bryner, colored pencil, 2014

My great-grandmother wrote about the wedding in her journal:

December 27, 1913 – “A fine clear cold day. Ellsworth’s wedding day. Married at four o’clock in the afternoon to Agnes Maud Biggs by the Episcopal minister, Mr. Reynolds. The two families present including the brothers and sisters. A fine supper served by Mrs. Biggs at her home. House prettily trimmed with evergreens. All had a good time. The bride looked nice in her pretty white silk dress, also in her traveling suit. The groom very nice.” – Lydia Jane Hall

Ellsworth and Agnes Hall on their wedding day, 1913

Ellsworth and Agnes Hall on their wedding day, 1913

December 28, 1913 – “Cold night Saturday night, cold today. Ellsworth a married man. Spent the night with his bride in Springfield. His birthday today – thirty-two years old today. He has always been one of the best of boys to us all, and hope he may be blessed in all his ways that are good.” – Lydia Jane Hall

For their honeymoon my grandparents went to Stowe, Massachusetts, where this photo of them rabbit hunting (they called it rabbitting) was taken. They spent seven days away from the farm.

Ellsworth and Agnes rabbit hunting in Stowe, Mass., 1914

Ellsworth and Agnes rabbit hunting in Stowe, Mass., 1914

January 3, 1914 – “Cloudy and cold. We are wishing the bride and groom would come home. We want to see them.” – Lydia Jane Hall

January 7, 1914 – “Nice day – Ellsworth and Agnes came home. Looking well and happy. They had a very pleasant trip. We had oysters for supper. We all enjoyed them.” – Lydia Jane Hall

They came home to the farm and rarely left for the next fifty-four years. My grandfather couldn’t bear to be away from “wife,” as he often called her, and would succumb to fits of anxious burping and unhappiness when she was gone overnight. Someone, maybe my cousin Tom, took this picture of them in front of the farmhouse sometime in the early 1960’s. My grandmother wears her gold beads, just as she did all those years ago on her wedding trip. She wore them often on the farm, and I was used to seeing them around her neck. Now, when I wear them, I think of her, and the beads feel warm and comforting against my skin.

Ellsworth and Agnes Hall, around 1960

Ellsworth and Agnes Hall, around 1960

On Wednesday:  Cows

Rooms and Doors

Almost fifteen years ago our adult son moved back in with us while he went back to school. He stayed for seven years.

Living in a multi-generational household wasn’t easy, but we managed. It took humor, patience, and love. But when the humor ran dry, the patience wore thin, and the love felt tempered by irritation, it helped to have a room to go to and a door to slam.

I thought often about my ancestors during that time and fortified myself with the knowledge that if they could do it, so could I. There were almost always several generations living under the roof of the Hall farmhouse. Aaron built with this kind of living in mind. There were enough rooms to go around, and definitely enough doors to slam. The living room alone had nine doors, although until the 1930’s the one big room of my childhood had been divided into three smaller chambers.

Over the next few months I’ll take you on a tour of the house – a room here and a room there. I’ll begin with the room where my parents started their life together – the upstairs front bedroom.

My mother, Janet Hall, and my father, Charles Grantham Crump married in 1943. It made sense for them to move into the farmhouse with my grandparents while my father did his Coast Guard service during the war. It would be over two years before they had the time or the money to build their own house. In the photo below, my mother sits at her vanity table in the light-filled bedroom at the upstairs front of the farmhouse.

Janet Hall Crump, around 1942

Janet Hall Crump, around 1942

After my birth in the middle of the winter of 1945, my parents brought me home from the hospital to this room. Surely it was cold there even with the clanking and hissing radiators doing their best work. There were no bathrooms on the second floor, just chamber pots under the beds for nighttime use. The switch for the upstairs hall light was at the bottom of the stairs, so an upstairs sleeper needed candles, or flashlights, or someone to turn the switch for them when they reached the top. Later, when I was older and spent occasional nights at the farm, it was my grandmother who did this for me, waiting until I got to the bedroom door and told her goodnight before she pushed the round black button that started the darkness.

It was in this same room in October 1969 that my husband and I, on an overnight visit to my grandmother, stayed awake long into the night in the big lumpy bed with the chamber pot underneath, trying to decide whether or not to go to Alaska. In a way, this was the start of our life together, because we decided to go north to build our own rooms and doors.

"Studio Door," Carol Crump Bryner, oil on panel, 2001

“Studio Door,” Carol Crump Bryner, oil on panel, 2001

On Wednesday:  Ginger Cookies

Water on the Farm – The Spring

The Whirlwind Hill farm never, as far as I know, lacked water. My ancestors chose well when they settled there. Natural springs flowed through the fields and down the hills. Muddy River provided water for animals, fish for dinner, and fertile land for crops.

The Whirlwind Hill land I own with my brother shares many of these springs, one of which flows from the cow pond, under the lane, and onto our property. My parents dug a well when they built the house. This well water, although abundant, displeased my mother who found it too “hard” (too full of minerals). She put a water softener in the basement because, she said, softer water made for a better lather and a good “soak in the tub.” But we avoided drinking the bad tasting softened water and bemoaned the impossible-to-rinse-off soap film left on our bodies after bathing.

Now that I’m an urban dweller I turn on my faucets with near-certainty that water will flow into my teakettle or onto my sudsy dishes. Our water is always cold. It always tastes good. It’s always available. But there’s nothing quite so exhilarating as the icy water from an underground spring. It feels new and sparkling as it escapes from its source and meanders over rocks and vegetation, through the culvert, and on into the green, green fields.

"Spring Water Under the Lane," Carol Crump Bryner, pencil, 2013

“Spring Water Under the Lane,” Carol Crump Bryner, pencil, 2013

On Friday:  June Window

Dark Purple Lilacs

My mother’s likes and dislikes are not just memories for me – they’re imbedded in my own preferences. They go bone deep.

Maybe this is one of the ways a person lives on. Not just through memories but through the influence of their choices.

Planted near the farmhouse was a lilac of legend. It was reputed to have come from England on a ship with my great-grandfather, Joseph Biggs, my Grandma Hall’s father. He planted the first cutting in Glastonbury, Connecticut where he lived and worked and where my grandmother grew up. After my grandmother married my grandfather and moved to the farm, my great-grandfather Joseph planted a cutting from the English lilac at the back of the Hall farmhouse.

Joseph Biggs, sometime before he came to America in 1888, photo curtesy of Donna Palmer

Joseph Biggs, sometime before he came to America in 1888, photo curtesy of Donna Palmer

The lilac was a deep dark purple – a very unique bloom, and highly prized by my mother. So when we moved to our own land on Whirlwind Hill, she planted a cutting behind the garage. It thrived. It was a lovely tree. I took this photo of a branch amongst a bouquet of lighter lilacs and dogwood in 2008. You can see the darker lilacs reflected in the mirror.

Whirlwind Hill Lilacs, 2008

Whirlwind Hill Lilacs, 2008

Seven or eight years ago I pulled a lilac “sucker” from a dark purple lilac planted by a friend here in Anchorage. Because of my mother’s strong preference for this color lilac, I had to have one. The property where it was growing was being sold, the building demolished, and the tree transplanted, and I wanted to see if I could grow my own dark lilac. (The last I heard was that the transplanted tree didn’t survive.)

My husband and I have watched the baby tree every year for signs of flowers. Finally, this spring, we were excited to see buds. The friend who planted the original tree died this past winter, and it seems fitting for the tree to bloom in her honor. I’m sure my mother and my friend who both loved these English lilacs would be happy about their legacy.

Anchorage Lilac, 2014

Anchorage Lilac, 2014

On Monday:  Doing Dishes

The House that Aaron Built

First, a disclaimer: I don’t know for sure that Aaron built the farmhouse, but it is most likely that he did. So I will proceed on that assumption and on a few other speculations in this post that I state as facts.

Aaron Hall was born in 1760 in the original Hall homestead. This small house, which eventually became the kitchen and dining room of the large house had a dirt-floored cellar, a ground floor kitchen and living space, and an upstairs attic sleeping room. Aaron was the last child born to Asahel and Sarah Hall, and one of six of their twelve children who lived to adulthood. Since Aaron’s own eleven children seem to have fared better, I wonder if their long and productive lives were due in part to the house that Aaron built.

In 1781 Aaron married Elizabeth Cook, and not long after built his new house on the upward slope of Whirlwind Hill. The Federal style addition to the original home was graceful and dignified. He was a patriot, and built in a manner that would befit his stature as a veteran of the American Revolution. I have one early picture of the house the way it must have looked in the decades after it was built.

Hall Farmhouse around 1870

Hall Farmhouse around 1870

My mother, who had strong opinions about aesthetic beauty, said that the stately house was spoiled when Aaron’s heirs and their wives made practical changes to the exterior over the years. Until the early 1900’s the home had classical moldings around the doors and windows, an iconic fanlight window in the attic pediment, twelve-over-twelve paned windows on the front, and white-painted clapboards. All these details were made for show and not for comfort or easy maintenance.

Aaron’s new house had more room, but bigger rooms and more windows brought the need for more heat and more furniture. The new house would have been cold enough in winter to have an upstairs bedroom called Siberia. There was more privacy, certainly, but with a front parlor and a sitting room and multiple bedrooms there would have been enough added housework to require hired help.

By the time my grandfather Ellsworth was a teenager in 1900, the family had filled the house with comfort. My great-grandmother Lydia records in her journals the family gatherings, the evenings when neighbors came to play cards and eat cake, and the celebrations to welcome a new generation. In this photo, which is one of the last that shows the house with its white clapboards, my great-grandparents pose at the front door (a place of many family portraits) with their youngest children, my grandfather Ellsworth and his older sister Ellen. To me they look both proud and happy. Life was good for them.

Ellen, Ellsworth, Lydia Jane, and William E. Hall, around 1905

I’ve always loved this ancestral portrait showing my grandfather as a young man, but it wasn’t until recently when I came across the photo below that I realized the extent of its influence. In the fall of 1968, just two months after our wedding, my husband and I asked a friend to take our first Christmas card photo. We were living in an old Victorian house in the middle of downtown Menlo Park, California. We had a small barn in the back yard, a little duck pond, six ducks, two chickens, and one cat. We felt like urban farmers and decided to dress the part. I don’t remember consciously posing in the style of my ancestors, but here we are, doing just that as we stand in our sunny doorway looking toward the future.

Alex and Carol Bryner, 1968

Alex and Carol Bryner, 1968

On Friday:  Dark Purple Lilacs