Category Archives: Rooms

The Porch

In a recent post I admitted to having cottage envy. I also have porch envy. I gather images of porches to paint – porches with rocking chairs, railings, sunshine, shadows, and welcoming front doors.

“Green Rocking Chairs,” Carol Crump Bryner, oil on canvas, 2009

“White Chair in South Light,” Carol Crump Bryner, oil on canvas, 2009

The house I grew up in – the little red house on East Center Street in Wallingford, Connecticut – had more of a “stoop” than a porch, and there’s nothing wrong with a stoop. I’m a diehard stoop-sitter, and enjoy being perched on the front steps watching the world go by and feeling the sun on my face.

But the porch on the farmhouse was similar to what Alaskans call an “Arctic Entry.” It was an extra layer of protection between inside and outside.

Until the late 1920’s the farmhouse was porch-less.

Hall Farmhouse around 1910

And then the twins were born. My practical grandmother, who by 1927 had five children and an endless stream of dogs and cats and chickens and visitors, must have decided she needed an extra room. She had a cement floor poured and a large screened porch built to wrap around the outside of the kitchen, dining room, and living room walls.

Hall Farmhouse around 1945

I never knew the farmhouse without this big room. The porch had none of the romance one associates with a New England porch – no rocking chairs, no steps, no carefully turned railings or pillars. The floor was painted green and covered with an assortment of chairs, toys, tools, boots, coats, dog dishes, and flowerpots. At one end was an old davenport draped with a mangy black horsehide. But at the other end was the best part of the porch. Just outside the kitchen door hung a big wooden slat swing, also painted green. My grandparents and great-grandfather sat on it in summer to husk corn, swat flies, and stay cool. It was the perfect spot for greeting or saying goodbye to visitors. When the house burned in 1971, someone rescued the swing. For many years it lived with one of my cousins, but now it’s back on Whirlwind Hill, waiting to be restored and hung in a new place for sitting, swinging, and remembering.

“Porch Swing,” Carol Crump Bryner, gouache, 2013

On Wednesday: Outbuildings #1 – The Silo

Half-Remembered Rooms

12 Replies

From my sweet mother-in-law I learned that dinner could wait. She taught me by example how to fix the meal ahead of time and leave it on the stove to stay warm while we sat down together in the living room for some drinks and conversation.

On the farm and in my childhood home we ate when dinner was ready. My parents had parties that must have involved alcohol, but before a regular evening meal we never sat down in another room so our mom and dad could have a cocktail or a glass of wine.

Drinking on the farm was reserved for hired men, and my mother and her sister, sleeping in their bed in the room called Siberia, were sometimes woken up on weekend nights by the sounds of the drunken hired man stumbling up the back stairs to his room singing “Barney Google.” My mother had a life-long fear of becoming embarrassingly tipsy and accepted drinks with reluctance.

I have only vague memories of the two rooms at the top of the back stairs. The bedroom on the left we called “Charlie Warren’s room.” He was the hired man of my childhood, and, as far as I know, he neither drank nor sang. It frustrates me that I don’t have a mental image for either his room or the one at the other side of the landing. When I went up the back stairs I was mainly focused on the bookcase in the hallway. The two bedrooms were male territory. The boys and men who slept there over the years were my brother, cousins, uncles, great-grandfather, and the hired men.

Since I’ve found no photographs of this part of the house, I drew a picture of how I remember the upstairs hallway. I imagine this interior looking like a drawing by the artist James Castle, who used sharpened sticks dipped into a mixture of soot and spit to make depictions of his home and family. He drew on whatever surface was handy – an envelope, a piece of cardboard, a scrap of newspaper, the page of a book. His drawings evoke for me not just a rendering of place, but also the feeling of a memory not quite formed – a memory like my own of these half-remembered rooms – a smudgy suggestion of what might have been.

“Upstairs Hallway,”Carol Crump Bryner, pencil and charcoal on flattened cardboard box – after James Castle, 2013

On Wednesday: Berries

Ellsworth’s Room

8 Replies

My brother and I had the best possible babysitters – our two sets of grandparents. Sometimes we stayed with our grandparents who lived in town, but more often we would stay at the farm. Our parents dropped us off before dinner on Friday evening, and we stayed until Sunday.

When I was eight and my brother almost four, our parents went to Florida for a week. My brother stayed at the farm, but I went to our town grandparents because they lived closer to my school. They did their best, but I was unhappy. I missed my mom and dad, and because I’d been reading a book about an orphan, I was convinced they were dead and never coming back. I cried every day. I cried at breakfast, I cried in school when I tried to recite the Pledge of Allegiance, and I cried at night in the little bed in my father’s old bedroom. Because I was afraid to tell them what was wrong, my bewildered grandparents took me to the farm at the end of the week to be with my brother. There, soothed by the familiarity of the place and by my Grandma Hall’s ample lap, I told her my fears. After reassuring me that my mother and father were coming back, she fed me dinner and sent me upstairs to bed in Ellsworth’s room.

This small bedroom at the top of the front staircase had been my grandfather’s bedroom when he was growing up. The bed was in an alcove and sported an enormous number of blankets – I once counted ten. When I snuggled under them to read my comic books, I was pleasantly stuck in one position by the weight of the covers. The pillows were soft, and there was a light over the bed that I turned on and off by pulling a long string. I don’t think I’ve ever again slept in such a comfortable and comforting bed.

But the two attic doors at the opposite end of the room were not comforting. There were rat holes in both doors, and I was scared that the rats themselves would come out while I slept. It was a legitimate worry, but minor compared to the fear of losing parents.

“Attic Doors with Rat Holes,” Carol Crump Bryner, 2013

It’s hard to tell what children are thinking. When my daughter and son-in-law spent the night at the hospital after the birth of their second son, I stayed at their home with my four-year-old grandson. We read books, took a walk, went out to eat Chinese food, brushed our teeth, and put on our pajamas. But as we were climbing onto his bed to read stories, he began to sob so hard that it caused a “spill” (his word for throwing up) of the wontons and the soy sauce all over the bed covers.

While my lap is nowhere near as ample as my grandmother’s was, I try to be a reassuring presence for my grandsons. So after the cleaning-up, and the drying of the tears, and the calming-down, I asked my grandson if he wanted to sleep with me in the big bed. He did, so we went upstairs, tucked ourselves in, and watched a cheerful cooking show about making cupcakes. He was fast asleep before the cupcakes came out of the oven.

Carol with Aubrey and Henry, 2011

On Wednesday: Farm Cats

The Back Staircase

8 Replies

My mother didn’t like me to read too much, especially when there were more active things to do. With a shake of her head she’d say to me, “Carol, you’ve always got your nose in a book!”

I loved having my nose in a book – especially books about Nancy Drew. She solved mysteries, and I was fascinated by mysteries. Again and again I read the books in which Nancy Drew discovered secret rooms or passageways.

Cover of “The Hidden Staircase” by Carolyn Keene

My grandparents’ farmhouse reminded me of houses from these books. It had endless doors, strangely shaped closets, and stairways that we were not always allowed to use. The main staircase, just beyond the front door, was wide and light and had a beautiful banister and landings at the top and bottom.

But the back staircase – behind a door in the living room, was different. The closed door made it seem almost like a hidden passageway, and I was sure there must be a secret panel somewhere in its dark walls. We were discouraged from using this stairway because the painted wood steps were steep, narrow, and slippery. A knotted length of rough and scratchy rope served as the only handrail. My grandmother grew nervous when we wanted to go up “the back way,” and now that I have grandchildren of my own I can understand her fears.

To discourage their use, the door at the bottom of these stairs was kept shut, and when I got permission to climb them I had to go up two steps in order to reach the latch that opened the door toward me. This pushed me back down a step before I could get over the threshold and begin my ascent. The staircase led to three of the five upstairs bedrooms, the landing, and a bookshelf-lined hallway. On the shelves were storybooks, comic books, atlases, and nursing textbooks illustrated with drawings and photos of horrific and fascinating wounds and diseases. (My grandmother was a nurse before she was a farm wife.) My brother claims there were Playboy magazines hidden there too, but I never saw them.

I wanted to climb the back stairs for two reasons. The first was to find a hidden panel. (I never found it.) And the second was to sit on the floor in the silence of the dimly lit and almost hidden hallway and spend the afternoon with my nose in a book.

“Door to Back Bedroom and Door to Stairs,” Carol Crump Bryner, colored pencil, 2012

On Wednesday: Gardens

The Front Door

3 Replies

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

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

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

On Wednesday: Three Notches

Rooms and Doors

11 Replies

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

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

On Wednesday: Ginger Cookies

The House that Aaron Built

4 Replies

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

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

On Friday: Dark Purple Lilacs

May Window

9 Replies

From the farmhouse windows Lydia could see the orchards of apple trees and watch the activity on Whirlwind Hill, the road that ran between the house and the barn.

There are two quotes for this May window. In the nine years between 1912 and 1921 her life had changed. In 1913 her youngest child, my grandfather Ellsworth, married my grandmother, Agnes Biggs, and by 1921 they had three children. Lydia’s husband William died in 1920.

“May Window,” Carol Crump Bryner, monoprint

Sunday, May 19, 1912 – “Fine morning. Apple blossoms are out and everything looks tender and fresh. Autos are flying by. Boys on wheels. Surrey load of young people, auto trucks with lot of people in all going east for an outing. How changed the times when team after team used to go by with people going to church.” – Lydia Jane Hall

Monday, May 9, 1921 – “Nice day. High winds in afternoon and some warmer. The trees have been loaded with apple blossoms and nearly all gone. Soon time to spray them again. The peonies, the shrub peonies, are out in full bloom. The birds are all here nesting, singing songs. Grass looking fine and heavy. Men busy preparing the ground for planting. The farm never looked more promising to me.” – Lydia Jane Hall

The Kitchen

8 Replies

The room I miss most is the kitchen. So much activity went on there – the morning and evening meals, the coffee hours, the greetings and goodbyes. Almost everyone came into the house via the front porch. You passed the hanging wooden swing on the porch’s east end and walked up a step and through the kitchen door. The electric stove stood to the right as you entered and the wood stove to the left between two doors leading into the dining room.

In the Farmhouse Kitchen, around 1950

Once a year my grandfather whitewashed the kitchen walls. Dirt or grease or dust or unfortunate flies or spiders were covered and became permanent wall texture. Below a strip of flypaper hanging from the light fixture, my grandmother plucked chickens and paid bills at the kitchen table. My grandfather sharpened his razor on the strap hanging on the icebox and shaved in front of a mirror by the sink. He was a slow and deliberate man – quiet in everything he did. We loved to watch him carve the Thanksgiving turkey. No sooner did he have all the plates filled and passed around (there were sometimes as many as thirty people at the tables) than someone asked for second helpings.

Near the white sink and the shaving mirror was a tall narrow gun closet, and next to that the door to the cellar stairs. I loved and feared the cellar. It was dark, cool, cobwebby, and full of dusty canning jars and barrels of hard cider (the farmers’ cocktail). But sometimes there was the excitement of new litters of puppies or kittens in boxes on the dirt floor. After the house burned the steps that felt so scary and dark when I was a child became a part of the outdoors – softened and reclaimed by nature.

On a counter near the icebox my grandmother mixed and kneaded dough and rolled crusts for pies. I could pull open a metal drawer filled with flour by hooking my finger into a metal ring on its front. On washing days the mangle was set up there. Clothes and linens dried outside on the clothesline were brought in and fed through the mangle, a large roller that pressed the sheets flat and saved much of the tedium of regular ironing.

The black and white photo above was, for a while, the only one I had of the kitchen, and for years I’ve thought of it as a not very colorful room. But recently my cousin Nancy gave me a picture taken in 1970 when she visited the farm. I love how sunny and bright the scene is, and I’m amazed at how much a bit of color enhances my memories.

Nancy Teter Smith and Agnes Hall in the farm kitchen, 1970

The heart of the kitchen was the wood stove. It gave heat, hot water, and comfort to the room, and it baked hearty loaves of bread every Saturday and a pretty good turkey on Thanksgiving.

Below is a photo of Thanksgiving supper, 1948. The big dinner was at noon, but some of the family spent the afternoon and stayed for the supper of scalloped oysters, cold turkey, Aunt Glenna’s gelatin salad, and Aunt Betty’s much-anticipated chocolate covered cream puffs. In the photo I’m sitting next to mother, my grandmother, my uncle Francis and my aunt Glenna, and over my shoulder is a glimpse into the north end of the kitchen and a tantalizing peek at the icebox and the door leading into the back pantry.

Thanksgiving Supper, 1948

On Wednesday: Names

A Window on the Landing

16 Replies

The Hall farmhouse on Whirlwind Hill set the standards for all the houses I’ve lived in. Its staircases, wallpapered rooms, tall windows, wood plank floors, attics, odd-shaped closets, and paneled doors with round knobs formed my notions of the way a home should look.

In 1973, after living in Alaska for several years, my husband and I were ready to buy a house. Expecting our first child, and eager to start nesting, we were dismayed by how few houses were for sale in Anchorage. Finally, through a friend, we found a downtown house about to go on the market. It wasn’t pretty – certainly not by Connecticut standards. This big pinkish box with brown shutters had a cement front stoop whose left side sank into the ground. But when I walked through the front door I came face to face with a center staircase leading to the second floor bedrooms.

As I walked up the stairs I pretended not to notice the red shag carpet, lumpy plastered ceilings, and shiny black louver doors. I was hoping I wouldn’t be disappointed, and I wasn’t. On the landing, at the top of the stairs, the afternoon light shone through a tall window and cast patterns and shadows on the walls and floor. The bedroom doors were paneled, and they had old round metal doorknobs. It felt like home. We bought the house, and a few years later I did a painting of the landing window. I still have everything in the painting (yes – the plant lives!) except for the window, which, during a 1982 remodel made way for a door into a new bedroom.

“Hall Window,” Carol Crump Bryner, oil on canvas, 1978

In the farmhouse, at the top of the back staircase, there was also a landing with a wood floor, multiple doorways, and a window. I have no pictures of this window from the inside, but I do remember the importance of having that light at the top of the dark, narrow stairs. I also remember the view, which in my great-great-great-grandfather Aaron Hall’s time would have been to Muddy River and his farm’s pastureland. From the outside the window is not striking, but like much of the rest of the house it was on the inside where the memories and the views were made.

“Farmhouse Window from Outside,” Carol Crump Bryner, pen and ink, 2014

On Wednesday: Wildflowers

On Whirlwind Hill

An artist's memories of a family farm – Carol Crump Bryner

Category Archives: Rooms

The Porch

Half-Remembered Rooms

Ellsworth’s Room

The Back Staircase

The Front Door

Rooms and Doors

The House that Aaron Built

May Window

The Kitchen

A Window on the Landing