
Theresa Freund, manager of Freund’s Farm Market and Bakery in East Canaan, said the price for 15 dozen large eggs has risen by about $10 dollars every week, with no sign of slowing down.
Debra A. Aleksinas
Theresa Freund, manager of Freund’s Farm Market and Bakery in East Canaan, said the price for 15 dozen large eggs has risen by about $10 dollars every week, with no sign of slowing down.
“Basically, what they are doing is destroying our local industry so that the international industry will survive.”
— Theresa Freund, manager of Freund’s Farm Market and Bakery
NORTH CANAAN — Theresa Freund gingerly removed a box containing 15 dozen large eggs from refrigeration. The fragile haul cost her $92 a week earlier.
“That’s 51 cents each … and that was a low number,” she explained during a Feb. 5 visit to Freund’s Farm Market and Bakery, which she oversees with her daughter, Rachel.
At last check, she said, the price for 15 dozen eggs had skyrocketed to $110, “and I bet it will be $120 next week,” predicted Freund, who uses them in a variety of baked goods made in her recently expanded commercial kitchen, as well as prepared food items like quiche.
After climbing in 2022 due to an outbreak of avian flu and dropping in 2023, the price of eggs has been steadily creeping up again and is expected to increase more than 20% this year, according to the U.S. Department of Agriculture’s Food Price Outlook released Jan. 24.
The federal agency reported that the wholesale cost for a dozen large Grade A eggs, which were $4.17 a dozen in November, has soared to a record $6.57. The agency predicted egg prices will climb by about 20% within the year, compared with a predicted 2.2% increase for overall food prices.
At the beginning of 2023, a dozen eggs cost an average of $4.82, the highest in the past decade, according to the Bureau of Labor Statistics.
The bird flu is to blame
This year’s egg shortage is linked to an outbreak of Highly Pathogenic Avian Influenza, or bird flu, a virus found in wild bird species that is highly contagious among domestic poultry and has a mortality rate of nearly 100%.
To slow the spread of the virus the government has ordered millions of chickens slaughtered. Fewer egg-laying chickens means that consumers, and businesses, are shelling out more per dozen as demand exceeds supply.
At Collin’s Diner in North Canaan, a classic dining car style-diner built in 1940, the price of any menu item featuring eggs rose last week.
“I just raised the price on all my egg dishes by $1,” said Doonia Hamzy, whose family has owned the circa 1940’s diner for the past 55 years. “This is the first time I’ve raised my prices in six years.”
Hamzy said she shops locally every day for fresh eggs and the least expensive she has found is $13 for two dozen. The price hike, she said, is not intended to be permanent, and was a difficult, but necessary, decision to make.
“When the egg prices go down, so will my prices. That’s how we were raised.”
Nearby, four customers seated at the counter around lunchtime were nonplussed about paying a dollar more for an egg selection.
“It doesn’t bother me,” said Gary Ross, a piano technician from Falls Village, whose favorite dish is scrambled eggs with sauteed peppers and onions. “I come here just about every day,” he said, taking a sip from a hot cup o’ Joe.
The next stool over, Canaan resident Hope Dunham said she got sticker shock over the weekend after shelling out $7.50 for a dozen eggs at Dollar General in nearby Sheffield.
“It’s still cheaper for me to come here,” said Dunham. “Plus, I don’t have to cook … or clean up afterwards.”
Hamzy said she appreciates her customer’s support during these challenging times. “We live in an extremely supportive community. We are very blessed.”
The Freund flock in its protected enclosure.Debra A. Aleksinas
Surveillance testing for bird flu
The Connecticut Department of Agriculture conducts surveillance testing on domestic birds throughout the state. Testing for bird flu is available at low or no cost through a partnership with the Connecticut Veterinary Medical Diagnostic Laboratory at the University of Connecticut.
The multi-generational Freund family farm in Canaan also keeps a flock of about 36 egg-laying chickens which were tested for the H5N1 bird flu virus by the state three weeks ago, the results of which came back negative.
Eggs from the family’s farm operation are sold by the dozen at its Farm Market but are not permitted to be used in the farm’s commercial kitchen, said Freund.
“The state Department of Agriculture tested them three weeks ago,” she said of her daughter, Rachel’s, egg-laying flock. “They banded and swabbed a sampling of about 20 birds.”
The virus is being spread as wild birds comingle with free-range birds in commercial and backyard poultry operations.
The Freund flock tested negative, as it has in the past, which its owners attribute to the chickens’ caged henhouse and enclosure, which protects them from contact with disease-carrying wild birds.
Why not vaccinate chickens?
The U.S. Department of Agriculture last week confirmed 81 detections of avian flu in wild birds collected across 24 states between Dec. 29 and Jan. 17.
Freund said health officials “have to do more” to protect domestic flocks from the deadly virus, including vaccination, which is currently not part of the federal government’s strategy because of trade concerns.
“Basically what they are doing is destroying our local industry so that the international industry will survive,” said Freund. “Things have to change. Millions of birds are being destroyed.”
On Jan. 15, Avian flu was confirmed in a backyard flock in New London County consisting of chickens, ducks and peacocks.
The flock of family pets, which had close contact with wild waterfowl in a nearby pond, was confirmed to be infected with bird flu, according to a Jan. 17 statement by the Connecticut Department of Agriculture.
“At this time there is no effective treatment or approved vaccine for the virus in poultry. The infected flock has been depopulated to prevent spread of the disease,” according to the state agricultural agency.
Signs of infection include a sudden increase in bird deaths, sneezing, coughing, nasal discharge, watery or green diarrhea, lack of energy, poor appetite, drop in egg production, swelling around the eyes, neck and head, and purple discoloration of wattles, combs and legs.
The current risk of infection from avian influenza to residents of Connecticut remains low, according to Connecticut Department of Public Health Commissioner Manisha Juthani.
“The CDC is currently monitoring numerous H5N1 cases throughout the country and tracking the spread of the virus in states where it has been identified in people or animals,” Juthani said.
Flock owners are encouraged to report anything unusual, especially sick or dead birds, to CT DoAg at (860) 713-2505 or ctstate.vet@ctgov, or USDA at (866) 536-7593.
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North Canaan Town Hall
NORTH CANAAN — “If you’re not coming to work, why would you get paid?”
Selectman Craig Whiting asked his fellow selectmen this pointed question during a special meeting of the Board on March 12 discussing Town Clerk Jean Jacquier, who has been absent from work for more than a month. She was not present at the meeting.
“There’s been no reasoning, no explanation, no anything as to why you’re not here,” said Whiting.
Jacquier has worked in Town Hall since 1993 and was first elected town clerk in 2017. Conflict arose in 2023 when several complaints of misconduct were lodged against Jacquier.
First Selectman Brian Ohler filed the complaints to the Attorney General’s office, which included, among others, improper security of the vault, posting candidate campaign material in Town Hall and untimely stamping documents. The subsequent investigation found misconduct on the part of Jacquier in each of these three areas but took no punitive action.
Jacquier filed suit against the Town of North Canaan to recoup $15,000 in legal fees accrued during the investigation. The town motioned to strike the case, which was granted by Hon. Walter Menjivar at Torrington Superior Court on Jan. 28, 2025.
Ohler said Jacquier stopped coming to work after that ruling and has not been in contact since Feb. 4. During her absence, she continued to receive pay checks.
Assistant Town Clerk Marilisa Camardi had been filling in part time but was away the first week of March. To keep the office open, Executive Assistant Paul Mattingly was appointed assistant town clerk by the Board of Selectmen at its March 3 meeting. The two will work together until the next election or until Jacquier returns.
“It’s an essential function of the town to have that office open,” said Whiting.
Last week, Jacquier told The Lakeville Journal her recent absence is due to harassment and antagonism in Town Hall, which is taking a toll on her health.
Jacquier’s attorney, Jeffrey Mirman, communicated with the selectmen to request the meeting regarding her salary be open to the public as opposed to executive session. The selectmen complied.
Selectman Jesse Bunce said he has been in contact with Jacquier and he presented a letter from her to his fellow selectmen during the March 12 meeting. Ohler stated he could not verify the source of the letter, but he would forward it to the town attorney. The letter was not read into the record.
Ohler made a motion to suspend Jacquier’s salary until she returns to work. Whiting seconded. The motion passed 2-0 with Bunce abstaining.
“Every picture begins with just a collection of good shapes,” said painter and illustrator Dan Howe, standing amid his paintings and drawings at the Kearcher-Monsell Gallery at Housatonic Valley Regional High School. The exhibit, which opened on Friday, March 7, and runs through April 10, spans decades and influences, from magazine illustration to portrait commissions to imagined worlds pulled from childhood nostalgia. The works — some luminous and grand, others intimate and quiet — show an artist whose technique is steeped in history, but whose sensibility is wholly his own.
Born in Madison, Wisconsin, and trained at the American Academy of Art in Chicago, Howe’s artistic foundation was built on rigorous, old-school principles. “Back then, art school was like boot camp,” he recalled. “You took figure drawing five days a week, three hours a day. They tried to weed people out, but it was good training.” That discipline led him to study under Tom Lovell, a renowned illustrator from the golden age of magazine art. “Lovell always said, ‘No amount of detail can save a picture that’s commonplace in design.’”
Training led to work. Early on, while still a graduate assistant at Syracuse University, Howe began painting portraits — chancellors, deans, and, later, an endless roster of chairmen and medical executives. It paid well, but Howe found that the job of a portraitist, even a highly skilled one, is ultimately limited. “They’re just the same thing, you know, just a guy in a suit. Later, maybe it was a girl in a suit,” said Howe.
Between commissions, he painted for himself. This show is a gathering of those moments — studies of his wife and daughters, mythic scenes painted for libraries, and Star Wars covers from his time living near Dark Horse Comics in Oregon.A large painting, originally commissioned for a library, shows a girl in an attic opening a trunk, imagination spilling into the room. The library remodeled and sent the painting back. Now it anchors a wall in the show.
Dan Howe’s work reflects the Brandywine School’s devotion to craftsmanship, narrative depth, and a luminous, almost nostalgic realism. Like Howard Pyle and N.C. Wyeth before him, Howe builds scenes using light and composition to evoke mood and meaning. His meticulous brushwork and layering techniques nod to the tradition of classical illustration, yet his work diverges in its contemporary stillness. Of Norman Rockwell, Howe said, “He’s of my era, and our styles are similar. Of course Rockwell is Rockwell. I’ve got a little more painterly, Sargent-esque stuff running through mine.” The influence is there, not as mimicry, but as a quiet echo, refined through his own aesthetic language. “I’m an anachronism,” he said, without regret. His influences form a lineage of illustrators whose work once filled the pages of The Saturday Evening Post and Collier’s. They understood, as Howe does, that a painting must be more than accurate.“Mood is everything,” said Howe, drawing a comparison between two paintings in the show — a couple by a fire — to an old Star Wars concept painting. “Same color scheme. Different world. Mood is everything.”
Teaching remains a passion for Howe. When he and his family moved to the east coast from Chicago, Howe taught a series at the Norman Rockwell Museum called “Painting Like Rockwell,” something he hopes to revive. “I like beginners,” he said. “They don’t have bad habits yet.”
Howe also runs a summer figure drawing workshop at HVRHS with an old-school approach. “You’ve just walked into a time machine — this is art school, 1965. Three hours of drawing in the morning, three in the afternoon. No cell phones.” His methods may be antiquated but the results are living proof that some things are worth preserving. “Maybe this stuff is so old it’s new again,” he mused.
As he hung his pieces for this show, Howe said teachers stopped by, connecting his images to their own memories. “That’s a success,” he said. “If a picture makes someone feel something, then it’s done its job.”
Jon Kopita reading between the lines at the David M. Hunt Library.
Jon Kopita’s work, with its repetitive, meticulous hand-lettering, is an exercise in obsession. Through repetition, words become something else entirely — more texture than text. Meaning at once fades and expands as lines, written over and over, become a meditation, a form of control that somehow liberates.
“I’m a rule follower, so I like rules, but I also like breaking them,” said Kopita, as we walked through his current exhibit, on view at the David M. Hunt Library in Falls Village until March 20.
In 2007, Kopita and his husband, Olaf, an architect, took a trip to The Vitra Design Museum outside of Basel, Switzerland. Kopita found himself infuriated by the pomp surrounding the collection of what were once utilitarian objects, now absurdly canonized. “The irony is that a lot of that furniture was designed to be mass produced, taking really good design and making it accessible to middle class people,” Kopita explained. “It wasn’t supposed to be something so special.” Upon returning home, Kopita began repeatedly writing, “I hate Vitra” on lined paper. Channeling his frustration, he wrote the simple statement 100 times and through the act, found a cathartic release. “It harkened back to when you’re in school and you have to write out, ‘I will not speak in class’ or something 100 times on the black board.” Except for Kopita, what was meant to be disciplinary was not only a contemplative practice, but a healing act.“For me, the experience of repetitive writing became meditative and cathartic, more of an exorcism of thoughts rather than something either punitive or tedious.”
His current show at the library includes work spanning a decade, with many of the pieces created during the COVID-19 pandemic. An educator for over 30 years, Kopita found he had time and space during the pandemic to really investigate his process and to create work in volume.“I did 40 works during the first 150 days,” he said. The early pieces were instructional in nature with words like “wash hands,” “social distancing,” and “zoom” but soon began morphing into existential inquiry —with questions like “is this all there is?” repeating like a dark mantra. Some are reminders of the stark political divisions that emerged during those days. There is a tribute to the Black Lives Matter movement with names repeated in grief: George Floyd and Breonna Taylor. The whole display, Kopita delights, demands something that feels almost radical in today’s digital age: slowness. “This is a difficult show because you really have to stop and process. It asks people to read.”
In many ways, Kopita has spent a lifetime questioning the boundaries imposed on him, both literal and figurative. “90% of going to school is a hazing system where you’re just learning how to write between the lines — these are the rules.” He felt the pressure of conformity from an early age. His own father had expectations for him: a stable corporate job, health insurance, a 401k. Kopita tried it for a year and a half.“It was like my boss was saying, ‘if you work really hard, you can have what I have.’” Kopita took one look at “what he had”— a suburban house, a company car —and thought, “Yeah, I don’t want this at all.” He moved to New York, got a job in a Soho gallery, and never looked back. “I know really well firsthand what it means to step across the line and try to do things differently and do things on your own terms.”
In his piece, “Transition,” Kopita grapples with the fluidity of identity, a structured yet random exercise where “he” gradually transforms into “she.”
“There’s so much going on right now with ideas of gender and what gender means, a kind of war on how people identify,” he said. “There are days where I’m 100% he, and then maybe there are days where I’m more she.” The work, much like his larger practice, is about change, about pushing against the expected, about honoring the beauty in what falls outside the lines.
Kopita is fascinated by the tension between order and deviation, by the way small shifts — whether in handwriting, identity, or thought — can carve out new landscapes. But for all its rigor, Kopita’s work is not about control. It’s about surrender. The act of writing, for him, is like a river cutting through rock, shaping itself as it moves. “I think of it as how the words carve up the paper. So, it actually becomes a three-dimensional exercise in my head at times.” It is discipline as liberation, structure as rebellion, a practice that turns the most mundane act — writing the same word over and over — into something sacred.