Graceful stitching at the altar

An assortment of kneelers and pillows in needlepoint’ there are some done in crewel as well. Note the symbols used throughout the items.
Judith O'Hara Balfe
An assortment of kneelers and pillows in needlepoint’ there are some done in crewel as well. Note the symbols used throughout the items.
So much of what we know about religion comes from the written word, but much can be found in paintings, sculptures — and needlework.
Famous tapestries hang in castles and museums around the world, but some of the most beautiful pieces can be found on altars, on kneelers, and in the vestments and hangings found in great cathedrals and in some small country churches.
Father Matthew Calkins, of Grace Church in Millbrook, is justly proud of the altar frontals, pulpit falls, veils, scarves and vestments that are found at Grace Episcopal Church. He recently shared with members of the church, a “festival frontal” that was found in a box in the sacristy.
“Unused for many years due to stains on the silk damask,” he said in describing the treasure. He said the piece was removed and will be remounted on a new frontal that has been ordered.
Grace has an Altar Guild, led by Director Jean Hayes, who along with fellow Altar Guild member Susan Nestel carefully brought out and arranged the many pieces, most of which are placed between absorbent packing and kept in a mapmaker’s cabinet with large shallow drawers.
Calkins said that the “festival frontal” piece was made by Erica Wilson and was her first major piece created when Margaret Thorne Parshall began the Grace Needlework Guild. It was shown for the first time for Christmas services in 1955.
The Thorne name is well known in Millbrook, and for those interested in needlework, the name of Erica Wilson also is probably familiar. How they came together is an interesting story, and a fortuitous one for Grace Church.
Parshall had an interest in fine needlework, gathering together a group of friends, they began doing needlework at her Smithfield home, calling themselves “The Ecumenical Group.” At one point Parshall grew interested in The Royal School of Needlework, and invited one of their graduates, Erica Wilson, to come to Millbrook to teach the fine art of needlework. Wilson taught needlework to the ladies, and the needlework treasures of Grace Church grew, the recipient of many exquisite pieces.
At the time Wilson was persuaded to come to Millbrook, she was sure she was going to a place far from civilization. In a 1973 interview, she said, “I brought a big trunk of my own wool, thinking I was going to Indian Country, where such things wouldn’t be available.”
One of a set of altar cloths and hangings at Grace Church, done by the Grace Needlework Guild which was most active in the 1950;s and 1960’s, even into the 1970’s. The current Altar Guild takes care of the items now, prized possessions of the church, still in use throughout the year.Judith O'Hara Balfe
Wilson found Millbrook pleasant and civilized; she lived and worked with the Grace Needlework Guild from 1954 to 1957, when she married renowned furniture designer Valdimir Kagan and moved to New York City. She opened a shop there, which she ran for 33 years and wrote nine books on various forms of needlework, had a syndicated newspaper article called Needleplay, and hosted two Public Television series.
Some of her designs werepublished by the Metropolitan Museum of Art and Vogue. She gained the title, the “Julia Child of of embroidery” as well as “America’s first lady of stitchery.”
Wilson died 2011.
A third famous name, Marianna Garthwaite Klaiman, was contacted about the “festival frontal” after discussions with the Millbrook Historical Society and the Altar Guild Klaiman is a textile historian who specializes in the study of Anglican and Episcopal ecclesiastical textiles. She is currently working on sacristies of New York.
Klaiman has been a fashion and collectibles expert at Sotheby’s, a former costume and textile conservator and an independent textile scholar.
On Thursday, March 21, Klaiman visited Grace Church to examine some of the fine embroidered pieces, as well as some crewel work, hangings, kneelers, bell pulls and other items. She shared her knowledge of Erica Wilson and the Royal School of Needlework.
Although the frontal piece was the main attraction, there were so many items for Klaiman to examine — with rich colors, damasks, intricate designs, and patterns with silk and metallic threaded embroidery.
Klaiman was impressed with the items, and she was also impressed with the fact that there was documentation concerning the work.
“The needlework, aside from being beautiful when used during services, also attests to the services of the many generations who contribute to the legacy,” she noted.
SHARON — Sharon Dennis Rosen, 83, died on Aug. 8, 2025, in New York City.
Born and raised in Sharon, Connecticut, she grew up on her parents’ farm and attended Sharon Center School and Housatonic Valley Regional High School. She went on to study at Skidmore College before moving to New York City, where she married Dr. Harvey Rosen and together they raised two children.
Sharon’s lifelong love of learning and the arts shaped both her work and her passions. For decades, she served as a tour guide at the American Museum of Natural History and the Asia Society, sharing her knowledge and enthusiasm with countless visitors. She also delighted in traveling widely, immersing herself in other cultures, and especially treasured time spent visiting her daughter and grandsons in Europe and Africa.
She was also deeply connected to her hometown, where in retirement she spent half her time and had many friends. She served as President of the Sharon East Side Cemetery until the time of her death, where generations of her family are buried and where she will also be laid to rest.
She is survived by her husband, Harvey; her children, Jennifer and Marc; and four beloved grandchildren.
Claire and Garland Jeffreys in the film “The King of In Between.”
There is a scene in “The King of In Between,” a documentary about musician Garland Jeffreys, that shows his name as the answer to a question on the TV show “Jeopardy!”
“This moment was the film in a nutshell,” said Claire Jeffreys, the film’s producer and director, and Garland’s wife of 40 years. “Nobody knows the answer,” she continued. “So, you’re cool enough to be a Jeopardy question, but you’re still obscure enough that not one of the contestants even had a glimmer of the answer.”
Garland Jeffreys never quite became a household name, but he carved out a singular place in American music by refusing to fit neatly into any category. A biracial New Yorker blending rock, reggae, soul and R&B, he used genre fusion as a kind of rebellion — against industry pigeonholes, racial boundaries and the musical status quo. Albums like “Ghost Writer” (1977) captured the tension of a post–civil rights America, while songs like “Wild in the Streets” made him an underground prophet of urban unrest. He moved alongside artists like Lou Reed and Bruce Springsteen but always in his own lane — part poet, part agitator, part bridge between cultures.
“I think what I tried to do with the film, wittingly or unwittingly, was just to show that we all have these lives and they don’t often meet our dreams of what we think we’re entitled to, we’re talented enough to get or whatever,” said Claire. “We all have these goals, but we’re sort of stymied. Often, it’s partly circumstance and luck, but it’s also very often something that we’re doing or not doing that’s impeding us.”
This is not the typical rock-and-roll redemption story. There are no smashed guitars, no heroic overdoses, no dramatic comeback tour. What we get instead is something quieter and more intimate: hours of archival footage that Claire spent years sorting through. The sheer effort behind the film is palpable — so much so that, as she admitted with a laugh, it cured her of any future ambitions in filmmaking.
“What I learned with this project was A, I’m never doing it again. It was just so hard. And B, you know, you can do anything if you collaborate with people that know what they’re doing.”
Claire worked with the editing team of Evan M. Johnson and Ben Sozanski and a slew of talented producers, and ended up with a truthful portrayal — a beautiful living document for Garland’s legions of fans and, perhaps most importantly, for the couple’s daughter, Savannah.
“She’s been in the audience with me maybe three or four times,” said Claire. “The last time, I could tell that she was beginning to feel very proud of the effort that went into it and also of being a part of it.”
Savannah pursued a career in music for a while herself but has changed tracks and become a video producer.
“I think she couldn’t quite see music happening for herself,” said Claire. “She was like, ‘I don’t know if I want to struggle the way I saw my dad struggling and I’m going to get a job with a salary.’”
The film doesn’t just track the arc of an underappreciated musician, however. The music, always playing, is the soundtrack of a life — of a man navigating racial, musical and personal boundaries while balancing marriage, parenthood, aging, addiction andrecovery. Garland and Claire speak plainly about getting sober in the film, a life choice that gave them both clarity and shows Claire as a co-conspirator in his survival.
“I did some work early on with a director,” said Claire. “He wanted the final cut, and I didn’t feel like I could do that — not because I wanted so much to control the story, but I didn’t want the story to be about Alzheimer’s.”
Diagnosed in 2017, Garland, now 81, is in the late stages of the disease. Claire serves as his primary caregiver. The film quietly acknowledges his diagnosis, but it doesn’t dwell — a restraint that feels intentional. Garland spent a career refusing to be reduced: not to one sound, one race or one scene. And so the documentary grants him that same dignity in aging. His memory may be slipping, but the film resists easy sentimentality. Instead, it shows what remains — his humor, his voice, his marriage, the echo of a life lived on the edges of fame and at the center of his own convictions.
The Moviehouse in Millerton will be screening “The King of In Between” on Sept. 20 at 7 p.m. Peter Aaron, arts editor of Chronogram Magazine will conduct a talkback and Q&A with Claire Jeffreys after the film. Purchase tickets at themoviehouse.net.
The Haystack Book Festival, a program of the Norfolk Hub, brings renowned writers and thinkers to Norfolk for conversation. Celebrating its fifth season this fall, the festival will gather 18 writers for discussions at the Norfolk Library on Sept. 20 and Oct. 3 through 5.
Jerome A. Cohen, author of the memoir “Eastward, Westward: A Lifein Law.”Haystack Book Festival
For example, “Never Take the Rule of Law for Granted: China and the Dissident,” will be held Saturday, Sept. 20, at 4 p.m. at the Norfolk Library. It brings together Jerome A. Cohen, author of “Eastward, Westward: A Life in Law,” and Mark Clifford, author of “The Troublemaker: How Jimmy Lai Became a Billionaire, Hong King’s Greatest Dissident, and China’s Most Feared Critic” in dialogue with journalist Richard Hornik to discuss the rule of law and China.
The Council on Foreign Relations stated, “Few Americans have done more than Jerome A. Cohen to advance the rule of law in East Asia. He established the study of Chinese law in the United States. An advocate for human rights, Cohen has been a scholar, teacher, lawyer, and activist for sixty years.”
Cohen, a professor at New York University School of Law and director of its U.S.-Asia Law Institute, revealed his long view on China: “We are now witnessing another extreme in the pendulum’s swing toward repression. Xi Jinping is likely to outlive me but ‘no life lives forever.’ There will eventually be another profound reaction to the current totalitarian era.”
Mark Clifford, author of “The Troublemaker: How Jimmy Lai Became a Billionaire, Hong Kong’s Greatest Dissident, and China’s Most Feared Critic.”Haystack Book Festival
In “The Troublemaker,” Clifford chronicles Lai’s life from child refugee to pro-democracy billionaire to his current imprisonment by the Chinese Communist Party. Clifford is president of the Committee for Freedom in Hong Kong Foundation, a Walter Bagehot Fellow at Columbia University, and holds a PhD in history from the University of Hong Kong. He was the former editor-in-chief of the South China Morning Post and The Standard (Hong Kong and Seoul).
Journalist Richard Hornik, adjunct senior fellow at the East-West Center in Honolulu.Haystack Book Festival
Richard Hornik, adjunct senior fellow at the East-West Center, will moderate the discussion. Hornik is the former executive editor of AsiaWeek, news service director of Time magazine, and former Time bureau chief in Warsaw, Boston, Beijing and Hong Kong.
Betsy Lerner, author of “Shred Sisters,” is giving the 2025 Brendan Gill lecture at the Haystack Book Festival.Haystack Book Festival
The Brendan Gill Lecture is a highlight of the festival honoring longtime Norfolk resident Brendan Gill, who died in1997. Gill wrote for The New Yorker magazine for fifty years. Betsy Lerner, New York Times-recognized author of “Shred Sisters,” will deliver this year’s lecture on Friday, Oct. 3, at 6 p.m. at the Norfolk Library.
Visit haystackbookfestival.org to register. Admission is free.