On Oct. 28, 1897, five men from the Turkey Hills section of Granby started out for the Hubbard River (the old name for the East Branch of the Farmington River) in Hartland Hollow to hunt coons. Why they didn’t hunt the several good hunting areas in and around Granby nobody will ever know, but they nevertheless made the decision to hunt in Hartland. They hired a local Hartland Hollow resident, Lowell Humphrey, to accompany them with his dog. They then followed the Hubbard River several miles north, well into West Granville, Mass. It was during their return trip that Humphrey walked too close to the top of some ledges and fell to his death. This tragedy served to establish the first exact hunting date for the men who were to become the charter members of the club that was to be known as the Old Newgate Coon Club.It is doubtful that the original group continued annual hunts in Hartland Hollow for a few years following 1897; however, they continued to hunt closer to the Granby area.There are no written records until the purchase of the Barnes place in Hartland Hollow in 1910. The original group had been joined by several others who joined in on the annual week-long coon hunts. These were truly horse-and-buggy days. It was an annual sight to see these fellows start out with horses and wagons, blankets, horse feed, roast chicken, ham, potatoes, salt pork, gun and shells and any other supplies they could not readily buy “over in the Hollow.” (Incidentally, the local dialectal pronunciation was “Holla.”)After making camp in barns and houses for 10 years, the group organized and bought a vacant property at Hartland Hollow, which had been built in 1796 as the original Red Lion Inn on the old Hartford to Albany stage coach route, at the crossroads of the Granville-Winsted route. Time was when this area was quite a business district with a post office, school, inn, spoon mill, four corners and several farms all within a stone’s throw, but this was destined not to last for long.Before the Civil War, the inn had moved to Stockbridge, Mass., the spoon mill had been absorbed by a more thriving mill at Spoonville, down river, and the remaining families struggled to retain their school and post office.What a beautiful location that Hartland Hollow property was. The Hubbard River — tumbling along about 75 feet in front of the door, which in normal flow gave the music of gentle rain, hemmed in by the Hartland Mountains rising 600 feet high on each side of the valley — made for short days and long nights so much the better for coon hunters; and then, the mammoth elm tree at the corner of the house, 22 feet 6 inches in circumference, with a 172-foot limb spread in 1930. There was also the schoolhouse meadow with its acres of white and yellow daisies and fringes of red raspberries, and the swimming holes, one just above the bridge and “old black water” up at the gorge.Here it was that the pioneers of this club, and those who were to follow, inspired by the grandeur of nature and the power of nature’s God, laid the foundation of a fraternity of good fellows which, after more than a century, goes forward in the principles of brotherhood of man and the fatherhood of the Almighty.The certificate of incorporation was drawn up on Feb. 15, 1910. The name of the corporation is to be “The Old Newgate Coon Club, Inc.” The nature of the business to be transacted and the purposes to be promoted or carried out by said corporation are as follows: “For the promotion of social intercourse, recreation and mental improvement by such means as shall be expedient and proper for that purpose; and also to purchase, hold or lease any real or personal property to carry out the purposes of the corporation.”On June 13, 1910, a committee formed for the purpose reviewed three pieces of real estate as a potential home for the young organization, and the Barnes property in Hartland was eventually chosen. This consisted of the old inn, 100 acres of land and several tumbled-down out buildings. The purchase price was $800.The annual game suppers were started about 1908 and were mostly held at member’s homes until 1915, when for three successive years they were held at Old Newgate Prison. Starting in 1918 the game suppers climaxed the week-long annual hunt, a strictly stag affair, which has continued uninterrupted. In January 1937, the original property, with its homey improvements was sold to the Water Bureau of the Metropolitan District of Hartford for $24,500, and immediately factions arose among the members, with some leaning strongly toward an offer from the Water Bureau to build a clubhouse up Valley Brook, which they could use for 10 years and then vacate. This offer was in lieu of any payment for the Hartland real estate.Three potential sites were considered, two in Hartland, the other in Norfolk; it was this last property which was agreed upon. The purchase price was $11,500. After essential remodeling, a beautiful clubhouse was completed, but the corporation found itself $5,000 in debt, and instead of being almost 100 percent a hunter’s club, they were immediately forced to find sources of additional revenue to maintain a $30,000 piece of real estate, including 560 acres of land. Various avenues were considered, and in 1940 it was decided to have a licensed bar and a vigorous membership drive, which sought to add ladies to the membership. No longer could the club be maintained strictly as a man’s club. It was obvious that there must be regular, frequent meetings of the officers and directors, an active house committee, a similar bar committee and other special committees. The result of the membership drive was to increase membership from 64 to 135; the annual dues were increased to $40. Perhaps the high point of the club’s illustrious existence occurred in the aftermath of the 1955 flood. The facilities were made available to the American Red Cross, and for two months non-residents were sheltered and fed during the period of emergency.As The Old Newgate Coon Club embarks on its second century, its members can look to the future with pride and satisfaction, recognizing that there is still a close adherence to those principals set forth in their certificate of incorporation — for the promotion of social intercourse, recreation and mental improvement by such means as shell be expedient and proper for that purpose, and that the duration of this corporation is unlimited. Bob Grigg is the town historian in Colebrook.
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Slow fashion takes the runway at Stone Ridge Orchard
Natalia Zukerman
Sep 23, 2026
The organic runway at HVSFW puts sustainable style among the apple trees at Stone Ridge Orchard.
Jay Ballesteros
Fast fashion has made it possible to buy the latest trend almost as quickly as it appears on social media. The environmental cost, however, is anything but fleeting. Fashion production accounts for about 10% of global carbon emissions, consumes enormous quantities of water and energy, and an estimated 85% of textiles end up in landfills each year. Synthetic fabrics also shed microplastics when washed.
So what would happen if we slowed things down?
That’s the question behind Hudson Valley Sustainable Fashion Week[end], a two-day celebration of sustainable style, local makers and the possibilities of keeping clothing in circulation. The weekend lands at Stone Ridge Orchard, a 200-year-old working farm, on Sept. 25 and 26, pairing an evening fashion show with a new all-ages Slow Fashion Fair.
“To me, slow fashion means intentional fashion. Careful, thoughtful, human,” said Joanne Louis-Paul, the event’s communications director. “Slow fashion is the speed at which one person can sew an intricately detailed dress. It’s taking the time to go to a thrift store or clothing swap and sifting through an unknown bounty of possibilities. It’s extending the life of a piece of clothing for as long as possible.”
In everyday terms, she said, “It’s stopping to think before purchasing anything or giving anything away.”
Friday’s fourth annual Organic Runway brings Hudson Valley designers to the farm for a sunset showcase of garments made from repurposed textiles and produced locally. Designers include Clare Bare, ennui, Kacy Coyle, KNUD, la vie après l’amour, Last Night on Earth, So Vicki and Touch Threads. The evening runs from 4 to 8 p.m., giving attendees time to pick apples and sip local cider before settling in for the runway.
“We’re all about the whimsy here at HVSFW,” Louis-Paul said. “The runway is so incredibly dreamy. Being outside makes for an unpredictable, one-of-a-kind backdrop every year, and there’s just nothing like that sunset glow.”

The unlikely pairing of fashion and farming is also part of the point.
“Once you’re sitting amongst the apple trees, you realize how much sense it makes to mend the relationship between fashion and nature,” she said.
Saturday introduces the inaugural Slow Fashion Fair, from 11 a.m. to 5 p.m., with workshops, mending, fiber art, vendors, music, eco-friendly kids’ crafts and a clothing swap. There will even be sheep.
“We wanted to have a fair so we could invite more people in the eco-friendly ecosystem into the fold,” Louis-Paul said. “We get to highlight not only designers, but makers and artisans of all kinds.”
The organizers hope the fair appeals not only to people already thinking about climate and sustainability but also to those encountering the ideas for the first time. With mending, a clothing swap and hands-on workshops, the emphasis is on showing visitors things they can actually do.
“There are so many things anyone can start doing today,” Louis-Paul said. “From something as simple as sewing a patch onto a stain or tear to hosting a mini clothing swap at your house with friends and family, there are tons of ways to engage with your wardrobe more thoughtfully.”
She speaks from experience. Before becoming involved with the event, she said, secondhand shopping held little appeal.
“As someone who never liked the idea of thrifting, I am now completely sold on circular fashion,” she said. “I recently sewed a broken strap on a dress I got at a clothing swap, and I felt so accomplished! Being in this world has shown me that conscious consumption is attainable and fun.”
But behind the fun is a serious concern about what happens to clothing once consumers decide they no longer want it.
“Just because you throw it away doesn’t mean it goes away,” she said, pointing to discarded clothing accumulating in other parts of the world and the microplastics shed by synthetic fabrics. “The planet and people are suffering because of this throwaway culture we’ve adopted. If an outfit is new but super cheap, believe there’s a high cost to someone else.”
For more information and tickets, visit hvsfw.org
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Susan Schneider and the magic of marbling
Robin Roraback
Sep 23, 2026
Susan Schneider, owner of Shandell’s in Ashley Falls, in her studio.
Susan Schneider, owner of Shandell’s in Ashley Falls, in her studio.
It’s a joyful process. —Susan Schneider
A beautiful September morning found Susan Schneider of Shandell’s working in her Ashley Falls home studio, while linen cocktail napkins she had marbled the day before hung on a line outside her back door. Her helpers, dogs Daisy and Stubbs, are never far from her.
“Marbling,” Schneider explained, “the art of floating paint on a liquid and printing it on a medium, has been around for hundreds of years.”
She has been creating lampshades for 25 years and has settled in Ashley Falls, where she is renovating a barn behind her house for a larger studio. Her mission: “Changing the view on plain white lampshades, one at a time!”
Besides using marbled paper, she uses papyrus, silk and hand-painted papers for the shades.
Shandell’s on Main Street, offers a large selection of marbled decorative home items on its website — trays, coasters and bookends, to name a few — as well as scarves and belts. Schneider will also customize items and creates custom wallpaper, gifts and favors for weddings and special events. She offers consultations by appointment.
Schneider explained how she began making lampshades.
“I was in business as an antiques and textile dealer, needing lampshades at the time (the early 1990s). I had a dealer who used to make lampshades. She was moving and sold me everything she had in her barn for making them. Arcs, templates for lampshades, and tools.”
Schneider used the marbled paper from the endpapers of old books to make small lampshades.
“I collected those voraciously.”
The papers were too small for the larger lampshades she wanted to make. To get paper in the size she needed, she decided to learn how to marble.
That was 10 years ago. She now has 20 tanks for marbling, including one 10-foot tank that allows her to make 3 yards of fabric at a time.
As she demonstrated the marbling process, making covers for journals, it was easy to see why she “got hooked.”

She explained that marbling takes a couple of days of preparation. She prepares water mixed with carrageenan the night before so that it thickens and becomes a viscous liquid onto which the acrylic paints can be dropped. Paper or fabric must also be prepared with alum, which “makes the paint stick,” she said, a day or two ahead of time.
When she was ready to start, Schneider first used a level to make sure the tank was even. Then she pulled a squeegee across the surface of the carrageenan mixture to break the surface tension, followed by strips of newsprint for the same purpose. She also dipped small pieces of newsprint into the mixture.
“The hardest thing to teach people is to break the surface tension first,” she noted.
Next, she used droppers to place rows of paint onto the mixture.
“It’s a joyful process,” she said as she chose more colors. “It’s totally the pleasure of the colors.”
She explained, “The colors are stopped from spreading by the surface tension.”
Then she added newsprint around the edges of the tank to break the tension again and added another layer of color. Next, she used a marbling comb, slowly dragging it back and forth across the width of the tank to create a feather-like design.
Combs come in many sizes, with teeth spaced at different intervals and in different patterns. She chose another comb to drag through the length of the tank, making the design more intricate before laying two pieces of paper on the surface. After a second or two, she lifted them, perfectly capturing the pattern, and carried them to the sink for a rinse with water.
Once she squeegeed away the paint left in the tank, she was ready to begin the process again.
Next, she created a different type of design, dripping colors in a less ordered array, then twirling them into curving lines and circles with a thin rod.
When the surface was ready, she laid a journal cover on top, then lifted it out, covered in a vibrant pattern of swirling colors.
For observers, the process can seem magical.
Schneider loves to share the delight of marbling by teaching classes at Dewey Hall in Sheffield. Upcoming classes will be held Nov. 20, 21 and 22. Beginning in November, she will also offer private classes in her home studio. Schneider had never pictured herself having a business like Shandell’s, but she discovered a passion for creating, as she says, “things that make you smile.”
For more information about her work and upcoming classes or to contact her for a consultation, visit shandells.com.
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Through the lens of war
Patricia Platt
Sep 23, 2026
“Omaha Beach Rescue, D-Day +1, Normandy, June 7, 1944.” one of the best-known photographs of D-Day.
Walter Rosenblum
Longtime Norfolk resident Nina Rosenblum will present her award-winning documentary, “They Fight With Cameras,” on Saturday, Sept. 26, at 6:30 p.m. at the Norfolk Library.
The film tells the story of her father, decorated U.S. Army Signal Corps combat cameraman Walter Rosenblum.
“It is very special for me to screen ‘They Fight With Cameras’ at the Norfolk Library because our family has deep ties to Norfolk,” Rosenblum said.
After the war, Walter taught photography at the Yale Summer School of Art in Norfolk for 25 years, and he and his wife, photography historian Naomi Rosenblum, later retired to the town they loved.
The film was produced and directed by Nina and her partner, Daniel Allentuck, son of Oscar-winning actress Maureen Stapleton of Lenox, Mass. For Nina, the evening is a chance to show her Norfolk friends “a side of my father that was not well known to them: a courageous combat cameraman whose images helped the world confront the truth of the war.”
Walter Rosenblum was one of the most decorated Signal Corps cameramen of the war, receiving the Silver Star, Bronze Star, Purple Heart and Presidential Unit Citation. He filmed some of its defining moments: the D-Day landings on Omaha Beach, the capture of Cherbourg and the bitter winter campaign in Alsace. On April 29, 1945, he was among the first Americans to enter the concentration camp at Dachau.
“It’s like a nightmare you’re trying to photograph as you’re trying to survive,” he recalled. “It’ll never leave me.”
Narrated by Liev Schreiber, the 55-minute film recounts Rosenblum’s service through his own photographs, never-before-seen motion picture footage, after-action reports and recently discovered wartime letters. It has received best documentary honors at 15 international film festivals.
The film also restores the names of anonymous soldier-cameramen who served alongside him, including movie cameraman Val Pope, who was killed by a sniper in Brittany.
“The vital role played by World War II combat cameramen has been largely overlooked,” Rosenblum said. “Operating under extreme danger, often armed with nothing more than a camera, they captured the definitive visual record of the century’s defining conflict, and their footage provided undeniable proof of Nazi atrocities at the Nuremberg trials.”
“They Fight With Cameras” screens Saturday, Sept. 26, at 6:30 p.m. at the Norfolk Library, 9 Greenwoods Road East. Admission is free; registration is requested at norfolklibrary.org.
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Brian Gersten finds the story in the overlooked
D.H. Callahan
Sep 23, 2026
Filmmaker Brian Gersten
D.H. Callahan
At 6 p.m. on Saturday, Sept. 26, award-winning filmmaker Brian Gersten will screen four short documentaries at the David M. Hunt Library in Falls Village, exploring obscure topics such as a lingering territorial dispute between the United States and Canada, a nationwide toilet paper panic sparked by a late-night joke, the infamous “Balloon Boy” saga and the history of bowling in America.
The Chicago-raised, Millerton-based filmmaker has worked as an editor on feature-length documentaries like the cycling film “Enter the Slipstream” and Netflix’s profile on author Tom Wolfe, “Radical Wolfe.” In 2025, “Why We Dream,” a film he edited about bringing D-Day veterans back to the beaches of Normandy, premiered aboard the U.S.S. Intrepid in New York City. When it comes to directing, Gersten’s own interests focus more on the underappreciated and unremembered, as the four short films he directed will demonstrate.
“The Gray Zone” explores the casual conflict of Machias Seal Island, a small island off the coast of Maine or Nova Scotia, depending whom you ask. It is the last piece of land disputed by the United States and Canada. While the island is mostly seabirds and seals, it also houses a lighthouse, making it more important than any other strip of rock poking above the waves in the area. News and politics publication The Atlantic chose “The Gray Zone” as one of its Atlantic Selects short films to highlight, and that was before tensions between the two nations became strained. If things get any more tense, Gersten might have to head back out to sea to make a sequel.
On a similarly low-stakes topic with potential high-stakes outcomes, “The Great Toilet Paper Scare” covers a little late-night joke that had some real-world consequences. Again, this short seems to be even more prescient than when Gersten made it in 2020, with themes of out-of-control gas prices and supply shortages across the country setting the stage for some good, clean bathroom humor, if you will.
Conversely, “Balloon Boy” was a high-stakes situation with low-stakes results. In 2009, the same year Disney released their hit animated movie “Up,” it seemed the entire nation had tuned in to witness the real-time drama of a 6-year-old boy who had allegedly climbed into his family’s experimental “flying saucer” weather balloon and taken off into the sky above Colorado.
Finally, “Memory Lanes” explores the history of bowling in America through a much more personal lens than the other three. The film was made during the COVID-19 pandemic, which forced many bowling alleys across the country to close. This pause prompted Gersten to think about the history of bowling, its meaning to him and his family, the Midwestern community where he grew up and America at large. The result is an emotional study of a game that anyone can play, but precious few can master.
These are just some of the obscure and underappreciated topics that Gersten has focused on in his career. PBS featured his short film on hollering competitions in the American South. “Mr. Ash,” a profile on a Chicago-based magician and store owner, won him multiple awards. Premiering earlier this year to rave reviews, his short documentary “Hollywood’s Mermaid” explores the life of Esther Williams, a once-famous competitive swimmer turned star of the silver screen.
After his films screen, Gersten will participate in a conversation with Yonah Sadeh, the creator of the VideoWall at the David M. Hunt Library. VideoWall is an installation in the library designed to give the community access to local independent filmmakers. Gersten’s selected films will be available at the VideoWall through the end of the year.
Gersten can be found coming in third or fourth at The Moviehouse in Millerton’s Trivia Night on the last Tuesday of every month with his team, which no longer uses names based on the 1979 comedy masterpiece “The Jerk.”
To learn more about Gersten and see some of his work, visit briangersten.org.
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Sharon artist takes top prize at Lime Rock art show
Patrick L. Sullivan
Sep 23, 2026
Muriel Stockdale, left, and judge Roger McKee during the awards announcement at the juried art show at Trinity Episcopal Church. Stockdale\u2019s \u201cKevin\u201d was the second place winner.
Patrick L. Sullivan
The annual juried art show at Trinity Episcopal Church in Lime Rock was won by Mi-Kyung Hwang of Sharon for “Wild Hazelnut from Eggleston.”
The winners were announced at the show’s opening reception at the church Friday evening, Sept. 18.
Organizer Theresa Kenny said the show attracted some 66 artists, 10 of whom were new to the show.
Judge Roger McKee, who recently retired as an art teacher at Salisbury School, said of the winning work, “The technical mastery here is overwhelming.”

Hwang was unable to attend the reception, but the second- and third-place finishers were on hand.
Second place went to Muriel Stockdale’s “Kevin.” McKee said the piece “has just enough to be compelling without getting too caught up in the details.”

Joan Macfarlane’s “Branching Out” was the third-place winner. McKee described the piece as “a compelling balance of realism and interpretation.”
McKee and Emily Cox served as judges. Cox could not attend the reception, but McKee said they began their work by looking at the entire show, then went through it a second time, taking photos with their phones of the standout pieces before comparing notes.
“There was a lot of overlap,” he said. “We argued a little bit and then came to an agreement.”
The show is open for viewing Saturday and Sunday, Sept. 26 and 27, from noon to 4 p.m.
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From Woodstock to the Warner, Graham Nash is still singing for peace
D.H. Callahan
Sep 23, 2026
Graham Nash brings a career-spanning retrospective to the Warner Theatre in Torrington on Sept. 30, joined by Todd Caldwell, Adam Minkoff and Zack Djanikian.
Misti Layne
Imagine stepping out onto a stage in front of hundreds of thousands of tired, wet and weary strangers with a lineup of songs they’ve never heard before. If you’re Graham Nash, who will perform with his current band at the Warner Theatre in Torrington on Sept. 30, you don’t have to imagine. You only have to remember.
The legendary Woodstock music festival was only the second concert Nash played with Crosby, Stills, Nash & Young. David Crosby, Stephen Stills and Nash had already formed Crosby, Stills & Nash, releasing their debut album earlier that year. Theirs was a sound both new and nostalgic when it hit the scene in the late 1960s, and, thanks in part to the success all three members had had with previous bands, they instantly found a wide and willing audience.
But when they added singer-songwriter Neil Young, they also added new material they had performed together in front of an audience only once before.. Despite their inexperience with the material, their performance, which took place in the early morning hours of the festival’s final day, became one of Woodstock’s most memorable sets. Part of the encore of that seminal set was a protest song called “Find the Cost of Freedom.” It was just one of many socially conscious songs that would define the careers of Nash and his bandmates.
Nash was born in Blackpool, Lancashire, after his mother was evacuated there during World War II. Today, 84 years later, he is still fighting for peace. His weapon of choice, of course, is music.
Nash began his career with the successful British rock band the Hollies. He has recalled how everything changed when he first sang with Stephen Stills and David Crosby in Laurel Canyon, California.
Laurel Canyon was a musicians’ paradise, with soon-to-be household names popping into each other’s homes for impromptu jam sessions. When Nash took a trip to the area to visit his girlfriend, Joni Mitchell, Stills and Crosby, both of whom were looking for new bands, just happened to be there. The musical chemistry they discovered would lead to the formation of Crosby, Stills & Nash.
Since then, Nash has been an advocate for peace and other social causes, writing and performing protest songs around the world. “Ohio” was written by Neil Young and recorded by Crosby, Stills, Nash & Young, while Nash and Young co-wrote “War Song.” Nash and David Crosby co-wrote “Immigration Man.” On his own, Nash wrote “Military Madness,” reflecting on his childhood in the shadow of World War II while the United States was fighting the Vietnam War.
More recently, Nash announced plans to release a new song about the unprecedented violence perpetrated by Immigration and Customs Enforcement agents called, simply “ICE.” Even at 84, Nash continues to use music as a vehicle for political and social expression.
For tickets, go to warnertheatre.org.
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