What does a town some 40-odd miles northwest of Albany, N.Y., have to do with Colebrook and her surrounding towns? Not much today, certainly, but at the end of the War of Independence it was another matter. At least two Colebrook residents, Aaron Griswold, who came to town in 1768, and Pelatiah Mills, a resident from 1773, removed to Johnstown, N.Y., in 1784, shortly after the peace treaty was signed in 1783. Both of these men were veterans of Washington’s army, and both left, perhaps together, in 1784. That fact intrigued me, as I have always been interested in the reasons for the early pioneers’ movement from one town or region to another. In order to understand these veterans’ decisions to move to what is today central New York state, we must go back to the origins of Johnstown.u u uSir William Johnson (1715-1774) was a British soldier and American pioneer. He was the son of a country gentleman and was educated for a commercial career, but in 1738 he removed to America for the purpose of managing a tract of land belonging to his uncle in the Mohawk Valley of New York. He established himself on the south bank of the Mohawk River, about 25 miles west of Schenectady. Before 1743 he moved to the north side of the river.The new settlement prospered from the start, and a valuable trade was built up with the Indians, over whom Johnson exercised a great influence. The Mohawk tribe adopted him and elected him a sachem. In 1744 he was appointed by the governor of New York to be superintendent of the affairs of the Six Nations (Iroquois). He was instrumental in enlisting and equipping the Six Nations for participation in the warfare with French Canada. In 1748 Johnson was placed in command of a line of outposts on the New York frontier. At that time, the western boundary of the state stretched along the Unadilla and Susquehanna rivers to the Pennsylvania border. A peace treaty in France put a stop to offensive operations, which Johnson had begun.By 1750, by royal appointment, he became a member for life of the governor’s council. In 1755, General Edmund Braddock, the commander of British forces in North America, commissioned him major-general, in which capacity he directed the expedition against Crown Point, 10 miles north of Fort Ticonderoga, and in September of that same year defeated the French and Indians at the Battle of Lake George. For his success, he received the thanks of parliament and was created a baronet. From July 1756 until his death in 1774, he was the sole superintendent of the Six Nations and other Northern Indians. u u uHe took part in General Abercrombie’s disastrous campaign against Fort Ticonderoga in 1758. Abercrombie’s army was the largest ever assembled in America, comprising 15,000 — 6,000 British regulars and 9,000 provincials, or, as they were soon to be called, Americans. Among the provincials were John Stark of New Hampshire and Israel Putnam of Connecticut. French General Montcalm defended the fortress with 4,000 men. Six attempts were made in one day to overrun the fort, but they were repelled each time with increasing fatalities. By the end of the battle, nearly 2,000 British and provincials lay dead on the battlefield, a greater loss of life than was suffered by either side in any battle of the Revolution.In 1760 he was with General Jeffery Amherst at the capture of Montreal. As a reward for his services, King George granted him a tract of land consisting of 100,000 acres north of the Mohawk River.It was due to his influence that the Iroquois refused to join Pontiac in his conspiracy. This so-called conspiracy was the result of the differences between the French and the British in their relations with the Indians. While the French had cordial relations, the British remained aloof. The proud-spirited Indians were exasperated at the patronizing air of the British. A conspiracy, fanned by the Frenchmen who were still scattered among them, to massacre all the English garrisons and settlers along the frontiers of Virginia, Pennsylvania and the regions of the Great Lakes, was led by Pontiac, probably the ablest Indian warrior ever known to the white race in America. The war continued for three years, when the Indians yielded and agreed to a treaty of peace.u u uAfter the war, Johnson retired to his estates, where, on the site of the present Johnstown, he built his residence, Johnson Hall. He devoted himself to colonizing his extensive lands and is said to have been the first to introduce sheep and blood horses into the province.Upon his death, his son, Sir John Johnson, succeeded to the baronetcy. He had fought in the French and Indian War and in the border warfare during the War of Independence, organizing a loyalist regiment known as the Queen’s Royal Greens, which he led on several engagements in the province of New York.After the signing of the Paris Peace Treaty in 1783, ending the War of Independence, all his estates were confiscated and he had to retire to Canada. He received £45,000 (a little over $180,000) from the British government for his losses.As it was the policy of the fledgling American government to make available to war veterans confiscated or virgin lands as compensation for their services, it is fair to assume that Johnson’s lands were so disposed of. u u uIn the case of Aaron Griswold and Pelatiah Mills, the two veterans from Colebrook who departed town for Johnstown, N.Y., the fact that both of them had served in campaigns of the French and Indian War could very well mean that they might have served under Johnson and thus would have been familiar with his holdings in the Mohawk Valley. Whether or not this was the case, they did go to live the rest of their lives in Johnstown, nestled at the southern end of the Adirondacks, as did many other veterans of Washington’s army immediately after the war.Pelatiah Mills’ house still stands, looking, at least from the road, much the same as it did when he left for Johnstown, situated diagonally across from the Rock Schoolhouse at 667 Colebrook Road.The northeast cornerstone of the Rock School has an “M” carved in it. While we don’t know for certain what this means, my bet is that it was engraved by Pelatiah Mills. He certainly was right there in the neighborhood when the school and his house were built, and I have never been able to find another surname in the immediate vicinity that began with an “M.” Bob Grigg is the town historian of Colebrook.
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Kent man charged after slurs, spitting at Walmart
Christian Murray
Matthew Colby, 32, of Kent, faces charges stemming from a Nov. 1 disturbance at a Southington Walmart, police said.
SOUTHINGTON — A Kent man was arrested after police say he threw merchandise, damaged vehicles and spat in a customer’s face while shouting racial and homophobic slurs at him at a Southington Walmart.
Matthew Colby, 32, was arrested Nov. 5 in Newington following an investigation into the Nov. 1 incident at Walmart, 235 Queen St., according to Southington police.
Officers responded after receiving numerous reports of a man causing a disturbance inside the store and in the parking lot. Police said Colby threw merchandise from shelves before confronting a customer and spitting in his face while directing slurs at him.
Police also alleged that Colby damaged multiple vehicles in the parking lot before driving away recklessly and failing to stop for responding officers.
Witness videos of the incident circulated on social media. Police said investigators identified Colby through witness interviews, surveillance footage, digital evidence and coordination with other law enforcement agencies.
An arrest warrant was approved Nov. 5, and officers took Colby into custody that afternoon without incident, police said.
Colby was charged with second-degree intimidation based on bigotry or bias; second-degree breach of peace; second- and third-degree criminal mischief; reckless driving; engaging police in pursuit; failure to obey an officer’s signal; and failure to display registration plates.
He posted a $25,000 court-set bond and is scheduled to appear in New Britain Superior Court Nov. 19.
Author explores farms and food with Region One students
Patrick L. Sullivan
Author, educator and environmentalist Nancy Castaldo met with Region One students at Housatonic Valley Regional High School Friday, Nov. 6.
FALLS VILLAGE — Is popcorn really corn? Young Region One students put their knowledge of farms and food to the test during a visit from author, environmentalist and educator Nancy Castaldo on Friday, Nov. 6.
Castaldo held three sessions at Housatonic Valley Regional High School, beginning with children in pre-K through second grade.
A Chatham, New York, resident who has written about 25 books on environmental subjects for young readers, Castaldo opened her “Good Farms = Good Food” presentation by describing the working farms she passed on her drive to Connecticut.
“I saw one that had animals called alpacas,” she said. “And another one with cows.”
She introduced the children to different kinds of farms, drawing them into the discussion with a series of true-or-false questions about where food comes from.
“People eat most of the corn grown in the U.S. How many think that’s true?” she asked.
A handful of children raised their hands.
“How many think that’s false?”
Most of the children stuck their hands up and waved them enthusiastically.
The answer was false. Most U.S. corn is used for livestock feed and ethanol production.
Sticking with the corn theme, Castaldo offered another statement: “Popcorn is not really made of corn.”
This time, the audience was split, with about half choosing true and half choosing false. The answer: false.
“Popcorn is made of corn, but it’s not the same as the corn on the cob we eat in the summer,” Castaldo said. “It’s a different variety.”
Castaldo also met with students in grades 3-5 and 6-8. A virtual presentation for HVRHS students is scheduled for later this month.

Sharon Memory Tree to honor loved ones, aid responders
Patrick Stachniak
SHARON — Residents can honor loved ones while supporting local emergency responders through two holiday fundraisers: the Sharon Fire Department Ladies Auxiliary’s annual Memory Tree and the ambulance squad’s “Lights of Love” display on the town Green.
The auxiliary is accepting $5 donations for ornaments bearing the names of family members, friends and loved ones. The Memory Tree will be displayed at Town Hall from Nov. 25 through Dec. 31.
Tina Pitcher, an auxiliary member and Sharon’s town secretary, said she proposed the fundraiser in 2014 after Sharon Hospital stopped offering a memory tree.
The auxiliary uses proceeds from the tree and other fundraisers, including bunco games, to help meet equipment needs at the fire department and ambulance squad, Pitcher said.
The group has four or five members who also provide food and coffee to firefighters and other emergency responders at incident scenes.
Pitcher said the holiday displays offer residents a simple way to remember someone while supporting the volunteers who serve their community.
“If they want to do a little bit in memory or in honor of a family member,” she said.
Separately, the Sharon Fire Department Ambulance Squad is accepting orders for its Lights of Love fundraiser. Luminarias bearing the names of people being honored or remembered will be displayed around the Sharon Green on Saturday, Dec. 5, the day of the annual town tree lighting.
The luminarias cost $10 each, and orders are due Nov. 30. According to the squad’s fundraiser notice, proceeds help pay for a new stretcher, automated external defibrillators and replacement equipment used to care for patients and protect crews.
For Memory Tree ornaments, forms are available from the Selectmen’s Office at 860-364-5789. Donors may also mail a check payable to Sharon Fire Department Ladies Auxiliary to P.O. Box 794, Sharon, CT 06069, with a note listing the names to appear on the ornaments.
For luminarias, order forms are available on the town website, sharonct.gov. Completed forms and checks payable to SFD Inc. – Ambulance Squad should be mailed to P.O. Box 357, Sharon, CT 06069. For information, contact Thalia MacMillan at 917-742-7287 or sharonambulancect@gmail.com.

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New climbing gym opens in Great Barrington
Alec Linden
Berkshire Boulders, a long-awaited climbing gym for the Berkshire and Taconic regions, opened its doors on Friday, Nov. 6, for a well-attended first evening in business.
GREAT BARRINGTON — Climbers of all ages and ability levels filled Berkshire Boulders on Friday, Nov. 6, as the new rock climbing gym celebrated its grand opening just north of downtown on Route 7.
As the crowd began to build at 4 p.m., founder Nick Friedman said it was gratifying to see the long-planned project finally open to the public.
“It’s a bit surreal but it feels good,” he said. “It’s this idea that’s been percolating in climbers’ minds for decades.”
The type of climbing on offer is bouldering — a short but often powerful and technical form of the sport, usually practiced on walls less than about 14 feet tall.
Mats cushion falls, and climbers use no harnesses or ropes. Beginners need only a pair of climbing shoes and some chalk, available to rent for $7, making bouldering a popular entry point to the sport.
In addition to climbing, the gym offers a fitness room with exercise equipment, a shower, and a back porch and picnic tables overlooking the Housatonic River valley. Registration for youth and adult programs is available on the Berkshire Boulders website, and Friedman said the gym may eventually offer a competitive team.
While the region has abundant outdoor climbing opportunities, access challenges have limited the sport’s visibility even as outdoor tourism has grown. Before the opening, climbing gyms — often a newcomer’s first exposure to the sport — were more than an hour’s drive away for many in northwest Connecticut and western Massachusetts.
Friedman hopes the new gym will become a community hub for experienced climbers and newcomers while building awareness of rock climbing in the region.
“I want people to come in and try the sport in a safe and controllable way, learn, and then meet others who are also interested in it,” he said. “Then together they can go outside.”
To help make that possible, Friedman said, the business is channeling its profits into efforts to open and preserve public outdoor climbing locations in the area and strengthen the community around them.
Accessibility also means ensuring the entire community has an opportunity to participate, he said. To help address the cost of the sport, the gym offers a financial hardship program that subsidizes membership fees for eligible applicants, covering as much as 100% of the cost.
“It should be an all-gender, all-age, all-socioeconomic sport,” he said. “That’s the goal: that people from any walk of life can fall in love with this.”
Friedman grew up in nearby Sheffield and said he wishes he had had a local gym while learning to climb on the region’s natural rock.
“Climbing is not a fringe sport anymore,” he said, “but if you don’t have a place to come give it a shot, you’re only going to hear about it and never get to actually experience it.”
Climbing can mean many things to people, Friedman said — exercise, community building or even just a way to clear a bad mood.
“There are so many things that I think it can do,” he said, “and I wouldn’t want that to be exclusionary.”
Original art, attainable prices
D.H. Callahan
Kenise Barnes Fine Art presents “Cool & Collected ’26,” its annual exhibition celebrating the joy of collecting, featuring works priced under $2,000.
There’s a corner of YouTube populated by real-time footage of high-dollar art sales from prestigious New York and London auction houses like Sotheby’s, Christie’s and Phillips. Hundreds of thousands of viewers routinely watch with rapt attention, popcorn and cocktails in hand, as recognizable pieces from art history make their way to the upper echelons of grossly unattainable hammer prices. Pieces can often start with opening bids of tens of thousands of dollars and work their way up to multiple millions. Bidding increments alone can grow to sums unattainable for the average American family in several lifetimes.
Kenise Barnes Fine Art in Kent, Connecticut, wants to help make fine art more accessible. The 2026 version of the gallery’s annual “Cool and Collected” exhibition is subtitled “The Gift Edit” and features dozens of works by fine artists at prices that are much more in reach than an art-world outsider might expect. More than 30 artists contributed pieces to the show. Almost all available works are priced under $2,000, with many below $500. The collection features paintings, drawings, collage and ceramics.

Kenise Barnes, the gallery’s owner, has been gifting art to friends and family for years. Now, many of them have their own personal collections, with works carefully selected for and by them.
It’s not just aspiring collectors who benefit from this kind of show. Smaller price tags can often mean less pressure on the artists, giving them more to experiment.
“This exhibition encourages artists to play and explore while giving visitors the opportunity to acquire original artwork at an approachable scale and price,” Barnes said. “It’s a celebration of creativity, generosity, and the pleasure of living with art.”
Across the border in Millerton, a similar exhibition is up at The Re Institute. Artist and gallery owner Henry Klimowicz has curated a show that features more than 400 original works of art from more than 200 artists, all priced under $750. The exhibition is a continuation of an accessible art show put on by LABspace in Hillsdale, which routinely had more than 300 pieces in its small, two-room gallery. Klimowicz has also hosted an art gift shop at the Re Institute, with moderately priced art as the shop’s inventory.

Klimowicz understands that even more moderately priced art isn’t necessarily any more accessible to all audiences. The first hurdle, he said, is that “buying art is a privilege. If you’re worried about buying groceries, you’re not buying art.”
With more and more people worried about groceries, the art market’s growth potential seems at least temporarily stunted.
The second hurdle is finding something that speaks to you.
“You have to decide that you like this unique thing. In America, we buy a lot of stuff. Almost everything we buy, we can count on the fact that we’re not the only person buying it.”
But when it comes to art, especially from emerging artists, there’s no market confirmation that what we’re buying is any good. You have to go out on a limb and trust your own taste to guide you.
“You can come here and you can purchase something truly unique, and that takes guts.”
For more information and gallery hours, visit kbfa.com and thereinstitute.com.
Jennifer Terzian’s sanctuary for contemporary art
Troy Mcmullen
The gallery is really meant to create a very intimate relationship with the artist and the story behind their work.
—Jennifer Terzian
On a recent crisp, fall afternoon in Litchfield, Jennifer Terzian welcomed a steady stream of collectors, artists, and art-world insiders into her jewel box of an art space on South Street, just off the town’s manicured historic Green.
The occasion was an opening for Jenny Kemp, an artist noted for balancing fluidity and structure in her abstractions through repetition, variation, and gradual shifts in hue. Hers is exactly the kind of tactile, process-driven work Terzian champions at a subterranean space that feels less like a commercial art gallery and more like stumbling into an impeccably edited sanctuary of contemporary thought.
“I don’t really consider myself a traditional gallerist,” explained Terzian, a Southern California native who moved to Connecticut in 2008. “I see myself more as an artist advocate.”
Established in 2021 as a platform to promote the work of emerging and mid-career artists, Terzian’s gallery has grown into one of Litchfield County’s most compelling launching pads for contemporary art. Focusing on drawing, works on paper and paintings in ambitiously varied visual vocabularies, the gallery has built a reputation for its devotion to the artists’ methods, tools, materials and critical thinking. Terzian has also cultivated a niche rooted in an ethos that favors intense tactile engagement over sheer wall acreage.
“The gallery is really meant to create a very intimate relationship with the artist and the story behind their work,” said Terzian, who has spent two decades organizing exhibitions in galleries and museums and taught art history and museum studies at Miss Porter’s School in Farmington for six years. “It’s always very much about the process and I think the artists and the visitors to the gallery really recognize and appreciate that focus.”
That commitment to creative rigor is raising Terzian’s profile among art institutions. The gallery’s acceptance into the New Art Dealers Alliance (NADA) earlier this year marked a significant milestone, cementing its place within an international network of contemporary galleries and arts professionals dedicated to supporting vanguard talent.
“Her innate enthusiasm allows artists to test out new bodies of work on the walls in a supportive environment, creating space for both joy and growth,” explained Rebecca McNamara, chief curator at the Mattatuck Museum.
Jenny Kemp, whose solo exhibition “Reverbs” runs through Dec. 12, echoes that sentiment: “She encourages artists to lead in shaping their exhibitions and the installation, giving them the freedom to respond to the space and bring their own vision to it.”
While Litchfield County has long attracted creative minds, Terzian’s arrival in 2021 coincided with a period of cultural momentum, allowing her to tap into an expanding cadre of local talent. The gallery’s roster bridges mid-career artists such as Fritz Horstman, Kristin Lamb and Richard Pasquarelli, who have exhibited their work in museums, galleries and art fairs throughout the U.S. and Europe.
Yet her programming also crosses geographic boundaries seamlessly, bringing work by painters and paper-makers from Brooklyn, Providence, Berlin as well as artists working in established studios across Connecticut.

Recent exhibitions highlight Terzian’s curatorial leanings toward precision and patience over hyper-commerciality. Jessica Smolinski’s mixed-media works probed memory and time through photography and textiles, while Aliza Morell employed holographic streamers against flat fields of color transferred to canvas via a layered material process. China-born artist Jenny Wu, who studied studio art at Hobart and William Smith Colleges and American University, poured and layered liquid paint until it took on dense, sculptural forms.
“The space feels like you are leaving the day’s responsibilities behind and entering a world of serenity,” said Wu, whose paintings explore composition, color and materiality. “Stand there, look at the works, feel them, and let them consume you for once.”
Terzian advocates for a more intimate scale to help amplify impact and says the diversity of aesthetics allows her to build a space tailored to creative rhythms of the artist. “It fosters a better dialogue between artist, curator and collector.”
The gallery’s momentum coincides with a broader revival across Litchfield. The recent arrival of three boutique hotels — The Abner, Belden House and Lost Fox Inn — has brought a steady influx of younger, design-conscious travelers to Connecticut’s northwest corner, energizing the town’s cultural landscape.
“I love for people who are new to Litchfield to walk down those stairs to my gallery and just come inside and just be educated about the artists and their work,” Terzian reflected. “Whether or not they walk away with purchasing something, I just think the experience of coming into a space and not feeling intimidated is valuable.”
For more information, visit jenniferterziangallery.com.
Troy McMullen is a former Wall Street Journal reporter in Berlin and New York and currently an executive editor at ABC News. His arts and culture reporting appears in several New England publications, including Litchfield Magazine, New England Home and Connecticut Magazine. He splits his time between Manhattan and a weekend home in Litchfield, adjacent to the Hauser Nature Preserve.

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