CORNWALL — A beautiful autumn day welcomed dogs and people to Little Guild’s 11th annual Run and Wag 5K in Cornwall Village.
In a fair-like atmosphere of live music played by Relatively Sound, food trucks and booths with local goods, people and dogs gathered before the race set off at noon.
Jenny Langendoerfer, Executive Director of Little Guild, an animal shelter in Cornwall, explained that the Run and Wag 5K is one of their main fund-raising events. “We have to raise seventy five percent of our operating costs. All the money raised by the Run and Wag goes to those costs.”
She went on to say, “The Run and Wag is a premier dog and human race. We are extremely proud of it.” This year she noted they had “79 dogs and 200 human runners and walkers entered.”
Nita Colgate, from Cornwall, was spectating with her dog, Ananda, who was adopted from the Little Guild in December. Colgate said that Little Guild was “absolutely wonderful in post adoption care.” They supplied her with dog food when Ananda ran out and wouldn’t eat his new food, in spite of it being Christmas Eve.
Robert Lindgren with Cecil, a cocker spaniel, and friends Michael Carter and pug Juniper, waited to walk the route. Lindgren said, “Little Guild is wonderful. They do great things.”
Human and canine runners depart the starting line for the 11th annual Run and Wag 5K to benefit The Little Guild in West Cornwall.L. Tomaino
Andrea Fournier came from Barkhamsted with Maverick, a yellow lab. She commented about Little Guild, “It’s a great organization. We had a 15-year-old cat from them. She was the best cat! We like to support them.”
Robert Ghitelman and Sandy Adelsberg of Cornwall were walking with their companions Airedale and Scout. Adelsberg said “The music is a lot of fun and appropriate. Great weather, lots of people came out and there are lots of happy dogs and people.”
At noon, walkers, runners and dogs all lined up at the start and were off on the five-kilometer route.
The first runner, seventeen-year-old Bradley Bozzuto, returned 16 minutes at 16 seconds later. He broke the previous individual record of 16:24 set in 2015.
The first dog-human team to finish was four-time winner, Brittany Telke with her basenji, Mazikeen from Bristol. Their time was 19:02. Brittany said of the run, “The challenging part is that she gets a little distracted (by other dogs) during the second part of the race. But she was better this year.”
Thor and Michael Geschwind, winners in the men’s category for human-dog team at the Little Guild’s Run and Wag 5K. Their time was 19 minutes, 30 seconds. Also pictured is Tara Gres.L. Tomaino
Winners in the men’s team category were Michael Geschwind and Thor the great dane-mix with a time of nineteen minutes, thirty seconds. Tara Geschwind, who also ran, said, “I just love it. I’ve been donating to Little Guild for years and years.”
John Guenther, a former president of Little Guild’s board, came in with a time of 22 minutes. He walks 12 miles daily with the little guild dogs awaiting adoption. He said the event was “A wonderful celebration of dogs and the connection people have with their animals.”
Toby, a husky/chihuahua, wore a costume of bat wings and ran with Kristin Wheeler. “It was hot. He pulled me along with his wings. It was lots of fun!”
This was a sentiment all seemed to agree with, spectators, runners, walkers, and dogs alike.
Toby, a husky/chihuahua mix wore bat wings for extra speed at the Run and Wag 5K on Saturday, Oct. 19 in Cornwall.L. Tomaino
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Stephanie Haboush Plunkett
“The field of illustration is very close to my heart,” she said. Inspired by that example, she studied illustration at Pratt Institute and began her career as an illustrator before shifting toward museum work. An internship at the Brooklyn Museum proved pivotal. “It was inspiring to see the children come alive in front of art,” she recalled.
In addition to her curatorial work, Plunkett is the author of two children’s books, “Kongi and Potgi: A Cinderella Story from China” and “Sir Whong and the Golden Pig,” and has written or co-authored numerous books on illustration, including “Drawing Lessons from the Famous Artists School” and “Leo Lionni: Storyteller, Illustrator, Designer.” She earned an MFA from the School of Visual Arts and built a museum career that included positions at the Brooklyn Museum, the Brooklyn Children’s Museum and the Heckscher Museum of Art before joining the Norman Rockwell Museum, where she has worked for 31 years.
But elevating illustration has meant challenging decades of critical skepticism.
“The goal has been to shine a light on this important American art form and to elevate public awareness of its artistic and cultural importance,”Plunkett said.
As a popular and widely circulated art, illustration is sometimes thought of as inferior to fine art, such as painting and sculpture. Plunkett considered why. She theorized that the 1913 New York Armory Show, the International Exhibition of Modern Art, with works by artists such as Picasso, Matisse and Duchamp, initially contributed to this evaluation. In the 1930s and ’40s, abstract expressionism became the art of the nation, and the rift widened further.
“Norman Rockwell became the antihero for many art critics of the time,” said Plunkett. “Illustration was viewed as too commercial and sentimental because of its emphasis on visual storytelling.”
Plunkett calls illustration “art with a job to do.” She explained, “Illustrators are adept at solving visual problems for their clients while expressing their own aesthetic and artistic vision.”
Visitors consider Norman Rockwell’s paintings on Civil Rights for Look Magazine, “New Kids in the Neighborhood” (1967) and “The Problem We All Live With” (1963.) L. Tomaino
She noted that the line between the fine and applied arts “is much more porous now, with many artists working across platforms and styles.” She cited late-20th-century illustrators like Marshall Arisman, Barbara Nessim, Robert Cunningham, Bernie Fuchs and Mark English as illustrators who forged unique approaches to working and seeing.
Plunkett commented that people want to see the original illustrations. “Generally, Rockwell exhibitions bring high attendance. Currently, our traveling exhibition, ‘Norman Rockwell: From Camera to Canvas,’ is at the New Britain Museum of American Art, but we’ve traveled Rockwell and illustration to 45 states and several countries, including Japan, France, Italy and Germany.”
Nowadays, illustrators take on subjects that are important to them. “The children’s book industry is committed to sharing the richness and diversity of people and cultures with young readers.” Plunkett cited the late illustrator Jerry Pinkney’s commitment to this goal. As a boy, Pinkney found no books portraying children like him, and “his life’s mission as an artist was to present inspiring, positive images of children of color.”
The Norman Rockwell Museum and Rockwell Center seeds were sown when “Rockwell placed the first 199 artworks in the care and collection of the Norman Rockwell Museum upon its founding in 1969, some of which he personally acquired for the fledgling collection,” said Plunkett. “The museum’s current Rockwell holdings include 865 original artworks, the artist’s Stockbridge studio and an archive of 400,000 photographs, letters, props and first uses of the artist’s work. We also hold about 25,000 illustrations by other artists, from the historical to the contemporary.”
“We call ourselves the home for American illustration. We have a real commitment to illustrators and what they’ve accomplished,” said Plunkett.
The Norman Rockwell Museum is located at 9 Glendale Road, Stockbridge. For more information and to purchase tickets, visit
nrm.org
A tray can help group items in a way that looks and feels thoughtful and intentional.
A tray creates a moment. It gives the eye a place to land and turns everyday objects into something intentional. More importantly, it’s approachable. There’s no measuring, no commitment, no pressure to get it “right.” It’s a small, easy project — affordable, functional and even a little fun — that can be tailored entirely to you.
One of the things I love most about styling trays is that your cozy “moment” becomes mobile. Everything you love is gathered in one place and can be easily moved from room to room as your day unfolds. A tray that starts on an entry table can later migrate to a coffee table or kitchen counter, adapting to how you’re actually living in your home.
In one client’s entryway, we styled a tray that sets the tone the moment you walk in. A simple pair of brass candlesticks adds warmth, a blue-and-white chinoiserie vase brings character, and two vintage books ground the arrangement. It’s not decorative for decoration’s sake — it feels collected, welcoming and personal, all while keeping the surface from becoming cluttered.
In another home, a coffee table tray became the quiet anchor of the living room. We included a strand of wooden beads for texture, the TV remote tucked neatly into a small vintage box, and a plant nestled in a pottery bowl. The tray keeps everyday necessities close at hand while making the space feel relaxed and lived-in rather than chaotic.
Styling a tray can give a home or room a re-fresh.Kerri-Lee Mayland
Kitchens may be where trays work hardest, especially in winter when we’re cooking inside more and gathering more casually. For one client, we styled a tray with a pepper mill; a shallow bowl for garlic, shallots and onions; and a white Italian ceramic container filled with olive oil. It’s practical and beautiful, and it makes cooking feel intentional instead of rushed. The tray warms up the counter while keeping essentials within reach.
Another version I often create is the cocktail, mocktail or tea-and-coffee tray — endlessly useful for friends popping over to say hello. A few cups, a teapot or carafe, honey or sugar, and a candle create an inviting setup that’s ready at a moment’s notice. It says, “Stay a while,” without any fuss.
What makes trays so effective this time of year is that they respond to winter’s quieter rhythm. Winter decorating isn’t about bold color or dramatic statements — it’s about texture, warmth and restraint: wood, stone, ceramic, linen, candlelight. A tray helps you edit rather than add, grouping items so they feel thoughtful instead of scattered.
When the seasons shift, the same tray evolves with you. Heavier elements can be swapped for lighter ones — fresh flowers, glass, pale ceramics — without starting over. One tray, styled seasonally, becomes a constant that gently changes rather than something that has to be replaced.
Remember, good design doesn’t have to come from big gestures. Often it comes from small moments done well — a surface that feels intentional, a corner that feels cared for. In winter’s stillness, creating a simple tray may be just enough to make your home feel calm, personal and complete.
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