The Grandfather Trees

As I have alluded to in the past I left Northern California for four years, first spending two years in Appalachia and following that a warming up period in the deserts of Arizona. Probably because I lived on the coast of Mendocino County where there are pygmy forests, I never saw the desert as what others did, a desert. I saw the desert as a different kind of pygmy forest. I know this sounds strange but I doubt I will ever change that perception. Just think Small Trees. (That’s all you need to understand.)

What is more understandable probably is that because I was accustomed to living among very large and very old trees, while I loved the pygmy forests of Arizona (and even miss them, especially the saguaro cactus, along with the desert wren and doves that graced my days so beautifully–sigh) I did feel a vacuum when it came to Trees. I did not fully realize this, however, until I visited a large Unitarian Church one Sunday. I arrived early and walked the ample inviting grounds, appreciating the statuary, and the creative gardens which had been established there by caring, loving people. I followed a simple path and suddenly found myself among some older trees, a real rarity in my experience in Arizona. I rather watched myself as I immediately walked to one large old tree. I wrapped my arms around it. I was just able to do that. I felt it with my whole body and tears very unexpectedly fell in little rivers down my cheeks. I was overwhelmed with emotion. I had no idea I was missing trees so very much. I poured my love and gratitude into that mature tree and took note.

I am now rerooted in Northern California and I have resumed a habit I began in previous times here. I have consciously identified those trees in this neighborhood that I regard as the Grandfather Trees. I’m well aware of them all the time when I’m out in my garden, even though none of them actually live on this property. Their strong presence is profoundly felt. The trunk of one of them is seen in the photo at the outset of this post. It is a very old very large bay tree, thus it is green all year long.

It is on the adjacent property, at the far back of my garden, just to the other side of the back fence. I am in complete awe of this tree. It has withstood the tests of time and I can only imagine what it has seen and weathered. If I were good at that sort of thing I would tell you how tall it is. I’m not. Let’s just say Very Tall. Its leaves rain into my garden all year long, a constant supply of bay if I’m inclined.

I am completely fascinated by its base, which always reminds me of an elephant.

I wonder who is drawn to live inside there? Bigger question. I wonder what critters have lived in this tree over the course of its life? I cannot begin to imagine. How old is this tree? Any guesses?

The Grandfather Bay Tree lies west of my point of reference, and thus is my Tree to the West. Its base moves upward and about three feet up splits into three distinct huge trunks, creating, in essence, three distinct trees sharing a common starting point. Quite amazing. It is trees such as this beloved old bay that lend sanctity, presence, dignity and grounding to our neighborhoods. Without them we are adrift.

“Yes, grandfather trees…are the ones with the most to teach us. They are the ones that inspire awe, the ones we choose to pray under.” –Joan Maloof

When I’m not looking at the bay tree from my back garden, my eyes gravitate north to this old spreading oak tree, now in winter attire. Two white poplars live between me and My Oak Tree to the North, and seem to stand guard to it. Here it is in bathed in morning’s first light. I am blessed with this view as I run Conner and Ruby early in the morning.

You are seeing just the tippy top as that is precisely what I see each day! I have never seen its base trunk and may well never, as it is living in another back yard. I am content with what it shows of itself to me. It is enough. Here is a second photo of grandfather oak at dusk from the front yard.

Goodnight, Grandfather Oak.

Holding honor as My Tree of the East is this friendly old fir tree, its height seen from many miles around no doubt, thus a part of many folks’ vistas.

As it is my neighbor, and I his, I had the luxury of getting up close and personal today, able to look up from under into its lovely strong and spreading branches. Quite august.

Its grounding lies in this large trunk. Imagine wrapping your arms around it and thinking of all it has borne witness to.

Truly it is no wonder I chose to live here.

Rounding out the four directions is the Tree to the South, the black walnut tree, which lives on neighbor Dave’s front property. I am fond of this tree, as is the grey squirrel I found perched just along the graft line munching away at some delicious find.

As I walked closer and closer Mr. Grey Squirrel raced into the lovely winter branches above and was gone.

Dearest Grandfather Trees, may we remember to cherish each of you, to recall the beauty and history you each lend to our modern lives. May we honor and protect you and ensure you are here for our children and grandchildren and theirs. Amen.

Love and winter blessings,
Kathryn xoxo
Postscript: Cousin Julie sent this wonderful photo of a pin oak on her friend’s property in central Ohio, which apparently is over 300 years old!

Field Trip: Sun House/Grace Hudson Museum


Grace Hudson, self-portrait, painted at age 16, Grace Hudson Museum

The flowers on the dress Grace Hudson (1865-1937) is wearing are a clue. She would become recognized as an exceptionally popular artist in her time whose passions included painting local landscapes, local indigenous peoples and animals. She came by this naturally. Her father, A.O. Carpenter, was a well known and respected photographer who recorded early landscapes and pioneers of Mendocino County, and her mother, Helen, was an artist in her own right, illustrated by the two lovely pieces below, now housed in The Sun House, Grace Hudson’s family home, a registered California Historical site.


Painting by Helen Carpenter, Grace Hudson’s mother


Handpainted china by Helen Carpenter, Grace Hudson’s mother

Grace Carpenter, a twin, was born in a humble one-room cabin in 1865 in Potter Valley in Mendocino County. Her talents were recognized and encouraged by her artistic parents early on. At age fifteen, she was sent alone to San Francisco to attend San Francisco School of Design where she would excel. Completing her studies, she returned to Mendocino County and remained with her parents until she met and married John Hudson, a young physician from Tennessee, whose developing love of Indian studies Grace shared. Indeed, Grace Hudson would go on to paint over 600 paintings of the Pomo Indians who inhabited Mendocino County at the time, establishing herself as one of the first female artists to be recognized among Western artists. In 1893 her painting, “Little Mendocino” went on exhibit at the World’s Columbian Exhibition in Chicago where it created a sensation and received a certificate of honorable mention. Her competitors included works by Mary Cassatt and Rosa Bonheur.

The success of this painting put Grace squarely on the radar of collectors and galleries in San Francisco. She began to paint on commission. By the end of 1894 Grace was a nationally known and admired painter. She received major national media attention and her career was firmly secured.


The Watermelon

The dog in this endearing painting looks suspiciously like a McNab (closely related to the Border Collie) and as the McNab was bred first in Mendocino County on McNab Ranch, I have to wonder. Dogs appear frequently, however, with Grace’s renditions of Pomo children. This might be construed as contrived, but, point of fact, the Pomo Indians had a very high regard for their dogs.

Baby Bunting

The Pomo Indians that Grace painted she knew and loved and admired. Said Grace, “My desire is that the world shall know them as I know them, and before they vanish.”

The Seed Conjurer


Powley: Young Man Hoeing Corn

There is an attending story about the above painting. Apparently Grace painted a Pomo woman and named the painting, “Powley’s Sweetheart.” When she was asked repeatedly, “Who is Powley?” she subsequently painted the man himself to answer their question.

My awareness of Grace Hudson’s work began, synchronistically or ironically, when I planted my first garden in Mendocino upon returning to California after a four year quest exploring living first in the South followed by two years in the Arizona desert, outside Scottsdale. In digging up the earth for my first seed planting I “happened to” unearth two Indian tools. I was surprised and excited. And for some reason I put them in a zippered pocket in my purse and then promptly forgot they were there.

Later in the spring I decided to visit the Grace Hudson Museum which a friend had told me about and the Sunday I decided to make that journey it so happened that the staff was sponsoring a day in which one could bring indigenous artifacts to be evaluated by an expert. I sat in utter (very quiet) fascination as people revealed paintings and objects they had brought for evaluation. It took me a full hour at least to recall that I had the Pomo tools I had found in my garden with me in my purse. Very shyly I finally brought them forth, and was told they were practical tools the Indians used in their daily creative activities, one being a scraping tool, and the other looking more like an arrowhead.

I remember feeling excited. However subsequently I was quietly informed by a woman I met who is of Pomo descent, “I have never found a single thing.” The impact of the find descended on me and I felt profoundly humbled and honored. I also felt obliged to pay attention and I have ever since. One entry point into this exploration is the blessing of Sun House and the adjacent museum showcasing Grace Hudson’s life and work. Here is the Sun House.

I find myself wondering if people actually came and left by the front door. If one takes a docent tour one is always ushered through the patio door, on the side of the house, and this feels like a more likely entry.

I’m going to show you another photo of this side of the house, as I want you to get the feel of this property from this perspective, influenced largely by this redwood tree which stands just in front.

Indeed, Grace was deeply insightful in planting beloved redwoods all along the front entryway to the property, which we now enjoy. Thank you, Grace.

The hand of the artist reigned at Sun House. This firepit and the arbor and sundial below all speak to her domestic creativity.

Firepit

Arbor which will be awash in trumpet vine and wisteria come spring

Old sundial

On the far side of the house I found this enchanting door ringer.

This door ringer is actually afixed to the door that gives entry into Grace’s studio, a large room with a bank of tall windows, with a stained glass window on one end.

In the opposite end of the room still stands the easel Grace used in her work.

Just beneath her chair is a rug she designed and had executed, showing her obvious passion for beautiful plants, which we all share. A second similar rug, very pretty, is in an adjacent living room.

Lapping up her creative endeavors it is no large stretch to imagine that her life and work are now housed on this same property in the Grace Hudson Museum. Cheers to those who recognized and valued her work and continue to showcase it, as well as other artists’ work in the area.

As I parted today, filled up with my renewed appreciation for Grace’s work and what she left behind a spot of color caught my appreciative winter eye.

Grace would be pleased.

With love and great gratitude for all artists everywhere,
Kathryn xoxo

Book Review: Signs of Life

One of the many great blessings in my life has been the opportunity to study with cultural anthropologist Angeles Arrien, author of Signs of Life. Again and again I have returned to her work and teachings, and now my daughter has begun to do the same. Perhaps it was the recent recognition of the seeming importance of the circle in my life that drew me to picking up the classic favorite. It had been years since I had taken the Preferential Shapes Test therein, and thus the book held particular opportunity to renew my experience. In Signs of Life Angeles, ever seeking and honoring cross-cultural perspectives and links through the myths, fables, fairytales and values in world cultures, examines the importance of five universal shapes found naturally in all cultures, often with similar interpretations and meanings, reflecting their archetypal nature. The five shapes examined in Signs of Life are simply the circle, the square, the triangle, the (equi-distant) cross, and the spiral. As gardeners we are all well familiar with the repetition of these shapes in our natural landscapes, as are we well versed in our recreating them through our various avenues of creation.

What Signs of Life does so simply and eloquently is to invite the reader to arrange and value the five universal shapes in order of current personal preference. Is it the square you are most drawn to? Or the triangle or circle? What follows is an enlightening process whereby one may examine what this might actually mean in your life today. Why are you drawn to the square, a symbol of foundation and consistency? What might it might mean that the triangle holds no interest for you at the moment, thus placing it in the fifth position? What unfolds is a fascinating tool for not only illuminating your own current process and priorities, but also for objectively reflecting what a loved one might be focused on at the moment in his or her own process, allowing for greater understanding, respect, acceptance and compassion for those we love. Don’t you just love it?

“The soul never thinks without an image.” Aristotle

Very briefly the five shapes represent the following:

The Circle–symbolizes wholeness and the experience of unity
The Equidistant Cross–symbolizes the process of relationship and intergration
The Spiral–symbolizes the process of growth and evolution
The Triangle–symbolizes goals,visions and dreams
The Square–symbolizes stability, solidity and security

After deciding in what order you are currently attracted to the five universal shapes Signs of Life illuminates the significance of the position in which you have placed each shape. I once again found this to be a fascinating process, as did Antonia when she was here for Christmas. I will now be examining how I can honor this realization in my everyday life. And, frankly, would it not be utterly fascinating for an inspired gardener to use this book and then to employ his or her findings in planning next spring’s garden? Oh, I do hope so. I will not be one bit surprised if one of you is already thinking in terms of triangular beds for herbs or a square raised bed for strawberries. Is it you? Signs of Life might be a fun way to find out what is brewing below the surface as you are imagining your new creations! Do tell!

Love and New Year’s blessings,
Kathryn xoxo

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