Genius Loci: Observational Findings

Colonial Curio Cabinet owned by Samuel L. Parrish, (1897) Art Museum at Southampton

gifted (2012) by Southampton Historical Museum to Sandrow where she exhibited “(re)collecting an American’s Dream

This nineteenth-century Colonial curio cabinet owned by Samuel L. Parrish, contains objects of curiosities that symbolize the origins of the Parrish Art Museum and Colonial Southampton. Displaying relationships between the Artist with Samuel Parrish (Sandrow and Parrish: both born in Philadelphia, Penn; lived in New York City and Southampton as adults as did William Merritt Chase.


From photographs to art works to copies of deeds showing the history of ownership of the new Parrish Museum site since the land was taken from Shinnecock Indian Nation; representing the evolution and diversity of flora and fauna since the land had been farmed, including poultry. As well as human life shown in objects created or found on the grounds of Sandrow's open air studio in Shinnecock Hills: also on lands taken from Shinnecock Indian Nation (1858). In 1891 Long Island Improvement Co President Samuel Parrish sold land to Jane Borrowe and E. Benedoit Colt who built an estate that included the Carriage/Gatehouse now Sandrow’s home and studio with her husband Ulf Skogsbergh (1976). Nearby is William Merritt Chases' home and studio (Note 1) , shown in photographs made in 1900 by Albert Chittenden, depicted in Chase’s painting The Bayberry Bush, built by Stanford White on land given to Chase by Art Patrons including Samuel L. Parrish.


Note 1: (2006) Sandrow named her project open air studio spacetime in homage to Chase’s art practice:

(2020) She was informed the “Cottage” they owned “The structure moved to current location”; “1891; may be carriage house to William Merritt Chase ”. “This structure is purposed to be a ca. 1891 carriage house later converted to a residence.” Town of SOUTHAMPTON HISTORIC SURVEY (April 2014 ): Shinnecock Hills Multiple Resource District)

The cabinet also includes a memorial to artist Roy Lichtenstein, who's work had a profound influence on Sandrow’s development as a young artist. Displayed is a “leatherman” given as a gift from Dorothy to her husband Roy alongside his hand written sign “I’ll Be Back Soon” posted on the door to his studio.


A memorial to farmer Bradford Reeve - who shared Sandrow’s interest for her Shinnecock Family Flock Roosters - composed of family photographs, a rusted saw blade - sits on the same glass shelf (left). Bradford passed from life this past February, shown here in pictures with his wife Lorraine (1965) at their farms Bayview (Aquabogue) and Hayground (Bridgehampton).


Below the glass shelves  is a stack of silver print fragments (skinned)Sandrow made of her own hand, Memories Spaces Time (1991-2008) photographed in Open Air Studio Shinnecock Hills. To the right is a glass jar of white feathers Sandrow gathered from her flock of chickens - that might have been found when the museum’s new site was a poultry farm.


Cabinet Top: Two Stereoscopes displaying photographs by Hope Sandrow and Ulf Skogsbergh, 2012: (left) displaying a photograph of William Merritt Chase with students (Shinnecock Hills Summer School of Art) in 1900 by Albert Chittenden recreated as a stereoscope by Sandrow and Skogsbergh, 2012

(right) Genie, a Padovana Rooster of their Shinnecock Family Flock, Open Air Studio, Shinnecock Hills


Top Shelf: Reprints made by Hope Sandrow of Artist Albert Chittenden's album of photographs taken in Shinnecock Hills and Southampton, Summer 1900, inscribed to Jeannette Bishop 1901

Albert Chittenden’s Album a gift to Hope Sandrow from George Tetzel: album title page inscribed to Jeannette Bishop from Albert Chittenden; two photographs of a barn being moved by horses; two photos of farmers harvesting grain; two photos of a horse with chickens thought taken at William Merritt Chase's home/studio in Shinnecock Hills; William Merritt Chase studio in Art Village, Southampton,Parrish Art Museum, interior, Southampton Village; William Merritt Chase seated in his home/studio, Shinnecock Hills; William Merritt Chase seated in his home/studio Shinnecock Hills

Sandrow’s typewritten excerpt from Lewis Carrol's Alice Through The Looking Glass


Second Shelf: Creatures of Empire by Virginia DeJohn Anderson; Birds & Men by Robert F. Welker; Unearthing Gotham by Anne-Marie Cantwall and Diana diZerega Wall; The Book of the Cosmos edited by Dennis Danielson; Lineage of the Thomas Sayre Family A founder of Southampton (courtesy of Southampton Historical Museum) by Theodore Melvin Banta


In Memoriam to Bradford Reeve: Reeve Family Photographs at Bayview Farm (Aquebogue) and Hayground (Bridgehampton) on loan from Lorraine, Paul and Katie Reeve to Hope Sandrow:

Lorraine and Bradford Reeve in tractor, 1965; George Reeve, Sr by tractor with Bradford's father George, circa 1940; George Reeve, Jr, Bayview circa 1940; Reeve Family Farm, loading produce circa 1950; Bradford and Lorraine, Hayground,1983; Bradford and Lorraine, Hayground, 1983; Bradford with grandson Paul, jr 2011

Bradford with son Paul, 2005, Bayview; Bradford with son Paul, daughter in law Katie, grandson Paul jr 2011

Rusted saw blade from Bayview, Reeve Family Farm 


Two Brass Lockets: gifts between Ulf Skogsbergh and Hope Sandrow containing portraits made at their home in Shinnecock Hills, 1977


Illustration of Johann Hoff's malt extract advertisement (1893) featuring Eugen Sandow alongside two glass bottles of Johann Hoff Malt Extract dug up in the ground by Sandrow (1992) Open Air Studio


In Memoriam to Roy Lichtenstein: on loan from Dorothy Lichtenstein to Hope Sandrow:

Leatherman: gift to Roy from wife Dorothy

"I'll be back soon": a sign drawn and posted on his studio door by Roy


2011 Lichtenstein Foundation New Years Card

Card that accompanied flowers from Agnes Gund to Hope Sandrow

Frederic Tutens The Adventures of Mao on the Long March (Roy’s portrait of Mao on the cover)


Indian Paint Pot and five nails from Sandrow’s home, Open Air Studio


Shinnecock Family Flock Cock Tail feathers gathered by Hope Sandrow

in ceramic jar gift of George Tetzel to Hope Sandrow


Third shelf: dried Angelica Polymorpha grown in Sandrow's Open Air Studio


Three ceramic bowls from Canoe Place Inn circa 1960's, Shinnecock Hills on loan from Ed Thompson to Hope Sandrow


Deeds and Maps 1660 - 2005: documenting the history of land ownership of the Parrish Museum Site Bound in Pink String from Parrish Museum construction site 2012: copy of Map showing “Divisions 1687-1772 Among The Proprietors” courtesy Southampton Historical Museum;  Feb 1693 will of Thomas Sayre to Job Sayre;  1874 map detail of Watermill copied from Atlas of Suffolk County showing land farmed by Oliver Sayre; pages copied from "Sayre family: lineage of Thomas Sayre a founder of Southampton” by Theodore M Banta 1901; 1825 will of David Sayre of Southampton-- Oliver Sayre is executor; Oct 18 1878 will of Oliver Sayre;

Sept 18, 1900 will of Oliver's son David H Sayre; Deed March  6 1901 from Harry Bud Sayre and Cora J. Sayre to Thomas Kells and Annie Kells; copies of pages from “History of the Town of Southampton East of Canoe Place by James Truslow Adams 1918; Deed from Annie Kells to John J. Malone; Deed Feb 14 1963 John J. Malone and Mary M. Pino only son and daughter of John J. Malone to Mary J. Malone (widow); Jan 25, 1965 will of Cora j Sayre (grandaughter of Oliver Sayre); Deed July 18 1967 Mary j. Malone to Mary M. Pino; Deed Jan 3 1992 from Mary M. Pino to Leonard M. Pino and Mary M. Pino; Deed July 6 1905 from Whitmore Associates to Parrish Art Museum


Five glass jars (three on shelf below) containing the bodies of Moonsnail's in alcohol with their shells, and eight moonsnail foot


Boxed Images, Shinnecock Bay, 1988, black and white silver prints one of four exhibited solo exhibit Grey Art Gallery NYC 1991


Sandrow Catalogues Fragments Self/History, SECCA 1995, Water Life, Whitney Museum 1998, Material Matters Creative Time 1995; pages copied from Women in Science: straying from their orbit;Hope is the Thing with Feathers: A Personal Chronicle of Vanished Birds by  Christopher Cokinos; How to build a Dinosaur by Jack Horner; Spaces of Hope by David Harvey; Overlay: Contemporary Art and The Art of Prehistory By Lucy Lippard 1983; Journal Notes on the Lunar Eclipse Dec 21 2010 by Geoffrey Hendricks to Hope Sandrow on her birthday; Dianne B catalogue with photographs by Peter Hujar given by Hujar to Hope Sandrow circa 1988; 2010 calendar of photographs of the Galapagos by Agnes Gund



Cabinet Bottom: Stack of 27 silver print photographs of her hand taken by Sandrow Open Air Studio 1991-1998 Memories Spaces Time


Deer Skull found by Sandrow, Open Air Studio 1993


Three dried Opuntia and Moravian Ceramic Tile, Gissa Bu Shinnecock Hills

Photograph for exhibition (Re)collecting an American’s Dream,  Shinnecock with Sandrow in front of Gissa Bu 2006


Iron ball on glass mirror


Three Keith Haring stickers from Haring to Sandrow 1988


Crystal found in hole by Sandrow, 1991, Open Air Studio,  mounted on mirror pedestal


Turtle shell found by Sandrow, Open Air Studio


Five variously sized eggs found by Sandrow, Open Air Studio including two by Shinnecock Family Flock Hens


Milk weed dried from Bayview, Reeve Family Farm


Three Dried ferns from Africa

Three snail foot from Komodo National Park Indonesia


Rock split in three found by Sandrow, Open Air Studio mounted on gear


Glass Jar of Padovana white feathers from Shinnecock family flock  gathered by Sandrow, Open Air Studio Shinnecock Hills


Four horseshoes found by Sandrow, Open Air Studio Shinnecock Hills


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