Madeline Goodfriend (Schonberger)

Untitled, Single Red Flower with Books

Watercolor on paper  14” x 18 1/2” 1920’s

framed, on United Wall Paper Inc. “Single Red Flower”

Goodfriend’s watercolor made while a student at Pratt (circa 1928): her daughters recollected their Mother’s amusement of the resemblance to the wallpaper pattern when she and her husband Martin considered purchasing the Cottage.

An illustration that the world is full of chance (or destined) happenings or merely coincidence.

“Single Red Flower” (United Wallpaper Inc. co) wallpaper was one of three floral designs (surviving) thought to have been chosen to “re-decorate” the Cottage by Flocee Real Estate developer Ceravalo.

Reflecting popular motifs, in this instance following decades of development replacing native flora and fauna after lands were seized from Shinnecock Indian Nation (1859) to make way for the railroad. Reflecting the Colonialists belief of human domination over the natural world; the survival of nature dependent on human(e) care: in this instance being potted, brought indoors. Following death,  preserved under glass.

Sited on lands clear cut to make way for LIRR service to Shinnecock Hills attracted real estate investors including LIRR president Austin Corbin, Real Estate developer and Railroad lawyer Samuel L. Parrish, and E. Boudinot Colt (husband of Jane Borrowe Colt).

Hope Sandrow

Observational Findings placeholder: untitled (Reflective)

Colonial Curio Cabinet owned by Samuel L. Parrish (Note 1) 

23.75 " W x 69" L x 35" H Oak, Glass, Mirrored Shelves

Placeholder: Untitled (Reflective) suggests a pause in development for focused consideration and plans of preserving what remains, globally (Note 2).

And locally: described in a proposal to successfully save the lands across the road from the Cottage:  “This lot and the forest and field vegetation it contains is a snapshot in time depicting Shinnecock Hills as it used to be. The plant communities on the subject parcel represent a natural resource of the Town of Southampton that is fast disappearing. Once it is gone, it is unlikely that it will be seen again. As such, all efforts must be made to preserve as much of the existing vegetation as possible.... Loss of habitat is the number one cause of species disappearance. Because of this species recreational and aesthetic importance, it is imperative that this roosting area be preserved.” In response a collaboration began with Sandrow and neighboring Shinnecock Indian Nation, one of the oldest continuously self-governing Native American tribes in the country. Together advocating for acquisition of the estate by the Town of Southampton Community Preservation Fund to ensure the historic home and lands, believed to be a a site of Algonquian ancestral burials on hills along the shores of Shinnecock Bay, remain undisturbed. Sandrow’s photographs, research and documentation used to gain the recognition “Seven to Save” by the Preservation League of New York State (2007).

Note 1: originally owned and installed by Parrish (1897) at his Art Museum at Southampton; gifted (2012) by Southampton Historical Museum (sited in Parrish’s former home where Sandrow exhibited (Re)collecting an American’s Dream for her (2013) Platform Genius Loci: Observational Findings at the new Parrish Art Museum

Note 2: “Protecting nature is vital to escape 'era of pandemics” in a report composed by IPBES Workshop on BioDiversity and Pandemics

Note 3: Harry Ludlow, Chairman Town Conservation Board, excerpt March 2004 letter to Southampton Town Planning Board

Madeline Goodfriend (Schonberger) and Hope Sandrow