BridgethetheBridgeSUMMER 2008

Ann Sandford: Bridgehampton and

the Cold War

The LudlowFarmsSaving the Oldby Embracingthe New

theBridgeANNUAL MAGAZINE OF THE

BRIDGEHAMPTON HISTORICAL SOCIETY

SUMMER 2008 EDITION

EXECUTIVE DIRECTOR John Eilertsen, Ph.D.

BOARD OF TRUSTEES

PRESIDENT Gerrit VreelandVICE PRESIDENT Barbara Albright

SECRETARY/TREASURER Andrew Steffan

Paul BrennanKevin Hurley

Michael KochanaszFrancine LynchAndrea Madaio

John MillardKevin MiserocchiRobert Morrow

John Stacks

STAFF

PROGRAM DIRECTOR Stacy DermontPHOTO ARCHIVIST Julie Greene

COLLECTIONS MANAGER Nora CammannMUSEUM ADMINISTRATOR Mary Gardner

HISTORIAN Richard Hendrickson

ADVISORY BOARD

Fred Cammann, Leonard Davenport,Clifford Foster, Craig Gibson, Hon.

Nancy Graboski, Jane Iselin, Weezie Quimby, Ann Sandford, Meriwether Schmid, Dennis Suskind, Hon. Fred Thiele

RALLY STEERING COMMITTEE

Barbara AlbrightSusan Blackwell

Paul BrennanFred Cammann

Tony DuttonEarl Gandel

Chuck MacWhinnieDanny McKeever

Peter MoleAlan Patricof

Stanley RedlusCecile SmithJohn StacksEd Tuccio

Jeffrey VogelJack Sidebotham, Rally Cartoonist

BRIDGEHAMPTON HISTORICAL SOCIETY

P.O. Box 977 Bridgehampton, NY 11932631-537-1088

www.bridgehamptonhistor icalsociety.orgwww.bridgehamptonral ly.org

C O N T E N T S

From the Editor’s Desk by John F. Stacks ................................ 2

From the President by Gerrit Vreeland .................................... 4

From the Director by John Eilertsen, Ph.D............................... 6

From the Program Director by Stacy Dermont ........................ 7

The Ludlow Farms by John F. Stacks........................................ 8

Vanishing Landscapes by Kathryn Szoka .................................. 14

Democracy and The Cold War in Bridgehampton, 1950-1951by Ann Sandford ...................................................................... 18

The 2007 Vintage Car Road Rally............................................ 22

Memories of Sagg Pondby John Eilertsen ...................................................................... 26

Bridgehampton Watercolors by Bob Siegfriedby Nora Cammann .................................................................. 29

The Nathaniel Rogers House Restoration Project Update ...................................................... 32

BHHS Members and Supporters .............................................. 31

Gift Memberships .................................................................... 35

Cover: Peter, Art, John and Stacy Ludlow and a brand new Jersey calf.

2 theBridge

from theEditor’s Desk, John Stacks

The magazine you hold in your hands is the third edition ofthe new and, I hope, improved annual journal of the Bridge-hampton Historical Society. It has evolved from what wasonce the program for the annual Road Rally, and while themagazine still carries a feature on the rally itself, it hassteadily grown in its scope and ambition.

Just as the Historical Society is devoted to the preservation,documentation, and celebration of the rich history and tra-ditions of our community, so The Bridge aspires to documentin words and pictures the legacy we have all inherited as res-idents of Bridgehampton.

Some of that legacy is embodied in the people who live andwork here. For example, the story about the farms operatedon Mecox Road by the Ludlow families describes how broth-ers Arthur and Harry Ludlow, their wives, Stacy and Barbara,respectively, and their children have adapted and changedtheir approach to agriculture to insure the survival of thefarms even into the era of second-home and dwindling agri-cultural land. I wrote and photographed this piece myselfand had huge amount of fun doing so. When I started out inthe craft of journalism so many, many years ago, one of myfirst assignments was to serve as the substitute farm editor ofmy hometown Pennsylvania newspaper, the Lancaster Intel-ligencer Journal. Lancaster was, and still is, a place devotedto farming. In fact, the Ludlow brothers frequently journeyto Lancaster for equipment and seminars. As a college stu-dent, I didn’t know much at all about farm matters, but I

learned quickly, if not expertly. My biggest mistake was totake some pictures of prize dairy cattle featuring their cutefaces. Some farmers wrote to the paper complaining thatthey wanted to see the business end of the cows, not their appealing, brown eyes. Anyway, it was great fun talking withall the Ludlows, and trying to impress them with the few dim memories I still carry from that wonderful learning experience.

The historical society is lucky to have John Eilertsen, PhD,as its director. As I mentioned last year, John’s academictraining was in cultural anthropology. Last year for the magazine, he produced an oral history of Gus Laggis, theowner and proprietor of the Candy Kitchen. This year hehas written “Memories of Sagg Pond.” His piece is gleanedfrom interviews with Nora Cammann, who recalls the sights,sounds and adventures of living on the shore of the pond.Her recollections include finding an abandoned pot liquorstill hidden in the weeds and brush near the pond’s edge.She also remembers family adventures on a raft built by herbrother, Albert Francke, and christened the “Not QuiteWright”.

Our most eminent local historian, Ann Sandford is back thisyear with her third piece for The Bridge. This year she writesabout a puzzling film she uncovered during her research.Produced to look like a documentary about local self gover-nance in Bridgehampton, it was actually a piece of U.S.propaganda aimed at inspiring democracy abroad. Eventhough the film was not totally factual, it was based on a realattempt at self government in Bridgehampton undertakenafter World War II. Apparently, the local council was seen asan alternative to formal incorporation as a village, showingonce again how relevant history is to the present.

There are two stunning features in this issue, what we used tocall “picture acts” in the magazine trade. The two couldn’tbe more pictorial: Bob Siegfried’s water colors and KathrynSzoka’s photographs. Although their mediums are utterly dif-ferent, their subjects are quite similar. They both portray theplaces in our community we always want to remember.

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4 theBridge

from thePresident,Gerrit Vreeland

The Bridgehampton Historical Society (BHHS) is dedicatedto the documentation, celebration, and interpretation of thewritten and oral history of our community. To that end theExecutive Staff, the Board of Trustees and our many loyalvolunteers focus on bringing to life our history with events –the Bridgehampton Road Rally, exhibitions – the CharlesAdams retrospective – and publications – The Bridge. We doall of this in or around the Corwith House (c. 1840) one ofthe oldest houses on Main Street.

We have made significant progress in fulfilling our missionduring the last five years. Membership is up over 50%, financial support is up over 100%, enabling us to increase the number of programs, events and publications. We believe this publication – The Bridge -- is the best historicalperiodical on the eastern end of Long Island. For thisachievement I want to thank Johns Stacks and his merryband of ex Time Inc’rs.

While we have much to be proud of, there is one difficult question that overshadows all our decisions: How do we makethe BHHS relevant to our community? Do people have timeto care and if so what aspect of our history do they care about?It is interesting to think that people will support the restorationof the Nathaniel Rogers House, but once restored, will theyvisit it more than once out of curiosity?

This is a very important issue, as we are about to invest about$4 million to restore the house to its 1890 form and make it asignificant Historical Community Center. After lengthy delayslast year we now have a very favorable stewardship agreementwith the Town of Southampton and have secured financialcommitments for approximately $2.2 million. Constructionshould begin late this fall.

Fortunately, I am surrounded by a very dedicated Board ofTrustees, a terrific Executive Director in John Eilertsen and awonderful staff. We are committed to making the BHHS thebest on the East End of Long Island. To succeed, however, wewill have to answer the question: How do we make ourselvesrelevant? Please volunteer your thoughts. In the end this isyour history.

MARY GARDNERPAINTINGS AND

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theBridge 5

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“A Flat!out Wonder”Robert Sam Anson

6 theBridge

from theDirector,John Eilertsen, PhD.

One of the deep pleasures of working for the BridgehamptonHistorical Society is the great staff we have to assist in handlingthe multitude of tasks we are faced with every day. From themundane to the exciting, there is always something that de-mands our attention. And if we are not addressing an immedi-ate need, we are planning ahead to a future activity or event.There is never a dull moment!

Nora Cammann’s service as the Society’s Collections Managerhas been remarkable. She oversees the acquisitions, recordkeeping, and maintenance of our collections, and she knowswhere everything is within the Corwith House (a remarkablefeat, indeed). Over the years Nora has developed wonderful ex-hibitions that have interpreted the history of our community,and she has done so with wit and charm. Nora’s dedication tothe Historical Society is an inspiration to us all.

Stacy Dermont is our Program Director, and she has beendoing a great job developing new and rejuvenating past pro-grams. Stacy coordinated our winter parlor music series, worked

with several African American artists that resulted in a very suc-cessful winter exhibit, and is preparing a summer exhibition ofKatherine Szoka’s photographs of local vanishing landscapes.Stacy is energetic and enthusiastic, and is helping to makethings happen here at BHHS.

Julie Green is our Photo Archivist, and is immersed in the scan-ning of our entire photograph collection into digital images.Our hope is that anyone will be able to come to the HistoricalSociety and view our entire historic photo collection on com-puter, without having to physically handle the photo.

Mary Gardner is our Museum Administrator and bookkeeper,and she keeps our office and operations flowing smoothly. Shedeftly handles telephone queries, incoming and outgoing mail,record keeping, membership drives and renewals, Road Rallyregistrations, and everything else that needs doing.

Matthew Habermann is our Summer Intern. Matt is a history major at the University of Arizona, with an interest inNew York and Long Island history. Matt will be assisting us withcollections cataloguing, Road Rally preparations, guiding visitors to the Corwith House and grounds, photography, andresearch.

Of course, even this fine crew at times needs many helpinghands, and we are fortunate to have so many willing volunteerswho give of their time and labor. If you are interested in beingon our volunteer list, just give Mary or Stacy a call.

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from theProgram Director,Stacy Dermont

If we haven’t yet met – you’re certain to see me at events. I’ll bethe person fumbling with keys while carrying boxes, shoutingover my shoulder and maintaining my sense of humor. I reallyenjoy working here and, just as I hope you’ll tell me about “yourBridgehampton,” I hope you’ll catch my enthusiasm for “every-thing Bridgehampton!”

I began working for the society in November, 2007. I have beena member for years and I used to volunteer at annual events.Though I have never lived in Bridgehampton, I have long feltan affinity toward this place. I haven’t yet taken the time to seeif “my Woodruff side” is related to the local Woodruffs. Maybethis place is in my bones as much as it is in my heart.

What becomes of a rural community when it is no longer rural?This is a fascinating question and one that I have been made tocontemplate throughout my life. I grew up on what had beenour family dairy farm in North Otto, New York. My mother’sgeneration was the last to keep a herd. I was not allowed to learnhow to milk the neighbors’ cows because my parents wanted meto “do better” and go to college. When I was a kid, we let out thefields and barn and sold firewood from our woods.

Here at the museum we offer remembrances, glimpses of thepast arrayed on our walls, stoppered up in acid free boxes andfiles. It’s a big job to hold all of that history in place. It will be aboon to our work to move into larger quarters at the NathanielRogers House. We certainly need more space for storage andfor indoor events. Who does all of this history and memorabiliabelong to? Everyone. That’s why I’m working to continue to in-crease attendance at events, to get more people volunteeringand to foster more personal involvement such as home bakingfood for events.

Our May walking tour demonstrated that all kinds of people arehungry for knowledge and for roots to connect them to thisplace and time. We had a really enthusiastic group who askedall manner of questions. This tour was our first program withThe Southampton Trails Preservation Society. The trails societyvice president Tony Garro did a lot of research toward the pres-entation and is excited to run more tours of Bridgehamptonwith us.

It has been a joy to welcome folks to our Parlor Music series. I learn so much from each person who comes in, about whatBridgehampton was and about what Bridgehampton is today. I think that music has a magic that triggers the best in people. I have no musical training, but I married a composer – that’show much I like it!

Live musical performance propels a communal celebration. Iimagine that our distant ancestors played music after a big,successful hunt. (We mimic this slightly in that we invite our

audiences to a small “feast” after the performances.) All six ofour spring performances were sold out. Through the continuingsupport of Prudential Douglas Elliman Real Estate and a generous grant from The Bridgehampton Association, this performance/presentation series will be extended into the fall.

Our first exhibition of the year, In Our Own Images: A Cele-bration of Local Black Culture, helped the society to forge anewly interactive relationship with both our long- time memberorganization, the First Baptist Church, and with our local pub-lic school. This was, I understand, our first exhibition to garnera long line of teenagers waiting to take a peek. Imagine that – aFriday night and the historical museum is THE COOL PLACEto be! As a result of the exhibition, the youngest of our threepainters, Jake U. Patterson, was invited to show his work in aprestigious group show held in June.

Our current exhibition, Local Scenes in Watercolor: Paintingsby Robert Siegfried, is a pure delight. Run, don’t walk, to see hispaintings of local homes and public buildings accompanied byphotographs from our archive! Curated by Nora Cammann,this show is on view through July 19, 2008.

“Next up” are the gorgeous, bittersweet photographs of KathrynSzoka’s Vanishing Landscapes series. Depicting with unparal-leled emotional intensity our local buildings and sites that arebeing lost - these photographs ache to be seen, August 9th – No-vember 14th, 2008.

Also, our new “resident blacksmith,” James DeMartis, will exhibit some of his metal sculpture on our site in July. Mr. DeMartis will demonstrate his blacksmithing skills in TheStrong Wheelwright Shop during our August 2nd Heritage Fairand again during our Vintage Baseball Doubleheader on September 20th .

In 2009 we will celebrate the rich history of our local turnpikethrough tours and exhibits. 2009 marks the 100th anniversary ofthe loss of our toll house and it also marks 35 years since thepublication of The Other Hampton by Calvin and JudyTomkins.

Do check out our web site, www.bridgehamptonhistoricalsoci-ety.org for a complete listing of our events and exhibitions.

8 theBridge

by John F. Stacks

It seemed as if Arthur Ludlow was engaging in a bit ofdroll understatement when he described his family’s farmsas “relatively new” to Bridgehampton. After all, the Lud-lows have been working their land on Mecox Road since1875 when Gurden Pierson Ludlow, having decided it wastime to get off the whale boats and settle down, boughtten acres to begin farming. Gurden’s brother Harry

bought an adjoining ten acres and the two brothers beganfarming for a living 133 years ago.

But Art Ludlow was not trying to be amusing at all. Hewas merely taking note of the fact that farming had beenthe main enterprise in Bridgehampton for a couple ofhundred years before his great grandfather quit whalingand started farming.

As (relatively) young as the Ludlow farms may be, they arestill a piece of living history. There on Mecox Road, sur-rounded by snazzy new weekend houses, Arthur and his

The Ludlow Farms

Gurden Ludlow took over the farm when he was 16 years old. He kept his own bull, but Harry thinks they are too dangerous now.

theBridge 9

brother Harry and their families still do what three gener-ations of Ludlows did before them. There are probablyno more than a dozen farmers on the east end of the cur-rent Ludlows’ generation. They are the survivors and thestewards of one of the oldest occupations on the East End.

Visiting the Ludlow property is, however, a great dealmore than a nostalgic escape from the ex-urban glitter ofthe Hamptons. It is also a lesson in smart business, entrepreneurial adaptability, scientific sophistication anda tribute to awfully hard work.

The original Ludow farm was basically a subsistence enterprise, growing food and raising animals to feed thefamily. Gurden and Harry also did a bit of fishing on theside. Gurden’s son Harry S. Ludlow took over the farmfrom his father and expanded their holdings, buying moreland in the 1920’s for the then unheard of price of $1,000an acre. By now the farm focused on a small dairy herdand potatoes as a cash crop, but there was no such thingas a tractor. All plowing and harvesting was done withhorses.

Harry S. Ludlow died in 1936 when his son, Gurden P.Ludlow was just out of high school. At 16, this Gurden, father of the current Ludlow men, took over the farm to

One of the enormous sows Harry Ludlow breeds on the farm.

Barbara, Harry, Meredith and Nathan Ludlow

10 theBridge

carry on what was already a family tradition. The farm wasby then mostly a dairy, with milk being sold to local pur-veyors of dairy products like Schwenks in East Hamptonand Sherry’s in Southampton. There were 20 cows beingmilked. But by 1960, dairy prices had fallen too low tomake the cows profitable and so the focus was switchedto potatoes, the main cash crop for many of the East End’sfarmers.

Art Ludlow and Harry, who is a year older than Art, wereof course raised on that farm. They both attended Bridge-hampton public school from kindergarten through highschool. And of course when they were not studying, theyworked with their father on the farm. They both remem-ber the great trauma that occurred on New Year’s Eve,1960. Art was eleven years old; Harry 12. They were awak-ened in the middle of the night with the sky as bright asmorning. The main barn on the farm was ablaze, havingbeen set afire by a faulty heater being used to protect thepotatoes from an intense cold snap. Firemen had hugeproblems fighting the fire as their pumps froze and hosesburst. The barn was a total loss. Both men still remem-ber that the house itself was spared because of a powerful

northwest wind that swept the heat and the sparks awayfrom where they lived.

Art and Harry both left Bridgehampton for Ithaca, NewYork, where they both became agriculture majors, Art spe-cializing in agriculture economics and Harry in vegetableculture. Harry graduated from Cornell in 1972 and Artfollowed him in 1973, making them an extremely rare pairof Ivy League farmers.

By this point in the farm’s history, potatoes were still themain crop. And to make a decent living from the spuds,a good deal of land needed to be put into cultivation. Thebrothers leased over one hundred acres from other ownersto give their operations needed scale. Potatoes were theirmain crop through the 1970s and into the next decade.

Bridgehampton was, however, changing rapidly. Thefarm land the Ludlows leased for potatoes, which ac-counted for half their total acreage, gradually began to besold off for development. Their futures as farmers beganto look dark. More ominously, the two brothers’ four chil-dren, all interested in maintaining the family business,would face even greater challenges.

The corn maze from the air in the Year of the Pig.

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The Ludlows realized they needed to specialize in a moreintensive kind of agriculture with a product that could besold locally, rather than having to compete with hugeagribusinesses all over the country, as was the case withthe potato crop. They also understood that their neigh-bors were a special sort of market: upscale, sophisticatedand with a taste for the authentic and the organic.

The year 2000, a century and a quarter since their greatgrandfather established the farm, was the last year for po-tatoes. Art and Harry followed their own predilections inreinventing the Ludlow farms. Art had always been moreinterested in raising animals; when he was a boy on his fa-ther’s farm he had his own turkey flock (and still does,raising about 250 turkeys a year for holiday sale). Harryhad been more interested in growing crops.

“I never expected to go into the dairy business,” Art re-flects. But in 2001 he bought his first three cows with theplan to sell “cream line” milk. For those old enough to re-member, that was the kind of milk that came in glass bot-tles with a kind of bubble on the top where the creamseparated and floated. One could either use the creamseparately, or shake the bottle to produce what we nowconsume as homogenized milk. But cows can producean astonishing amount of milk and there was very quicklyexcess production. Art decided to make cheese, he ex-

plains, “as a way to use the excess milk.” He sold his firsthomemade cheese in 2003, after educating himself on thefiner points of the cheese-making art. His cheeses arecalled “artisanal farmstead cheeses,” meaning they aremade on the place where the cows are raised and milked.

Now, Art has twenty-six registered Jersey cows which heprizes for their production of high fat and high proteinmilk, ideal for cheese making. Ten pounds of milk yieldsone pound of cheese. Last year, he made more than tenthousand pounds of cheese. It is available at his brother’sfarm stand next door and at shops and at the farmer’s mar-ket in Sag Harbor. Art makes five varieties and they areabsolutely delicious.

It is an all-consuming business. Art’s wife Stacy, who as ayoung farm wife used to drive potato trucks for Art’s fa-ther, has given up her nearby horse farm to be more in-volved in the dairy business. And the cheese business hasproduced an ancillary enterprise. When the curd is sep-arated from the liquid whey, the whey is normally dis-posed of. But Art has now begun to grow Berkshire pigs,feeding them the whey until they are fat enough to turninto gourmet quality pork. “This is an evolving thing.”

Jersey girls at work on Mecox Road.

Art Ludlow with one of his delicious cheeses.

12 theBridge

Art says. “As the generations change, we want to have a vi-able enterprise here if our boys are interested.”

Harry Ludlow’s solution to the economic problem posedby shrinking agriculture land was to focus on the week-end homeowners as his market. “We decided to serve ourneighbors who have sophisticated palates and tastes.” Sohe and his wife Barbara, whom he met when she was ahorticulture major at Cornell, decided to grow flowers andsweet corn and tomatoes and other quality vegetableswhich are available at their stand on Mecox Road. “Wewanted to grow wholesome, nutritional food with a rela-tionship to the source.”

But the most stunning innovation Harry and Barbara andtheir son Nathan devised was the now famous corn maze.Blending the old idea of an English boxwood maze withAmerican field corn, the idea at first seemed “beyondwhat we could do,” Harry recalls. But in 2001 they hired,of all things, a corn maze consultant from Utah. He con-vinced them the maze was a manageable undertaking.The maze comes into being only when the corn is highenough to create real mystery, so it made business sense,opening in the fall as the demand for their flowers andvegetables begins to slacken.

The maze covers eight acres in Mecox, with about threemiles of pathway between the corn rows. The design iscreated each year by Barbara, then transferred on a grid

system as the corn is planted in the spring. When the cornis a few inches high, the paths are cut to the design. In2004, the design was a lighthouse with a wedge ofmarigolds serving as the light beam. In 2005, Barbara pro-duced an osprey flying with a fish in its talons. This year’smaze will be an image of a Muscovy duck like those theyraise on the farm. Thousands of people meander throughthe maze each autumn.

As with Art’s farm, Harry’s has produced ancillary busi-nesses that come from a desire to build sustainable agri-culture. The refuse from the vegetable crop goes to thepigs, produced by a pair of gigantic sows. Neither Art norHarry keep the big and often dangerous males to servicethe cows and the sows. Frozen semen is delivered by UPSin liquid nitrogen containers.

The Ludlow farms are a joy to see. Animals are every-where. Cows in the field, calves in the barn, pigs in thepen, farm dogs racing back and forth. Harry has the Mus-covy ducks. Art has his turkeys every year, and there is ahuge tom turkey that struts around the yard, often in fulldisplay as if on the mating prowl. He ignores the wild hensthat stop by, as if they are beneath his regal dignity. Aflock of chickens is laying in one of Art’s barns. Harry’sson Nathan is building a bee business that produces ex-quisite honey. It is a living embodiment of one of the old-est Bridgehampton traditions. And yet it is modern andsmart as it can be. Most important, the food that comesdirectly from this soil is as good as any that can be foundanywhere. A pair of geese on Art’s farm.

Invisible inside the tractor, Nathan works on Harry’s farm.

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14 theBridge

by Kathryn Szoka

The East End of Long Island has long been a magnet forartists and writers who ventured here to work in solitudesurrounded by vast horizons of farm fields and open skiesin which to dream, to be inspired, to create. They foundexpansiveness in the broad horizons, spirit in the openfields, and time in this remote place.

In the early 1980s the East End was relatively obscure.Transfixed by its beauty, I took every possible opportu-nity to capture it in the extraordinary East End light.Back then, Scuttlehole Road was an open vista from endto end. Barns and farmhouses merged harmoniouslywith the landscape, complementing not dominating it.To travel through that environment, to stand in it, notingseason by the crop, the smell in the air, the shape of thelight, was both an education and a profound experience.

I was drawn to photographing these quiet spaces, barnslike chapels, luminous in the slanted light of dawn ordusk. A sense of urgency evolved as I became aware ofthe push to "develop" the farmlands. This knowledgeled me to title the nascent body of work “VanishingLandscapes” in 1991 for my first solo exhibition. Sincethen, I have exhibited a different essay within the serieseach year, with titles like Back Roads, Being Here, BigSky!, and At Rest.

VANISHING LANDSCAPES20 Years on the East End

“All the corners of the earth are exactly the same. And anywhere one can dream is good,

providing the place is obscure, and the horizon is vast.”

—Victor Hugo

Hendrickson’s Farm

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Winter’s Twilight. Hedge’s Lane, Sagaponack.

Field of Trucks, Cooks Lane, Bridgehampton.

16 theBridge

If the late 80s were a development wave, the last tenyears have been a tsunami, rendering the landscapeunrecognizable. Scuttlehole Road is now suburbia.Our open horizons have vanished. Our eyes no longerlook. Who wants to linger over a field of mansions?Who wants to see power mowers where tractors oncetilled the soil? And who can see behind the privethedges anyway?

Mercifully the light is still beautiful, but as the sun setsover the perpetual lights of the shopping mall, do weremember what was once here? Memories are who weare, our memories are held in places. As these placeschange, vanish; so does a part of ourselves.

As I drive down Scuttlehole Road today, I look forpieces of myself, my memories, our lost landscapes.Fragments remain like the incoherent segments of ahalf-remembered dream. Sadly, they are like thosedreams, ultimately unsatisfying.

Photographer Kathyrn Szoka, Photo by Maryann Calendrille

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18 theBridge

by Ann Sandford

Late on the warm andhumid Friday eveningof August 10, 1951most, if not all of thenearly 400 attend-ees at Bridgehamp-ton’s “Annual TownMeeting” jammedinto the auditorium ofthe Community Houselocated at the westend of Main Street totake part in the lastevent of the evening:the screening of aneleven-minute film,

“Problems of a Small Community.” Earlier, residents hadheard a report on local migrant workers and updates on othertopics1. The film portrayed numerous Bridgehampton institu-tions and organizations, and then showed examples of what itcalled the hamlet’s “problems,” Halloween mischief and safetyat the ocean beach. The narration recounted the formation ofthe Community Council, a permanent, coordinating mecha-nism that had been organized in 1946. The film described thedemocratic principles on which the Council was based and howit improved the community by helping to resolve particular is-sues.

I located the film while conducting research for my book,Grandfather Lived Here: The Transformation of Bridgehamp-ton, 1870-1970 (2006), thanks to a reference in a 1951 New YorkTimes article and help from the National Archives. I had neverseen the film or heard mention of it. On reviewing the work invideotape format, I came to wonder, who made this film andwhen? Why was it catalogued in the National Archives? Andsince there were no known local copies, where had it been dis-tributed and for what purpose? Finally, were the residents whoappear in the film participating in actual events, making thefilm a classic documentary? Perhaps people had been asked toperform dramatic roles as in a movie, or, to reenact historicalevents to fill gaps in a documentary’s storyline. Was it merepropaganda, creating a partial portrait of a community and ap-

pealing to the emotions?

Finding answers to these and other questions would reveal thecontext in which this film was made. Sponsored in 1950 by theState Department for initial distribution in post-World War IIoccupied Germany, the film’s purpose was to show democracyin action in a “typical American village.”2 And like other kindsof documents belonging to the federal government, it had beenarchived. While the opening screen reads, “United States In-formation Service Presents,” this agency name, abbreviated toUSIS, only came into use in 1953. By then, the film was proba-bly being shown in information offices and libraries beyondGermany as part of a continuing effort by the American gov-ernment to use film media to transmit political messages.

Powerful visuals, dramatic narration, and moving music on filmhad been used during World War I and, later, in the mid-1930s,in public relations campaigns to explain New Deal programs toAmericans. The approach was also used in works produced bythe Armed Forces and the Office of War Information duringWorld War II. Those films portrayed that conflict as a strugglebetween democracy and dictatorship. With the emergence ofthe Cold War, and the aggressive political and cultural strategiespursued by the United States against the Soviet Union and itscommunist ideology, film was again a primary vehicle to de-pict—and sell—the democratic ideals and institutions of Amer-ica. The Bridgehampton film was in that vein, an Americanstory; its visuals, narration, and music unique and command-ing.

From the detailed attributions in the work’s introduction, I learned that Richard Carver Wood (1902-89) served as producer and director—the storyteller behind the scenes.“Dick” Wood, an MIT-trained architect who vacationed withhis family in Bridgehampton, had become a photographer dur-ing the 1930s. It was while serving in the Army Signal Corpsduring the war that he learned filmmaking. In 1954, he becametechnical director for the feature-length, Oscar-winning docu-mentary on Helen Keller called “The Unconquered” that wasnarrated by Katharine Cornell, the great stage actress of the1930s and ‘40s. Wood did not remain a filmmaker, however. Heeventually returned to architecture, practicing in nearby EastHampton, where he became a year-round resident.3

Since Wood was not an employee of the State Department dur-ing the early 1950s, I have concluded that he proposed makingthe Bridgehampton film to his contacts in the USIS. But was

Democracy and the Cold Warin Bridgehampton, 1950-1951

A meeting of the Community Councilheld in the American Legion Room of theCommunity House includes Barbara Hil-dreth, far left, Bryan Hamlin, third fromthe left, and Reverend William Collins,fifth from the left.

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this film really a docu-mentary? The scenesappear to be realistic,even though mostwere staged or reen-acted, like the Hal-loween pranks. Inanother instance, thefilmmaker sought toillustrate the “ever-present hazard ofdrowning.” Merrall

Hildreth, like Wood a veteran of the Pacific theatre, and hiswife, Mary, Sagaponack residents, were invited by the directorto star in a drowning scene. Mary Hildreth remembers that“[Dick Wood] asked if we would be in his film and could wemeet him at the beach.” Their scene was shot at Sagaponackbeach in August 1950.4

The political scenes appear about halfway into the film. Theyportray a “town meeting” held at the Community House on theeast lawn along School Street and include views of balloting forthe election of the Community Council’s twenty-one members-at-large. The town meeting, the narrator intones, was organizedby “enterprising citizens” to authorize the representative Coun-cil. According to a handbill distributed throughout Bridge-hampton and printed by Harold Hallock’s Hampton Press(shown in operation in the film), the meeting was held on Fri-day, August 18. The year was 1950, even though the film’s nar-rator states that it was 1946, when the Council was initiallyorganized.5 Although the flyer’s content is not shown, the an-nouncement, addressed to “All Good Citizens,” stated: “Pro-ceedings to be Filmed, and Used Abroad, to Portray AmericanDemocracy at Work.” Unfortunately, Council minutes do notsurvive. I don’t know whether the balloting and the large as-sembly on the lawn would have occurred independently of thefilming.

The question is crucial in assessing the degree to which the filmdocumented political activity, distorted it, or created it. The de-velopment and activities of the Community Council were cen-tral to Dick Wood’s project promoting the theme “democracy atwork.”6 As proof, he cited the election and inclusion of mem-bers-at-large on the Council, the representation of local organ-izations (there were twenty-three), and the use of set terms ofoffice.7 But he took literary license when he suggested that hisfilming occurred in 1946 and that the town meeting in 1950 wasfully genuine.

In any case, the Council was created. Its founding reflected thecivic enthusiasm the village felt during the immediate postwaryears. Moreover, it constituted a sensible alternative to incor-porating the hamlet into a self-governing village within theTown of Southampton, as Southampton Village had done a half

century or so earlier. The Council set a civic agenda for thecommunity and managed to marshal resources to address manyproblems. It capitalized on the optimism that followed the trou-bled years of the Great Depression and the Second World War.The new body reflected a willingness of people to come to-gether, based on the relative prosperity that the potato economyhad brought to many residents, with the important exception of

most African Ameri-can migrant workers.Community leaderscreated new civic or-ganizations as well. In1949 they even revivedthe famous Bridge-hampton road races.8

At the close of thefilm, the narratorsummarizes the re-quirements for effec-

tive, local, democratic action: “A few people to take theinitiative; an energetic group of volunteer workers; and thearoused support of the people—these three and nothing more.”Among the leaders to “take the initiative” was Ernestine Rose(1880-1961). Librarian, professor, author, member of the Daugh-ters of the American Revolution (DAR), and founder of theBridgehampton Women’s Association (BWA) in 1947, Rose,who was born in Bridgehampton, had taught library science atthe Columbia University Library School.9 While librarian at theHarlem Branch of the New York Public Library, she began to“obtain, expand and supervise the now famous Schomberg Col-lection.”10 Today, those items form the core of the SchombergCenter for Research in Black Culture. In 1925, Rose had pre-dicted that the collection would rank among the largest andmost valuable in the world because of its location in Harlem,which she called the “greatest Negro city in the world."11

The Women’s Association’s mission had prioritized the “pro-motion of educational and cultural programs” in Bridgehamp-ton but it also lobbied on national issues, convinced that itsactions would influence American life as much as those takingplace in the broader arena. In March 1950, for example, thenow-retired Rose wrote to Congress on Association stationary insupport of the Hoover Commission’s proposals to streamlineagencies in the executive branch in order to reduce expendi-tures and waste. That commission was established by congressin 1947 with President Truman’s support. Former president Her-bert Hoover was asked to lead it. B. J. “Mummy” Corrigan,owner of a service station on Montauk Highway in Haygroundand president of the Lions Club, co-signed the letter.12

Besides Rose and Corrigan, other year-round residents who ledthe effort to build a broadly based, self-help Community Coun-cil in Bridgehampton included Charles Niles, a water engineer

Scene at the Mecox Beach. Marge Maran, a local schoolteacher, is at the center.

Three councilors, including ErnestineRose, listen intently to the proceedings in the American Legion Room.

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for Suffolk Countywho restored antiqueclocks on the side,and Bryan Hamlin(1895-1978). Nileswas elected the firstpresident of theCouncil and Hamlin,a lawyer, became itsfirst secretary-trea-surer. A pilot in bothworld wars, dubbed a“liberal thorn in the

conservative flesh” by the writer for The New Yorker magazineCalvin Tomkins, Hamlin also served as the first president of theboard of the Bridgehampton Child Care Center.13 SucceedingCouncil presidents included N. Townsend “Townny” Thayer,Sr., owner of the local hardware store that still bears his name,Mummy Corrigan, and Hamlin.14

While I can only assume that Council leaders worked to in-clude all elements of the village population in its work, it is no-table that few potato farmers seem to have participated. Giventhe large number of farmers in the community, I would haveexpected more of them among the volunteers. Event volunteerJohn White, Sr. from Sagaponack is an exception. Many of thefarmers’ names, as well as African American family names, aremissing both from written sources and from among the peoplewho have been identified in the film. With the exception of ablack councilor Reverend William T. Collins, minister of theBaptist Church, who appears in the film, all participants arewhite. Most of the men and women in the film who were lead-ers or volunteers associated with the Council owned or workedin small businesses, or were professionals—ministers, engineers,

an architect, a lawyer.

Many of the commu-nity’s potato farmersmay have felt uncom-fortable associatingwith a body that thefilm states includedon its agenda, “im-proving the livingconditions in thepoorer neighbor-hoods.” In October

1950, two months after the town meeting was filmed, two blackchildren died when the former chicken coop where they livedburned to the ground. The small building faced the Sag Har-bor Turnpike, the roadway that formed the central artery forBridgehampton’s black neighborhoods. The tragedy raised ques-

tions about somefarmers’ housing prac-tices regarding theirmigrant “potato pick-ers” and it triggered anew direction for theCouncil. Added tothat forum’s concen-tration on supervisedHalloween parties,beach safety, andChristmas decorationson Main Street, was arecognition of a degree of community responsibility for the liv-ing conditions of the poorest workers in the village.

Before viewing “Problems of a Small Community” at the Au-gust 10, 1951 Town Meeting, residents heard the findings of a re-port on migrant housing; in other words, nearly a year after thetragic fire. It came from a committee chaired by Reverend Her-bert E. Moyer (1895-1982), pastor of the First PresbyterianChurch (from 1925 to 1961) and a former Moderator (in 1942) of the Presbyterian Synod of the State of New York. Moyer lefta record of a leader sincerely dedicated to working for religiousand ethnic tolerance among Christians, Native Americans,Jews, and blacks in the village and beyond.

In a sermon delivered in his Bridgehampton church, perhaps in1939, after the hurricane of the year before had demolished theShinnecock tribe’s Presbyterian Church, this minister summa-rized the “tragic story of what the white man did to the Indian”and he praised the work of past Shinnecock ministers. In hisclosing remarks, he appealed for racial harmony. He imploredhis congregation: “Let us learn to walk in the footsteps of Himwho is the elder brother of all men—red and yellow—black andwhite.”15

In 1947, Moyer was instrumental in the purchase of Minden, amansion on Ocean Road acquired by a Presbyterian nonprofitorganization for use as a retreat and conference center.16 By1951, he was one of three clergymen who led workshops at theMinden Institute that operated educational programs there dur-ing the summer. The workshops focused on overcoming “ten-sions between racial and religious groups.” Each of thesesessions was expected to draw fifty urban young people and theywere sponsored by the Metropolitan Youth Council (of NewYork) and the Anti-Defamation League of B’nai B’rith.17 It wasReverend Moyer’s report on migrant worker housing that wasread later that summer at the Annual Town Meeting by coun-cil president, Townny Thayer. The housing was found to be“substandard.” The report, however, according to a Times re-porter, was only “received and filed.”18

Farmers gather around a tractor, perhapsto discuss the day’s price for potatoes orthe interest rates on farm loans.

Dot Edwards (Halsey) twirls about at a Halloween Party at the CommunityHouse. Lyn Conklin (Hixson) and Gail Maran (Brockett) are at lower right.

“Mummy” Corrigan at his service stationon Montauk Highway in Hayground selling a ticket to the supper followingthe upcoming Town Meeting.

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Like the other news stories I have referred to in the Times, thisone made me curious about authorship. Who had submittedthese critical accounts about Bridgehampton to the leadingNew York City newspaper of these years; and how did the writerknow about the making of the film the year before? I suggestthat the reporter was Carlos Videla (1904-79). He lived inBridgehampton at the time and had, I suspect, become astringer for the New York paper. Later an editor of the Bridge-hampton News, Videla had served as a Latin American corre-spondent for the Times in the early 1940s and had worked forthe Voice of America radio service during World War II and theearly postwar years.19 Like film producer Wood, he was dedi-cated to communicating truthful images of the United Statesabroad. It would be unlikely that these two professionals did notknow each other in early ’50s Bridgehampton with a year-roundpopulation of about 1500.

While there is no indication that Dick Wood was present at thescreening of “Problems of a Small Community” during theCouncil meeting in the summer of 1951, Carlos Videla wasthere. After the meeting, he noted viewer responses, which ap-pear in the second half of his Times article. Mummy Corriganproclaimed the film “excellent” and Claudia Cavagnaro, theCouncil secretary who worked at the News, suggested that itwas “Very nice.” But Townny Thayer had this to say: “The pic-ture left out many things of importance….there may be propa-ganda aspects I don’t understand.” Others, who refused to bequoted by name according to Videla felt that the film “glossedover the main problems—that of the migrants among others.”Videla, as a journalist, had presented a range of viewpoints inthis and other articles, on topics that involved all segments of thecommunity. As a professional, he was exhibiting the courage ofhis convictions, at a time when the anticommunism of the ColdWar, and America’s defense of its way of life, had become in-creasingly strident.

Videla’s article closes with Councilor Charles Niles pointingout the dilemma community leaders faced in dealing with “sub-standard” housing among the African American migrant work-ers: “If the Suffolk County Sanitary Code were enforced, itwould close the shacks but the people would have nowhere else

to go.” Given those circumstances, the Council decided to con-centrate on the plight of the children. That decision had al-ready been made a week after the fire—at a Council meetingconvened in his home by then president Townny Thayer, Sr.

The November 3, 1950 issue of the Bridgehampton News notedthat Council members agreed to place migrant issues first onthe list of community problems. The front page article contin-ued, reporting this expression of moral concern: “or else [weshould] ask the State Department to recall the motion pic-ture…depicting democracy at work.”

Less than three years after the fire, and under the direction ofthe Council, a permanent Child Care Center opened not farfrom the burnt-down dwelling on the Turnpike. It continues tooperate today. The State Department film may have been silentabout migrant laborers but many Bridgehampton residents un-derstood that their portrayed community had a serious problemon its hands.

This brief inquiry intoBridgehampton’s pasthas prompted me towonder about the rel-evance of this histori-cal experience to thepresent. For example,do we critically evalu-ate sponsored mediaand do we educateour children to do so?

Would feelings of good will and community-belonging be suf-ficient today to enable a governing council to operate, morethan fifty years after the first one was organized? And what arethe mechanisms and who are the leaders to address the housingshortage for low income and other workers in our midst? I hopethis chapter of local history helps provide some answers.

*For help with information I’d like to thank Gail Maran Brockett, Merrall andMary Hildreth, Jerry Korman, Jacqui Lofaro, Nancy McCaffrey, and Don andJane Seabury.

1 Bridgehampton News, August 17, 1951. Use of the phrase “Town Meeting” was a mis-nomer because Bridgehampton was and remains a hamlet within Southampton Town.

2 New York Times, August 19, 1950; August 11, 1951. 3 See the website, Archives, Manuscripts and Photographs, Smithsonian Institution Re-

search Information System [SIRIS]; New York Times, June 16, 1954; email, Patsy WoodAsche to Ann Sandford, February 28, 2008.

4 Merrall and Mary Hildreth, conversation with the author, Sagaponack, February 5, 2008.

5 See Paul Curts, Bridgehampton’s Three Hundred Years (1956), 142. 6 Handbill copy, Bridgehampton Women’s Association [BWA], Long Island Collection,

East Hampton Library. 7 Three Hundred Years, 143. 8 See Grandfather, xxv-xxvi, 154-57.

9 Three Hundred Years, 162.10 Obituary, East Hampton Star, April 6, 1961. 11 galeschools.com; JSTOR, African Studies Bulletin, Vol. 3, No. 2 (May, 1960): 1-4. 12 BWA, East Hampton Library.13 Calvin and Judy Tomkins, The Other Hampton (1974), 6, 8. 14 Three Hundred Years, 142.15 Herbert Moyer, sermon, “The White Man and His Indian Brother,” (n.d.), Long Island

Collection, Hampton Library. 16 New York Times, January 12, 1947.17 Ibid., June 18, 1951.18 Ibid., August 11, 1951.19 See obituaries, East Hampton Star, January 25, 1979; New York Times, January 23, 1979.

Parishioners leaving Bridgehampton’sCatholic Church after mass.

22 theBridge

It may seem odd that the Bridgehampton Historical Soci-ety holds an annual automobile rally along the roads of theEast End. But the rally, one of the most popular events ofthe year for the society, serves the very core mission of theBHHS, that is to honor and illuminate the historical legacyof our community. Bridgehampton has long been the siteof automotive competitions. As long ago as 1915, the localfiremen sponsored street races as part of their summer car-nival. These contests were run along Main Street, HalseyLane, Paul Lane and Ocean Avenue. These often home-made cars reached speeds up to 50 miles an hour.

After World War II, inspired perhaps by the races at WatkinsGlen, NY, a road race featuring mostly European racing carscompeted along a circuit that ran along Ocean Road, acrossSagaponack Road, down Sagg Main Road and across BridgeLane. Speeds along this 4-5 mile course often exceeded 100miles an hour. By 1953, open road racing was outlawed inNew York State.

In 1957, the world-famous Bridgehampton Race Trackopened on Millstone Road. For 35 years, races of interna-

tional importance were held along the winding track on the500-acre site. The course eventually closed because of com-munity pressure to eliminate the noise that came with thecompetition.

In 1993 Jeffrey Vogel and BHHS organized the first VintageSports Car Road Rally to commemorate and keep alive thehamlet's racing history. Although the high-speed thrills of the

The 2007 Vintage CarRoad Rally

Peter Mole and Bill Secrest won first in their group and first overall.

James Thorpe and Steven Jury were first in their class. Mike and Nick Kochanasz were second in their division.

Photos for this article courtesy of: ©AutoPhotos 2008, Ed Hyman

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earlier races cannot be recreated, our rally follows the leadof the great street races of the world. Italy's Mille Miglia,the Tour de France, and Sicily's Targa Florio have all beenreborn as timed rallies, featuring vintage cars.

Our rally is a time and distance event. The course usespublic roads complete with local traffic. Timing on eachleg of the course is done to the 10th of each second. Andoften a few 10ths will decide the winner of a timing leg!Entrants must be skilled in driving, map reading and time-keeping to compete.

In 2007, the 15th annual Road Rally was held on the lastweekend of September. The competitors followed a 130-mile course that began and finished at the BHHS head-quarters on Main Street. The field was divided into twocategories based on the age of the car. First place in theRoad Class went to Peter Mole and Bill Secrest in a 1953Jaguar XK120. Second place was won by Mike and NickKochanasz in a 1953 MG TD. Third place was a tie be-tween Jeff Payne and Jerry Lackovic in a 1953 MG TF andJack Hassid and Roy Sebasco in another 1953 MG TD. Inthe Track Class, first place was won by James Thorpe andSteven Jury in a 1962 Porsche 356. Second place went toRichard Weintraub and Steven Geller in a 1955 MGTF.Third went to Alan Baum and Andres Pipa in a 1957 Mercedes 190SL.

The 2008 event will be held the weekend of September 26and 27. On Sunday the 28th, the annual Concours showwill be held on the BHHS grounds on Main Street.

Jeff Payne and Jerry Lackovic tied for third. Jack Hassid and Roy Sebasco were tied for third.

Richard Weintraub and Steven Geller got a second place finish.

Alan Baum and Adndrew Pipa came third in this Mercedes.

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26 theBridge

by John Eilertsen

It was called the “Not Quite Wright,” and a U.S. Naval Ad-miral almost fell overboard while helping to christen it. Builtby Albert Francke, it was a raft that, after some post -christen-ing modifications, proudly transported the Francke and Cam-mann families through the waters of Sagg Pond for severalyears. While it may have ended its time anchored as a turningbuoy for sailing races in the pond on Sunday afternoons, the“Not Quite Wright” served its family well.

Nora Cammann remembers her brother Albert, fresh out ofthe U.S. Navy in 1958, building the raft. “He was spending thesummer here, and got bored, so he built a raft out of boardson 55 gallon drums. It was nine feet by twelve feet, and thatwas a good size. It was anchored there on the edge of thepond, and when we christened it, we all got on it, and thetrouble was, it tipped and almost dumped people over. So mybrother put Styrofoam under it, replacing the barrels, and itwas a good deal more stable. We used to go to the beach on theraft, with a little one horse power motor, kind of crab-like, acrossthe pond.”

Nora recalls, “A family friend, Admiral Jerald Wright and hiswife, Phyllis, agreed to help christen the vessel, and it becamequite an involved ceremony. The person doing the actual chris-tening is supposed to get jewelry, and so the Admiral gave hiswife a necklace of onions and grapes. She also wore a coconutas a hat. And she couldn’t get the bottle of champagne to break,so she finally used a wrench to christen the raft. I kept the cham-pagne and rechristened the raft later.”

After its improvements, Fred and Nora Cammann and youngsons Peter and Phillip were able to chug along the pond on the“Not Quite Wright” for years. They explored the shoreline ofSagg Pond, avoiding sand bars and mud flats, and often rode theraft to the cut where they would breakfast on the beach or on theraft itself. “One day, when the pond was open, we went ridingthe rapids out into the ocean, and anchored it, and swam offthe raft. It was a bit more difficult getting it back. We had somefun times on it. The raft was around for a long time. It becamesort of a thing on the pond. It was fun.”

“We didn’t really have a yacht club on Sagg Pond. DinwiddieSmith lived down towards the beach on the pond, and he reallyliked to get things organized. He owned a small cannon, andon a Sunday afternoon, around one o’clock, he would blast off

the cannon which meant you ought to get yourself down there,and he would get mad sometimes if people weren’t on time. Wewere always late, ‘cause our boat took so long to get anywhere.Our boat was a big, fat, fiberglass thing with one mast, heavy aslead. I have no idea where we got it. Eventually our boat be-came a turning buoy, too, because they couldn’t stand it any-more. But the cannon would go off, and people wouldassemble, and we would put out something for points, and sailit, and that would be an afternoon sail. There was no formalityexcept for the cannon.”

Nora still enjoys sitting on her porch looking across the pondthrough the seasons, calling the pond a magical place. She re-members a time when there were what she calls real huntingseasons. “In fall, there used to be so many pheasant hunters thatit was dangerous to go out of the house in the morning. Myhouse and my mother’s house were only thirty feet away fromeach other, and I was accosted one morning trying to walk to mymother’s house to borrow some eggs, by a gentleman incamoflage who said, ‘Lady, you better get inside before you getshot.’ Never saw him before and never saw him again. Therewere a lot of pheasants and a lot of ducks, and there were somany fields around the pond that there were lots of birds.”

“Some winters the pond was iced over for weeks at a time, andmy kids learned to skate there. We used to skate to the beach.Kind of sandy, and not too good for the blades of the skates, butnobody was around and it was quiet. So very quiet.”

Memories of Sagg Pond

Peter and Phillip Cammann on the raft, c. 1961.

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“I remember that there were many farms around the pond atone time, and in one section, on the Sagaponack side, there isa point and one of the local farmers farmed it. And they also puttheir cows out there. The point was called, I think, Smith’sPoint, and it was surrounded by water and there was no placefor the cows to wander off. So, they put them out there, andthey stayed there, and on really, really hot days, the cows wouldgo out on the edge of this little point, onto a sand bar wheretheir udders were under cool water, and they would just standthere cooling their tummies for the rest of the day until it wasmilking time, and then they’d start walking back. It was reallyvery funny to see. You could practically feel how cool and de-licious the whole process was.”

“One day I took the tractor and started to mow some propertyright next to us, and the blade hit something and made aghastly, screaming noise, so I stopped. I was terrified that I haddamaged the blades of the mower. And there on the ground wasthis copper coil, lovely copper coil lying in the marshy ground.So I turned the tractor and headed in another direction, andnot so far away was a tank. Interesting. And then I started to workinto the woodsy part and there was a little house! I got off thetractor and looked, and it was a cement house, really a very largeoven, and all around it were scattered bottles, and glass hurri-cane shades, and all sort of strange things. And so I later toldsomeone about this, and he said, ‘Oh, that’s where the still was.’And sure enough, that’s what it was. Somewhere along the line,it must have blown its top, because all that remains are bits andpieces. It was in the middle of farm land, on the shore of the

pond, and around the still was a nice ring of privet hedge, sofrom a distance it was invisible. A nice place to crank off somelovely potato vodka.”

Nora speaks with awe when she describes the beauty of SaggPond. From her back porch, Nora has witnessed the beauty ofwintering Canada geese and mallard ducks, and summer-feed-ing by a variety of waterbirds, including osprey, cormorants,great blue heron, little blue heron, white heron, gadwall, andblue-winged teal. Once a sandhill crane visited, causing a localstir among area bird watchers. In addition, deer, pheasant, fox,raccoons, feral cats, weasels, and hosts of other creatures andplants exist in, on or around Sagg Pond.

“We had a little boat at one point, and we went up under thebridge up to the head of the pond, where Sagg Swamp entersthe pond, where there used to be lots and lots of wild watercress.We used to pick that. And the water was absolutely pure andfresh there. As it travels down the pond, the water becomes morebrackish. The fish change, the animals change, the bugschange, everything changes. It’s quite fascinating.”

Today there are still commercial activities going on in the Pond.Pots are set for crabs, killies, and eel, and there is seining forperch and the invasive carp during ice-free winter months. Norasays, “It’s alive with things happening. When you watch thepond, there is always something happening. In the fall, as thesun sets there are wonderful colors of wheat, purple and orangein the grasses. In the winter, there are all gradations of gray andwhite. And in the spring, you find roses, and all kinds of wildflowers. And you feel it, and you smell it. The seasons on thepond are fabulous.” Pheasants and hunters were plentiful in the fields

surrounding the pond.

The Francke and Cammann families ready to set sail on the“Not Quite Wright”.

28 theBridge

Sagg Pond GeologySagg Pond is actually part of the Long Pond Greenbelt which in turnis made up of a network of contiguous ponds, streams, wetlands and adjacent upland woods from Sag Harbor all the way to the AtlanticOcean. At the southern end of the greenbelt is Sagaponack Inlet, a marine sand beach with sparsely vegetated dunes and an intermittentinlet between Sagaponack Pond and the Atlantic Ocean. TheSouthampton Town Trustees are responsible for opening the inlet,

which allows the pond water to flush out into the ocean and receive nutritionally enriched sea water back into itself.The inlet is opened according to water level and weather conditions.

Sagaponack Pond is a 148-acre brackish pond. Draining into it from the north is Sagg Swamp, a 131-acre red mapleswamp dominated by red maple and black gum trees with a shrub layer including sweet pepperbush, swamp azalea,arrowwood, wild raisin, highbush blueberry, and a herbaceous layer dominated by ferns.

The boundary for the Long Pond Greenbelt generally follows Ocean Road/Bridgehampton-Sag Harbor Road on thewest and Sagaponack Main Street/Sagg Road on the east. The area includes regionally rare coastal plain pond com-munities and plants, upland buffers for the ponds, brackish pond and beach habitat used for feeding and nesting by fishand wildlife species, and the relatively un-fragmented corridor of woods and wetlands used as breeding, migratory, andoverwintering areas for amphibians, reptiles, birds, insects, and other wildlife.

Sagg Bridge c. 1907

Thanks To Our2008 Road Rally Sponsors

Hampton Arts ExpoLoving Touches

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Bridgehampton National Bank

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by Nora Cammann

When Bob Siegfried began painting in the early 1950s, hisfirst medium was oil. But since he was painting as a hobbyamidst a busy career designing and constructing oil andchemical plants around the world, he found oil paintingtoo time consuming and switched to watercolors. As youcan see, the results are consistently lyrical and delightful.

Bob often painted in Bridgehampton with his friend thelate George Bradley, focusing on local scenes. His first formal training was with the well known local artist JanetJennings of East Hampton.

A Pennsylvania native, Bob graduated first from LehighUniversity in 1946 with a degree in chemical engineeringand then from the Massachusetts Institute of Technologywith a masters in science and chemical engineering. Hespent his entire career with the Badger Company in Cam-bridge, Massachusetts. Bob was the company’s CEO whenhe retired.

Bob became a Bridgehamptonite in 1945 when he marriedBlanche Worth. He does not sell his work. It is collectedby his family which has loaned the paintings in our currentshow. Sixteen of his paintings will be on display at the Cor-with House through July 19th.

Bridgehampton Watercolorsby Bob Siegfried

The Corwith House

The Candy KitchenThe Crowley Farm Stand

The Sagaponack School

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Best Wishes for a successful Rally!

Building a stronger community from the ground up.

Riverhead ı East Hampton ı Greenport ı Hampton BaysSouthampton ı Brentwood ı Northport ı Mineola ı Montauk

800-378-3650www.rbscorp.com

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AmericanWingAntiques & Decorations

BRIDGEHAMPTON, NY 631.537.3319amerwing@optonline.net

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BRIDGEHAMPTON COMMONS . BRIDGEHAMPTON, NY

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The NathanielRogers HouseRestoration Project UpdateWe’re making progress!

According to our wood consultants, much of the wood in theNathaniel Rogers House is in good condition. The post andbeam frame does not exhibit failures or excessive settlement.The House is constructed of a variety of wood species; pre-dominantly red oak for the 1824 construction and easternwhite pine for the later additions.

Our structural engineers have completed their probes andexaminations, and they have submitted their written sum-mary to our architects who will incorporate it into their plansand specifications.

Our architects have indicated that they expect the priority ofthe first upcoming work to be:

1. Roofing replacement: replace all existing sheet metal ormembrane roofs with new flat seam lead coated copperroofing with integral gutters.

2. Structural and framing repairs needed per the structuralengineers’s report.

3. Site/foundation drainage: integral site drainage for allfoundations and roof leaders to a new drywell on site.

4. Rake and re-point existing brownstone foundation walls

5. Window Restoration: remove and restore all existingwindows in kind

6. Door Restoration: Remove and restore all existingwood doors in kind

7. Reconstruct masonry foundation/support piers for frontcolumns

8. Replace missing/rotted wood cladding and trim, prep,prime and paint.

They suggest that we should also plan for an archeologicalsurface survey and have an archaeologist on site during thedrainage work as a precautionary measure.

Look for actual construction to begin this fall!

The Corwith House site has recently undergone consider-able repairs and restoration, made possible with two significant donations from George Mills and Nora Cam-mann as well as increased Park District funding from theTown of Southampton.

The exterior of the Corwith House has been re-painted, andnumerous windows have been repaired, re-glazed and re-painted. We have re-painted the front hallway and thewooden trim in our library. The exterior of the StrongWheelwright Shop has been re-stained, and its interior hasreceived a good “Spring Cleaning.” Our Picket fence hasbeen power-washed and re-stained

We have also upgraded our security system in the CorwithHouse, built new shelving units in the Tractor Barn, and upgraded our visitor and staff parking area with a new fenceand laying of stone and gravel. We have also been workinghard upgrading our lawn by reseeding several areas and planting sod elsewhere on the grounds.

During the remainder of this year and into next, the out-house’s cedar roof will be re-shingled, the Corwith House’selectrical and heating systems will be evaluated and up-graded, and the corn crib will be restored.

The William Corwith House Update

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Up to $50,000Stephen & Nancy GreenRobert MorrowRiggio FoundationDan ShedrickGerrit Vreeland

Up to $25,000Atlantic Golf ClubHarvey AuerbachPaul BrennanMarvin & Dianna ChudnoffBeverly & Leandro GalbanRichard & Zena GilbertRichard GoldbergCharles LloydWilliam MackAndrew SteffanThomas TuftNicholas VerbitskyRaymond Wesnofske

Up to $10,000Warren & Lillian AndersonChuck & Norma BairdBridgehampton National BankMartha FritzCliff FosterFredric GaronzikPeter KelloggMoore FoundationFrank MoriJohn & Judith Musnicki

Arthur NagleFred & Cissy RitzDavid SilfenGarry & Margaret SouthernJohn & Carol Stacks

Up to $5,000Alan and Arlene AldaBruce & Anne BabcockBridgehampton Lions ClubFred & Nora CammannLeonard DavenportAnthony DeeringJohn HorvitzHurst FoundationJane IselinMichael KochanaszJ. Steven ManolisJoan & John McLaughlinJohn A. MillardNaomi PaleyOtis & Nancy PearsallWarren & Barbara PhillipsHarvey L. RadlerKathryn ReisArthur & Deborah RomaineSaner Family FoundationF.J. B. SchmeltzerLowell SchulmanJim & Julia ShellyFrederick StelleWinston-Salem Foundation

Up to $500Barbara AlbrightGeorge & Anne BairdWilliam BourneBruce & Martha BroughamRobert & Eileen EssayGarry FredricksonFred Doss & John GickingIan & Phyllis MacPhersonMatthew MallowBrooke & Daniel NeidichJohn RockwellHarry E. & Carolyn SchmidtFrank Schroeder

Up to $100Kenneth BuchananJenice DelanoRaemary & John DuryeaMary & William GroffThomas C. HillsMs. Barney L. JonesLong Island Studies CouncilJohn Michell & David KaplanPatrick Rulon MillerNatalie NaylorWarren & Barbara PhillipsDr. & Mrs. Stanley SacknerSamuel's FoundationRobert ScheinbergDiane Johnson WadeLauren & Andrew Weisenfeld

Nathaniel Rogers House Restoration Supporters

Special Thanks to The Bridgehampton Inn, Loaves and Fishes Cookshop,

and Wolffer Estate Vineyards for their generous sponsorship of the

“Bobby Van Celebration” on June 22, 2008.

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$1,000 and upEdmund R. & Phyllis B. DavisJohn & Sandra HorvitzMichael LongacreAndrea & Douglas MadaioJohn A. & Carey MillardRobert E. & Ornella MorrowDaniel & Brooke Garber NeidichLeonard & Louise Riggio FoundationJohn & Carol Stacks

$500 and upTee & Charles Addams FoundationJonathan & Ann Luce AuerbachJames & Diane BurkeFrederic & Nora CammannAaron & Judy DanielsQuince EvansBeverley & Leandro S. GalbanTony & Beth Galban FoundationGeorge HambrechtKevin & Cheryl HurleyMarcia G. KingJ. Bruce & Shahara Ahmad-LlewellynKathy & Charles MarderH. Kevin Miserocchi & Robert KlosowiczSaner Family FoundationBlanche & Robert SiegfriedAndrew P. & Patsy SteffanWilliam G. ThompsonGerrit & Toni VreelandChristian Wolffer

$250 and upWarren & Lillian AndersonCharles & Norma BairdBridgehampton National BankChristie BrinkleyElizabeth & Donald EbelHenry & Sandra W. EckhardtDiana & Fred ElghanayanJeffrey FriedmanFrederick & Martha FritzCatherine HandBetty Sue & Jeffrey P. Hughes

J. G. Kilpatric & Harry NeyensBarbara MeyerNaomi & Stuart PaleySteven Rappaport & Judith GarsonArthur & Deborah RomaineHoward Rubin & Mary HenryWilliam SquierMichael & Lynne TarnopolJeffrey I. VogelLauren & Andrew Weisenfeld

$100 and upBruce M. & Anne BabcockMargaret & Joseph E. BaffordDorothy & Robert H.B. BaldwinDaniel D. BarryElizabeth BartonDouglas BaxterGail Maran BrockettR. Bruce & Martha BroughamDean BrownJanet & Richard BruceWalter & Beryl BuchholzMary & David BushnellJerilyn & Gabriel CaprioAlfred & Mildred ConklinBenjamin H. ConklinJoseph J. & Barbara A. ContiIlene & Malcolm DavisDorothy DaytonCarol & Michael DeVitoJoseph R. Dilworth, Jr.Honnor & R. Meade DorseyColette Smith DouglasRalph W. & Julia W. DouglasJohn C. & Raemary DuryeaKathryn FeeMartin & Casey FentonFirst Baptist ChurchCandice & John FrawleyShelly & Vincent FremontCatherine & Earl GandelJoan & Thomas GeismarDr. Stephen Gelfman & Louise GuarneriCraig Gibson, Esq.

OUR MEMBERS AND SUPPORTERSJANUARY - DECEMBER 2 0 0 8

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Saul & Marilyn GinsbergJohn GoldenLouis Callmann Goldschmidt FoundationDr. S. Ashby & Patricia GranthamGuenther & Renate GreinerPatrick J. GuarinoDouglas & Amy HalseyJoan HamburgJohn R. Hearst, Jr.Wilbur Hildreth, Jr.Anthony & Marguerita HowkinsCynthia H. IrelandJane T. IselinY.A. Istel Foundation Inc.Alexander Johnson & Roberta OlsonDr. Saran Jonas & Dr. Ruth JonasStephen G. JonesWalter Jones & Mary MolloyArthur & Sherry KalitaCarl E. KaplanCarol & Denis KelleherMary & George KirkhamPeter & Racelle LarkinHelaine & Sidney LernerCharles LloydV. Pingree W. LouchheimJay C. LubellMarjorie R. LudlowGerald & Gay LynchIan & Phyllis MacPhersonNgaere Macray Morgan & Geri MacWhinnieMatthew Mallow & Ellen CheslerNancy McCaffreyE. Blair McCaslinDr. & Mrs. William A. McManus, IIIAnthony E. Meyer Family Foundation Inc.Vivian MorellNagle Family FoundationRobert & Jane OberrenderRima OgrinRobert & Joan OsborneJay R. Paul Charitable FoundationGeorge & Antonia PaviaOtis P. & Nancy PearsallJerome & Phyllis PickholzBrian RamaekersJacqueline ReaJoan C. RichardsMarita C. RitterhoffJohn Rockwell

Daniel & Joanna S. Rose Fund, Inc.Frank W. Ruppel, Jr.Judith A. SanerNancy & Thomas SayreDr. Morris & Marilyn ScherrH. E. and Dr. Carolyn W. SchmidtDianne & Lowell SchulmanSpencer & Susan ShermanCalvin & Cecile SmithChristine Chew SmithLeland & Marion SmithSotheby's International RealtyGarry & Margaret SouthernBridget StavropoulosSophie & Dimitri R. SteinFred StelleBetsy StevensonRaymond & Carol StolzJacqueline SzczepankowskiWilliam F. & Alice TillotsonAnthony & Katherine VaccaroJames S. & Julia J. VandermadeFred T. & Ellen WilfordDolores Zebrowski

$50 and upBarbara AlbrightStephen & Susan BairdJohn BarylskiReine BattleAndre & Paulette BerclazLewis H. & Amanda BermanWalter & Bina BernardWendy & Charlie ButlerJean & Mark CohenNancy & David CoryBarbara & Kenneth DamieckiCatherine DanaLeonard & Gail DavenportEdith M. DeMontebelloJack Derosa & Donald SacharRobert J. & Eileen EssayJ. Kirkpatrick & Jan LeMessurier FlackClifford & Lee FosterGarry & Maryann FredricksonDavid & Florence FriedmanGuy Ladd FrostJohn F. GaultJeremy GordonNancy & Benny GraboskiRuth & Frederick Guyer

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Janice & Robert A. HansenBarbara W. HearstRichard G. & Lillian HendricksonMerrall HildrethDorothy HinesAlfred & Janice KelmanMichael Kochanasz & Julie JamesEllen & Donald L. KreindlerElaine & Henrik KrogiusPamela S. LordAnne & Robert MarshallPeter & Maria MatthiessenAlbert McCoyMargaret McCoyJan H. & Priscilla MeyerAdam Miller Group, PCWalter R. MillerHarry & Julia MumfordGeorge & Elinor MunroeMorgia D. NardyGirard F. & Martha Worth OberrenderElliott & Mary Ogden, Jr.Milton & Nancy OrshefskyHenry M. Polhemus, Jr.John & Catherine PouschineNina Rosselli Del TurcoAnn Sandford & Jerry KormanRosa ScottDonald & Jane SeaburyJohn & Bernadette SidebothamSelma & Alvin SilvermanB. Albert & Rebecca SternRobert & Anne StokvisBeatrice & Douglas P. StrongCarlton & Gloria StrongJanet SughrueLinda & Mark TaxelJoseph & Debra TaylorLouis A. ThayerTutto Bene, Ltd.Diane & Salvatore VaccaGeorge & Judy WheatleyHilary & Eric WoodwardDorothy ZaykowskiLloyd P. Zuckerberg

Up to $50Charles & Cathy BellowsAlda BenfieldSusan Hilty BradyPaul Brennan

Barbara B. ClarkeJoseph ColtRichard C. ConradAlison Cornish & Patrick MoranJohn A. CoslickDr. Neal CroninCarol J. CrowleyHelena W. CrowleyWilliam R. DalsimerShirley-Helen V. DavidsonEdith Kunhardt DavisFlorence DePetrisStacy DermontKaren EastonBarbara J. FarrellBarbara White FordStanley D. FriedmanClaire E. FurlinJohn A. GrecoEdward GregoryJoyce HamrahThomas HaresignJean R. HeldLucy HowardArline C. HusbandMichael T. JohnsonFlorence Williams JonesRona KarpWaren & Helen KraftJill LohrfinkJames & Nancy LudlowFrancine LynchIvette & Lazaros P. MavridesKathrine McCoyEvelyn & Monroe S. NadelNatalie A. NaylorCarole OstroffIrving H. & June PalerRuth J. PaulsenAnne D. PlumbElise QuimbyHarold W. RaynorLinda RiceAlexander J. RobertsonDr. Barbara SapienzaRichard ScheinMina K. SeemanJules ShermanHenry & Delores StuebeCharles & Judy WilliamsMargaret Hedges Yost

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SUPPORTING THE BHHS

Gift Membership——————

Gift Memberships are a great idea for family and friends for birthdays and holidays giving. Simply provide their name and address below and indicate the level of membership you wish to give.

We will let them know this is a special gift from you.

RECIPIENT’S NAME

ADDRESS

PHONE

MEMBERSHIP LEVEL $

CHECK: Please make payable to the Bridge Hampton Historical SocietyCREDIT CARD: Please charge my —MasterCard —Visa —American Express

CARD NUMBER: EXPIRATION DATE:

AUTHORIZED SIGNATURE

PRINT NAME

INDIVIDUAL —$25 —FAMILY $5O —SUPPORTER $1OO —PATRON $25O —DONOR $5OO BENEFACTOR —$1,OOO —HISTORIAN $2,5OO —PRESIDENT’S CIRCLE $5,OOO

GIFT GIVER’S NAME

ADDRESS

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B E A U T I F U L I N V E S T M E N T S

THE HAMPTONS MANHATTAN LONG ISLAND NORTH FORK BROOKLYN QUEENS

SA L E S • RE N TA L S • RE LO C AT I O N • NEW DEV E LO P M E N TS

RE TA I L SA L E S & LE A S I N G • PRO PE RT Y MA N AG E M E N T

MO RTG AG E • TI T L E IN S U R A N C E

I n a w o r l d w h e r e t h e n o t i o n o f

s e r v i c e i s n e a r l y o b s o l e t e , y o u c a n c o u n t

o n u s t o b e t h e r e a t e v e r y t u r n .

Beautiful investments at P R U D E N T I A L E L L I M A N . C O M

Abby M. Taylor Fine ArtAccorsi ArtsAlexandre GalleryArk ProjectArt Projects InternationalBabcock GalleriesBernard GoldbergFine ArtsCernuda ArteContessa GalleryDavid Findlay Jr. Fine ArtDJT Fine ArtEckert Fine Art

Eric Firestone GalleryFrost & ReedGallery SamGary Snyder/ProjectSpaceGoya Contemporary

Hackelbury Fine ArtHarmon/Meek GalleryHirschl & Adler ModernHollis Taggart GalleriesJerald Melberg GalleryJohn Szoke EditionsJonathan NovakContemporary ArtJune Kelly GalleryKatharina Rich Perlow Gallery

KN GalleryKoman Fine ArtLeon Tovar GalleryLouis K. Meisel GalleryMark Borghi Fine ArtMcColl Fine ArtMcCormick GalleryMichael Borghi Fine ArtMichelson ModernNikola Rukaj GalleryPeter Fetterman GalleryPeter Marcelle Contemporary

Platt Fine Art Portico New York

Rehs Galleries

Robert Henry AdamsFine ArtScott Richards Contemporary GallerySpanierman ModernSundaram Tagore GalleryThomas Paul GalleryVallarino Fine Art Ltd.Verve GalleryWally Findlay GalleriesWeber Fine ArtWendt Gallery

DJT Fine ArtSpanierman Modern

Presenting Investment Quality Modern and Contemporary Art

July 11-13, 2008Buy fi ne art and outdoor sculpture atAmerica’s No.1 summer resort.

Participating Galleries:

Gary Snyder/ProjectSpace

Hol

lis T

agga

rt G

alle

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Bridgehampton HistoricalSociety Grounds

In cooperation with:

631-283-5505 ! info@arthamptons.com ! Admission: $20 ! Hours: Noon - 6 pm Daily For Special Events: www.arthamptons.com

KN Gallery Babcock Galleries

Opening Gala - July 10th, 6-9 pm to Benefi t

McCormick Gallery

HonoringWill Barnet

BridgehamptonHistorical SocietyFundraiser

Sunday, July 13thA silent auction of anoriginal pastel by America’s premier colorist, Wolf KahnAdmission $20

Jerald Melberg Gallery