Then and now: The trees appear to be all that’s changed at John P. Crain’s Sagaponack cottage since it was moved there in 1940. Right, a peek at the other houses on the one-acre lot shows the Red Cottage.
The bill of sale provides proof that his grandmother bought the cottage for $100.Durell Godfrey
A mirror in the living room reflects much of the available space.Durell Godfrey
The simple kitchen was added shortly after the cottage was moved, along with a utility area with a washer and dryer and shelves for dry goods to one side.Durell Godfrey
The living room mantel is flanked by doorways to the two small bedrooms. Durell Godfrey
A tenant protected anyone who might venture into the attic by sticking corks on every nail in the ceiling.Durell Godfrey
The homeowner himself is seen ascending a stepladder to the trapdoor to the attic, now used solely for storage. Durell Godfrey
Inside the Teepee
The Antler House resembles a work of origami that unfolds before your eyes. The house is small, so a large and welcoming teepee accommodates guests. It also provides a place for music and contemplation.
Because the living area is on the second story, it feels “like living in a tree house,” its occupants say. It was photographed from the loft. Five-month-old Poppy and her mother, Blair Moritz, feel right at home there.
Seashells substitute for beads on a doorway curtain. The varied interests of the writer and director Chris Fisher and his wife are illustrated by the objects and books they collect.
Artwork by Andrew Geller decorates the breakfast nook. The table and chairs evoke the period in which the house was built. After climbing into the loft on a ladder held in place with chain and pulleys, you can look down to the living area, where original wide-plank flooring has a homey vibe.
Unexpected angles in a hidden loft are evidence of Andrew Geller design, and they happen to mirror those of the teepee on the property.
A large window on the second floor replaced a barn door and brings light into the studio, originally the hayloft. The wild turkeys speak for themselves.
The owners display some of their collectibles in the living room, whose posts and beams are original.
Left, A Mennonite quilt in the entrance hall, like the barn, dates to the 19th century. A painting by Maureen Hopper, purchased at a Guild Hall Clothesline art sale, is one of several horse paintings.The fireplace is ornamented with a sign Monty Silver found at a yard sale.
The couple found this mid-19th century tiger maple rope bed through an ad in The Star. Ms. Jamar’s mother found the turn-of-the-century, hide-covered pull toy at the foot of the bed in Wisconsin.
The stairs, original to the barn, are worn with age. A glimpse of the living room and kitchen shows a large hooked rug commercially made in the 1930s and a coffee table which was a painted bench.
Ms. Jamar made the hooked rug in the master bedroom.
Jamar’s studio testifies to her passion for artisanal creations large and small. At Right, each piece, created for Ms. Jamar’s book, “American Sewn Rugs,” demonstrates a different sewing technique.
The front of the house faces the beach and reveals modern forms softened by angles, setbacks, and wood and stone walls.
Waves of contrasting plants lap right up to the first-floor deck.Durell Godfrey
Seen from a guestroom balcony, the first-floor roof, planted with succulents, is like a second front yard, albeit a small one. The roof of the second floor is fitted with solar panels. right: The glassed entry foyer, on the road side, is set back and connects the wings.Durell Godfrey
In the living room, the windows take in Shelter Island Sound, Northwest Harbor, and the slightest specks of distant houses. The painting is by David Paulson
Left, a Jane Ritchie painting and the view mirror one another in a guest bedroom. The dining area has the vista to the left and a painted allee on the wall.
The kitchen looks out at plantings on the road side that screen a neighbor’s house.Durell Godfrey