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Samuel Marshall Busselle
Lakeville Journal
Aug 11, 2026
MILLERTON — Sam Busselle, Millerton resident for 50 years who dedicated himself to connecting people and improving life in his community, died peacefully July 31, 2026, at Woodland Pond, New Paltz, New York. Born in 1940, he was the son of architect Alfred Busselle and educator Martha Knapp Busselle. He grew up in Princeton, New Jersey, where he graduated from the Lawrenceville School and then Yale University, which he attended on a swimming scholarship, followed by a master’s degree from the Yale School of Architecture. He then taught high school for several years in the Boston area, where he met his wife, Rebecca.
Sam, Rebecca, and her 7-year-old son Wynne moved to Manhattan, quickly expanding their family with the birth of Katrina and Max, all the while gut-renovating a floor of an abandoned SRO on St. Mark’s Place. Weekdays Sam left the lively East Village neighborhood by bicycle to work uptown on Fifth Avenue for the General Learning Corporation in the environmental services division. On weekends he tore down plaster walls, laid flooring, built bookcases, plumbed a kitchen and bathroom, and cut a door to a sizable outdoor rooftop where the family grew tomatoes, and the kids splashed in a plastic swimming pool. Strapped into kiddie seats on their parents’ bikes, with Wynne in the lead, the family explored New York City and picnicked in its parks.
After a few years, time came for a change. The family moved to Bo, Sierra Leone, West Africa, where they spent three extraordinary years as Peace Corps volunteers. As Architect for the Southern Province, Sam taught drafting to young men desperate for skills that might lead to jobs. He oversaw simple construction projects fashioning blocks on site, and built a factory and the first ever morgue for the Bo Government Hospital. The Peace Corps experience permanently shaped his worldview and commitment to making a difference.
Dependent on a small Peace Corps readjustment allowance, with no jobs and no place to live, Sam and family returned to the United States during a recession in 1975. After a year renting in Stanfordville, they turned to Millerton and found a tumbled down house that had been a two-room farmstead built around 1790 and expanded a century later. A weed field with clumps of burdock surrounded the dirt driveway. Dark cement stucco covered the house. Inside were greasy kitchen walls, and a cabinet door dangled by its hinges. A family with 10 children had vacated after two second floor ceilings collapsed. But always forward thinking, Sam noted hand-hewn beams and, under bright red paint, an original brick chimney wall and Dutch oven. Worn linoleum gave him little hope for good floors beneath, but the attic held wide oak boards. Sam knew the house bones were venerable and solid. He had found a lifelong renovation, re-renovation, and maintenance project. He set to work making a home and finding a role in his new community.
He took a job with the NYS Office of Mental Retardation and Developmental Disabilities as an architect/planner for the Wassaic Developmental Center campus, which had been mandated to upgrade or close. Twenty years later he retired after working tirelessly to move residents out of an isolating institution into community homes. He followed that with a planning role at the Eleanor Roosevelt Center, while giving much time and thought to problems in the Dutchess County criminal justice system.
Sam’s volunteer roles began with a seat on the North East Town Board, followed by years on the Planning Board. But his deepest satisfaction came from co-founding, with Wendy Curtis, the North East Community Council, a group dedicated to improving local access to County agencies in this rural area. That group secured funding, acquired a building and became the thriving North East Community Center.
Sam loved the rural life. He enjoyed splitting logs for the wood stoves, tended a vegetable garden, and got a kick out of briefly owning an aged tractor and a rickety pickup truck. He swam in any body of water he could find, rowed a scull on twin lakes, rollerbladed and biked on the Rail Trail, and hiked the nearby mountains. He loved Tanglewood, Music Mountain, Norfolk chamber music, and opera in Manhattan. He and Rebecca traveled in Europe, Africa, Japan, and Indonesia. He took never ending pleasure in his children and grandchildren. And just as he loved uniting people in a common cause, he loved a good party.
Admired and beloved by many, he is survived by his wife of 58 years, Rebecca, of Millerton, New York; his son Wynne Morriss and wife Suzanne of Hastings-on-Hudson, New York; daughter Katrina Busselle and husband Ney Marks da Silva of Cold Spring, New York; and son Max Busselle and wife Juliet of Los Angeles, California; his twin sister Harriet Barrow of Vineyard Haven, Massachusetts, and sister Polly Bishop of Brooksville, Maine. He was predeceased by sister Lucy Myers. He will be dearly missed by his five adored grandchildren, Nick, Julia, Olivia, William and Alexandra, and nieces and nephews, Whit, Steve, Rob, Samantha, and Scott and their families.
A gathering will be held to celebrate Sam’s life at 1 PM on Sunday, August 30, 4511 Route 199, Millerton. Kindly respond to Rebecca, beccabuss@gmail.com. Donations in his memory may be made to the North East Community Center, www.neccmillerton.org.
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Astrid Daphne Satre
Lakeville Journal
Aug 11, 2026
SALISBURY — Astrid Daphne Satre passed away peacefully on July 25, 2026, in Sarasota, Florida, after spending the last year and a half at a rehabilitation center. She was 87 years old.
Born on April 11, 1939, in Salisbury, Connecticut, Astrid was the only daughter of Astri and Magnus Satre. Her parents emigrated from Norway in the early 1900s and settled in Twin Lakes, Connecticut, where she spent her childhood surrounded by the beauty of the Berkshire foothills and the rich Norwegian heritage that remained an important part of her identity throughout her life.
Gifted with artistic talent from an early age, Astrid attended the University of Denver, where she earned a degree in Art. She began her professional career in New York City as a commercial artist, but her adventurous spirit soon led her in a different direction.
In 1963, Astrid joined Norwegian Cruise Line, embarking on an extraordinary chapter of her life. She sailed around the world six times, visiting countless countries and experiencing cultures across the globe. Along the way, she formed lifelong friendships with people who remained dear to her throughout her life.
In 1969, Astrid married and later became the proud mother of two children, Vibeke and Vidar. After her marriage ended, she devoted herself to raising her children on her own in Norway. Her strength, determination, and unwavering love provided them with a secure and caring home, and her example of resilience left a lasting impression on both of them.
In 2005, Astrid returned to the United States to reconnect with her roots. She divided her time between Connecticut and Florida, enjoying the changing seasons of New England and the warmth of the Florida sunshine. It truly gave her the best of both worlds.
Creativity remained a constant throughout Astrid’s life. Whether through drawing, quilting, or sewing, she found joy in making beautiful things with her hands. Her artistic eye, patience, and attention to detail were evident in everything she created, and many family members and friends will cherish the quilts and handmade gifts she lovingly shared.
Astrid will be remembered for her adventurous spirit, her creativity, her quiet strength, and her deep love for her family and friends. From a small town in Connecticut to voyages across the world’s oceans, she lived a life filled with curiosity, courage, and meaningful connections.
She is survived by her daughter, Vibeke; her son, Vidar; and many dear friends in both the United States and Norway whose lives were enriched by her kindness, warmth, and enduring friendship.
Her family finds comfort in knowing that her remarkable journey came full circle—from the Norwegian heritage that shaped her family, to a life that crossed oceans, and finally back to the country where her story began.
She will be deeply missed and forever remembered.
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‘So Little to Do,’ so much to discover at James Barron Art
Natalia Zukerman
Aug 06, 2026
Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.
Photo by Natalia Zukerman
“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:
“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”
Curated by Deborah Goodman Davis, the exhibition borrows Dickinson’s meditation on the natural world as both its title — with a subtle shift — and guiding principle. The exhibition gathers more than 30 contemporary artists whose work examines flowers, leaves, insects, landscapes and changing light — not through scientific observation, but through memory, imagination and deep attention.
“I started spending so much time in the country that I began seeing things differently,” said Davis, a Montreal native. “I became drawn to artists who were also looking at nature.”
Davis has spent decades working in museums, galleries and as an art advisor, including positions at the Art Institute of Chicago, Yale University Art Gallery and with influential dealer Jeffrey Deitch, before returning to curatorial work in recent years. This is her third exhibition with James Barron Art, following last year’s “Boundless Color.”
The exhibition’s emotional anchor is Dickinson’s poem, which marvels at grass, butterflies, bees and sunlight while imagining a life devoted simply to existing in the natural world. The poem, and its simple and reverent message, echoes throughout the exhibition.
Spencer Finch’s drawing titled “Following Three Bees (Zinnias)” tracks the movement of three bees as they moved from flower to flower in the artist’s garden. Standing on a ladder, Finch patiently followed their movements, recording each insect’s path with a different line.
Montreal-based painter Veronika Pausova’s luminous moth paintings next to Finch’s work carry a thread — literally. Whether Pausova was familiar with Finch’s drawings before creating her painting “Cabin’s Moon,” commissioned by Davis for this show, is unknown, but the placement is certainly intentional. Davis’ thoughtful curatorial approach creates conversations, quiet whispers and surprisingly funny moments throughout the space.
Toba Khedoori, an Australian-born artist of Iraqi-Jewish heritage, contributes exquisitely detailed mezzotints that transform ordinary grasses into monumental landscapes. “Imagine rolling in the grass before ticks,” Davis said with a laugh. One is left longing for such a simple pleasure, the work inviting viewers to imagine a connection to the natural world that feels both familiar and increasingly distant.
One of Wassaic Project co-founder Eve Biddle’s ceramic snakes slithers up a nearby side wall, while internationally recognized artists including Ellsworth Kelly, Alex Katz, Lois Dodd, Kiki Smith and Charles Gaines offer their own interpretations of leaves, flowers, trees and changing seasons.
The exhibition also highlights several artists with local ties. Yale Norfolk School of Art co-director Byron Kim contributes one of his contemplative “Sunday Paintings,” documenting the sky over Norfolk alongside personal diary-like observations.
One of the show’s most unexpected works isn’t visual at all.
Inspired by Dickinson’s line, “And even when it dies to pass / In odors so divine,” Davis commissioned Brian Goeltzenleuchter, an interdisciplinary artist working at the intersection of olfactory art, social engagement, and image making to create a scent for the exhibition. “The grass so little has to do, I wish I were the hay!” wrote Dickinson, so Goeltzenleuchter created the scent of fresh hay specifically for the exhibition. Fragile glass vials sit in a bed of marble, waiting to be broken to release the scent, which also lives under a glass enclosure dewy with its fragrance. The faint odor permeates the gallery, adding an immersive sensory layer that extends the show’s meditation beyond sight alone.
There are quieter surprises throughout: concrete casts preserving cherry blossoms that will slowly fade over time by Japanese artist Motohiro Takeda; carvings of owls in Arctic marble by Sam Akesuk, an Indigenous artist from Kinngait (Cape Dorset); paintings of moonlight; the intricacy of spider webs placed next to a graph-like drawing of a tree; and Kiki Smith’s shadow of birds by the windows overlooking the majestic scenery of Barron’s property.
For Davis, the idea for this show has been growing since she began spending more time in the Northwest Corner.
“It’s been percolating for six years,” she said.
The resulting exhibition rewards viewers willing to do the same.
“The Grass Has So Little to Do” is on view at James Barron Art in Kent through Sept.12. By appointment only. Email maria@jamesbarronart.com or call (917) 514-3762. For a catalog of the exhibition, visit jamesbarronart.com.
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Marina Kotchoubey is taking care of business
D.H. Callahan
Aug 06, 2026
Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.
Photo by D.H. Callahan
After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.
Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.
Sometime in the mid-2010s, with grandkids accumulating, he started to picture a future away from the shop. It was getting time to step away and enjoy what he insists is one of the most beautiful parts of the world: the Northwest Corner of Connecticut. But just because he was aging out of the job didn’t mean his employees needed to as well.
Ingersoll recognized the home he’d built for these creative experts — a place where they, too, could make their livings building masterworks of fine furniture. So, for his next big challenge, he began the search for someone he could trust to take what he’d made and build it even better. After searching for quite some time, he decided to look next door.
Technically, Marina Kotchoubey grew up in Manhattan but she spent weekends and summers in Cornwall, Connecticut, feeling more at home amongst the woods and rivers of Litchfield County than in the subways of the city. But business opportunities kept her away from making her permanent home in the region.
After college, Kotchoubey moved to Paris to run the U.S. branch of children’s fashion brand Petit Bateau. At the young age of 23, it was a job she wasn’t ready for. But that’s where Kotchoubey finds her creative challenges.
By pairing the experience of her peers and coworkers with her razor-sharp intuition, Kotchoubey ran the brand with seamless expertise despite her lack of experience. She jumped into the deep end of the pool and challenged herself to swim. For seven years, she swam like an Olympian.
After her time in France, she felt ready to finally make a home in Cornwall. With no career or even job lined up, she approached several local businesses around the Northwest Corner and offered to help out in a consulting capacity. After years of challenging conditions in the deep end, this seemed like calm, shallow waters. And that’s when her neighbor, Ian Ingersoll, approached her.
At first, he was looking for a little help with business issues. Ian Ingersoll Cabinetmakers was doing well, but a younger customer base of homeowners and interior designers weren’t as keen on classic Shaker furniture. Though the studio had already started to diversify their offerings, Kotchoubey was instrumental in implementing a smooth transition to other styles of furniture. Ingersoll saw that, thanks to her breadth of experience and enterprising vision, she could take the baton and run with it.
In 2025, he handed her the keys.
When she took the reins, Kotchoubey saw two new ways forward. She could shake things up and pivot the shop toward installations and on-site custom builds. This would require new equipment, new clients and possibly new craftsmen. The other path leaned into what she had already helped the company do: expand its offerings and cater to a new, less traditionally minded clientele.
With confidence in her craftsmen and the reputation their work has garnered, she resisted the urge to pivot and instead relied on what makes Ian Ingersoll Cabinetmakers great — high-quality furniture made by expert craftsmen.
The journey isn’t quite as easy as it sounds. There are great challenges that come with being a young woman in an older man’s world. Firstly, she had to win the respect of her employees, despite not sharing in their skills and know-how. She accomplished that, once again, by listening to the experts and not forcing her vision on a remarkably capable group. The woodworking side of things might be new, but her ability to swim in unknown waters has proven unflappable throughout her career.
Now in its sixth decade of operations, Ian Ingersoll Cabinetmakers shows no sign of slowing down. Kotchoubey’s leadership is finding new customers by expanding on the reputation of the work. With increasing demand and a steadfast commitment to slow, quality jobs, don’t expect to pop into their West Cornwall showroom and leave with a piece anytime soon. Lead times on custom creations range from 12 to 16 weeks, but if things keep going the way they are, that wait could get even longer.
To see some of the company’s offerings, visit ianingersoll.com.
Marina Kotchoubey at the Ian Ingersoll Cabinetmakers.Photo by D.H. CallahanKeep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival
D.H. Callahan
Aug 06, 2026
One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.
The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.
But the Stoeckels went even further. They took it upon themselves to pay for everything from trains and coaches for American musicians to trans-Atlantic crossings for European composers, and even rented instruments when needed. They never told anyone what it all cost and worked hard to keep their names off the buildings and mastheads, instead directing all credit to the Litchfield County Choral Union.
Upon her death in 1939, widowed Ellen Battell Stoeckel bequeathed the entire operation to the Yale School of Music. Since then, Yale has operated the Norfolk Chamber Music Festival at the iconic property, with only modest renovations made in 2024.
This year, the Festival is looking to the past for inspiration as it presents its “Anniversaries” program, featuring performances dedicated to celebrating history. On Saturday, Aug. 1, the Festival looked back 200 years with pieces written in 1826 by Schubert, Beethoven and a 17-year-old Felix Mendelssohn. The previous evening focused on the Music Shed itself, with repeat performances of works by Sibelius, Coleridge-Taylor and even Rachmaninoff, all of whom graced the shed with their presence.
On Aug. 8, the festival will celebrate its final anniversary of the season: America’s 250th. The program will feature a world premier by Juilliard-trained composer and pianist Nahre Sol. The piece is part of the Festival’s Musical Bridges project, which commissions music inspired by the American West.
Apart from the anniversaries, there’s still more music to come. Friday, Aug. 7 will feature pieces by Haydn, Holcomb, Schoenberg and Shostakovich. On Aug. 14, works by Beach, Childs and a little more Haydn will be performed with Melvin Chen on piano. Oboeist Stephen Taylor will join William Purvis and the Norfolk Fellows for an evening of Johann Sebastian Bach’s Brandenburg Concertos on Saturday, Aug. 15. The culmination of the season happens on Saturday, Aug. 22 with a musical tour of choral masterworks from the Renaissance through today, featuring the Norfolk Festival Chamber Choir and Orchestra.
Of note is the Festival’s new collaboration with locally based fashion brand BODE. While no robber barons — or even modern-day rocketship billionaires — it’s nice to know the spirit of musical altruism lives on in Norfolk.
To learn more, head to norfolkmusic.org.
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Two unique exhibitions at Geary Gallery
D.H. Callahan
Aug 06, 2026
Henry Klimowicz with his sculpture, “Partial Pillar 1”
Photo by D.H. Callahan
On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.
On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.
Her daughter found Lobitos, a small surfing village on Peru’s coast that has taken on multiple identities throughout its history, including a booming era as an oil town in the 1800s and later as a military outpost before becoming the small fishing and surfing community it is today.
While visiting her daughter, Moore befriended a local artist named Inti. The bulk of the photos on display are of murals Inti painted on Lobitos’ crumbling infrastructure, as well as the horses who live at the equine therapy retreat where Moore’s daughter works and lives.
Directly above Moore’s photography exhibition is “Methods of Proceeding,” a show by local multi-disciplinary artist and curator, Henry Klimowicz. Coming from a room full of photographs of easily decipherable places, people and animals, Klimowicz’s work is anything but obvious.
The room is carefully populated with amorphous structures made from shreds of cardboard and hot glue. The cardboard was sourced from a furniture shop in Millerton, just down the road from Klimowicz’s own art space, the Re Institute.
The Re Institute is known for making the inaccessible accessible. Its “gift shop” features a wide variety of artworks, all priced under $750. “Methods of Proceeding” seems to do the opposite — taking one of the most common materials available in our modern era of online shopping, and the shipping waste that comes with it, and making it less accessible by forming it into curious structures that can resemble a panoply of ideas depending on the viewing angle.
Larger structures are mostly called “Partial Pillars,” with smaller “Truffles” and “Pebbles” scattered around the ledges and corners of the room. Alongside the cardboard and glue sculptures is a series of colorful monoprints that mirror the wild patterns of the sculptures.
Both shows will remain on view at the gallery until Sept. 27, when Moore will return for a discussion about her work. For more information about the artists and the gallery, visit geary.nyc.
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