Brandywine Catalyst, Fall–Winter 2017

CATALYST FALL-WINTER 2017. VOLUME 45. NUMBER 3

HELP US TO THE FINISH LINE!

Milestones & Traditions Cover & above: Waterloo Mills Preserve

IN THIS ISSUE 4

Brandywine Members: A Legacy of Support

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Twenty Years at the Waterloo Mills Preserve

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Waterloo Mills Preserve: An Outdoor Living Laboratory

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Dylan Gauthier: highwatermarks

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The Way Back: The Paintings of George A. Weymouth

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Leading the Way for Land Preservation

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Trains and A Brandywine Christmas

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Volunteers: The Heart and Soul of Brandywine

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The Wyeth Tradition at the Brandywine River Museum of Art

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Memorials & Tributes

This publication is printed on green-certified papers made from 100% postconsumer fiber and manufactured with alternate fuels, using Agri Based inks. By using eco-friendly paper, this issue of Catalyst will save many valuable resources: 14,491 gallons of water; 970 lbs. of solid waste; 2,672 lbs. of emissions.

Catalyst is published semi-annually by the Brandywine Conservancy & Museum of Art, a public charity founded in 1967. It is sent free to all members. Questions may be directed to Marketing & Communications, P.O. Box 141, Chadds Ford, PA 19317. © 2017 Brandywine Conservancy & Museum of Art. Brandywine Conservancy & Museum of Art is registered with the Commonwealth of Pennsylvania under the provision of Act No. 1990-202. Solicitation of Funds for Charitable Purposes Act. A copy of the official registration and financial information may be obtained from the Pennsylvania Department of State by calling toll-free, within PA (800) 732-0999.

Registration does not imply endorsement.

After four years, the Brandywine Conservancy & Museum of Art is near the end of the biggest fundraising campaign in its history! We’re now less than $450,000 away from meeting our $36,500,000 goal. Contributions to the campaign have supported many important recent programs, including our record breaking exhibition Andrew Wyeth: In Retrospect, and have also added considerably to Brandywine’s endowment – providing critical funding for land and easement acquisition, the creation of an art acquisition fund, and the naming of two senior positions, The James H. Duff Museum Director and The Frolic Weymouth Executive Director & CEO. As we close out our milestone 50th anniversary year, you can help us get to the finish line by making an additional contribution by December 31, 2017. Your generosity will ensure we meet our ambitious goal and that the future of the Brandywine Conservancy & Museum of Art is secure for the next fifty years and beyond.

To make a donation, please visit us at brandywine.org/brandywine/support or call 610.388.8349.

The Brandywine Conservancy & Museum of Art is happy to share some new and exciting changes to Catalyst! In this issue, and the ones to follow, a new pull-out calendar features six months of upcoming events and programs to allow members to plan ahead and join us throughout the year—it’s also perfect for tacking onto a bulletin board or a refrigerator. With this addition, Catalyst will also shift to two issues per year: Fall/Winter and Spring/ Summer. Each issue will be longer and packed with thematic and engaging content. We hope you enjoy these new features as we continue to improve the magazine for our members.

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Dear Friends, What a momentous year we have had at the Brandywine Conservancy & Museum of Art! During the Flashback to 1967 panel discussion, we heard that from the beginning, a focus on historic preservation, conservation, planning and art were all on our founders’ minds and shaped the plans that enabled us to grow to what we are today. While we are unique in the blend of our programs, our success has been shaped by some common themes. Our work in presenting great works of art and protecting the natural world are both sources of inspiration. Fifty years of achievements have been enabled by the contributions and hard work of many people, often by uniting a widely diverse group of people around our shared commitment to conservation and art, frequently having fun along the way.

Our celebrations continue throughout 2017 and included our 50th Anniversary Gala – Frolic in the Garden. With the Brandywine Courtyard transformed into the gardens at The Big Bend, we celebrated our first fifty years and set our course for the next five decades. The weekend was capped with Herb and Natalie Kohler’s gift of a remarkable portrait of Frolic Weymouth by Jamie Wyeth—especially touching and fitting as the gala celebrations coincided with the first anniversary of Frolic’s death. With the portrait to remind us of how he touched our hearts and shaped our world, his visionary leadership continues to inspire our work.

In our first fifty years, our permanently protected lands have risen to more than 63,000 acres. On April 29, when we dedicated Founders’ Grove in Potts Meadow, we stood on the parcel of land acquired in 1967 as the beginnings of our expansive preservation and conservation work. As a symbolic moment, it was exciting to also dedicate both the grove of three Sycamore trees honoring our three founders and the Harvey Run and Artist Studio Trails.

Now visitors to the Chadds Ford campus have more than five miles of walking trails where they can experience the preserved natural lands and learn about our work as they literally walk in the footsteps of the artists.

Among these artists is Andrew Wyeth, whose work we celebrated in grand fashion as the artist’s centennial coincided with our 50th anniversary. Our groundbreaking Andrew Wyeth: In Retrospect exhibition featured over 100 works that spanned the artist’s entire career. The exhibition opened to public and critical acclaim, and brought in record numbers of visitors from around the world during its three-month run. The United States Postal Service also teamed up with Brandywine to launch a set of 12 commemorative stamps of Andrew Wyeth’s paintings, released at a first day of issue event on July 12, what would have been the artist’s 100th birthday.

As we close the chapter on our first fifty years and look ahead toward the years to come, we reflect on the milestone moments, cherished traditions, and the many people who have brought us to this occasion in time. The articles you’ll find in this issue of Catalyst highlight some of these early moments and achievements, and how far we’ve come over the years. We take you back to where our story began with the Brandywine’s first conservation easements, and then to the development of the Museum with the support of the Wyeth family. You can find out how we acquired Waterloo Mills twenty years ago, and our work to turn it into a nature preserve and an educational resource for local schools. We also celebrate the incredible legacy of support created by our Brandywine volunteers and our longtime members, and we explore how some Brandywine traditions began, such as A Brandywine Christmas, building a lifetime of memories that many of our members and volunteers cherish dearly and have reflected on. Threaded along the bottom of the pages in this issue, a timeline of our major achievements will take you through fifty years of milestones.

Brandywine is made stronger by the community of members who have been such an important part of our success in our first fifty years. We look forward to having you, our loyal members, by our sides as we continue to present, protect, conserve and inspire through our mission and work.

Virginia A. Logan The Frolic Weymouth Executive Director & CEO

Timeline of major achievements 1967 Conservancy is founded and Potts Meadow and Hoffman’s Mill are purchased.

1969 First four easements are acquired on contiguous properties that protect 338 acres and over five miles along both banks of the Brandywine. They are given by Frolic Weymouth; Harry G. Haskell Jr.; Mr. and Mrs. Ford B. Draper; and Mr. and Mrs. James B. Wyeth.

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Brandywine Members:

A Legacy of Support In March, a crowd of longtime Brandywine members joined Executive Director, Virginia Logan, for Flashback to 1967 — an enjoyable evening featuring one of Brandywine’s founders, Francis I. du Pont, and one of its founding trustees, Hal Haskell, who engaged the audience with stories of how the Conservancy and Museum were conceived of and developed during the early years.

When looking back on fifty years of treasured memories at the Brandywine Conservancy & Museum of Art, it’s remarkable to think how much has been accomplished.

Equally remarkable is the unwavering support we’ve received over the years from dedicated members like you.

Brandywine members have been here every step of the way, helping to celebrate special traditions, welcome new exhibitions, participate in tree plantings and river cleanups, and supporting efforts to protect and preserve open space — making our dual mission of art and nature a reality.

As evidence of an incredible legacy of support that continues to keep the Brandywine moving forward, we discovered more than 100 people who have been Brandywine members for 25 years or more. We are forever grateful to these longtime members and their decades of heartfelt dedication to our mission. In recognition of their support, we asked a few to share some of their favorite Brandywine memories and what has kept them returning year after year.

1970 $1.2 million renovation project to convert Hoffman’s Mill into a museum begins.

Andrew and Betsy Wyeth donate nine works to launch the Museum’s permanent collection.

1971 Brandywine River Museum of Art opens to the public.

More than 170,000 people visit the inaugural exhibition, The Brandywine Heritage.

MEMBERS FOR 25+ YEARS

“I took the last photograph of my father in August 1971, standing in the back of the Museum along the Brandywine,” Richard G. Bickel, Jr. recalled fondly. The Conservancy’s open space and land use programs are his favorite to support, and the special exhibitions at the Museum have kept him coming back each year.

MEMBER FOR 30+ YEARS

MEMBER FOR 25+ YEARS

Pat McGrail remarked that Brandywine “stands out in this area because of the depth and quality of its programs, its ambience, and the cordiality and knowledge of its staff,” and noted that “its holistic relationship between art and the environment exudes a charm that has attracted artists and visitors throughout the years.”

Bob and Sandy Nutting love “being able to walk/run [their] dogs almost daily” in the Laurels Preserve, and “discovering Christmas at the Museum with [their] grandchildren.”

Alix W. Hopkins notes that while she left Pennsylvania in 1991, Brandywine is the only organization that she has stayed a member of in the state. Her favorite memories through the years include “walking in the Laurels; seeing all the Critters on the trees at Christmas time; and Andrew Wyeth’s Ides of March: The Making of a Masterpiece exhibition.”

MEMBER FOR 35+ YEARS

MEMBER FOR 35+ YEARS

Larry Wood says it’s Brandywine’s “dedication to the arts and environment” that kept him renewing his membership for more than 35 years.

MEMBER FOR 30+ YEARS

MILESTONES & TRADITIONS

Linda K. Prickett, one of the Brandywine’s earliest board members, recalled her favorite memory was when founder George A. “Frolic” Weymouth “saw the old mill years ago and explained what he wanted to do.” The Museum’s “outstanding programs and exhibitions” are why she continues to support Brandywine.

No matter if you are a first or a fifty-first year member, we are happy that you consider the Brandywine Conservancy & Museum of Art an important part of your life. We hope that whenever you visit, you are reminded of the legacy that you have helped to build. For that, we say, “Thank you!” and look forward to Richard G. Bickel, Jr. holds the last photo taken of his father in the same location along the Brandywine River.

1972 A Brandywine Christmas opens for the first time.

Museum Volunteers’ Antiques Show debuts.

celebrating the next fifty years! n

1973 Mile-long river trail from Museum to John Chad House opens.

The Museum’s model train display is shown for the first time at Christmas.

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Twenty Years at the Waterloo Mills Preserve Located just fifteen miles west of Philadelphia, the Brandywine Conservancy’s Waterloo Mills Preserve encompasses over 170 sprawling acres of open land. Visitors can hike past an 18th century historic village, wildflower meadows, fertile marshes, mature woods and over a mile of meandering creek.

MILESTONES & TRADITIONS

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Before its days as a nature preserve, Waterloo Mills was an established agricultural-based hamlet nestled along Darby Creek. As residential and commercial development began to encroach on areas surrounding the property, this precious land would likely have been developed for suburban housing had it not been for some delicate negotiations and a generous land easement donation by the late John C. and Chara Cooper Haas in 1998. The land had long been a source of enjoyment for the Haas family, and they wished to ensure that the natural beauty of Waterloo Mills would be protected for future generations to experience.

The Conservancy converted this generous gift of land into a beautiful nature preserve protecting the existing natural and historic resources while promoting educational and scientific research, creating a thriving wildlife habitat, and providing a source of recreation. As we celebrate the 20th anniversary of acquiring the property, we’re reminded— through an interview from 1998—of the grand vision the Haas family had for this beautiful piece of Chester County.

Walking along the trail past the millpond at Waterloo Mills, into a meadow where a row of white pines were planted, Mr. Haas pointed out and remembered planting the trees with his father. The persimmon tree he examined was planted to provide food for wildlife and hopefully a snack for himself if he could beat the foxes to the fruit. At the top of the hill, the Chestnut and Red Oaks were given to him by the Pennsylvania Game Commission and planted over the summer when he was a boy. His mother loved the flowers of a Yellowwood tree, so they planted them together at the end of the trail near Waterloo Road. “My mother loved the place and took a great interest in keeping it up and managing it,” noted Mr. Haas. “I have a real fondness of the property because it has been a big part of my life as far back as I can remember.” Listed on the National Register of Historic Places, the village of Waterloo Mills contains an old gristmill, a barn, a wheelwright and blacksmith’s shop, and two houses. Remnants of a hand-dug mill race that transported water from Darby Creek to the gristmill can still be seen within the Preserve.

John C. and Chara Cooper Haas Photo by Jonathan Wilson

1975 Museum acquires six paintings of Siri Erickson by Andrew Wyeth.

In donating the property to the Conservancy, the late Mr. and Mrs. Haas noted that while encroaching residential development was “inevitable,” they felt that sharing the land with others was “the natural thing” to do. “We’re very fortunate and grateful to be able to make the Preserve possible,” remarked Mrs. Haas at the time. “It’s beautiful land and just driving by is nourishing. We have a deep satisfaction knowing that people will be able to use it for years to come.”

1976 Tri-County Conservancy changes name to Brandywine Conservancy; the millstone logo is adopted.

1977 First McCoy doll display is presented at the Museum as part of A Brandywine Christmas.

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“It’s beautiful land and just driving by is nourishing. We have a deep satisfaction knowing that people will be able to use it for years to come.”

Through the years, many have benefited from the Haas family’s vision for Waterloo Mills. Members of the Brandywine Conservancy & Museum of Art can walk a network of trails installed throughout the property.

Stepping stones and a puncheon log allow visitors to ford small streams along Darby Creek. A diversity of wildlife, ranging from whitetail deer to turtles and migratory birds, call the Preserve home, as well as a fascinating variety of beautiful native plants.

1978 Landscaping with Native Plants in the Mid-Atlantic Region, a groundbreaking book, is published by the Conservancy.

Local schools and other educational institutions work with the Conservancy to use the property as an outdoor laboratory and classroom. Dozens of primary and secondary schools, colleges and universities are located within a few miles of the land, and many of these have developed high-quality environmental education programs. With Waterloo Mills Preserve permanently protected as a “forever land,” there is a unique ability for long-term scientific experiments and research.

The impact of Waterloo Mills Preserve over the past twenty years is significant. Whether walking the property in hopes of finding a rare specimen or just hiking for recreation, the natural beauty and resources of this land will remain preserved forever due to the forward-thinking vision and generosity of John C. and Chara Cooper Haas. We imagine they would find tremendous joy in knowing the passion and dedication invested in protecting Waterloo Mills Preserve, and the staff, partners, members, landowners, and donors who have come together to make their dream a reality for us all. n

1979 Museum is accredited by American Association of Museums.

Native plant gardens are dedicated to Ford B. Draper and Henry A. Thouron by Lady Bird Johnson.

MILESTONES & TRADITIONS

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WATERLOO MILLS PRESERVE: AN OUTDOOR LIVING LABORATORY For thirty-one years, the nationally and internationally recognized Radnor “Watershed” Integrated Learning Program has replaced the traditional 7th grade curriculum at Radnor Middle School, in Wayne, PA. Through this innovative program, science, math, history, and language arts concepts are applied via a comprehensive study of a local watershed involving both classroom activities and site visits.

Since 2005, Waterloo Mills Preserve has functioned as an outdoor classroom for the Watershed program, with students embarking on an extraordinary breadth of subjects and projects. Over a 10-year period, students have completed thorough biological and chemical samplings of Darby Creek at Waterloo Mills Preserve. They’ve also installed a butterfly garden; planted trees and shrubs along the Creek as riparian buffers; measured the density of amphibian eggs in wetlands; and even reared Brook Trout from eggs in the classroom to release into the Creek with the help of the Pennsylvania Game Commission.

Beyond the Watershed program, other scientific research projects at the Preserve extend to graduate students from the University of Delaware, Cornell University, and Villanova University. Students at Stratford Friends have planted trees and constructed Bluebird, Wood Duck, and American Kestrel boxes. Delaware County Christian School has held multiple faculty trips and summer camp stewardship programs throughout the years. The Episcopal Academy has also used the Preserve for their field ornithology classes. In addition to schools, Waterloo Mills Preserve serves as a resource for the Girl Scouts and Boy Scouts of America in obtaining scout badges, and has been the beneficiary of more than a dozen Eagle Scout projects. n

1980 U.S. Department of the Interior presents the Heritage Conservation Achievement Award to the Conservancy.

Amanda K. Berls and Ruth A. Yerion donate 42 important works of art, enhancing the Museum’s collection of landscape and still-life painting.

1981 Museum’s 10th anniversary is celebrated with the opening of the Andrew Wyeth Gallery.

First Native Plant & Seed Sale is held.

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Film still from highwatermarks, 2017, 4k video installation, dimensions: 60’ x 10’, r/t: 70m

DYLAN GAUTHIER:

highwatermarks 1982 Brandywine Conservancy and other land trusts across the nation join together to create the Land Trust Alliance.

N.C. Wyeth’s children donate their father’s house, studio, and 18-acre property to the Museum.

Jane Collette Wilcox donates more than 300 works of American illustration.

1984 The Conservancy establishes the King Ranch project to protect 5,367 acres and important water resources in Unionville through conservation easements.

MILESTONES & TRADITIONS

Above: Dylan Gauthier Right: Film still from highwatermarks, 2017, 4k video installation, dimensions: 60’ x 10’, r/t: 70m

Now on display through January 7, 2018, Dylan Gauthier: highwatermarks is the Brandywine River Museum of Art’s inaugural video exhibition and the culminating project from the Museum’s first artist-in-residence, Dylan Gauthier. Transforming the third floor gallery with a sixty-foot long floor-to-ceiling multi-channel video and sound projection, highwatermarks traces the path of the Brandywine River and documents the local communities through which it flows. The result is an immersive experience that transports visitors into the intersection between art and nature.

“The video is at once a portrait of place, the Brandywine River region, and an ethnographic portrait of the community of people who live there, use the river, and find themselves drawn to it. Brandywine means many things to many different people; this film intends to share a little bit from each of them to each of them.”

– Dylan Gauthier

highwatermarks presents the river and its people through four seasons, blending views of the Brandywine landscape with on-water footage filmed from a small boat constructed by the artist earlier in his residency.

Shot entirely on location in the Brandywine Watershed and surrounding region, the video follows the flow of water from the river’s source among the farms of Honey Brook Township, PA, through industrial towns like Coatesville and the rolling hills of Chadds Ford, to Wilmington, Delaware, where it feeds the city’s public water supply.

The artist’s project was a yearlong collaboration that focused on key aspects of the Brandywine Conservancy’s activities in water protection. Throughout the duration of his environmental art project, Gauthier used a combination of video, sculpture, performance and digital media to engage with the river as a public site. His residency investigated the relationships between image and landscape, policy and ecology, and community and conservation in the Brandywine River Valley.

Dylan Gauthier is a Brooklyn-based artist, curator, and writer whose work explores ecology, architecture, collectivity, time, media and networks, and utopian systems. He teaches at Hunter College of the City University of New York. n Support for this project has been provided by Yaverland Foundation

1984 Expansion of Museum brings a doubling of its size.

“Critters, Angels, and Stars” decorate the White House Christmas tree (this event led to the first Critter Sale).

1985 The 770-acre Laurels Preserve is donated to the Brandywine.

Andrew and Betsy Wyeth donate 117 works to the Museum by 14 artists.

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The Way Back: The Paintings of George A. Weymouth A BRANDYWINE RIVER VISIONARY JANUARY 27 – JUNE 3, 2018

August, 1974, tempera on panel, 48 x 48”. Gift of George A. Weymouth and McCoy du Pont Weymouth in honor of Mr. and Mrs. George T. Weymouth, 2017. © George A. Weymouth

1986 Brandywine Conservancy-held easements exceed 10,000 acres.

1987 An American Vision: Three Generations of Wyeth Art exhibition, organized by the Museum, travels to five countries and nine cities.

1988 Major grants secured for Greenways-Watershed program.

MILESTONES & TRADITIONS

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Chicken Fight, ca. 1948, oil on canvas, 9 x 12”. Mac Weymouth. © George A. Weymouth.

George A. “Frolic” Weymouth (1936–2016) was perhaps best known for his philanthropic endeavors, in particular as one of the founders and long-time chairman of the Brandywine Conservancy & Museum of Art. He was also a remarkable artist. Much like his friend and artistic mentor Andrew Wyeth, Weymouth was very private about his painting.

Also, as they were for Wyeth, his subjects tended to be friends and family and the scenery that surrounded him daily—in Weymouth’s case the bucolic landscape of his estate in Chadds Ford. Artists going back to the 19th century, among them Jasper Cropsey and William Trost Richards, have celebrated the beauty of the

region. Weymouth both carried on that tradition and created its next chapter. It is especially fitting, then, for the Brandywine River Museum of Art to organize the first comprehensive exhibition of Weymouth’s artistic career and examine his contribution to American painting.

The Way Back: The Paintings of George A. Weymouth will feature sixty-five of Weymouth’s best works chosen by guest curator Joseph J. Rishel. The selection reveals the breadth of the artist’s visual investigations across many mediums.

Weymouth expressed an early interest in art, encouraged by his mother, Dulcinea “Deo” du Pont, herself a

painter. Formal training came when he took art classes while at St. Mark’s School and later at Yale University. As the exhibition will display, his early oils, such as Chicken Fight, 1948, reveal a loose, energetic style and monochromatic palette. For the rest of his career Weymouth, mentored by Andrew Wyeth—whom he met in 1957—worked in both watercolor and egg tempera to create haunting, hushed landscapes such as August, 1974, and Swelter, 2011, that speak eloquently of his passionate love of nature. In these paintings, as in his insightful portraits also included in the exhibition, such as Gathering Storm, 1964, and Portrait of William W. Scranton, 1969,

1989 Pennsylvania designates Lower Brandywine as a scenic river, based on a Conservancy Study.

Conservancy begins Farmland Preservation Program.

1990 Young Friends of the Brandywine, a new generation of members, volunteers and patrons, is formed.

1991 Conservancy develops open space plans for 10 townships in Chester County.

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Weymouth created rich atmospheric effects and demonstrated his skill in capturing varying effects of light. The exhibition will also include a number of pencil and watercolor studies Weymouth did in preparation for his tempera paintings. These rarely seen works will provide a rich understanding of Weymouth’s keen eye and his artistic process.

The exhibition will be accompanied by a fully-illustrated catalogue—the most comprehensive publication to date on the artist—published by the Brandywine River Museum of Art and Rizzoli/ Skira. A major essay by Annette Blaugrund considers Weymouth’s work in the context of the American realist canon and provides insight into his personal artistic vision and his connection to the Brandywine tradition. An introduction by Joseph Rishel, a friend of the artist’s, provides a personal account of Weymouth’s larger-thanlife personality and remarkable achievements as an artist, philanthropist, and leader in conservation. n

Top Left: Portrait of William W. Scranton, 1969, tempera on panel, 31 ½ x 26”. Private collection. © George A. Weymouth Top Right: Gathering Storm, 1964, tempera on panel, 23 ¾ x 22”.

Patricia W. Hobbs. © George A. Weymouth Right: Swelter, 2011, tempera on panel, 47 x 33 ½”. Private collection. © George A. Weymouth.

This exhibition is sponsored by Anson and Debra Beard, Jr., Richard and Sheila Sanford, Mac and Toni Weymouth, and Phyllis and Jamie Wyeth.

Additional support provided by Glenmede and many friends of Frolic.

1992 First Museum education programs offered for families.

Miller Farm (237 acres) is donated to the Conservancy by Henrietta Miller to be preserved as open space and a working farm.

1995 Conservancy named “Conservation Organization of the Year” by the Pennsylvania Wildlife Federation.

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Leading the Way for Land Preservation Over the past fifty years and with outreach in our engaged community, the Brandywine Conservancy has helped facilitate the permanent protection of over 63,000 acres of land from development through more than 470 conservation and agricultural easements—making them “forever lands.” Looking back to our first conservation easement in 1969, it all began with just 52.7 acres of protected land along the Brandywine and the desire of local residents to preserve the beauty and rural character of the Brandywine River Valley.

MILESTONES & TRADITIONS

On February 11, 1969, two years and two days after Brandywine’s legal formation, the Conservancy received its first conservation easement from our founder George A. “Frolic” Weymouth and his wife Ann. The Weymouth donation protected over 50 acres of their land from future development along 1 ¼ miles of the east bank of the Brandywine River—the first contribution to the Conservancy’s ambitious “easement program” to secure the permanent protection of the lands along the Brandywine above and below Chadds Ford. The idea of using conservation easements to preserve land stemmed from the desire to protect the iconic Potts Meadow—the property at the southeast corner of Route 1 and Creek Road— where the construction of a manufacturing plant had been proposed. These efforts stimulated the founding of our organization, which was then named the Tri-County Conservancy of the Brandywine, Inc. Six months after the Conservancy’s founding, the Board of Trustees established a Land Committee to set a geographic scope for Conservancy operations. It was then recommended that land conservation focus first on “the River, its banks and floodplain,” second on an “area from the Brandywine to the top of its adjoining hills,” and third an “area generally west of Route 202 and east and south of Route 52.” The first priority was particularly noteworthy given that local zoning (if it existed at all) did not necessarily prohibit construction within a

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floodplain, and the floodplain fields around Chadds Ford were being eyed for industrial development, including a manufacturing facility and even a rumored oil tank farm.

The Land Committee expected to have some of the land below Chadds Ford under easement by year end which was not an unrealistic assumption given that most of the landowners were on the Conservancy’s Board or closely involved with the institution’s formation. Later Frolic Weymouth recalled that “local landowners were no problem.

We just said we would get it all.”

The Honorable Harry G. “Hal” Haskell, Jr., former Delaware Congressman and Mayor of Wilmington, owned considerable acreage downstream from Chadds Ford across from “The Big Bend,” where Frolic and Ann lived. Haskell was a member of the Conservancy’s first Board of Trustees and the second landowner to donate his land. The Haskell easement was granted just two weeks after Weymouth’s donation, and protected 194 acres of floodplain extending 2 ½ miles along the west bank and 1 ¼ miles along the east bank of the Brandywine. The property was a working dairy farm until 1972. Today, over 95% of the land is under easement, permanently preserving its natural beauty and contributing to local sustainable agriculture. Due to these protections, H. G. Haskell III — one of the next generation of Haskells — was able to continue his family’s legacy when he opened SIW Vegetables in 1986. SIW Vegetables currently supplies fruits and vegetables to area residents, restaurants, and visitors to the Brandywine Valley, including the Millstone Café at the Brandywine River Museum of Art. In April 1969, the Conservancy received its third easement on lands bordering the river from Ford B. and Katharine Draper. The easement protected 46.7 acres of floodplain above and below Twin Bridges, extending three quarters of a mile along the east bank of the Brandywine. Two months later in June 1969, Phyllis and Jamie Wyeth granted an easement conserving 44.5 acres of their land along the west bank of the Brandywine for over a mile nearly to the Delaware – Pennsylvania line.

Given the fact that the Conservancy had only one full-time employee, its director Harold Kenneth Wood, Jr., these

Above: An aerial shot of the main house, barn, and tenant house at “The Big Bend” circa 1960 before it was restored by George Weymouth.

Left: The Draper floodplain meadow near Twin Bridges.

1996 Museum opens the N. C. Wyeth Studio to the public, and it receives designation as a National Historic Landmark.

1997 Transfer of Development Rights Assistance Program for municipalities is established.

1998 Waterloo Mills Preserve is donated to the Conservancy by John C. and Chara C. Haas.

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four easements represent a remarkable accomplishment. Together, they protect 338 acres of floodplain extending nearly four miles along the west bank of the Brandywine and 2 ½ miles along the east bank.

BRANDYWINE RIVER MUSEUM OF ART

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The First Four Easements

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While the Conservancy cannot take sole credit for all the land protected along the Brandywine, if not for the foresight of its founders and the many local landowners who voluntarily conserved their land in those early years, the Brandywine Valley would not be the beautiful place we love and cherish today, and Chadds Ford might have become a minor industrial center. We are grateful to those first four easement donors who led the way for land preservation, and enabled the Conservancy to eventually protect the land, water, natural and cultural resources throughout the Brandywine-Christina watershed. n

ANIA SYLV

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In the years to follow, land protection along the banks of the Brandywine would continue with the granting of conservation easements, purchases of land in fee, and the establishment of public parks and other lands. Today, beginning one mile upstream of Chadds Ford, land protection on both banks of the Brandywine extends without interruption nine miles south into the City of Wilmington, DE.

SEE SIGNS OF YOUR SUPPORT IN ACTION

The Brandywine Conservancy’s stream buffer reforestation efforts have a more noticeable presence with new signs highlighting tree plantings along area streams.

The buffer signs are strategically placed at planting sites to draw attention to the benefits of buffers— including the impact they have in restoring stream health, as well as beautifying the natural landscape.

1998 Karl Kuerner Jr. and his family generously donate the Kuerner Farm to the Museum.

First Tip-A-Canoe and Barbeque, Too! event is held.

All new buffer projects will receive signage during the planting process, and existing projects will have signs placed in the spring and fall months to showcase the emergence of spring leaves and autumn foliage. The signage effort is being coordinated with the Stroud Water Research Center, which partners with the Conservancy on several of the buffer plantings, and conducts its own independent plantings. To achieve our goal of cleaner streams, it takes everyone working together.

Participating landowners are especially crucial to our success and we are thankful for their support.

As you travel the roads this fall, next spring, and in the years to come, keep your eyes out for the signs, and— more importantly—the new buffers as they begin to reforest our streams and deliver improved water quality.

To participate in the Conservancy’s stream buffer reforestation efforts, please contact Grant DeCosta at 610-388-8117. n

2002 The total land under easements held by the Conservancy is more than 30,000 acres.

2003 Conservancy and local preservation groups successfully defeat the Cornog Quarry Project, a plan to divert large amounts of water from the Brandywine.

MILESTONES & TRADITIONS

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Trains and A Brandywine Christmas A look back at how it all began

Jeff Punderson and Kirk Lindvig in 1972 working on the original train layout.

As the November 1980 Catalyst said, “The sound of model trains heralds the arrival of the holiday tradition at the Brandywine River Museum,” and for many families of the Delaware Valley this statement could not be any truer.

For all but one year since the Museum has been open, the trains have been a focal point of the annual holiday season and have become a cherished tradition.

Sprinkled with the beginnings of many holiday traditions at the Museum, A Brandywine Christmas premiered on November 24, 1971. Ann McCoy’s dolls were there along with winter scene paintings by N. C. Wyeth and ornaments made from natural materials, called Critters. Ann and her husband, John McCoy, set up the first doll vignettes: “The Room on

Christmas Day,” “A Doll’s Tea Party,” and “Sleigh Ride.”

Each of the scenes featured Ann’s dolls, doll furniture, and miniature paintings by her husband, as well as George A. “Frolic” Weymouth and Andrew Wyeth. The Critters were not hung on trees that year as they are now; instead they were featured in a diorama called “The Wind in the Willows,” in which a miniature Brandywine River Museum of Art—complete with galleries featuring reproductions of art by Wyeth, Weymouth and John McCoy—was populated by Critter animals. The Daily Mail of Hagerstown, Maryland wrote that A Brandywine Christmas offered “a nostalgic trip into the past, the brightness of the present, and an unusual gathering of the favorite treasures of some who spend their Christmases on the banks of the Brandywine.”

2004 Museum opens the Kuerner Farm to the public.

Second addition to the Museum building is completed; 5 millionth visitor is welcomed to the Museum.

2006 Through generous contributions, the Museum purchases a collection of 19 paintings and two sketchbooks by Jamie Wyeth of famed dancer Rudolf Nureyev, as well as two of his ballet costumes.

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BRANDYWINE CATALYST | VOL. 45, NO. 3

Above and right: Current train display.

Photos by Carlos Alejandro

All the elements of what is now the tradition of A Brandywine Christmas were there save one: the Brandywine Railroad.

The Brandywine broke new ground with its holiday offerings at a time when few attractions in the surrounding states did special programming around the holidays for families. In order to make the Museum even more welcoming to children, it was decided to create a train display. Stanley Williams of Wilmington, Delaware was hired to construct the first model train layout.

Williams was assisted by several local model railroaders, including student Kirk Lindvig, working from July through Thanksgiving of 1972. The Museum’s goal was ambitious: to build a layout from scratch large enough to fill the length of the second floor gallery; have enough trains running to engage visitors; emphasize themes relating to ecology on the layout; and create a related special exhibition. They succeeded and created an HO layout that was built on 18 modules and organized a small exhibition that showed construction of model locomotives from start to finish. A solid-state computer sought to keep five trains running constantly through the rectangular layout. Williams and his

2007 Preservation of much of the Brandywine Battlefield National Historical Landmark is secured.

crew built 100 freight cars, collected foxtails for trees, and used 50,000 wooden ties to support 800 feet of handlaid track on a mahogany roadbed, reinforced by a strip of imitation leather to act as sound insulation. Interestingly, the layout was not ready for opening day, so then-director Andy Johnson installed a black curtain in the gallery doorway allowing visitors only a peek into “Santa’s Workshop.”

Johnson recalled later that the sneak preview only served to build anticipation in visitors for a return visit.

It worked, and while the trains were a hit that first year, the Museum felt that the HO trains and their layout were too small to make a sufficient impact within the gallery and decided to create a more substantial display. Kirk Lindvig, who had worked on the initial display, and Jeff Punderson—both students at the University of Delaware—were retained in June 1973 to develop a substantially larger layout that would fill more of the gallery. Originally called the Black Rock Mountain Railroad (later changed to the Brandywine Railroad), the new train display was inaugurated on November 23, 1973, and featured O gauge track (twice the size of HO) winding through a hilly, fully decorated landscape that included structures and features built by hand. Two years later, the layout was expanded to its

2007 Howard Brokaw, grandson of Howard Pyle, and his family donate 105 works by the artist.

2008 Two-volume N. C. Wyeth Catalogue Raisonné of Paintings is published.

MILESTONES & TRADITIONS

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Above: “The Wind in the Willows” Critter diorama, 1971

current size, which features 2,000 feet of track operated from a central control panel that can operate seven trains simultaneously. Reflecting the Brandywine Conservancy’s land use planning, conservation messages were dotted throughout the original display such as “Strip mining for coal and ores often exposes sulfur-bearing rock to air and water (rain)” and “Reforestation provides habitats for wildlife and eventually timber for building.”

oversight of the train collection and display; remarkably, he would hold that position for almost 40 years. The Museum’s railroad collection now includes 400 train cars, including 100 locomotives. In 2016, David Jensen and Paul Hoerner took the reins and are leading the next major chapter of the Brandywine Railroad, having already added many exciting new features to the layout. This beloved holiday tradition continues. n

After their graduation, Lindvig and Punderson pursued their careers, and in 1979 Steven Clarke assumed

This exhibition is made possible by The Davenport Family Foundation Fund for Exhibitions and Berks Products Foundation. Additional support is provided by Herr Foods, Inc., and The Freylinghuysen Foundation.

ART ONLINE Through a generous grant from the Allegheny Foundation, the Museum will soon launch an online web portal that will allow public access to information and images of the Museum’s collections. The objects will be accessible through the Museum’s website in three sections for users to search and browse: the fine art collection; materials from the Walter & Leonore Annenberg Research Center;

and the N. C. Wyeth Catalogue Raisonné, an extensive compilation of detailed information on the artist’s work.

The curatorial and registrarial staff have been working for over a year to select and evaluate object records, clear copyright permissions, and obtain high quality photography to prepare for the launch of this exciting online tool, which is scheduled for this fall. n

2009 Andrew Wyeth dies on January 16. More than 6,000 people visit the Museum in a weekend for a memorial exhibition featuring Christina’s World, on loan from the Museum of Modern Art.

2010 Betsy Wyeth generously donates the Andrew Wyeth Studio to the Museum.

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Volunteers: The Heart and Soul of Brandywine Since the founding of the Brandywine Conservancy & Museum of Art, volunteers have played a significant role.

Brandywine’s volunteers have always been at the heart and soul of this organization supporting us in a variety of ways. They are as dedicated and engaged today, full of enthusiasm and creativity, just as they were in those first years after our founding—only now in greater numbers.

Many popular traditions were started in those early years with their help, including the annual Antiques Show and the Critter program which have helped us raise over $2.3 million to benefit the Volunteers’ Purchase Fund as well as art education and programming.

“It has been a delight and a privilege to be part of an exceptionally talented group of volunteers creating Critters at the Brandywine River Museum of Art. This has been my ‘happy place’.” — AMN, CRITTER VOLUNTEER

Last year alone, Brandywine’s volunteers clocked in over 32,000 hours by guiding school and adult groups through the Museum; tending the native plant gardens on our campus; collecting, cleaning and packaging native seeds to sell and use in our propagation program; creatively making and selling their natural Critter ornaments; decorating the Museum for the holidays; assisting with educational activities; hosting the Museum’s annual Antiques Show; and supporting us in many other numerous and ever-expanding ways. Their commitment to Brandywine is unwavering, and many of them have been with us for a decade or more of service.

“The volunteer program here is an amazing one. Happily, I count my time as a docent as one of my life’s most fulfilling enterprises.” — CHARLOTTE ROEDE, VOLUNTEER DOCENT

“The camaraderie within this community of volunteers is like no other—it has a spirit of dedication to ‘the on-going mission’ that is filled with heart, industry and knowledge.”

“I cannot express my feelings about volunteering without saying that I have enjoyed every minute of my 26 years at Brandywine, mostly because I have had the pleasure of working with the most amazing people.”

— MARYEILEEN D. PERRI, VOLUNTEER DOCENT

— LYNN WOODS, VOLUNTEER DOCENT

“Ten years ago, I began volunteering at Brandywine in their Critter program. Making these whimsical Critters has given me the opportunity to be creative and to explore our natural world. My soul has been enriched by being part of this volunteer experience.” — LYNNE GINGRICH, CRITTER VOLUNTEER

“For the past 24 years I have felt privileged to be a volunteer at the Brandywine River Museum of Art. My time at the Museum has been rewarding in cherished personal relationships as well as an expansion of my intellect in the art world.” — JUDY MARK, VOLUNTEER DOCENT

2011 Kuerner Farm is designated a National Historic Landmark.

Lands permanently protected by the Conservancy exceed 45,000 acres.

2012 Conservancy receives major grant from National Fish and Wildlife Foundation to work with townships in Oxford community that drain to the Chesapeake Bay.

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RADNOR HUNT RACES

A Spring Tradition

Each year, on the third Saturday of May, nearly 25,000 spectators and fans gather for the Radnor Hunt Races, a rite of spring that dates back to the 1930s. Greeted with great anticipation and revelry, this venerable occasion has become a tradition among those who participate year after year, including many trainers, horse-owners, jockeys and families who have attended as spectators for generations. Event sponsors have partnered with the Races for decades as well, including BNY Mellon—which has been the lead sponsor for over 30 years—and others such as The Bellevue, Saul Ewing, and Subaru which have supported the event for nearly twenty years. Radnor Hunt Races benefits the Brandywine Conservancy and is its largest fund raising event of the year.

“Every time I volunteer I learn something new, share a good laugh or two, and leave knowing I’ve made a difference and I am appreciated. The staff I work with each week has created a genuinely caring and welcoming atmosphere, and that’s why I’ve been there for 19 years and hope for many more.” — BURT ROTHENBERGER, GARDEN VOLUNTEER Numbering over 380, Brandywine’s dedicated volunteers are true ambassadors and an integral part of the organization’s ongoing success. Each year we are thankful that they are poised and ready to support new programs and ideas, as well as those special traditions we value and continue! n

2013 Museum initiates the Imagine Brandywine series of exhibitions featuring the art of area students.

The prestige of $180,000 in purse money brings the best steeplechase horses in the nation together for six exciting races over fences on the W. Burling Cocks Racecourse at Radnor Hunt. Thousands come to see these athletic thoroughbreds compete at speeds of up to 30 miles per hour, while enjoying breathtaking views of the entire racecourse—either from the box seats and corporate tents on the homestretch or from the many tailgating spots.

As one of the top three steeplechases in the spring, the Radnor Hunt Races is a celebrated tradition and offers a unique opportunity to enjoy a day at the races while supporting the programs of the Brandywine Conservancy. n SAVE THE DATE! The 88th Radnor Hunt Races will be held on Saturday, May 19, 2018. Tickets go on sale to the public on March 1, 2018.

2013 Farmland preservation program reaches more than 20,000 acres saved.

Brandywine-Creek Greenway plan is completed.

Conservancy-protected land (owned, easements, and facilitated) exceeds 60,000 acres.

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BRANDYWINE CATALYST | VOL. 45, NO. 3

Andrew Wyeth and Betsy James Wyeth at the opening of The Brandywine Tradition on opening day, June 19, 1971.

Photo credit: susangrayart.com

The Wyeth Tradition

at the Brandywine River Museum of Art Embedded in the earliest conceptions of the fledgling land trust founded in 1967 that would become the Brandywine Conservancy was the development of a museum dedicated to American art, especially artists who have worked in the Brandywine Valley, most notably the Wyeth family.

In a renovated grist mill on the banks of the Brandywine River, the Museum first opened its doors in 1971 with The Brandywine Tradition, a five-month long exhibition that underscored one of the foundational aspects of the nascent collection—a robust focus on the Wyeth family.

For almost three quarters of a century, N. C. Wyeth, Andrew Wyeth and Jamie Wyeth have occupied prominent positions in the history of 20th century American art. The Brandywine Tradition celebrated the family’s achievements and marked the opening of the Museum in Chadds Ford, whose focus on the preservation of art and the environ-

2014 Andrew Wyeth Studio is designated a National Historic Landmark.

ment paralleled the Wyeth family’s abiding commitment to the local community and surrounding landscape.

That first exhibition included such well-known paintings

by N. C. Wyeth as Old Pew, The Road to Vidalia, and The Fence Builders. It featured new paintings by Andrew Wyeth, such as Evening at Kuerners and The Kuerners, and it presented the recent work, such as Draft Age and Portrait of Pig, of the twenty-five-year old Jamie Wyeth.

More than 170,000 people visited the Museum for that landmark exhibition.

In its second year, 1972, the Museum mounted the largest retrospective of N. C. Wyeth’s work to date, filling the mill galleries with over 130 paintings and drawings from public and private collections.

Since those early years, the Museum’s initial dedication to collecting, presenting, and interpreting the art of the Wyeth

2014 Richard M. Scaife bequeaths Penguin Court, a property of over 1,000 acres in Ligonier, Pennsylvania, and half of his important art collection to Brandywine.

MILESTONES & TRADITIONS

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George A. Weymouth, Carolyn Bockius Wyeth and Andrew Wyeth in 1971 at opening of The Brandywine Tradition. Walter & Leonore Annenberg Research Center

family has been unwavering. Acquisition of art by members of the Wyeth family through purchase or gift has always been a top priority of the Museum’s board of trustees.

Among the highlights in the development of the Museum’s internationally known collection of Wyeth family art are N. C. Wyeth’s In the Crystal Depths (acquired 1981), In a Dream I Meet General Washington (acquired 1991), and Bill Bones (acquired 1992); Andrew Wyeth’s Roasted Chestnuts (acquired 1971), Pennsylvania Landscape (acquired 1982), and Adam (acquired 2002); and Jamie Wyeth’s Portrait of Pig (acquired 1984), his suite of paintings and drawings inspired by Rudolf Nureyev (acquired 2006), First in the Screen Door Sequence (acquired 2016) and, most recently, Frolic (acquired 2017). Earlier this year, when the DuPont Company’s extensive art holdings were offered to area institutions, the Museum’s commitment to the Wyeths served as a guiding point in the selection of work leading to the acquisition of N. C. Wyeth’s masterpiece, Island Funeral, Andrew Wyeth’s Master of the Hounds, and Jamie Wyeth’s White House.

The Wyeth family and the Museum entered into a special relationship in 1982, when the Museum acquired N. C. Wyeth’s property from his children. Eventually, tours of

2014 Covered bridges in the Laurels are restored.

the house and studio became a unique programmatic offering. Acquisition of the Kuerner Farm in 1999, through the generosity of the Kuerner family, and of the Andrew Wyeth studio in 2010, a gift from Betsy James Wyeth, now enables the Museum to offer guided tours of three National Historic Landmarks and provide a unique perspective on this renowned dynasty of artists.

The Museum has always featured work by members of the Wyeth family in its galleries and in related special exhibitions. Particularly notable was An American Vision: Three Generations of American Art (1987–88). This major exhibition brought the work of the Wyeths to three venues in the United States, and to international sites in Leningrad, Moscow, Tokyo, Milan, and Cambridge. Since then, focused exhibitions of work by the Wyeth family have appeared often on the exhibition schedule. These discrete explorations provide the opportunity for more in-depth examinations. Just a few highlights have been N. C. Wyeth’s Wild West (1990); N. C. Wyeth: Experiment and Invention (1995); Factory Work: Warhol, Wyeth and Basquiat (2006); Farm Work (2011); The Making of a Masterpiece: Andrew Wyeth’s Ides of March (2013); and Andrew Wyeth: Lines of Thought (2014).

2015 Protected land in Honey Brook reaches 25% of township.

2015 Museum organizes the landmark exhibition, Horace Pippin: The Way I See It.

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BRANDYWINE CATALYST | VOL. 45, NO. 3

AN EARLY DONATION

Top: Installation view of Jamie Wyeth (2015)

Bottom: Installation view of Andrew Wyeth: In Retrospect (2017)

In January 2015, the Museum was a venue for the most comprehensive retrospective of Jamie Wyeth’s work, organized by the Museum of Fine Arts, Boston. This year’s Andrew Wyeth: In Retrospect, organized jointly by Brandywine and the Seattle Art Museum, offered visitors a detailed account of the principal themes that ran through seven decades of Wyeth’s art. A scholarly catalogue and a slate of wide ranging lectures and conversations provided fresh perspectives.

The Museum is currently planning a major N. C. Wyeth retrospective for the summer of 2019. The exhibition is being organized by Christine Podmaniczky, Curator of N. C. Wyeth Collections. The accompanying catalogue will invite scholarly examination of all aspects of Wyeth’s career, situating him in many of the currents running through the history of American art. The exhibition promises to be as popular and as definitive as those for N. C. Wyeth’s son and grandson. n

2016 Brandywine Conservancy & Museum of Art founder Frolic Weymouth dies.

First Bike the Brandywine is held.

Towards the end of 1970, even before the Museum opened its future home, Mr. and Mrs. Andrew Wyeth generously donated eight key paintings to the recently-formed institution. Taking their cue from the Museum’s stated purpose of collecting American art with an emphasis on the Brandywine Valley, the Wyeths endowed the nascent collection with a 19th century landscape painting by George Cope of Pyle’s Ford and landscapes done in Chadds Ford by Frank E. Schoonover and N. C. Wyeth. Blue Cineraria by Henriette Wyeth, Deep Summer by Carolyn Wyeth, Tom Clark by John McCoy, and Lime Bag by Jamie Wyeth, who was only 24 at the time, became the first pieces in the Museum’s now renowned Wyeth family collection. A watercolor of the fireplace at Washington’s headquarters by Howard Pyle presaged the Museum’s present, extraordinary holdings of work by the master illustrator and his students. This early gift from Andrew and Betsy Wyeth reinforced the Museum’s mission and seeded the internationallyknown collection visitors enjoy today. n N. C. Wyeth (1882-1945), Chadds Ford Landscape - July 1909, 1909, oil on canvas, 25 x 30 1/4”. Gift of Mr. and Mrs. Andrew Wyeth, 1970.

2017 Conservancy plants 50,000th tree.

Andrew Wyeth: In Retrospect, the largest exhibition in the Museum’s history, opens to the public to mark the artist’s centennial.

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Memorials & Tributes The Brandywine Conservancy & Museum of Art gratefully accepts and acknowledges gifts in honor or in memory of family and special friends, and in appreciation of our staff and volunteers. Recent gifts include: IN HONOR OF KATIE ERMILIO AND TYLEE ABBOTT

IN MEMORY OF CHARLES L. LEWIS, JR.

IN MEMORY OF GERRY MIRSHAK

Steven B. Hutton

Aimee Rondepierre Amarant Brenda & John Bray Elizabeth Butch Steve & Peggy Capriola CCRES Board of Directors Tom & Elaine Chambers John & Pat Ciccarone John & Sarah Clark John Cosgrove Marilyn M. Deaver Delaware Valley Association of School Business Officials David Farrington Leighton Forbes James Gray Dave Greenberg Kades-Margolis Corp.

Denise Kaestle & Dawn Kelly Mark Kauffman Keystone Collections Group Michael Lillys David Livoy Joseph Lubitsky Theresa McCool James D. McLeod Barbara Voltz Merchant Jack Mizrahi Suzanne Moore Barbara Norris Victor Orlando Joe & Barb Otto Steve & Sally Owens Oxford Educational Foundation PASBO - Board of Directors & Staff Robert Perzel Reynolds Construction LLC Rotary Club of Oxford Marilyn & Brian Rothberg Kris & Linda Satterthwaite John Schank Richard Scuteri SDIC - SDSC Board of Directors Elizabeth Shultz Cindy Snyder SOS Group Inc. Bill Stone Mary Swanick Joseph Tighe Betsy & Joe Walsh Kristi Whitely Dick & Connie Winchester David Woods

Elizabeth Buckley Chadds Ford Area Women’s Club Audrey & Mike Donohue Mr. & Mrs. Lawrence Dunbar Brownell & Mary Nell Ferry Tracy Field George & Maralee Glatz Roland & Donna Heck Amy Helm Donald and Mary Koss Charles Kraft Marcelene Markwalter Gigi & Hugh McCutcheon Marcia Randall Dr. & Mrs. Michael B. Rogers Gerald Vansant Martha Went Ann White

IN MEMORY OF K. K. AUCHINCLOSS

Helen Groves IN HONOR OF KRISTINE KOCES WALSH BLACKBURN

Dennis Walsh IN MEMORY OF MELISSA CONLON

Hilary Becker Kathryn Cox Diane Draganescu Dave & Betty Fish John F. Jervis, Jr. Kevin & Kathy Lilly David Littell Regina Marcellus John Moran John Mullen Diane O’Grady Amy Pearce Jen Roth Dolores Rupp IN MEMORY OF NANCY DILLON DARLINGTON (in addition to previous gifts)

Bonnie Darlington Steve & Mary Darlington Lora Drewer Joyce Frame Judith Good Michael & Beth Harding Gerri Medoro Dottie & Jim Naumann IN MEMORY OF CHANDLER EASTMAN (in addition to previous gifts)

Allen Eastman IN MEMORY OF JAN FELTZ

Mr. & Mrs. Lawrence Dunbar Brownell & Mary Nell Ferry Roland & Donna Heck Janice Kirk Martha Makanna Gerry Mirshak Diane & Joe Packer IN MEMORY OF AGNES BARBARA KIMMEL

Elizabeth Buckley Peggy Dunbar Marilyn Rico John & Rita Razze The Thursday Critter Makers

IN MEMORY OF F.M. MOOBERRY (in addition to previous gifts)

Andy & Beth Johnson John & Rita Razze IN MEMORY OF HENNY REITER (in addition to previous gifts)

Andy & Beth Johnson John & Rita Razze IN MEMORY OF DR. JOHN H. RORKE

Cheryl Rorke IN MEMORY OF FLORENCE SEIDENSTAT

Mildred Haak John & Rita Razze IN HONOR OF JANICE WETHERILL

Megan Lofgren IN MEMORY OF GEORGE A. “FROLIC” WEYMOUTH (in addition to previous gifts)

The Barker Welfare Foundation The Blue Sky Family Foundation Dick & Marcia Hall Sarah Schutt Harrison Roland & Donna Heck Dan & Missy Lickle Mary Meese Sarane Ross Jack Wetzel & R. Bruce Duchossis IN MEMORY OF BARBARA VIRGINIA WEYMOUTH

Melindia Raso Kirstein IN HONOR OF RONNIE LOPEZ & MARGARET LEASE

Steve & Melanie Guevara

IN MEMORY OF FRANZ WIEDEMANN

IN MEMORY OF LORETTA LEOFSKY

(in addition to previous gifts)

Marcella Ayoub Margaret Betley Leona Leofsky

Joan Altmaier Lois Edwards Andy & Beth Johnson Walt & Sarah Ryan

P.O. Box 141, Route 1 Chadds Ford, PA 19317

MUSEUM HOURS Open daily, 9:30 a.m. to 5 p.m.

Closed Thanksgiving Day & Christmas Day

INFORMATION brandywine.org/museum information@brandywine.org 610.388.2700 FOLLOW THE MUSEUM @brandywinerivermuseum @brandywinerivermuseum @branrivermuseum

EXHIBITIONS Dylan Gauthier: highwatermarks Through January 7, 2018

THE LAURELS & WATERLOO MILLS PRESERVE HOURS Open daily, sunrise to sunset

A Brandywine Christmas November 24, 2017–January 7, 2018

INFORMATION brandywine.org/conservancy information@brandywine.org 610.388.8340

The Way Back: The Paintings of George A. Weymouth January 27–June 3, 2018 Natural Wonders: the Sublime in Contemporary Art June 23–October 23, 2018

FOLLOW THE CONSERVANCY @brandywineconservancy @brandywineconservancy @branconservancy