Catalyst Spring–Summer 2019

CATALYST SPRING–SUMMER 2019. VOLUME 47. NUMBER 1

Brandywine Behind the Scenes PRESERVES

EXHIBITION

TRIBUTE

Off the Beaten Track

N. C. Wyeth: New Perspectives

Phyllis Mills Wyeth

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Exploring the lesser-known trail loops at the Laurels Preserves

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Tell us what you love about the Brandywine on social media with pictures and thoughts using #MyBrandywine

Cover: N. C. Wyeth, Island Funeral, 1939, egg tempera and oil on hardboard, 44 1/2 x 52 3/8 in. Brandywine River Museum of Art, Gift of E. I. du Pont de Nemours and Company in honor of the 50th Anniversary of the Brandywine Conservancy & Museum of Art, 2017 Above: Photo by Tom Crane

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Letter from the Executive Director

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Member Moments

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Members Spotlight

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In Bloom at the Laurels

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A Passion for Collecting

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Imagine Brandywine

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GIS: More than Just Maps

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Get Creative at the Brandywine

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Memorials & Tributes

November 13, 1940 – January 14, 2019

This publication is printed on FSC-certified papers made from 30% post-consumer fiber using agri-based inks. By using eco-friendly paper, this issue of Catalyst will save many valuable resources: 800 gallons of water; 1.68 tons of fresh (green) wood; 4,400 lbs. of CO2.

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. Š 2019 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.

Dear Friends, With each new season at the Brandywine comes a fresh slate of exciting exhibitions, programs, events and opportunities for members like you to join us. As we continue to fulfill our unique mission that celebrates art and nature, we thought we’d take you “behind the scenes” to get a glimpse at a few of the ways the Brandywine is so special.

In “Off the Beaten Track,” read about what you can discover on some of the less-traveled paths on our Laurels Preserve—including birds to spot and native plants currently in bloom. A fascinating interview with the N. C. Wyeth: New Perspective exhibition co-curators delves into the making of this landmark exhibition opening at the Brandywine this summer. Another article paints a picture of how the Conservancy staff harnesses GIS technology to enhance its important work in land conservation and water protection. You can also read about some of our most popular program offerings, such as our Creative Escape workshops, and try out one of our favorite art projects at home!

Those of us who live in this area—as well as visitors from near and far—can speak to the unique beauty of the Brandywine Valley. With its breathtaking landscapes and rich history, it is an enduring inspiration to so many. Of those who called this place home, Phyllis Mills Wyeth was a true champion of the region. Both in her early involvement and continued support of the Brandywine Conservancy & Museum of Art, she helped protect and grow the cultural and artistic legacy of the region. The Brandywine and its surrounding community were saddened by her recent death.

In recognition of her significant contributions, a beautiful tribute exhibition is currently on view featuring five decades of portraits of Phyllis by her husband, artist Jaime Wyeth. A selection of images from the exhibition and more information on her extraordinary life can be found on pages 27-30.

The love of the Brandywine is also an inspiration to so many of our members. In a touching story from one of our newest members, read about how the Brandywine and the art of Andrew Wyeth has had a momentous impact on their life. You can also take a look back at some of our favorite “Member Moments” from recent Brandywine events, and mark your calendar for plenty of wonderful opportunities to join us in the coming months.

I hope you enjoy reading this exciting issue of Catalyst and I look forward to welcoming you for another robust season of fun at the Brandywine.

Virginia A. Logan The Frolic Weymouth Executive Director & CEO

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Member Moments We love it when our members join us for special Brandywine events!

Take a look back at a few of our favorite recent memories.

Wicked Wyeth Walk October 2018

Winslow Homer: Photography & the Art of Painting Members Preview Party November 2018

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BRANDYWINE BEHIND THE SCENES

Members’ Bus Trip to the Museum of the American Revolution, Philadelphia November 2018

Arctic BBQ January 2019

We ♥ Our Members: Valentine’s Day Dinner February 2019

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MEMBERS SPOTLIGHT Members since September 2018, Jesse, Andrea and 11-month-old Avery Houchens currently reside in Wilmington, Delaware.

In addition to being new members, the Houchens family recently moved to the area from Bellevue, Washington, where they first got the chance to view Andrew Wyeth: In Retrospect at the Seattle Art Museum (SAM)—a landmark exhibition co-organized by the Brandywine and SAM. The exhibition had a profound impact on the family in more ways than one. Andrea Houchens’ heartwarming story below provides a touching account on the power of art and what led the family to the Brandywine.

“When I was a little girl, my mom would take me on field trips to local museums and introduced me to art. When I turned 14, she pushed me out of my comfort zone and into the bustling city of Paris for 10 days where I fell in love with the works of Renoir, Van Gogh, Cassatt and many others. I went on to major in humanities in college and continue to marvel at the power of art. In college, I began to understand the connection between human experience and human expression.

In the fall of 2017, my mom invited me to join her in the coming weeks for a family field trip to see the much-anticipated Andrew Wyeth: In Retrospect exhibit at the Seattle Art Museum. I only knew of Christina’s World, but I was excited to return to SAM with my mom. My husband and I were living in Bellevue, WA, at the time, and preparing for the arrival of our first child. Three weeks after my mom sent the invitation, she unexpectedly passed away from complications related to a surgery. We were devastated.

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“The Brandywine has helped me celebrate my mom’s love of art and reflect on the beauty and fragility of our lives.”

After two months of sorrow, I realized that the Wyeth exhibit would be in Seattle for only a few more weeks. My family—including my dad, who had been by my mom’s side for 43 years—visited the Wyeth exhibit as a tribute to my mother on the last weekend it was open. In this moment of vulnerability, Wyeth’s work deeply resonated with us. He channeled our feelings of untimely loss in the colors and expressions of his subjects, a sentiment he was familiar with after losing his father; life was not all roses. We felt the breeze toss the tattered white curtain in Looking Out, Looking In. We sympathized with the missing friend around the maypole in Snow Hill. Moved by the somber beauty of Wyeth’s work, my father returned the next day. Andrew Wyeth’s cathartic expressions helped us feel, and cope with, our recent loss in a new way.

We knew little about the area and felt a bit anxious about the move. My husband still remembers the moment when he realized that the Brandywine was the common character in Wyeth’s art. Did my mom want to take us to this museum to help us find beauty in our move?

Viewing the Wyeth exhibit also marked a serendipitous moment in our lives.

At the time, we planned to relocate to Wilmington, Delaware, the next summer.

The Brandywine has helped me celebrate my mom’s love of art and reflect on the beauty and fragility of our lives. It is truly a hidden gem.” — Andrea Houchens

My dad visited us within the first few weeks of our move to Delaware. On the top of our list was a visit to the Brandywine River Museum of Art. We visited the Kuerner Farm, explored Wyeth’s studio, and observed the hills that inspired him.

We were again touched by his poignant reflections of daily life. My husband, our baby and I have since stopped in many times to see Wyeth’s work, as well as the recent exhibits such as Winslow Homer: Photography and the Art of Painting and the holiday trains.

Want to share the spotlight? Contact Kaitlin LeRoy, Membership Manager, for details on how you can be featured in our next issue of Catalyst. Kaitlin can be reached at 610.388.8341 or kleroy@brandywine.org.

BRANDYWINE BEHIND THE SCENES

Off the Beaten Track Exploring the lesser-known trail loops at the Laurels Preserve Located in the heart of Unionville, Pennsylvania, the Laurels Preserve is home to a wide variety of wildlife and native plants within a rich diversity of habitats, including hardwood forests, wetlands and tall grass meadows. Open exclusively to Brandywine members, the Laurels is a scenic and tranquil destination for hiking, horseback riding and birdwatching. Guided hikes are offered to members throughout the year, but there are also plenty of trails off the beaten track worth checking out for those exploring on their own.

Most members who visit the Laurels Preserve typically stay on the McCorkles Road trail, the two-mile main path, and soak in the wooded serenity. Those who do wander onto side trails mainly diverge to the first meadow off of McCorkles Road and walk through the two covered bridges—the Hayes Clark Bridge, which spans the Doe Run, and the Mary Anne Pyle Bridge, which spans the Buck Run. But for the more adventurous seeking visitors, there are many hidden gems to enjoy.

Walking along the McCorkles Road trail, members will find four successional meadow loops on the left of the main trail beginning with the first meadow loop trail by the Hayes Clark covered bridge. The second meadow loop trail is located just past the covered bridge meadow and features a beautiful grove of white oaks. While this trail is short—only .3 miles—it has a different feel then the McCorkles Road trail. Open glades mingle with the white oaks as the path leads down to the Buck Run. The stream gains volume along this trail, as the Buck and Doe Run creeks eventually intersect. In the spring, it is common to see one or two wood ducks weaving through the trees. These small ducks are amazing fliers, reaching speeds up to 30 mph as they

Above: Photo by Jim Moffett Photography

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CATALYST | VOL. 47, NO. 1

maneuver through the skies to their nests in the trees. The end of this path brings visitors back to the McCorkles Road trail, where they can either turn right and finish the loop back to where it began or turn left towards additional trails.

Continuing on the left side of the McCorkles Road trail, the third and fourth meadow loops—which are .6 and .4 miles long, respectively—transition from meadow lands to a wooded stream corridor while maintaining a few open glades to retain the habitat for plants that thrive in the sunlit floodplain. The sound of the stream mingles with the seasonal chatter of insects and wildlife as you walk along these paths.

Both trail loops are easy to navigate but can be wet and slippery for a few days after it rains due to their floodplain location. In May and June, you can find Jacob’s Ladder (Polemonium reptans) and Canada lilies (Lilium canadense) blooming in these areas. The birds found along these meadow loops are indicative of the stream habitat.

Kingfishers, herons and an occasional osprey can be seen flying up and down the stream corridor looking for their next meal—a sign of a healthy stream with abundant fish. This past fall, the Laurels Preserve staff were regularly seeing bald eagles in the large sycamore trees along the bank. On one occasion in particular, staff spied a group of bald eagles—three mature and one immature—scattered among the sycamores in the fourth meadow. Trips along these trails are done best with binoculars in hand.

Another overlooked area in the Laurels is the Tapeworm trail. While its name does not suggest tranquility, the Tapeworm trail is a peaceful destination to explore. Located on the right side of the McCorkles Road trail, directly across from the third meadow loop exit, this wooded trail weaves up through a mature forest along a small stream. Visitors to this trail should be prepared for a

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“There is nothing more beautiful than riding horseback in the Laurels. I used to love getting lost in the trails.

Now I know them all like the back of my hand. I have my favorites. One, going down the hill in the woods, not far from us has an amazing view through the trees down into a deep stream bed. The trees are all tall tulip poplars and beeches. January and February might be the most beautiful months of all. You can just see the skunk cabbage budding up through the glassy ice with its shades of deep emerald green. And through all the beautiful gray tree trunks, you can see the young beeches still holding on to last year’s leaves, almost phantom like. That is how I see the Laurels.”

–Dr. Phoebe Fisher, Brandywine Conservancy member and Easement Landowner

few muddy spots, some elevation and a couple of small stream hops and crossings. Tucked beside a tiny boulder along this trail, members can find a special spot where the water falls into a tiny pool. Years ago, a Laurels staff member discovered a large brook trout living here. Usually brook trout will swim deep beneath the busy water, shielded from view, but on that day the “brookie” was spotted gliding through the calm and crystal-clear water. Past this serene spot, the trail continues upward into a stand of beautiful tulip poplar trees.

Walking around them creates a feeling that you are passing through a grove of quiet, wooden sentinels. Occasionally pileated woodpeckers can be spotted working among the tulip trees. While

these large woodpeckers are about the size of a crow and thrive in the Laurels, only the quietest walkers will catch a glimpse of these shy birds. A well-tuned ear can also aid in identifying the birds before they take off.

These less-traveled paths and sights are just a few of the many hidden gems one can find during a visit to the Laurels— whether on a guided tour or a solo hike in the woods. But the best tip of all is to keep your eyes and ears open while exploring, no matter which trail is taken. There is always something new to discover! n Above: Photo by Dr. Phoebe Fisher on horseback Right: McCorkles Road trail in the Laurels Preserve

BRANDYWINE BEHIND THE SCENES

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CATALYST | VOL. 47, NO. 1

Birding at the Laurels

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The Laurels Preserve is an excellent destination to go bird watching. Audubon Pennsylvania even designated the Laurels and its surrounding land as an Important Bird Area in recognition of its many bird species. Approximately 160 species have been observed nesting in or migrating through the Laurels, including birds whose populations have declined elsewhere in the state. Here are some of the common birds you might spot throughout the spring and summer months:

Bu

ck

Ru

Laurels Preserve Loop Trails

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Main Trail (McCorkles Rd.) 2.1 mi.

Wetland Loop

0.8 mi.

Meadow Loop 1

0.7 mi.

Meadow Loop 2

0.3 mi.

Meadow Loop 3

0.6 mi.

Meadow Loop 4

0.4 mi.

Tapeworm Loop

1.7 mi.

Cow Pasture Loop

1.4 mi.

(All distances are approximate)

Doe Run R

d.

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A

d.

eR

rov

G pple

Hayes Clark Covered Bridge Mary Ann Pyle Covered Bridge

Above: Yellow Warbler and Baltimore Oriole, photos by Jim Moffett Photography

European Starling Red-winged Blackbird Gray Catbird Canada Goose Tree Swallow Bobolink Barn Swallow Baltimore Oriole Blue Jay Northern Cardinal Wood Thrush Eastern Meadowlark Scarlet Tanager Common Yellowthroat Song Sparrow Red-eyed Vireo American Robin American Goldfinch Common Grackle Wood Duck Yellow Warbler Mourning Dove Turkey Vulture Eastern Bluebird Ovenbird Chimney Swift Carolina Chickadee Warbling Vireo Eastern Kingbird Indigo Bunting

In Bloom at the Laurels The Laurels Preserve contains almost 500 acres of hardwood forest including mature red, black, white and chestnut oaks, tulip poplar, beech, white ash and hickory species. The understory of the forest features the namesake mountain laurel, spicebush, alder and viburnum, along with a rich mix of herbaceous and fern species. Here are a few plants you can find in bloom during the spring and summer months.

Mid-April – early May

Where to Find

Smooth yellow violet (Viola eriocarpa) Striped violet (Viola striata)

Rue anemone (Thalictrum thalictroides) Wood anemone (Anemone quinquefolia) Jack-in-the-pulpit (Arisaema triphyllum)

Woods Woods & edges Woods Woods Wet areas & woods

Mid-May – early June Spiderwort (Tradescantia virginiana) Woods Blue spiderwort (Tradescantia ohiensis) Meadows Alumroot (Heuchera americana) Woods Mountain Laurel (shrub) (Kalmia latifolia) Woods

Mid-June – early July Ox-eye sunflower (Heliopsis helianthoides) Meadows Green-headed coneflower (Rudbeckia laciniata) Meadows Canada lily (Lilium canadense) Meadows Milkweeds (Asclepias spp.) Meadows

Mid-July – early August New England aster (Symphyotrichum novae-angliae) Meadows Joe-pye weed (Eutrochium fistulosum) Meadows Great blue lobelia (Lobelia siphilitica) Moist sunny areas Grass-leaved goldenrod (Euthamia graminifolia) Meadows

Mid-August – September Goldenrods (Solidago spp.) Meadows Blue-stem goldenrod (Solidago caesia) Woods White wood aster (Eurybia divaricata) Woods Blue wood aster (Symphyotrichum cordifolium) Woods edges Thin-leaved sunflower (Helianthus decapetalus) Woods edges

Right: Native flowers, photo

by Mark Gormel

CATALYST | VOL. 47, NO. 1

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BRANDYWINE BEHIND THE SCENES

N. C. Wyeth: New Perspectives On view June 22 – September 15, 2019 Well known during the twentieth century for his bold, imaginative illustrations that brought new characterizations to classic stories such as Treasure Island and The Boy’s King Arthur, N. C. Wyeth (1882–1945) vigorously pursued parallel interests in painting landscapes, seascapes, portraits, still lifes, murals and advertising images throughout his career.

N. C. Wyeth: New Perspectives will be the first exhibition to examine in depth the entirety of Wyeth’s oeuvre, repositioning him within the greater context of early twentieth-century American visual culture. Organized by the Brandywine River Museum of Art and the Portland Museum of Art (PMA), the exhibition will include approximately 70 paintings and drawings selected from major museums and private collections. The exhibition will travel to the PMA in Maine (October 4–January 12, 2020) and to the Taft Museum of Art in Cincinnati (February 8–May 3, 2020) following its presentation at the Brandywine.

Exhibition co-curators Christine Podmaniczky (CP), Curator of N. C. Wyeth Collections at the Brandywine, and Jessica May (JM), Deputy Director and Robert and Elizabeth Nanovic Chief Curator at the PMA, sat down to discuss the project and review some of the rationale and planning behind this major presentation of N. C. Wyeth’s work.

Left: N. C. Wyeth, Ridge Church (detail), 1936, oil on canvas, 36 x 40 1/8 in.

Collection of Linda L. Bean

Above: N. C. Wyeth, Self-portrait, ca. 1914, oil on canvas, 18 1/8 x 12 1/8 in. Collection of Mr. and Mrs. Nicholas Wyeth 13

CATALYST | VOL. 47, NO. 1

What were your goals in planning this exhibition?

How is your approach to this exhibition different from past exhibitions on N. C. Wyeth?

CP: Our main goal is to introduce new

audiences to N. C. Wyeth’s work and highlight his place within the broad spectrum of early twentieth-century visual arts. People tend to know Wyeth, if at all, as an illustrator of classic romance and adventure tales, or as the patriarch of one of the most distinguished families in American art. This exhibition aims to replace those rather restrictive assessments with a more complete and layered account of Wyeth’s creative life.

JM: One of the things that I found so

fascinating as I worked with Christine on this project is the depth and nuance that emerged in this re-evaluation of Wyeth’s art and life. The catalogue is a real testament to the fact that Wyeth’s adult life was riven by complexity and contradiction—far from being above the fray of the early twentieth century in global history, he seems to have absorbed and internalized the tumult.

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CP: The last major overview of Wyeth’s ca-

reer took place in the early 1970s at the Brandywine. The selection focused mainly on his illustrations. Since then, there have been narrowly focused studies—on his Western work, for example—but no examination of his entire career. Wyeth was a very complex artistic personality and that becomes evident only as one experiences the whole range of his subject matter and styles. Hopefully, the upcoming exhibition will encourage the visitor to meet N. C. Wyeth as an incredibly versatile artist who worked across the perceived divisions of visual culture in illustration, advertising, mural work and private painting.

JM: In Maine, Wyeth is often shown as a

painter of Maine, which is both true and a bit misleading: Wyeth clearly loved Maine—it was a big part of his life, and of course Chadds Ford (or the Brandywine

Valley) was the center of his life—but he was a painter of the American scene, broadly considered. I think that the opportunity to see him working on a national scale from these beloved locations will be a real revelation for many audiences.

Can you detail some of the practical challenges you encountered in organizing the exhibition?

CP: Right from our initial discussions we

knew that because of the embarrassment of riches in Wyeth’s career—he completed about 2,000 paintings—there would be tough choices to make in order to narrow it down for the exhibition.

JM: Christine knows these paintings

backwards and forwards, so keeping up with her astonishing breadth of knowledge was my main challenge! What a joy to work with a colleague who is so knowledgeable and generous. In all seriousness, every show changes a lot when it moves from one museum to the next, and this project is no exception. Visi-

BRANDYWINE BEHIND THE SCENES

tors to the Brandywine will see a much larger show than visitors to the Portland Museum of Art or the Taft Museum of Art in Cincinnati, because our galleries are differently configured and the show will thus have fewer paintings. I think that it is always an interesting point of comparison between installations. I urge visitors to try to see an exhibition in multiple locations to see how different curators tell the same story.

What might younger audiences who may not be familiar with the work of N. C. Wyeth find appealing, and maybe even surprising, about his work?

CP: In many ways, this exhibition is

aimed at younger audiences, who perhaps didn’t grow up with the N. C. Wyeth illustrated classics. The exhibition will introduce them to the work of a very accessible painter, a master colorist and craftsman, a narrative-based artist who really offered something for everyone. He was a pictorial raconteur who unerringly selected the most dramatic or compelling

scenes to depict and then added his own spin to more fully explore a narrative thread. And the paintings are certainly “family friendly.” They’re big, colorful, filled with the most arresting characters and interesting detail—many expressly made to energize young imaginations.

N. C. Wyeth worked commercially to great acclaim during his career, in advertising, filmmaking, and illustrating novels and children’s books. In what ways has his vision influenced others in those fields?

JM: One of the things we know for sure is

that after World War I, Wyeth received many visiting emissaries from Hollywood at his home in Chadds Ford, and entertained offers to come to Hollywood.

It’s clear that his nuanced grasp of how to create drama and emotional power through the composition and light effects in a single image was not only influential, but also established a certain visual standard for dramatic (and exciting) imagery.

Images (left to right): N. C. Wyeth, It hung upon a thorn, and there he blew three deadly notes, 1917, oil on canvas, 40 1/4 x 32 in.

The Andrew and Betsy Wyeth Collection N. C. Wyeth, The Lobsterman (The Doryman), 1944, tempera on hardboard, 23 1/4 x 47 1/4 in. The Metropolitan Museum of Art, New York. Gift of Amanda K. Berls, 1975 (1975.322). © The Metropolitan Museum of Art / Art Resource, NY N. C. Wyeth, The Studio, ca. 19131915, oil on canvas, 16 x 20 1/4 in. Collection of Mr. and Mrs. Frank E. Fowler Page 16: N. C. Wyeth, The man with the hatful of cards picked a hand out of his reserves, put the hat on his head and raised Bill a hundred. Bill came back with a raise of two hundred, and as the other covered it he shoved a pistol into his face observing: “I’m calling the hand that is in your hat.”

1916, oil on canvas, 32 x 40 in.

William I. Koch Collection

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And Jessica, as someone who brings a fresh voice to the conversation, what about Wyeth appeals to you?

JM: For me there was a very human lesson

embedded in this project: through this exhibition, I think we all stand to learn about the breadth of Wyeth’s artistic ambitions and the genuinely astonishing range of his talent. The man was an indomitably hard worker, but his paintings make it look easy. All of that said, I was stunned to learn how much time Wyeth spent disappointed because he felt he was not taken seriously as an artist. He took the hierarchy between illustration and supposed “fine art,” very seriously, and it seems to have created in him a sense of “less than,” which—based on the evidence of so many fascinating and wonderful paintings across every genre— seems like such a human tragedy. n CP: Wyeth’s influence still energizes the

film industry today. Just recently, the cinematographer Bruno Delbonnel drew on Wyeth’s compositions and lighting for Joel and Ethan Coen’s Ballad of Buster Scruggs. The introduction to each segment of the tale evoked the classic illustrated Western books of Wyeth’s early career. From Disney artists (Treasure Planet, 2002) to the Star Wars saga, Wyeth’s staging and storytelling abilities, his mastery of color, his techniques of using light and shadow have been inspirational. Director George Lucas has included several Wyeth paintings in the Lucas Museum of Narrative Art, suggesting his regard for Wyeth’s contributions to his own style of visual storytelling. In the field of illustration, many artists cite Wyeth’s images as inspiration—an example that comes to mind is the work of artist and author Gregory Manchess. His paintings for his novel Above the Timberline (2017) owe a spiritual and technical debt to Wyeth and other Golden Age illustrators.

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Christine, as someone who has devoted decades of study to the work of N. C. Wyeth, was there anything you have seen/learned/refocused on that you are excited to share for this exhibition?

CP: I’m very excited about bringing paint-

ings to Chadds Ford that our regular fans of N. C. Wyeth haven’t seen here, at least not in a very long time. Two not to miss: The Man with the Hatful of Cards, featuring Will Bill Hickok, is one of Wyeth’s most spellbinding Western illustrations, generously loaned from the William I. Koch Collection; and The Lobsterman (The Doryman), loaned by the Metropolitan Museum of Art, is one of Wyeth’s late, great tempera paintings. I’m also thrilled with the depth and diversity of the catalogue essays. We asked several established and emerging scholars with various specialties in early twentieth-century art to situate Wyeth within the history of American visual arts, and their contributions have suggested new areas of thinking that bring fresh perspectives to Wyeth studies.

N. C. Wyeth: New Perspectives is generously made possible by Ms. Linda L. Bean, The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Wyeth Foundation for American Art, George Lucas Family Foundation, Sotheby’s and Freeman’s.

Additional support has been provided by donors to the Brandywine River Museum of Art Exhibition Fund including the Davenport Family Foundation, William C. and Laura Buck, Mr. and Mrs. Robert V. Duprey/Hamilton Family Charitable Trust, Morris & Boo Stroud, Mr. and Mrs. Michael R. Matz, Dr. and Mrs. John Fawcett, Mr. and Mrs. Christopher F. Buccini, and Mr. Alan P. Slack.

Support for the exhibition’s catalogue is provided by Furthermore: a program of the J. M. Kaplan Fund.

Support of the exhibition’s educational programs is provided by Somerville Manning Gallery.

The Art of Stories programs are generously sponsored

by PNC Arts Alive.

Enrich your experience of this exhibition through a private docent-led tour. Custom tours and pricing are available to groups of 10 or more. Please contact our group tours office at grouptours@ brandywine.org to learn more.

BRANDYWINE BEHIND THE SCENES

Images (Clockwise from top left): N. C. Wyeth, April Rain, 1935, oil on canvas, 41 7/8 x 51 7/8 in. Private collection

N. C. Wyeth, Still life with Bowl, Onions and Bottle, ca. 1920s, oil on canvas, 40 x 32 in. Private collection

N. C. Wyeth, Yes, ‘N’, He’d Let a Roar Outer Him, An’ Mebbe He’d Sing, “Hail Columbia, Happy Land!” 1914, oil on canvas, 40 1/4 x 32 1/4 in. The Phyllis and Jamie Wyeth Collection

N. C. Wyeth, Saturday Evening Post, cover (Bucking Bronco), 1903, oil on canvas on hardboard, 27 1/2 x 19 1/2 in.

Autry Museum of the American West, Los Angeles, 90.238.3 17

A Passion for Collecting Douglas Allen in his studio

Over the course of 70 years, artist and author Douglas Allen (b. 1935) has assembled one of the most comprehensive collections of printed ephemera documenting N. C. Wyeth’s career. Highlights from this trove are the focus of N. C. Wyeth: A Personal Perspective, organized by the Brandywine and presented from May 25 to September 8, 2019 in the Brandywine’s Strawbridge Family Gallery.

The exhibition offers another dimension to the major summer offering, N. C. Wyeth: New Perspectives.

For his tenth birthday, Allen was given a copy of The Boy’s King Arthur. Captivated by N. C. Wyeth’s illustrations, he set out to acquire more Wyeth illustrated books, a pursuit which grew over time into an extraordinary collection of first and/or signed editions of every Wyeth illustrated book (many with original dust-jackets), posters and rare boxed sets of prints, hard-to-find old magazines, letters, archival photographs and even objects, such as dinnerware and lamps decorated with Wyeth’s designs.

Since N. C. Wyeth’s commissioned work was meant to be viewed through reproduction, this collection demonstrates how

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his images entered mainstream American visual culture. Wyeth’s reputation rested on reproductions in magazines, gift books, calendars (consulted all year long) and even advertisements—print media was almost exclusively responsible for his fame.

In Allen’s prized first edition of Treasure Island (with pristine dust-jacket), for example, we see that Scribner’s carefully printed reproductions give a sense of the artist’s brushwork, even though the image size is greatly reduced from the original art work.

By 1972, Allen’s collection was so complete that he used it as the basis for a published bibliography of Wyeth’s career that has been consulted ever since by every fan, collector or scholar. An artist himself, Allen has spent decades studying both Wyeth’s printed and painted work. Though he has repeatedly found inspiration in Wyeth’s paintings, Allen developed a distinct artistic practice and is known for his paintings depicting big game animals of the American West and Africa, examples of which will also be on view. N. C. Wyeth: A Personal Perspective celebrates the passion that underlies a life-time of collecting and reveals a fascinating, multi-layered “dialogue” between two artists who never met. n

Imagine Brandywine In association with Yale University Press, the Brandywine River Museum of Art and the Portland Museum of Art will publish N. C. Wyeth: New Perspectives to accompany the exhibition of the same title. The 216-page book, printed in Italy, includes carefully researched essays which examine multiple aspects of Wyeth’s life and work, providing a long overdue assessment of the remarkable breadth of this complex yet often misunderstood artist. In addition to co-curators Jessica May and Christine B. Podmaniczky, the authors are D. B. Dowd, Professor of Design and American Culture Studies at Washington University, St. Louis; David M. Lubin, Charlotte C. Weber Professor of Art at Wake Forest University; Kristine Ronan and Karen Zukowski, both independent scholars. The catalogue will be available for purchase in the Museum shop or online store, www.brandywinemuseumshop.org.

Images (left): Alaska Mail, jigsaw puzzle with image by N. C. Wyeth. Perfect Picture Puzzle, manufactured by the Consolidated Paper Company, Somerville, Mass., early 1930s.

The Outing Magazine, with cover illustration by N. C. Wyeth. Outing Publishing Company, June 1907.

When he participated in the first Imagine Brandywine, a series of exhibitions that includes art made by students from regional partner schools since 2013, Chase Welch was in kindergarten at Avon Grove Charter School.

Now 10 years old, Chase and some of his family stopped by the Museum this past winter to see the holiday displays and the exhibition Winslow Chase Welch, age 10, with his artwork.

Homer: Photography and the Art of Painting. Chase still enjoys making art under the remarkable tutelage of his art teacher Lisa Murray and “always looks forward to art class.” He mentioned recent projects such as sketching a reindeer, and what he considers one of his proudest achievements: sketching an okapi, a hybrid giraffe-zebra indigenous to Africa. “It was really hard to draw the animal’s stripes and long ears,” he said. Chase has worked with ceramics, drawing and painting, and “thinks it would be neat to try photography soon.” He prefers to work on his art in a class setting, adding he’s “way too busy at home.”

Though it was five years ago, Chase remembers creating the work of art included in that first Imagine Brandywine, inspired by an assignment from his first art teacher, Sonya Bannon, who previously led classes for kindergarten to second grade students. The vividly colored scene was painted “from my mind,” he said and depicts an outdoor fair. The drawing still has pride of place in his room, where it hangs alongside posters of cars. On the back of the frame, Chase’s mother, Tara, pasted an article from the Daily Local News featuring a photograph of Chase and his father, Bill, standing with Thomas Padon, the Museum’s director, in front of the work at the opening reception.

Padon recalls it being a standout among almost 200 works in the exhibition, adding that Chase’s bold sense of color and inventive approach to the composition really made an impact. The Museum is proud to have now worked with over 1,500 students from 16 schools for Imagine Brandywine since 2013. As Padon says, the Brandywine “is passionate about welcoming children and families, and helping nurture the next generation of artists.” n

The Pike County Ballads by John Hay, illustrated by N. C. Wyeth. Houghton Mifflin Company, 1912. First edition with original gift box and tissue.

Collection of Mr. and Mrs. Douglas Allen

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GIS:

More than Just Mapping The use of Geographic Information Systems (GIS) is vital to the work of the Brandywine Conservancy and beyond. But how does it work? On the surface it may seem as if GIS only involves map-making, but the capabilities of this important technology extend far beyond maps.

While the GIS team at the Brandywine creates detailed, informative and beautiful maps—and cartography is an obvious and useful aspect of GIS—the true power lies in its analytical capabilities; that is, its ability to answer questions about our world and its inhabitants, such as: •

Where’s the best place to build a new trail?

•

How many people are within a 5-minute walk to a public park?

•

Which natural areas should be targeted for preservation?

•

Where are patches of good habitat for an endangered species, and how easily can the species travel between them?

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All of these questions have spatial and informational components that can be incorporated in GIS, which blends together geographical location and information (the “G” and “I” in GIS).

In other words, GIS can identify not only where a wildlife preserve is, but also how many visitors it might attract, how many acres it has, what type of habitats are present, and the length of its hiking trails.

The Brandywine Conservancy uses GIS to monitor change, set priorities, identify and understand trends and issues, and as an important analytical tool to help conserve natural resources in the areas in which it serves.

BRANDYWINE BEHIND THE SCENES

Aerial view of Chadds Ford looking east. GIS technology is a critical tool used in the Conservancy’s municipal planning efforts. Photo by Above Ground Level Droneworks

Utilizing this technology, the Conservancy creates detailed site maps that aid in a variety of tasks, such as land acquisitions and easements, monitoring and stewardship, preservation of historic sites, proposed expansions of trail networks, and identifying unprotected areas of open space. The maps also include detailed information about floodplains, steep slopes, wetlands and other natural features on the site. Additionally, the GIS team works with outside organizations, including other land trusts, government agencies, park departments and communities, to provide solutions to their mapping and analytical needs.

Conservancy staff collect field data during their yearly monitoring of protected lands using an iPad tablet equipped with advanced Global Positioning Systems (GPS) technology. Each iPad tablet is connected via Bluetooth to a high-accuracy external GPS receiver, enabling field staff to document real-world features, including trails, structures, unique vegetation, property corners and more,

with positional accuracies between one and two feet. This data can then be incorporated immediately into GIS to enhance the Conservancy’s analysis and map production.

GIS technology is also a critical component of two large-scale projects the Conservancy is spear-heading in 2019. The first is the expansion of the Brandywine Creek Greenway into New Castle County, Delaware, in cooperation with Delaware Greenways and many partners active in the region. With the assistance of multiple partner organizations, the Conservancy is identifying all recreational attributes in the Delaware expansion area, including trails, river access points, parks, museums, bike paths, protected lands and more. As part of the Brandywine Creek Greenway initiative, the Conservancy is also working on a Brandywine Water Trail—a formalized route along the waterway for recreational use, enhanced by connections to land trails. Working with the Chester County

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Planning Commission, Conservancy staff will use GIS to map existing facilities and identify potential locations for new facilities that provide for a safe and enjoyable sojourn down the Brandywine from Coatesville and Downingtown, Pennsylvania, to Wilmington, Delaware. New facilities such as water access points, parking areas, boat storage racks, wayfinding, maps, rest areas, and signage to identify private properties and unique features will enhance public access to the Brandywine, as well as the on-water experience.

Beyond making maps, GIS is an important resource for the Conservancy’s overall strategic planning efforts, providing valuable context to its work throughout the region and identifying areas of need or expansion. The GIS department is continuing to research and implement new advanced technology that will allow the Conservancy to be even more efficient and effective in protecting lands throughout this region. n

Developed by the Conservancy, the Brandywine Creek Greenway app utilizes GIS technology to connect users to recreation opportunities within the Greenway and along the river.

Download the Free Brandywine Creek Greenway App Explore the Brandywine Creek Greenway using your phone’s GPS technology to find the closest parks and preserves to your current location. The app contains more than 100 publically accessible parks and preserves in the area. From biking to birding to trail hiking, plus fishing, boating, and more, filter the app by activity type to discover endless options for recreational fun.

Download at brandywine.org/app 22

89th

Radnor Hunt Races May 18, 2019

PHOTOGRAPH BY JIM GRAHAM

PRESENTING SPONSOR

Celebrate 89 years of horseracing on the Main Line. With everything from amazing tailgates and fancy hats, to the parade of antique carriages and thoroughbreds racing for the finish, Radnor Hunt Races is a day filled with excitement and fun. It’s also about Racing for Open Space as all proceeds benefit the clean water and open space programs of the Brandywine Conservancy. Reserve your tickets now!

ADVANCE SALE ONLY: PURCHASE PASSES BY MAY 10 RADNORHUNTRACES.ORG | 610.388.8383

BENEFITTING

BRANDYWINE BEHIND THE SCENES

Get Creative at the Brandywine!

On select evenings throughout the year, the Brandywine River Museum of Art is filled with the sounds of conversation and laughter as visitors experiment with different art techniques— often one they have never before attempted. The Museum hosts six to eight Creative Escape workshops annually that feature an after-hours opportunity to gain inspiration from the galleries followed by a hands-on art project led by Brandywine educators or visiting artists. Participants learn the basics of a medium or technique and then are guided in creating something oneof-a-kind to take home. Past workshops have featured varied techniques and media including block printing on notecards and canvas bags, painting with egg tempera, painting on silk, needle-felting, nature journaling, making alcohol ink tiles and more.

Save the date and join us at an upcoming Creative Escape workshop!

Tuesday, May 14: Watercolor Florals Wednesday, July 24: Felted Ornaments Thursday, August 22: Wild & Wonderful Alcohol Inks Wednesday, October 16: Printed Notecards

Those who attend Creative Escape workshops leave with more than what they make during the program. For many, the low-pressure introduction to an art form jump-starts their own creative journey. Workshops provide access to materials that most people don’t have at home; however, many projects are simple enough that participants can easily purchase everything they need to continue on their own. Even participants who do have an art background find that the workshops provide a convenient way to try new media since all supplies are included in the ticket price.

Most importantly, Creative Escape workshops allow people to share a unique and memorable experience, whether by attending with friends or family or by making new friends at the class. Since the workshops accommodate a range of budgets and schedules, it is not uncommon to see multiple generations learning and socializing together over art and light refreshments (the programs are BYOB). Attendees gladly share tips and ideas while having fun in these events characterized by friendliness and encouragement—plus a dash of humor.

Looking to get creative at home? Try out one of our favorite printmaking activities. While a linoleum block is a great tool for printing on fabric, common items found in your house can be used to create a variety of patterns and images, too. Check out the “how to” instructions on the next page. n

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DIY Printmaking at Home YOU’LL NEED:

• A piece of heavy fabric such as a canvas tote bag or fabric napkin

• Acrylic or fabric paint • Cardboard (to place behind the fabric) • Scrap paper to test your print • A variety of uniquely shaped items to stamp (erasers, sliced fruit, buttons, berry baskets, etc.)

• A sponge • Disposable plate or tray DIRECTIONS:

• Prep your space: Lay your fabric smoothly across your cardboard backing. Squeeze out a small amount of paint on your plate or tray.

• Dip your sponge in the paint, dabbing it several times to cover the sponge evenly.

• Sponge the paint evenly onto the item you wish to stamp.

• Firmly press the item onto your fabric or paper, making sure it has contact evenly across the whole item.

• Repeat the process to continue to stamp on your surface, washing your sponge and objects between colors.

• If using fabric paint, follow the directions on the bottle to set the paint. Once dry, enjoy your new masterpiece!

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Photographs by Mark Gormel

WILDFLOWER, NATIVE PLANT & SEED SALE MOTHER’S DAY WEEKEND MAY 11 & 12, 2019 9:30 A.M. TO 5 P.M. Members Preview Sale: Friday, May 10, 1–5 p.m.

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Jamie Wyeth, Catching Pollen, 2012, enamel, oil, and gesso on canvas, 60 x 40 in., The Phyllis and Jamie Wyeth Collection

BRANDYWINE BEHIND THE SCENES

Phyllis Mills Wyeth November 13, 1940 – January 14, 2019 The Brandywine lost a dear friend with the death of Phyllis Mills Wyeth, who was a major supporter of the Brandywine Conservancy & Museum of Art and a founding member of its Board. In addition to her work with the Brandywine, Wyeth was a noted philanthropist, conservationist, environmentalist, arts supporter, accomplished horsewoman and a staunch advocate for the rights of the disabled.

Phyllis Mills Wyeth grew up on a farm outside of Middleburg, Virginia, adjacent to Hickory Tree Farm—a renowned Thoroughbred breeding, training and racing facility founded by her parents, James and Alice du Pont Mills. Growing up with a passion for horses and steeplechase events, Wyeth competed in several local point-to-point races as a teenager. During her early college years, she majored in political science and worked for then-U.S. Senator John F. Kennedy and, later in the White House, as a secretary to Kennedy’s special assistant. Though a life-altering auto accident left her disabled at age 20, Wyeth’s spirit remained ebullient. In 1968, she married artist Jamie Wyeth. Together they were one of the first to grant a conservation easement to the Brandywine Conservancy in 1969, preserving 44.5 acres of their land along the west bank of the Brandywine River, permanently protecting it from development.

A well-known figure in the fields of both carriage driving and Thoroughbred horse racing, Wyeth bred the famed Union Rags—a fourth-generation descendant of her family’s breeding program.

Phyllis and Jamie Wyeth at the opening of the Brandywine River Museum of Art, 1971. Courtesy Brandywine Conservancy & Museum of Art Archives

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Union Rags would later become Wyeth’s “dream come true” champion horse and winner of the Belmont Stakes in 2012.

Wyeth had an extraordinary career in public service, advocating for both the arts and for the rights of the disabled.

She worked as a teacher for the Terry Children’s Psychiatric Center in Wilmington, Delaware, and she spent many years in Washington, D.C., working as a consultant for the National Endowment for the Arts and as vice chairperson of the National Committee on Arts for the Handicapped. She also served on the President’s Committee on the Employment of the Handicapped. Her environmental activities included the creation of the Herring Gut Learning Center in Port Clyde, Maine, which fosters handson study and experience in aquaculture and marine science. Wyeth was later awarded the NOAA Fisheries Environmental Hero award in 2002 for her efforts with the organization.

“Phyllis was involved with the Brandywine from the very beginning and her positive impact on the organization was immense,” noted Virginia A. Logan, The Frolic Weymouth Executive Director and C.E.O. “Her support continued over five 30

decades, and I benefited from her wise counsel. I will never forget the excitement in her voice when she and Jamie called me with the thrilling news that they wanted to endow my position with the proviso that I would be the ‘Frolic’— not ‘George A.’—Weymouth Executive Director and C.E.O. We will all miss her feisty wit, sage advice, determined spirit and unbounding generosity.”

As a tribute to Wyeth, the Brandywine organized Phyllis Mills Wyeth: A Celebration, on view through May 5, 2019 in the Strawbridge Family Gallery, featuring a selection of portraits created by her husband, Jamie. From the late 1960s onward, Wyeth served as a muse to her spouse. The paintings assembled in this exhibition are a memorial tribute and reflect Phyllis Wyeth’s vibrant spirit and love of nature, horses and her ever-present dogs. A catalogue published by the Brandywine accompanies the exhibition. Following its presentation at the Brandywine, Phyllis Mills Wyeth: A Celebration will travel to the Farnsworth Art Museum (Rockland, Maine) from June 7–September 8, 2019, and to the Greenville County Museum of Art (Greenville, South Carolina) from October 7–December 29, 2019. n

Images (clockwise from top left): Jamie Wyeth, Portrait of Phyllis Mills, 1967, oil on canvas, 20 x 24 in., The Phyllis and Jamie Wyeth Collection Jamie Wyeth, And Then Into the Deep Gorge, 1975, oil on canvas, 36 x 46 in., The Phyllis and Jamie Wyeth Collection Jamie Wyeth, Overslept, 2018, acrylic and oil on Innerglo Company wood panel, 40 x 30 in., The Phyllis and Jamie Wyeth Collection

The Brandywine is honored to have been selected by the Wyeth family as one of the organizations to receive contributions in Phyllis Wyeth’s memory. For more information, visit brandywine.org or contact Suzanne Regnier at 610.388.8308.

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 MEMORY OF MRS. DOROTHY L.

IN MEMORY OF DR. JOSEPH M. PITONE

IN MEMORY OF WILLIAM AND PATRICIA

IN MEMORY OF PHYLLIS MILLS WYETH

ABRECKA GRIMES

Mary and Michael Landa Mrs. Gail L. Pitone

TEMPLETON

Jan and Warren Adelson & Alan, Adam and Alexa Lydia Willits Bartholomew Phoebe A. Driscoll Greg and Anne Fields Charles and Blair Fleischmann Caroline A. Forgason Gay and Frank Fowler Emory A. Hamilton Andrew and Elizabeth Johnson Natalie and Herb Kohler Mr. and Mrs. Michael Landa Virginia A. Logan Mr. & Mrs. Joseph W. Lurquin Jr. Victoria A. Manning Mr. and Mrs. William J. Martin III Mr. and Mrs. Michael Matz Caroline duP. Prickett Richard C. Riemenschneider Christian C. Sanderson Museum S.A.V.E., Inc. Helen and George Sipala Mimi Abel Smith Sotheby’s Rikki and Jesse Saunders Charlotte Stilwell Morris and Boo Stroud Helene and Bobby Sutton Louise Vinton Charlotte C. Weber Robin, Eileen, Lily, Kate, Laura and Wyeth West George and Gretchen Wintersteen

Ms. Kimberly L. Sachse & Mr. Joseph F. Grimes Mr. & Mrs. John D. Sachse IN MEMORY OF RUTH BASSETT

Ms. Jocelyn Barton Ms. Joanne Bauman Mr. Owen Gilman Mr. James A. Guthrie Mr. and Mrs. Michael Landa Mr. & Mrs. Joseph W. Lurquin Jr. Mr. and Mrs. Joseph W. Packer Jr. Mr. and Mrs. John C. Razze Mr. and Mrs. Peter Scoville Wells Mrs. Andrew Wyeth

IN HONOR OF TED DEHNE AND VICKY PROFY

IN HONOR OF THOMAS R. TURNER

Ms. Nancy Myers

Mr. Robert C. Turner

IN HONOR OF W. DONALD SPARKS,

IN MEMORY OF LOUIS C. AND

ESQUIRE

BARBARA WASHBURN

The LeFrak Trust Company IN HONOR OF ANNA SPENCE

Jan Siglin IN HONOR OF THE WORK OF SUZANNE REGNIER

Mr. Grant P. Thompson IN MEMORY OF ROSEMARY V. CLARK

Christopher Clark

IN MEMORY OF MS. KATHLEEN RENGERT

Seth Fisher

Ms. Lydia Bartholomew Mr. and Mrs. David L. Blumberg Ms. Sandy DuBose Mr. and Mrs. Charles Fleischmann V Ms. Ellie Glaccum Ms. Martha K. Makanna Mr. and Mrs. George Rengert

IN MEMORY OF MR. H. JOHN MICHEL JR.

IN HONOR OF GREGG RIDGE

Mr. and Mrs. James Smigie

Mr. Alan Cohn

IN MEMORY OF PHIL MCDONALD

IN HONOR OF C.R. GUPTA AND

Henry L. Collins III

MARGOT ROWLEY

IN MEMORY OF JOSEPH H. FLATHER

Ms. Cortney Flather IN HONOR OF REBECCA FISHER’S BIRTHDAY

Dr. Matthew Templeton and Ms. Jessica Roy

Ms. Jeanette Stevens

Elizabeth Pesce / Washburn Family Foundation IN HONOR OF BOB WEINER

The Honorable Robert S. Weiner IN HONOR OF THE GEORGE A. WEYMOUTH BUILDING STAFF

Mrs. Gail L. Pitone IN MEMORY OF GEORGE A. “FROLIC” WEYMOUTH (in addition to previous gifts)

Jim and Sally Duff Marlou and John Gregory Ms. Sarah Schutt Harrison The McBride Family & Aspen Business Center Foundation Mrs. Jacqueline L. Ohrstrom Mr. and Mrs. Leo Rocca Mr. and Mrs. John P. White Mr. and Mrs. Justin H. Wiley Mr. and Mrs. Hugh Zimmer

IN MEMORY OF BONNIE O’BOYLE

Fairways Golf & Country Club

David E. Davis III February 17, 1948 – December 27, 2018 The Brandywine was saddened to learn of the death of David E. Davis III. “Dave” Davis was passionate about historic preservation and conserving open space. He served on the Brandywine Conservancy & Museum of Art’s board of trustees from 1995–2001 and chaired its Environmental Committee for seven years. Mr. Davis was extremely active in the planning and conservation communities of Chester County and was a member of the Chester County Planning Commission during its

development and adoption of Landscapes, the award-winning Chester County Comprehensive Plan.

As Chairman of the Board of The American Gift Fund, Mr. Davis granted $80,000 in funds to the Brandywine in mid-2018 to focus on land conservation and water quality improvements within the Broad Run watershed of West Bradford Township. We are grateful for his support and will miss his voice in the community.

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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

EXHIBITIONS American Beauty: Highlights from the Richard M. Scaife Bequest March 9–May 27, 2019 N. C. Wyeth: New Perspectives June 22–September 15, 2019

MILLSTONE CAFÉ Open daily, 10 a.m. to 3 p.m.

Fractured Fairy Tales: From the Conventional to the Unconventional October 5–January 5, 2020

FOLLOW THE MUSEUM @brandywinerivermuseum

Brandywine Christmas November 29, 2019–January 5, 2020

@brandywinerivermuseum @branrivermuseum

Votes for Women: A Visual History February 1–June 7, 2020

THE LAURELS & WATERLOO MILLS PRESERVE HOURS Open daily, sunrise to sunset INFORMATION brandywine.org/conservancy information@brandywine.org 610.388.8340 FOLLOW THE CONSERVANCY @brandywineconservancy @brandywineconservancy @branconservancy