Cropsey, Wyeth, and the American Landscape Tradition
Winter Sowing with Native Plant Seeds
Partnership spotlight: Collaborating with Terrain
Celebrating a New Chapter of Leadership
Rising Above: Protecting a Historic Structure from Future Flooding
Events
In Memoriam
Memorials & Tributes
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.
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.
Photo by Visit Delco
MEMBER SPOTLIGHT
Alan Cohen and Jason Rubin have been members of the Brandywine Conservancy & Museum of Art since 1996. As they celebrate almost 30 years of membership, and 50 years together, the couple took the time to revisit their most loved Brandywine activities and to learn more about the dual mission of the organization they support.
Although they have always known that Brandywine is both an art museum and a conservancy, Alan and Jason were most familiar with the art side of our dual mission, having first been drawn to Brandywine through their mutual love of works of art by the Wyeth family. A major force in their lives, their love of art led them both to pursue careers in the field. Alan became an artist and a public school art teacher, and he illustrated eight children’s books. Jason worked in scenery, costume, and lighting design, becoming a design professor and an artistic director for a theater in their home state of Maryland.
On a recent visit with friends, Alan and Jason were excited to go on both the N.C. Wyeth and Andrew Wyeth studio tours.
While it wasn’t their first time visiting, they were thrilled to find that they still learned something new while on the tour. Afterwards, on advice from a Brandywine staff member, they took a quick drive through the area to experience and explore the nature found right at the Museum’s doorstep.
After their drive through the surrounding nature of the Chadds Ford landscape that day, Alan and Jason became inspired to increase their commitment to Brandywine by becoming Benefactor level members. They were “proud and pleasantly surprised” by the clear impact of the Conservancy. They better understood that as members, they were “not only sustaining the Museum but also contributing to the Conservancy and sustaining its essential work.”
While the couple lives a distance away, making frequent trips difficult, they always visit the Museum when they can, often bringing friends to introduce them to the place they are so fond of. Each time they visit, they love to see the exciting new exhibitions or the Brandywine collection displayed in unique ways, making each trip
feel special. But their favorite Brandywine activity, and membership benefit, will always be the tours of Andrew Wyeth’s studio.
When asked about what makes Brandywine so special, they mentioned the design of the Museum and they way in which it immerses visitors in the beauty of the landscape so prevalent in much of the art of the Wyeth family. They commented that when walking through the Museum, you can tell that it was designed to feel like you “were walking along the river itself,” truly exemplifying Brandywine’s dual mission of art and nature. n
Want to share the spotlight? Contact our Membership department for details on how you can be featured in our next issue of Catalyst . Email us at membership@brandywine.org .
Home for the Holidays: Cards and Hearths from the Collection
The holiday season has always been a special time at the Brandywine Museum of Art, thrilling generations of visitors since the iconic Brandywine Railroad train display first debuted in 1972. Adding an extra dose of magic, our much beloved Critter trees—decked out with handmade ornaments crafted by our volunteers—greet everyone who visits during the cold, winter months. New this year, in addition to these returning favorites, visitors are invited to celebrate what connects us during the holiday season—such as opportunities to gather under one roof and the sharing of warm messages from afar—in Home for the Holidays: Cards and Hearths from the Collection, on view in the Brandywine’s Strawbridge Family Gallery.
Tiny Treasures
Home for the Holidays features a selection of Brandywine’s dollhouses, including two rooms from a nine-foot dollhouse designed by Ann Wyeth McCoy and built by her husband, artist John McCoy. Filled with handmade furnishings and miniature paintings contributed by Wyeth McCoy’s famously artistic siblings and in-laws, these dollhouse rooms were a communal, family endeavor that paid tribute to the Wyeth’s close-knit holiday gatherings. These two rooms will be accompanied by the debut of the Peters-Herdeg dollhouse, a detailed replica of an eighteenth-century Brandywine Valley house and a recent addition to the Museum's collection.
From Mailbox to Museum
The exhibition also features original artworks created by members of the Wyeth family as well as prominent American illustrators as designs for holiday cards, all drawn from the Museum's collection as well as that of the Wyeth Foundation for American Art collection. n
HOLIDAY HOURS:
Beginning November 15, 2025 through January 4, 2026, the Museum will be open daily from 9:30 a.m.–5 p.m.
EXTENDED HOLIDAY HOURS:
Between December 26-30, the Museum will be open from 9:30 a.m.–6 p.m.
*The Museum will be closed Thanksgiving & Christmas Day, and closing early on Christmas Eve at 1 p.m.
JERRELL GIBBS: NO SOLACE IN THE SHADE
On view through March 1, 2026
Now on view at the Brandywine, Jerrell Gibbs: No Solace in the Shade provides an overview of the career of Baltimore artist Jerrell Gibbs (b. 1988). His dynamic, large-scale figurative paintings of family, friends, and community focus on everyday scenes of Black life, transforming them into monumental moments that highlight the universal themes of identity, reflection, and belonging. Organized by the Brandywine and guest curated by Angela N. Carroll, this project marks the artist’s first solo museum exhibition and first monographic publication. In the interview below, learn more about Gibbs’s process, inspiration, and what he hopes visitors will take away from seeing his work in person.
What were some of the early conversations like while discussing which works to include in this exhibition?
What I wanted people to see in my work was images of my family, my friends, my loved ones, my community, in a different light. I wanted people to see and to be able to appreciate and respect the people that I value and love from the same lens through which I see them every day. That was the goal— highlighting Black men doing things that aren't typically publicized in the media or on social media. Thinking about myself, the males in my family, my friends, and how they love on their children. They’re great
fathers, brothers, and husbands, and I was thinking about how to relay those stories.
How do you see your work as relating to the history of American art?
Everything that I paint about is American culture. I can't escape that. I'm from Baltimore, Maryland. You know what I mean? The stories that I tell are of Baltimore, of our America. The Salvador series that I've been working on is a complete reflection of my understanding and experience with American culture through clothing. Right now, I've been really diving into fabrics and materials and clothing that have been a part of my upbringing—Ralph Lauren polo shirts, shoes, Jordans. I'm thinking about all of these cultural signifiers that are specific to American culture, that have influenced different countries and continents. I also think about Andrew Wyeth. I did an exhibition in LA in 2023 at Easy Does It Curatorial Space which was inspired by
Quiero amor, 2019, oil on canvas, 60 x 48 in. Private Collection of Everette Taylor
Photo by BeauMonde Originals
Andrew Wyeth and David Hockney. I take a lot of inspiration from Wyeth in terms of his subtlety and his way of creating an essence.
You frequently work from photographs, either family photos or found photos— tell us more about this process. How do those pictures turn into paintings?
I start by having an idea, an experience that I want to convey in painting. I have to have lived it, or have had a conversation with somebody really close to me in order to paint the thing. Then I’ll look through my photo albums to find an emotion, gesture, or maybe a fabric that reminds me of what I jotted down. When I find that image—of a figure or maybe a place—then I'll look around to find other images that can work to build up this thing. I'm collaging photos to create a whole idea. I come up with a rough draft in my mind—the outline of the idea, not the painting in its entirety. I don't do sketches, because I allow the process of painting and sketching and draw-
ing to be visible in the work. I want the viewer to be able to experience the entire process of me creating the painting, from the sketch to the underpainting in certain areas, to adding and subtracting the paint.
Your works are full of images of gathering and community. Do you think your paintings prompt the very interactions you love to paint?
That's always the intention. That's why I spent a lot of time focused on universal experiences, because I want the paintings to normalize Black existence at its core, and the way we do that is about understanding our similarities. There's nothing wrong with us having differences, but I think we kind of gloss over the things that make us human. I’m extremely dedicated to replicating my
Below:
Photo by Madison Quinones
Page 6 & 7:
For Thomas (detail), 2021, oil and oil stick on canvas, 49 7/8 x 60 in. The Baltimore Museum of Art: Purchase with exchange funds from the Pearlstone Family Fund and partial gift of the Andy Warhol Foundation for the Visual Arts, Inc.; BMA 2021.159
Man with Lilacs, 2021, oil and oil stick on canvas, 69 1/4 x 57 in. The Traci and Mark Lerner Collection
childhood memories and experiences because of the connective tissue that is really there with other people outside of—and within—my community. From my experience, I've seen people from all different walks of life being able to sit in front of a work and talk together about it and share their experiences. And that's where the beauty in the work for me really rests, in the ability to have so many people from so many different walks of life appreciate the work together, talk about it together, bring their similarities and differences to the table. It becomes a sounding board for them to create dialogue and build more community.
What do you hope visitors will feel and reflect on as they move through the exhibition?
I hope they remember a similar experience that they had. Because if they can remember through looking at the painting, then they'll feel something. They'll feel it. And then once they feel it, they'll be able to talk about it. They'll be able to share what it is that they've experienced and how they got through it, or how they love this, too. Once you see it and it reminds you of something that you did or experienced, then you feel it, and then you can reverberate that throughout the space. n
Major support for this exhibition is provided by The Pew Center for Arts & Heritage
Additional support is provided by the William Penn Foundation, PNC Arts Alive, Eddie C. and C. Sylvia Brown, and the National Endowment for the Arts
Jerrell Gibbs: No Solace in the Shade is accompanied by a fully illustrated, hardcover catalogue co-published by Rizzoli Electa and the Brandywine. The first monographic treatment of Gibbs’s work, this major publication features an essay by Angela N. Carroll; a conversation between Gibbs and Jessica Bell Brown, Executive Director at the Institute for Contemporary Art at Virginia Commonwealth University, about his process, style and technique; a discussion between Gibbs and Larry OsseiMensah, a curator and cultural critic, about cultural references and inspirations; a long-form lyrical poem in response to the artist’s “The Notes Series: Salvador Portraits” by filmmaker and poet NIA JUNE; and a photographic documentation of Gibbs’s artistic process by Washington, D.C.–based photographer Kelvin Bulluck.
Purchase a copy in person or at www.BrandywineMuseumShop.org
BRANDYWINE EARNS PRESTIGIOUS REACCREDITATION
The Brandywine Conservancy & Museum of Art is pleased to have achieved renewal of its accreditation from the Land Trust Accreditation Commission, an independent program of the Land Trust Alliance, earlier this year. The prestigious land trust accreditation program recognizes land conservation organizations that meet national high-quality standards for protecting important natural places and working lands forever.
Since 1967, the Brandywine has been a leader in protecting and conserving the land, water, natural, and cultural resources in southeastern Pennsylvania and northern Delaware—with over 70,700 acres of open space permanently protected to date. It was also one of the first conservation organizations to be awarded accreditation by the Land Trust Accreditation Commission in 2008. Since then, the Brandywine Conservancy has successfully completed the rigorous accreditation renewal process three times, maintaining its accreditation status for nearly two decades.
A complete list of accredited land trusts and more information about the process and benefits can be found at www.landtrustaccreditation.org
YOUR SUPPORT CONTINUES TO MAKE GREAT THINGS POSSIBLE!
This giving season, we hope you'll consider making a fully tax-deductible contribution to the Brandywine's Annual Giving fund. Contributions to Annual Giving are an important source of operating support and help make all the programs of the Conservancy and Museum possible. Supporting this fund is an easy way to have an immediate impact on Brandywine's programs and the initiatives that are important to you!
Learn more or make a contribution today at: www.brandywine.org/give
CELEBRATING 40 YEARS OF THE CRITTER SALE
This year, the Brandywine’s beloved Critter Sale turns 40—a milestone for a holiday tradition that has delighted generations of visitors. Each winter, thousands of whimsical Critter ornaments—handcrafted entirely from natural materials including teasel, pinecones, acorns, and seed pods—find their way from the Brandywine's volunteer worktables to the homes of Critter collectors near and far.
A Brief History
The Critters’ story begins in 1971, shortly after the Museum opened, when co-founder George A. “Frolic” Weymouth asked a pair of volunteers to decorate a “natural Christmas tree” for the holidays. In the years that followed, the volunteers began hand making ornaments with materials foraged from the landscape, and
in 1984, Brandywine was invited to decorate a White House Christmas tree with more than 3,000 Critters. After the tree was taken down, Brandywine wondered what to do with all those ornaments. An assortment of Critters found their way into the Smithsonian's permanent collection. Then, in February 1985, Brandywine decided to host its first Critter Sale for the remaining ornaments—all of which immediately sold out in one day, raising $18,000 for the Museum.
Since then, the Critter team has grown to more than 130 volunteers who work year-round crafting over 10,000 ornaments each season. Critters range from woodland favorites like owls, reindeer, and rabbits to elaborate tableaus featuring kayakers, musicians, and even bicyclists. Each one is made with glue, tweezers, patience, and a spark of imagination.
Crafting Joy, One Critter at a Time
For Cathy Wakefield, a retired schoolteacher who has been a Critter volunteer for the past 12 years, the work is as meaningful as it is enjoyable. “It’s such a joy to me, and it’s wonderful to bring that joy to other people,” she says, recalling the countless faces she’s seen light up upon seeing the whimsical creations. “This has been the biggest joy in terms of volunteering that I’ve had in the last 14 years of retirement.”
The spirit of the program also continues to draw in new generations of Critter makers. Volunteer Trisha Kumar, now in her fourth year, first heard about the program during the pandemic after running into Cathy, who lived nearby, on walks around the neighborhood. “I’ve lived in Chadds Ford my whole life, and the Crit-
Holiday Critter Sale
MEMBER PREVIEW SALE: Wednesday, November 19, 2025
9:30 a.m.–5 p.m.
PUBLIC SALE: Thursday, November 20–Sunday, November 23, 2025
9:30 a.m.–5 p.m.
The Holiday Critter Sale is held in person at the Brandywine Museum of Art. Beginning November 24, the remaining inventory of Critters will be available for purchase in the Museum Shop.
ters feel very Chadds Ford—very of the area,” she says. “Participating has been a great way to connect with the community and a unique way to fundraise for the Museum.”
Trisha has also brought her own playful spin to the tradition with limited-edition "pop culture" Critters inspired by Philadelphia's favorite sports teams. “On a whim I made a Jason Kelce Critter, and it just went from there,” she recalls, after her line of Philadelphia Eagle Critters went viral. “The next year, people kept asking about Gritty—everybody wanted a 'Gritty' Critter. And if people are asking…” she laughs, hint-
ing that this year’s lineup may include more hometown favorites. “Everyone’s excited for the Super Bowl this year, so I’ve been figuring out ways to make them extra special.”
The annual sale has raised nearly $2 million to date, which supports the Museum's art education and programming each year. But for the Critter makers, it’s the sense of tradition, creativity, and community that keeps them coming back year after year. As the Brandywine celebrates the 40th anniversary of the Critter Sale, these whimsical ornaments remain a joyful expression of holiday spirit—rooted in Chadds Ford and cherished far beyond. n
Can't make it in person? Shop a limited selection of Critters online at www.brandywine.org/critters
Above: Fox and "Gritty" Critters.
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Top: The 1984 White House Christmas tree featuring Brandywine Critters, photographer unknown.
Bottom: Brandywine Critter volunteers, ca. 1980s, photographer unknown.
As the Brandywine collection continues to expand, deepening our holdings of beloved artists such as Andrew Wyeth, we are also adding new and important names to the collection. Here are some of our most recent and exciting acquisitions.
The Brandywine’s Walter & Leonore Annenberg Research Center is incredibly proud to announce the publication of two key collections to our online databases: the complete catalog of N.C. Wyeth Illustrated Books, as well as the first installment of the N.C. Wyeth Correspondence Collection finding aid.
The N.C. Wyeth Correspondence Collection of Betsy James Wyeth is comprised of original letters and photographs created by N.C. and archived by Betsy as part of her work towards the publication, The Wyeths: The Letters of N.C. Wyeth, 1901-1945. Never fully inventoried and publicized until now, the finding aid to the first installment (1881-1907) can now be accessed online through the Research Center’s online database. A finding aid helps researchers discover the contents and context of the collection, reflecting the work of the Research Center staff as they organize and catalog the individual
letters and photos. This work is made possible with newly acquired software used by libraries and archives across the country called ArchivesSpace.
The collection contains both personal and business correspondence written to and by N.C. The personal correspondence primarily consists of letters written to his mother, Henriette Zirngiebel Wyeth, up until her death in 1925. These letters read like a private diary, not just in terms of their frequency, but also in the level of detail of daily life and the confessional nature of his innermost thoughts and emotions. Letters to his brothers, and later, letters to his children, often read in a philosophical tone,
where N.C. expounds at length on his personal views of the world and advice on how to better their lives and careers. These narratives not only provide a detailed look at this monumental artist’s career and daily life, but they also show the mental and personal struggles of a man who often felt conflicted by his professional identity and legacy.
Besides manuscripts, additional items and artifacts can be found within the collection, such as the doctor’s bill for N.C.’s birth, a notarized copy of his death certificate, and the comb (with hair remnants) left on his dresser on the day of his death, preserved in an envelope. The most prominent non-manuscript items though are photographs. Dispersed throughout the volumes by Betsy, these photos provide visual context for certain people, places, and subjects discussed within N.C.’s letters. A large majority of the photos were taken by N.C. himself, such as those from his trips “out West” and of his wife and children, proving his skill at another art form.
Due to the incredible number of materials in this collection, the finding aid will be published in installments, so look for future additions as the work progresses.
The first portion of the database alone contains records for approximately 575 letters and 570 photographs that span N.C.’s childhood and early career, including his studies with mentor Howard Pyle and travels out West.
At the same time, the Research Center has also completed cataloging of our N.C. Wyeth Illustrated Book Collection, which contains rare first and signed editions of publications, such as Treasure Island, Robin Hood, The Yearling, and The Odyssey These records can be found in our online library catalog. Researchers can make an appointment to view these collections by either filling out an appointment scheduling form through Brandywine's website or by contacting the Research Center Manager. n
For access to our online library catalog and finding aid please scan these QR codes.
N.C. WYETH
The Brandywine Museum of Art will soon be offering tours of N.C. Wyeth’s monumental mural, Apotheosis of the Family, 1932, now housed in a specially designed round barn on Point Lookout Farm—the home of N.C.’s grandson, artist Jamie Wyeth—in nearby Wilmington, DE. Measuring 19 by 60 feet long, this mural is the largest work ever created by the artist.
Limited guided tours will soon be available through advance reservations only. These tours will offer visitors the exclusive opportunity to experience this work up close in an intimate setting, all while learning more about the artist’s mural practice and the massive conservation project undertaken to restore this painting.
Page 14:
Top: Detail from the N.C. Wyeth Studio of the artist's writing desk.
Bottom:
Cowboys at the Gill Ranch, (left to right), Elroy Gill, N.C. Wyeth, Andy Middlemist, 1904. N.C. Wyeth Correspondence Collection of Betsy James Wyeth, Walter & Leonore Annenberg Research Center, Brandywine Museum of Art. Gift of the estate of Betsy James Wyeth, 2024.
CROPSEY, WYETH, AND THE AMERICAN LANDSCAPE TRADITION
On view through May 31, 2026
Jasper Francis Cropsey (1823–1900), Autumn in the Ramapo Valley, Erie Railway, 1873, oil on canvas, 38 5/8 × 68 1/8 in.
The J. Jeffrey and Ann Marie Fox Foundation for American Art
The Brandywine is delighted to present the world-wide museum debut of a rediscovered masterpiece not seen in the United States since it was painted over 150 years ago. The painting, Autumn in the Ramapo Valley, Erie Railway, is a monumental masterwork by Jasper Francis Cropsey (1823–1900), one of the luminaries of the Hudson River School of artists. The painting was commissioned by James McHenry, an Irish-born transatlantic businessman who invested in a number of American railroads, to commemorate his victory in a battle to control the Erie Railway Company. This painting has been hidden away in McHenry’s and other British private collections since being shipped to England in the fall of 1873. Acquired by the J. Jeffrey and Ann Marie Fox Foundation for American Art in January of 2025, this painting by an American artist of a quintessentially American landscape finds its rightful place on an American museum’s wall for the first time in the painting’s history.
“We searched for a larger scale masterpiece by Cropsey for over 12 years and had to act decisively to acquire this painting
with our initial decision based on a condition report and descriptions of the painting from period newspapers,” said Jeff and Ann Marie Fox. “It is an honor that curators from the Brandywine and other museums concur that it is an extraordinary painting with an equally fascinating story whose return to the United States is being celebrated during the country’s 250th birthday.” Their Foundation collection includes exceptional examples of works by significant American artists of the nineteenth and twentieth centuries, ranging from Thomas Cole to Georgia O’Keeffe.
The chance to share this important artwork with the American public for the first time in 150 years inspired the special exhibition Cropsey, Wyeth, and the American Landscape Tradition—a focused appraisal of the complex art of American landscape painting through the varied collections of the Brandywine Museum of Art and of the Wyeth Foundation for American Art. Visitors to the exhibition will see this seven-foot-wide example of the “great picture” tradition occupying a dedicated wall immediately upon
entering the Andrew Wyeth Gallery.
“Autumn in the Ramapo Valley, Erie Railway is a revelation to historians of American art: a survivor of a moment in which art and industry were entangled in fascinating ways and artists like Cropsey, Albert Bierstadt, and Frederic Church were in competition for new fortunes being spent on imposing paintings of the sources of their wealth,” said William L. Coleman, Ph.D., the exhibition’s curator and Director of the Andrew & Betsy Wyeth Study Center at Brandywine, with a scholarly background in the Hudson River School.
Autumn in the Ramapo Valley, Erie Railway is the work of a mature artist tackling sublime, autumnal wilderness in dialogue with the booming railroad business, a frequent subject. Commissioned by a British railroad investor with controlling interests in the railway depicted, the painting naturalizes infrastructure and celebrates the feats of engineering that allowed it to cross
such rugged terrain. It also illustrates the extent to which international markets existed for American art, even at this early date. The work received significant attention from American newspapers at the time Cropsey was painting it before it receded from view into private hands for the intervening 150 years.
This exceptional artwork clarifies the sheer ambition, energy, and expense that were devoted to depicting the natural world in the nineteenth-century United States, a phenomenon in which the Brandywine’s collection is particularly rich. The fact that its subject matter is a valley on the New Jersey-New York border makes it all the more relevant for dialogue with depictions of similar regional subjects in the collection. In addition to Cropsey, landscapes by artists including Alfred Thompson Bricher, Albert Bierstadt, William Trost Richards, John Frederick Kensett, Mary Blood Mellen, and Martin Johnson Heade, among others, are included.
The exhibition continues the story with Cropsey’s afterlives. Through key works in the Brandywine and Wyeth Foundation collections, a clear line of descent traces the further development of American landscape art, via Winslow Homer, George Bellows, and N.C. Wyeth, to an especially rich flowering in the works of Andrew Wyeth. Archival evidence demonstrates the depth of his engagement with the history of landscape art, including specific lessons in composition, allegory, and the aesthetic potential of industry that Andrew Wyeth learned from the Hudson River School. Through a variety of works in watercolor and tempera, many of which have never been exhibited before, the story of the rich American landscape tradition continues and intriguing commonalities between the artists of the Hudson River School and Wyeth emerge. n
Top:
George Wesley Bellows (1882–1925), Blasted Tree and Deserted House, 1920, oil on panel, 18 x 22 in. Brandywine Museum of Art, purchased with Museum funds, 2023
Bottom:
Martin Johnson Heade (1819–1904), New Jersey Salt Marsh, ca. 1875, oil on canvas, 17 × 36 1/4 in. Brandywine Museum of Art, Richard M. Scaife Bequest, 2015
The exhibition is accompanied by virtual programs and a robust microsite with additional research background on the rediscovered Cropsey. After its debut presentation at the Brandywine, Autumn in the Ramapo Valley, Erie Railway will make a national tour into 2028, with presentations now confirmed at the following institutions:
Speed Art Museum, Louisville, KY: February 2027–August 2027
Rockwell Museum, Corning, NY: September 2027–February 2028
Georgia Museum of Art, Athens, GA: March–June 2028
Newington-Cropsey Foundation, Hastings-on-Hudson, NY: Beginning July 2028
WINTER SOWING WITH NATIVE PLANT SEEDS
Winter sowing is a simple, cost-effective, and efficient way to grow native plants from seeds. By using natural stratification processes, this gardening technique can yield higher germination rates and stronger plants. Winter sowing also promotes biodiversity, strengthens local ecosystems, and gives gardeners the satisfaction of growing native plants from seed—without the need for indoor grow lights or complicated care routines.
What is Winter Sowing?
Winter sowing involves planting seeds in containers outdoors during the winter months, simulating the cycle where seeds undergo winter’s cold and precipitation, followed by warmer temperatures
in spring, thereby encouraging natural growth. This method eliminates the need for indoor seed-starting trays and artificial heat sources, making it an ideal technique for gardeners who want to grow plants that thrive in local climates.
How to Winter Sow Native Plant Seeds
Choose the Right Seeds. Not all seeds benefit from winter sowing. Look for native plant species that naturally grow in your region and require cold stratification. Brandywine’s Native Garden Hub (www. NativeGardenHub.org) is a great place to start. Common native plants that do well with winter sowing include wildflowers such as black-eyed Susans, lobelias, milkweeds, purple coneflowers, and native
sunflowers, as well as shrubs including meadowsweet (Spiraea alba) and common ninebark (Physocarpus opulifolius).
New York Ironweed (Vernonia noveboracensis) seedlings
Purple Coneflowers (Echinacea purpurea)
Gather Supplies:
• Clear plastic containers like milk jugs or soda bottles. These will act as mini greenhouses.
• Potting mix or seed-starting mix. Do not use garden soil—it’s too heavy.
• Native seeds of your choice.
• Scissors, tape, and a marker.
• Optional: pencil and a slip of paper.
Prepare the Containers:
• Cut your plastic container in half, leaving a hinged top that can be secured back in place.
• Remove the lid. The opening will allow some precipitation to keep the soil moist over winter.
• Punch several drainage holes in the bottom to allow excess water to escape.
• Label each container with the plant species and the date of sowing.
Pro tip: write the same information on a slip of paper to place inside the container as a backup in case the exterior label fades.
Plant the Seeds:
• Fill the container 3–4 inches with a damp, but not soggy, potting mix.
• Sprinkle the seeds evenly across the surface of the soil.
• Lightly cover the seeds with more potting mix, if necessary. Some seeds need light to germinate and shouldn’t be covered.
• Secure the top of the container back in place using tape.
Set Them Outside. Place the containers in a spot where they will be exposed to the elements—a sunny location is ideal. Avoid
placing them in areas where they might be buried under heavy snowdrifts. Containers should stay outside for the entire winter, experiencing the freeze-thaw cycles that trigger the stratification process.
Monitor Growth. Check your containers occasionally for moisture. If they seem dry, add a little water, but avoid making the soil too soggy. As temperatures warm in early spring, you should see seedlings start to emerge. The mini greenhouse effect of the plastic containers helps maintain a stable temperature, providing a favorable environment for the seeds to grow.
Transplant Seedlings. As the weather warms and the seedlings develop, they can be eventually transplanted into your garden. n
www.NativeGardenHub.org.
Page 20: Photos by Melissa Reckner
Partnership spotlight: Collaborating with Terrain
We are proud to announce a new partnership with Terrain, Anthropologie Group's home and garden brand, reinforcing a shared commitment to sustainability and creative expression. As part of this partnership, Terrain served as a lead sponsor for the Museum’s recent special exhibition, This Earthen Door: Nature as Muse and Material, which explored how contemporary artists draw inspiration from—and work directly with—the natural environment.
"We are delighted to partner with Terrain. Their uniquely imaginative approach to their business makes them a perfect partner for Brandywine," said Virginia Logan, The Frolic Weymouth Executive Director and C.E.O. of the Brandywine Conservancy & Museum of Art. "Terrain's devotion to nature and beauty aligns with our dual mission of celebrating art and nature through our land trust and museum of American Art. We look forward to new opportunities for collaboration that will enhance our communities and further our mission."
Terrain is a garden, home, and outdoor lifestyle brand created to serve as a local source of inspiration and curated prod-
ucts for the garden and home. In 2008, Terrain's flagship location opened in Glen Mills, Pennsylvania on the site of the historic J. Franklin Styer Nursery. Terrain is well-known for its elevated product offerings including diverse native plants, handpicked planters, seasonal decor, outdoor lighting, and artisan made gifts. Its product assortment is designed to find beauty in natural imperfection and to enhance a life lived outdoors and in. Terrain has since expanded to offer an online shop and additional brick-and-mortar locations in Westport, CT, Devon, PA, and Doylestown, PA. In partnership with its sister brand, Anthropologie, Terrain introduced capsule shops in select Anthropologie & Co. stores in Walnut Creek, Palo Alto, and Los Angeles, CA and Bethesda, MD. Most recently, Terrain opened its first botanical garden capsule shop at the Brooklyn Botanic Garden in New York, NY.
“Brandywine has long been a champion of environmental preservation and artistic excellence," said Beth Smith, Managing Director of Terrain. "This partnership is a natural extension of our brand's values, and were thrilled to support This Earthen Door
while deepening our relationship with the community."
Through this collaboration, Terrain provided a $20,000 donation to support Brandywine and the exhibition, while also making a commitment to work alongside the institution on employee volunteer initiatives and educational programming.
To learn more about how your company can partner with Brandywine, contact Jane Allsopp at jallsopp@brandywine.org n
Celebrating a New Chapter of Leadership
The Brandywine Conservancy & Museum of Art is proud to share recent leadership and organizational changes with the promotions of Stephanie Armpriester and Grant DeCosta, who formerly held the roles of Co-Directors of the Brandywine Conservancy. In July, Armpriester was promoted to the newly created role of Chief Impact Officer for the entire Brandywine organization, while DeCosta was elevated to become the singular Director of the Conservancy.
As Chief Impact Officer, Armpriester now oversees all public engagement efforts across the entire organization, including the robust educational programming already offered by the Museum and Conservancy, plus enhanced art and nature programming, special events, and rentals. She also will lead Brandywine’s horticultural staff, developing
new opportunities to immerse the public in the gardens, trails, and meadows across our Chadds Ford campus. Combining these teams under one centralized department allows for more strategic and collaborative work, as well as deeper engagement with Brandywine's dual mission.
As the singular Director of the Brandywine Conservancy, DeCosta now leads all Conservancy program areas including conservation, stewardship, municipal assistance, and community services. In his new role, DeCosta continues to expand the Conservancy’s presence and efforts to protect and conserve the land, water, natural, historic, and cultural resources of this region, while also providing strategic guidance and leadership for the organization to further its mission.
“For decades, the Brandywine Conservancy has been a beacon of leadership in land conservation, and I am deeply inspired to carry that legacy into the future,” said DeCosta. “This is a pivotal moment for Brandywine, as these organizational changes will take our engagement work to new heights,” added Armpriester. “With a more welcoming campus in Chadds Ford, enhanced experiential and educational offerings, and the activation of our constituents in their own local communities, we seek to inspire the public to get involved in our unique dual mission, especially as we work on exciting new plans for our future.” n
RISING ABOVE: PROTECTING A HISTORIC STRUCTURE FROM FUTURE FLOODING
After incurring substantial damage from historic flooding caused by Hurricane Ida in 2021, the house at 6 Station Way Road on Brandywine's inner campus is preparing to enter a new phase of life. Built sometime between 1878 and 1880, the nearly 150-year old building stands as a tangible reminder of the seven families who once called it home and the development of Chadds Ford village at the turn of the century. Soon, this historic structure will be undergoing renovations to become an office building for Brandywine staff who still
remain displaced after Ida flooding substantially damaged multiple office buildings on our campus.
Looking to the Future
After the flood, the building was carefully assessed to determine if rehabilitation would be both economically and technically feasible. Given the likelihood of future flood events of similar or increased magnitude, and the building’s location in the Chadds Ford Historic District, this was an important
first step. Published the same year as the flood, the National Park Service's (NPS) Guidelines on Flood Adaptation for Rehabilitating Historic Buildings provided guidance on evaluating and identifying the best means for making 6 Station Way more resilient to flooding—without compromising its historic character. Situated in the historic district, 6 Station Way plays a role in the overall feel and character of the village, so retaining its historic features and relationship with surrounding buildings is imperative. To do this, while also consider-
ing different methods for flood adaptation, the Secretary of the Interior’s Standards for Rehabilitation were also followed and used in combination with the NPS Guidelines.
There are several ways a building can be floodproofed and multiple adaptation measures can be combined as necessary. For example, the NPS Guidelines include recommendations for dry floodproofing, wet floodproofing, filling the basement, elevating the structure on a new foundation, elevating just the interior of the structure, abandoning the lowest floor, and moving the building to a new site. When considering the best measure for 6 Station Way, elevating the structure on a new foundation allowed for the most resiliency over the longest period of time.
On Higher Ground
Elevating a structure is one of the more common flood adaptations undertaken, though it’s by no means frequently done. Luckily, 6 Station Way already sits on a raised foundation which means the increase in height will be less jarring than a building that sits low to the ground. Plus, its overall size and massing helps the building remain proportional even with the taller base. The front stairs will need to turn at a landing due to the increase in height, and
arches under the porch will visually lighten the heavy masonry of the taller foundation. Once completed, the building will have been raised 5 ’ from its original elevation to sit a little over 8’ above the ground. A new rear addition will then be constructed so the building can comfortably accommodate much-needed offices for Brandywine staff.
Brandywine has long been an advocate for historic resource protection—from the adaptive reuse of the 1864 grist mill build-
ing into an art museum to the efforts to conserve the Brandywine Battlefield, now a National Historic Landmark. In preserving 6 Station Way, Brandywine will serve as a model in the region for flood adaptation of historic structures. It is an integral part of the work we do and by preparing now, we are preserving this piece of history for future generations. n
Top: Anna Seal Schlosser on steps of 6 Station Way after flood in 1942, Edward J.S. Seal photographic reproductions (Accession 1971.336), Hagley Museum & Library, Wilmington, DE 19807
Bottom: Present-day view of 6 Station Way
Page 24: Rendering by FRENS & FRENS Studio of patterhn ives llc
EVENTS CALENDAR
Fall–Winter 2025 November 2025
1
Buccaneers' Bash:
A Black Pearl Affair
6:30–9:30 p.m.
Embark on a voyage of elegance and revelry during a festive evening in Brandywine's tented courtyard.
2
Free First Sunday at Brandywine
9:30 a.m.–4:30 p.m. +
Enjoy free all-day admission to the Museum, creative art activities for all ages, plus an afternoon "Community Conversation" in the Jerrell Gibbs exhibition.
6
Children’s Read-Aloud 10:30 a.m.
Young children and their grownups hear a story, interact with art in the Museum and make their own creative works.
Art Chat: No Solace in the Shade
This November through February, join us at the Museum on select Wednesdays and Fridays for a lively, facilitated art discussion and a closer look at the paintings of Jerrell Gibbs.
Learn more at www.brandywine.org/events
6
Artist Talk & Book Signing
2–4 p.m.
In conversation with Brandywine’s Associate Curator Kerry Bickford, Jerrell Gibbs will reflect on his artistic practice, followed by a book signing of the Jerrell Gibbs: No Solace in the Shade exhibition catalogue.
8
T’ai Chi Chih 9–10 a.m.
A mindful moving meditation class for all practitioners.
8
Yoga on the Brandywine 10–11 a.m.
An inclusive and beginner–friendly yoga class designed for practitioners of all levels.
9
Plein Air Day at Kuerner Farm
9:30 a.m.–2:30 p.m.
Artists working in all media are invited to sketch or paint this National Historic Landmark.
12
Designing with Native Plants for Winter Inspiration
12–1 p.m.
Continue your native gardening engagement through the colder months with a fresh perspective.
13
Creative Escape: Layered Histories
5:30–8 p.m.
A social evening workshop led by artist Kara Mshinda exploring the intersections of photography and collage art.
16
Stewardship Walk at the Laurels Preserve 9–11 a.m. +
19
Member Preview: Critter Sale
9:30 a.m.–5 p.m.
Hosted at the Museum. Credit card sales only.
20–23
Holiday Critter Sale 9:30 a.m.–5 p.m.
Hosted in the Museum's second floor Waterview Room. Credit card sales only.
After-hours access for individuals on the autism spectrum or with sensory processing disorder and their families.
23
Breakfast with the Trains 8:30–10 a.m.
Event Information
Children & Family
Virtual Event
Tours & Talks
Workshops & Classes
Members Only
Special Events
Unless otherwise noted, all programs and events are ticketed and/or require advance registration.
For more information, program descriptions or to register, please visit brandywine.org/events
+ Registration required, but free admission
* Free; no registration required
^ Free with Museum admission; no registration required
December 2025
3
Polar Express Read-Aloud Pajama Party
6:30–8 p.m.
Children are invited to wear their pajamas as they delight in the tale of The Polar Express and enjoy hot chocolate and cookies.
10
Children’s Holiday Party
5:30–7:30 p.m.
Visit with Santa and enjoy entertainment, costumed characters, model trains, trees adorned with critters, and treats for kids in the Millstone Café.
January 2026
2
Sensory-Friendly Evening: Brandywine Railroad
5–7 p.m. +
After-hours access for individuals on the autism spectrum or with sensory processing disorder and their families.
3
Breakfast with the Trains
8:30-10 a.m.
Enjoy early access to the Brandywine Railroad before the Museum opens, plus a continental breakfast in the Millstone Café.
3 & 10
Stories in Focus: A PhotoInspired Journey
1–3 p.m.
Guided by award-winning storyteller TAHIRA, this two-part workshop series will use a unique blend of storytelling, music, and photography to reflect on memory and identity.
10
Yoga on the Brandywine 10–11 a.m.
An inclusive and beginner friendly yoga class designed for practitioners of all levels.
11
Stewardship Walk at the Laurels Preserve 9–11 a.m. +
Enjoy a leisurely hike around the Laurels Preserve, guided by our Preserve Stewards, to discuss recent stewardship work on the property and the reasons behind the activities.
20
Loving the Less Loveable: Series Kickoff
6:30–7:30 p.m.
Brandywine's Penguin Court Preserve will kick-off its Loving the Less Lovable virtual series with a presentation by Maria Rodale, author of Love Nature Magic: Shamanic Journeys Into the Heart of My Garden. This series will take place January through March.
12
Stroller Tour
10:30–11:30 a.m.
A guided tour designed especially for adults accompanied by babies.
19
Polar Express Read-Aloud Pajama Party 6:30–8 p.m.
20
Breakfast with the Trains 8:30–10 a.m.
Enjoy early access to the Brandywine Railroad before the Museum opens, plus a continental breakfast in the Millstone Café.
23
Chef Table: Burns Supper 6–9 p.m.
Celebrate the life and poetry of Robert Burns with a traditional Scottish menu and whisky tasting.
27
Loving the Less Loveable: Flies 6:30–7:30 p.m.
A virtual program, hosted by Penguin Court Preserve, about the uniqueness of flies and their importance in our ecosystem.
2026 Native Plants Series –Virtual and In-Person Offered seasonally throughout the year.
Looking to pique your interest in native plants this upcoming year? Stay tuned for virtual and in-person program offerings in our 2026 Native Plant Series. Learn more and register at brandywine.org/events
February 2026
1
Free First Sunday at Brandywine 10 a.m.–4 p.m. +
Enjoy free all-day admission to the Museum, creative art activities for all ages, plus an afternoon "Community Conversation" in the Jerrell Gibbs exhibition.
3
Loving the Less Loveable: Snakes 6:30–7:45 p.m.
They cause some people a lot of anxiety, but snakes contribute to biodiversity and rodent control. Learn about the snakes of Pennsylvania during this virtual presentation.
7
Special Weekend Read-Aloud 10:30 a.m.
Young children and their grownups hear a story, interact with art in the Museum and make their own creative works.
10
Loving the Less Loveable: Ticks 6:30–7:30 p.m.
Understand the role ticks play in our environment and how you can protect yourself through this virtual program hosted by Penguin Court.
17
Loving the Less Loveable: Spiders 6:30–7:45 p.m.
They creep out a lot of people, but these fascinating arachnids are vital to healthy ecosystems. Learn to appreciate spiders during this virtual program hosted by Penguin Court.
21
Yoga on the Brandywine 10–11 a.m.
An inclusive and beginner-friendly yoga class designed for practitioners of all levels.
21
Poetry and Film Night with NIA JUNE
5–8 p.m.
A curated evening of poetry readings and short film screenings by NIA JUNE.
22
Stewardship Walk at the Laurels Preserve 9–11 a.m. +
Enjoy a leisurely hike around the Laurels Preserve, guided by our Preserve Stewards, to discuss recent stewardship work on the property.
24
Loving the Less Loveable: Coyotes 6:30–7:45 p.m.
Learn about these mammals and their significance in our environment during this virtual program hosted by Penguin Court.
Children’s Read-Aloud Tours Thursdays, February 5 through March 12 10:30 a.m.
Young children and their grownups hear a story, interact with art in the Museum and make their own creative works. Register for one or more programs at www.brandywine.org/events
Brandywine Museum Shop
Artfully inspired gifts for the holidays
Visit BrandywineMuseumShop.org for a full selection of gifts, including art reproductions, exclusive holiday ornaments, jewelry, books, notecards, calendars, toys, and more.
Browse a curated selection of favorites in our Holiday Gift Guide at brandywine.org/gift-guide
March 2026
1
Free First Sunday at Brandywine 10:00 a.m.–4:00 p.m. +
Enjoy free all-day admission to the Museum, creative art activities for all ages, plus an afternoon "Community Conversation" in the Jerrell Gibbs exhibition.
3
Loving the Less Loveable: Mosquitoes 6:30–7:45 p.m.
This virtual program, hosted by Penguin Court, will focus on mosquitoes, their ecological significance, and how to minimize their disturbance to your life.
April 2026
5
Free First Sunday at Brandywine 9:30 a.m.–4:30 p.m. +
Enjoy free all-day admission to the Museum and join creative art activities for all ages.
11
Yoga on the Brandywine 10–11 a.m.
An inclusive and beginner-friendly yoga class designed for practitioners of all levels.
YOUR NEXT EVENT SHOULD BE A MASTERPIECE!
Introduce your friends, family, colleagues and guests to the charm and beauty of the Brandywine Museum of Art by hosting your next special event here. The Museum is available yearround for corporate events, client gatherings, milestone birthday and anniversary celebrations, as well as wedding ceremonies, receptions, rehearsal dinners, and luncheons.
Catering options are provided by the Museum's Millstone Café. For more information or to schedule a tour, please contact us at events@brandywine.org
14
Yoga on the Brandywine 10–11 a.m.
An inclusive and beginner-friendly yoga class designed for practitioners of all levels.
22
Stewardship Walk at the Laurels Preserve 9–11 a.m. +
Enjoy a leisurely hike around the Laurels Preserve, guided by our Preserve Stewards, to discuss recent stewardship work on the property.
26
Stewardship Walk at the Laurels Preserve 9–11 a.m. +.
Enjoy a leisurely hike around the Laurels Preserve, guided by our Preserve Stewards, to discuss recent stewardship work on the property.
SAVE THE DATE: Native Plant Sale returns May 8–10, 2026!
TRAVELING THIS FALL?
Upgrade to any supporting level membership to receive complimentary admission to 1,200+ museums around the country through the North American Reciprocal Museum Program. For a full list of participating museums, visit narmassociation.org .
For more information or to upgrade your membership, contact our membership office at 610-388-8341 or visit the front desk of the Museum.
IN THE AREA AND LOOKING FOR LUNCH?
Visit our Millstone Café—no Museum admission required! Featuring floor-to-ceiling window views overlooking the Brandywine Creek, the Millstone Café offers a variety of seasonally inspired and freshly prepared made-to-order and “grab and go” menu options. Call us at 610-388-8326 or visit www.brandywine.org/cafe for more information.
IN MEMORIAM
Mary Alice Malone (1950–2025) was a long-time and devoted Brandywine trustee. An accomplished entrepreneur and horsewoman, she resided both in Coatesville, Pennsylvania, and Wellington, Florida, operating Iron Spring Farm in both locations. Iron Spring Farm was founded in 1976 by Mary Alice, and it grew to be a premier center for sport horse breeding and competition.
As a Brandywine trustee, she served on the development committee, where she led by example by giving generously to general operations and special projects, both personally and through The Roemer Foundation. To say that her quiet leadership and generous spirit have left an indelible imprint on our organization is an understatement. She will be greatly missed.
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 CARYL BAETJER
Ms. Katharine Baetjer
IN MEMORY OF COOKIE & JERRY BROWN
Caroline Brown Lintner
IN MEMORY OF GABRIELLE SIMPSON CERMINARO
Tom & Wendy Coleman
IN HONOR OF MARY CRONIN
(IN ADDITION TO PREVIOUS GIFTS)
Jo & Joe Lurquin
Chuck & Nancy Wilson
Mr. & Mrs. James W. Zug
IN MEMORY OF JAN CROSSAN
Ms. Eva Giordano
Ms. Kathy King
IN MEMORY OF MATTHEW JAMES DAVIS
(IN ADDITION TO PREVIOUS GIFTS)
Mr. & Mrs. James Davis
IN MEMORY OF DAVID A. DIMARZIO
(IN ADDITION TO PREVIOUS GIFTS)
Christopher & Sandy Ritterson
IN MEMORY OF FORD B. DRAPER JR.
(IN ADDITION TO PREVIOUS GIFTS)
Cuyler Walker
Mr. & Mrs. George F. Wintersteen
IN APPRECIATION FOR THE DU PONT FAMILY REUNION EVENT
Du Pont Family Reunion Committee
IN MEMORY OF DR. JAMES M. ELLIS
(IN ADDITION TO PREVIOUS GIFTS)
Dr. & Mrs. Burton T. Mark
Laura L. Stanfield
IN MEMORY OF STEPHANIE ENEA
Mrs. Janice Castaldo
IN HONOR OF DONNA GORMEL'S RETIREMENT
(IN ADDITION TO PREVIOUS GIFTS)
Ms. Dina Avvakumova
Mrs. Caryl M. Baetjer
Ms. Linda Biddle
Mrs. Pamela Bryer
Mrs. Karen Carson
Mrs. Janice Castaldo
Ms. Alison Clements
Mrs. Susan Clendenin
Ms. Belinda I. Collins
Ms. Mary F. Connors
Ms. Wendy Cotton
Ms. Deborah Daller
Mrs. Anne DeNenno
Miss Lynne S. Dewees
Mrs. Betsy Dillon
Margaret Schad Dunbar
Mrs. Candy Dunson
Dr. Norman Fienman &
Mrs. Marla Fienman
Ms. Nina Finkeldey
Ms. Karin Fleming
Ms. Lynne Wertime W. Gingrich
Mr. & Mrs. Alan L. Goodman
Ms. Elaine Guilday
Mrs. Eleanor Hammond
Mr. & Mrs. Douglas J. Hayes
Mr. & Mrs. Roland Heck
Mrs. Kathleen Hildebrand
Ms. Jane Hunt
Ms. Elizabeth Lazorik
Jo & Joe Lurquin
Mrs. Judy Mark
Ms. Joan McClintock
Mrs. Bette McConnell
Mrs. Eleanor McCoy
Mrs. Adrienne McDermott
Mrs. Arlene McGoldrick
Mr. & Mrs. John Meicht
Mr. Dick Merryman
Ms. Madelyn Miscannon
Mrs. Anne P. Morrell
Mrs. Anna Marie Newman
Mr. Robert & Mrs. Anna Marie
Newman
Ms. Barbara Palma
Dr. & Mrs. Thomas Parker
Mr. & Mrs. David Perri
Mrs. Marie Przywitowski
Mary Beth & Tom Reimann
Ms. Charlotte S. Roede
Dr. Michael Silver
Mrs. Roberta Yarker Smith
John & Helen Springer
Mr. & Mrs. Stewart H. Stabley
Mrs. Karen R. Statz
Ms. Marcie Tauber
“Thursday Critter Makers”
Ms. Dorothy Turczyn
Ms. Muriel C. Wagner
Mrs. Cathy B. Wakefield
Mrs. Pam Weiss
Mrs. Patricia Trent Wells
Chuck & Nancy Wilson
Ms. Teddi Wright
Ms. Janis Zane
Mr. & Mrs. James W. Zug
IN HONOR OF MARK GORMEL
(IN ADDITION TO PREVIOUS GIFTS)
Jo & Joe Lurquin
IN MEMORY OF JAMES R. GRIEVES
Mrs. Anne Grieves
Jason Rubin & Alan Cohen
IN MEMORY OF SUSAN HARNEY & SAM WAGNER
Mrs. Mary Ann B. Wagner
IN MEMORY OF HOWARD HARRIS
(IN ADDITION TO PREVIOUS GIFTS)
Karen Heebner & Gail Graham
IN HONOR OF DOUG & KATE HAYES
Leeann Magee
IN MEMORY OF DR. ALLEN LESLIE
Charles & Blair Fleischmann
Angela Greenberg
Mr. & Mrs. Stephen B. Harris
IN HONOR OF VIRGINIA A. LOGAN
(IN ADDITION TO PREVIOUS GIFTS)
Nan M. Lansinger
IN MEMORY OF MARY ALICE MALONE
DD Matz
Mr. & Mrs. John C. Razze
Cuyler Walker
Mr. & Mrs. George F. Wintersteen
IN MEMORY OF FREDERICK L. MESERVE JR.
(IN ADDITION TO PREVIOUS GIFTS)
Mr. & Mrs. George F. Wintersteen
IN MEMORY OF BARBARA J. MOORE
Margaret Schad Dunbar
IN MEMORY OF RODMAN W. MOORHEAD III
(IN ADDITION TO PREVIOUS GIFTS)
Lydia Willits Barthholomew
Charles & Blair Fleischmann
Buzz & Ellie Hannum
Somerville Manning Gallery
Mr. & Mrs. George F. Wintersteen
Diana Wister
IN MEMORY OF “JETS” MOTTOLA
Mr. Todd Paonessa
IN HONOR OF JAMES F. O’ROURKE
Lydia Willits Bartholomew
IN HONOR OF EDGAR SCOTT’S
100TH BIRTHDAY
Cuyler Walker
Mr. & Mrs. George F. Wintersteen
IN MEMORY OF BILL SELLERS
(IN ADDITION TO PREVIOUS GIFTS)
Mrs. Deborah L. Sellers
IN HONOR OF MAC WEYMOUTH
(IN ADDITION TO PREVIOUS GIFTS)
Dr. & Mrs. Anthony D. Alfieri
IN APPRECIATION OF THE WEYMOUTH FAMILY
(IN ADDITION TO PREVIOUS GIFTS)
Ms. Mary Dougherty
Dr. Judith Kinney
IN HONOR OF TOM WILT
Suzanne Regnier & Greg Papiernik
P.O. Box 141, Route 1
Chadds Ford, PA 19317
MUSEUM HOURS
Visit www.brandywine.org/hours
INFORMATION brandywine.org/museum information@brandywine.org 610.388.2700
FOLLOW THE MUSEUM @brandywinemuseum @brandywinemuseum
EXHIBITIONS
Holidays at Brandywine November 15, 2025–January 4, 2026
Jerrell Gibbs: No Solace in the Shade Through March 1, 2026
Cropsey, Wyeth, and the American Landscape Tradition Through May 31, 2026
Abundance/Excess: A Contemporary Eye on Still Life
March 14–June 7, 2026
PRESERVE HOURS
The Laurels, Waterloo Mills & Birmingham Hill Preserves Visit www.brandywine.org/preserves
INFORMATION brandywine.org/conservancy information@brandywine.org 610.388.8340
FOLLOW THE CONSERVANCY @brandywineconservancy
@brandywineconservancy
Cover: Jasper Francis Cropsey (1823–1900) Autumn in the Rampo Valley, Erie Railway (detail), 1873, oil on canvas, 38 5/8 x 68 1/8 in.
The J. Jeffery and Ann Marie Fox Foundation for American Art
