Catalyst Fall–Winter 2025

BRANDYWINE

CATALYST FALL–WINTER 2025. VOLUME 53. NUMBER 2

Holidays at Brandywine November 15, 2025–January 4, 2026 All aboard for a lifetime of memories! Your favorite holiday tradition returns to the Brandywine Museum of Art with model trains, dollhouses, and other seasonal wonders, along with towering trees adorned with our signature, handmade “Critter” ornaments.

For more information please visit brandywine.org/holidays

Support for the Brandywine Railroad holiday train display is provided by The Davenport Family Foundation Fund for Exhibitions, Chase, and Herr Foods.

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IN THIS ISSUE: 4 5 6

Member Spotlight Home for the Holidays: Cards and Hearths from the Collection Jerrell Gibbs: No Solace in the Shade

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Celebrating 40 Years of the Critter Sale

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N.C. Wyeth Correspondence & Illustrated Rare Books

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Cropsey, Wyeth, and the American Landscape Tradition

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Winter Sowing with Native Plant Seeds

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Partnership spotlight: Collaborating with Terrain

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Celebrating a New Chapter of Leadership

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Rising Above: Protecting a Historic Structure from Future Flooding

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Events

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In Memoriam

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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. © 2025 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.

Photo by Visit Delco 100% recyclable

This publication is printed on paper manufactured from 10% recycled fibers certified by the Forest Stewardship Council (FSC).

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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.

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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.

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JERRELL GIBBS: NO SOLACE IN THE SHADE On view through March 1, 2026 7

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.

Photo by BeauMonde Originals 8

Quiero amor, 2019, oil on canvas, 60 x 48 in. Private Collection of Everette Taylor

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

Photo by Madison Quinones

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.

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 Below: Man with Lilacs, 2021, oil and oil stick on canvas, 69 1/4 x 57 in. The Traci and Mark Lerner Collection

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 9

Jerrell Gibbs: No Solace in the Shade is

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

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

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

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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

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.

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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 Crit12

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.

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.”

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.”

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-

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

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.

Can't make it in person? Shop a limited selection of Critters online at www.brandywine.org/critters

Above: Fox and "Gritty" Critters.

Page 12: Top: The 1984 White House Christmas tree featuring Brandywine Critters, photographer unknown.

Bottom: Brandywine Critter volunteers, ca. 1980s, photographer unknown.

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N.C. Wyeth Correspondence & Illustrated Rare Books

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 14

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.

NCW FINDING AID

NCW BOOKS

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.

N.C. WYETH MURAL EXPERIENCE 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.

Learn more at www.brandywine.org/mural 15

CROPSEY, WYETH, AND THE AMERICAN LANDSCAPE TRADITION On view through May 31, 2026

CROPSEY WYETH

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 16

The Brandywine is delighted to present the world-wide museum debut of a rediscov-

ered 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

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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

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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

Page 18: Andrew Wyeth (1917–2009), Fall at Archies, 1937, egg tempera on panel, 32 x 40 in.

Wyeth Foundation for American Art Collection. © Wyeth Foundation for American Art/ Artists Rights Society (ARS), New York

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: Dixon Gallery & Gardens, Memphis, TN: September 6, 2026–January 10, 2027 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

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WINTER SOWING WITH NATIVE PLANT SEEDS

New York Ironweed (Vernonia noveboracensis) seedlings

Winter sowing is a simple, cost-effective, and efficient way to grow native plants from seeds. By using natural stratification pro-

cesses, 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.

sunflowers, as well as shrubs including meadowsweet (Spiraea alba) and common ninebark (Physocarpus opulifolius).

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 Purple Coneflowers (Echinacea purpurea)

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Plant the Seeds:

Gather Supplies:

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Clear plastic containers like milk jugs or soda bottles. These will act as mini greenhouses.

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Fill the container 3–4 inches with a damp, but not soggy, potting mix.

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Potting mix or seed-starting mix.

Do not use garden soil—it’s too heavy.

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Sprinkle the seeds evenly across the surface of the soil.

• • •

Native seeds of your choice.

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Lightly cover the seeds with more potting mix, if necessary. Some seeds need light to germinate and shouldn’t be covered.

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Secure the top of the container back in place using tape.

Scissors, tape, and a marker.

Optional: pencil and a slip of paper.

Prepare the Containers:

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Cut your plastic container in half, leaving a hinged top that can be secured back in place.

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Remove the lid. The opening will allow some precipitation to keep the soil moist over winter.

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Punch several drainage holes in the bottom to allow excess water to escape.

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Label each container with the plant species and the date of sowing.

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

Pro tip: write the same informa-

tion on a slip of paper to place inside the container as a backup in case the exterior label fades.

Page 20: Photos by Melissa Reckner

Not sure where to start? The Brandywine Native Garden Hub has plant lists, tips, and inspiration to help you choose native species that will thrive in your landscape.

Explore more at www.NativeGardenHub.org.

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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 prod22

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-Di-

rectors 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

23

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 24

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-

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

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.

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.

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

Brandywine has long been an advocate for historic resource protection—from the adaptive reuse of the 1864 grist mill build-

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 25

EVENTS CALENDAR Fall–Winter 2025

November 2025 1

6

13

Buccaneers' Bash:

Artist Talk & Book Signing

Creative Escape: Layered Histories

A Black Pearl Affair

2–4 p.m.

5:30–8 p.m.

6:30–9:30 p.m.

In conversation with Brandywine’s

A social evening workshop led by

Embark on a voyage of elegance and

Associate Curator Kerry Bickford,

artist Kara Mshinda exploring the

revelry during a festive evening in

Jerrell Gibbs will reflect on his artistic

intersections of photography and

Brandywine's tented courtyard.

practice, followed by a book signing

collage art.

 Virtual Event

16

 Tours & Talks

2 Free First Sunday at Brandywine

of the Jerrell Gibbs: No Solace in the Shade exhibition catalogue.

9:30 a.m.–4:30 p.m. +

8

Enjoy free all-day admission to the

T’ai Chi Chih

Museum, creative art activities for all

9–10 a.m.

ages, plus an afternoon "Community Conversation" in the Jerrell Gibbs exhibition.

6

Stewardship Walk at the Laurels Preserve

A mindful moving meditation class

19

 Special Events

for all practitioners.

Member Preview: Critter Sale

8 Yoga on the Brandywine

9:30 a.m.–5 p.m.

Hosted at the Museum. Credit card sales only.

10:30 a.m.

An inclusive and beginner–friendly

20–23

Young children and their grown-

yoga class designed for practitioners

Holiday Critter Sale

ups hear a story, interact with art in

of all levels.

9:30 a.m.–5 p.m.

9 Plein Air Day at Kuerner Farm

Hosted in the Museum's second

Artists working in all media are

20

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.

invited to sketch or paint this

Sensory-Friendly Evening:

National Historic Landmark.

Brandywine Railroad 5–7 p.m. + After-hours access for individuals

Designing with Native Plants

on the autism spectrum or with

for Winter Inspiration

sensory processing disorder and

12–1 p.m.

their families.

Continue your native gardening engagement through the colder

23

months with a fresh perspective.

Breakfast with the Trains 8:30–10 a.m.

26

For more information, program descriptions or to register, please visit brandywine.org/events

sales only.

9:30 a.m.–2:30 p.m.

12

Unless otherwise noted, all programs and events are ticketed and/or require advance registration.

floor Waterview Room. Credit card

Art Chat: No Solace in the Shade

Learn more at www.brandywine.org/events.

 Workshops & Classes  Members Only

10–11 a.m.

creative works.

 Children & Family

9–11 a.m. +

Children’s Read-Aloud

the Museum and make their own

Event Information

+ Registration required, but free admission * Free; no registration required ^ Free with Museum admission; no registration required

December 2025 3

10

12

20

Polar Express Read-Aloud

Children’s Holiday Party

Stroller Tour

Breakfast with the Trains

Pajama Party

5:30–7:30 p.m.

10:30–11:30 a.m.

8:30–10 a.m.

6:30–8 p.m.

Visit with Santa and enjoy

A guided tour designed especially

Enjoy early access to the Brandywine

Children are invited to wear their

entertainment, costumed characters,

for adults accompanied by babies.

Railroad before the Museum opens,

pajamas as they delight in the tale

model trains, trees adorned with

of The Polar Express and enjoy hot

critters, and treats for kids in the

19

chocolate and cookies.

Millstone Café.

Polar Express Read-Aloud

plus a continental breakfast in the Millstone Café.

Pajama Party 6:30–8 p.m.

January 2026 2

10

23

Sensory-Friendly Evening:

Yoga on the Brandywine

Chef Table: Burns Supper

Brandywine Railroad

10–11 a.m.

6–9 p.m.

5–7 p.m. +

An inclusive and beginner friendly

Celebrate the life and poetry of

After-hours access for individuals

yoga class designed for practitioners

Robert Burns with a traditional

on the autism spectrum or with

of all levels.

Scottish menu and whisky tasting.

11

27

Stewardship Walk at the

Loving the Less Loveable: Flies

sensory processing disorder and their families.

3

Laurels Preserve

6:30–7:30 p.m.

Breakfast with the Trains

9–11 a.m. +

A virtual program, hosted by

8:30-10 a.m.

Enjoy a leisurely hike around the

Penguin Court Preserve, about

Enjoy early access to the Brandywine

Laurels Preserve, guided by our

the uniqueness of flies and their

Railroad before the Museum opens,

Preserve Stewards, to discuss recent

importance in our ecosystem.

plus a continental breakfast in the

stewardship work on the property

Millstone Café.

and the reasons behind

3 & 10

2026 Native Plants Series – Virtual and In-Person Offered seasonally throughout the year.

the activities.

Stories in Focus: A Photo-

20

Inspired Journey

Loving the Less Loveable:

1–3 p.m.

Series Kickoff

Guided by award-winning storyteller

6:30–7:30 p.m.

TAHIRA, this two-part workshop

Brandywine's Penguin Court Preserve

series will use a unique blend of

will kick-off its Loving the Less Lovable

storytelling, music, and photography

virtual series with a presentation by

to reflect on memory and identity.

Maria Rodale, author of Love Nature

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

Magic: Shamanic Journeys Into the Heart of My Garden. This series will take place January through March.

27

February 2026 1

10

21

Free First Sunday at Brandywine

Loving the Less Loveable: Ticks

Poetry and Film Night with NIA

10 a.m.–4 p.m. +

6:30–7:30 p.m.

JUNE

Enjoy free all-day admission to

Understand the role ticks play in

5–8 p.m.

the Museum, creative art activities

our environment and how you can

A curated evening of poetry readings

for all ages, plus an afternoon

protect yourself through this virtual

and short film screenings by

"Community Conversation" in the

program hosted by Penguin Court.

NIA JUNE.

17

22

Loving the Less Loveable: Spiders

Stewardship Walk at the

Loving the Less Loveable: Snakes

6:30–7:45 p.m.

Laurels Preserve

6:30–7:45 p.m.

They creep out a lot of people, but

9–11 a.m. +

They cause some people a lot of

these fascinating arachnids are vital

Enjoy a leisurely hike around the

anxiety, but snakes contribute to

to healthy ecosystems. Learn to

Laurels Preserve, guided by our

biodiversity and rodent control.

appreciate spiders during this virtual

Preserve Stewards, to discuss recent

Learn about the snakes of

program hosted by Penguin Court.

stewardship work on the property.

presentation.

21

24

7

Yoga on the Brandywine

Loving the Less Loveable: Coyotes

10–11 a.m.

6:30–7:45 p.m.

Special Weekend Read-Aloud

An inclusive and beginner-friendly

Learn about these mammals and

10:30 a.m.

yoga class designed for practitioners

their significance in our environment

Young children and their grown-

of all levels.

during this virtual program hosted by

Jerrell Gibbs exhibition.

3

Pennsylvania during this virtual

ups hear a story, interact with art in

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.

Penguin Court.

the Museum and make their own creative works.

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

28

March 2026 1

3

14

22

Free First Sunday at Brandywine

Loving the Less Loveable:

Yoga on the Brandywine

Stewardship Walk at the

10:00 a.m.–4:00 p.m. +

Mosquitoes

10–11 a.m.

Laurels Preserve

Enjoy free all-day admission to the

6:30–7:45 p.m.

An inclusive and beginner-friendly

9–11 a.m. +

Museum, creative art activities for all

This virtual program, hosted

yoga class designed for practitioners

Enjoy a leisurely hike around the

ages, plus an afternoon "Community

by Penguin Court, will focus

of all levels.

Laurels Preserve, guided by our

Conversation" in the Jerrell Gibbs

on mosquitoes, their ecological

Preserve Stewards, to discuss recent

exhibition.

significance, and how to minimize

stewardship work on the property.

their disturbance to your life.

April 2026 5

11

26

Free First Sunday at Brandywine

Yoga on the Brandywine

Stewardship Walk at the

9:30 a.m.–4:30 p.m. +

10–11 a.m.

Laurels Preserve

Enjoy free all-day admission to

An inclusive and beginner-friendly

9–11 a.m. +.

the Museum and join creative art

yoga class designed for practitioners

Enjoy a leisurely hike around the

activities for all ages.

of all levels.

Laurels Preserve, guided by our

SAVE THE DATE: Native Plant Sale returns May 8–10, 2026!

Preserve Stewards, to discuss recent stewardship work on the property.

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 29

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.

Portrait of Mary Alice Malone by George A. “Frolic” Weymouth.

The Braid (detail), 1980, egg tempera on panel. Private Collection. © George A. Weymouth, used with permission

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.

30

MEMORIALS & TRIBUTES The Brandywine Conservancy & Museum of Art gratefully accepts and acknowledges gifts in honor or in memory of family and special friends, and in appreciation of our staff and volunteers.

Recent gifts include: IN HONOR OF 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 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)

Jo & Joe Lurquin

Lydia Willits Barthholomew Charles & Blair Fleischmann Buzz & Ellie Hannum Somerville Manning Gallery Mr. & Mrs. George F. Wintersteen Diana Wister

IN MEMORY OF JAMES R. GRIEVES

IN MEMORY OF “JETS” MOTTOLA

Mrs. Anne Grieves Jason Rubin & Alan Cohen

Mr. Todd Paonessa

IN HONOR OF MARK GORMEL (IN ADDITION TO PREVIOUS GIFTS)

IN HONOR OF JAMES F. O’ROURKE IN MEMORY OF SUSAN HARNEY &

Lydia Willits Bartholomew

SAM WAGNER

Mrs. Mary Ann B. Wagner

IN HONOR OF EDGAR SCOTT’S 100TH BIRTHDAY

IN MEMORY OF HOWARD HARRIS (IN ADDITION TO PREVIOUS GIFTS)

Cuyler Walker Mr. & Mrs. George F. Wintersteen

Karen Heebner & Gail Graham IN MEMORY OF BILL SELLERS IN HONOR OF DOUG & KATE HAYES

(IN ADDITION TO PREVIOUS GIFTS)

Leeann Magee

Mrs. Deborah L. Sellers

IN MEMORY OF DR. ALLEN LESLIE

IN HONOR OF MAC WEYMOUTH

Charles & Blair Fleischmann Angela Greenberg Mr. & Mrs. Stephen B. Harris

(IN ADDITION TO PREVIOUS GIFTS)

Dr. & Mrs. Anthony D. Alfieri IN APPRECIATION OF THE

IN HONOR OF VIRGINIA A. LOGAN

WEYMOUTH FAMILY

(IN ADDITION TO PREVIOUS GIFTS)

(IN ADDITION TO PREVIOUS GIFTS)

Nan M. Lansinger

Ms. Mary Dougherty Dr. Judith Kinney

IN MEMORY OF MARY ALICE MALONE

DD Matz Mr. & Mrs. John C. Razze Cuyler Walker Mr. & Mrs. George F. Wintersteen

IN HONOR OF TOM WILT

Suzanne Regnier & Greg Papiernik

31

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 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

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