CATALYST FALL-WINTER 2018. VOLUME 46. NUMBER 2
Brandywine Christmas NOV E MBE R 23 – JANUA RY 6 AL L AB OAR D FO R A L I F ET I M E OF M E MOR I ES !
Route 1, Chadds Ford, PA brandywine.org/museum
ART & NATURE
EXHIBITION
CONSERVANCY
Brandywine Forever!
Holidays & Snowdays
Fostering the next generation of land stewards and art lovers
Illustrations for Three Children’s Books
Framing the Future with Ellen Ferretti
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Tell us what you love about the Brandywine on social media with pictures and thoughts using #MyBrandywine
Cover Photo: James Ransome, cover illustration, The Nutcracker in Harlem, 2017, mixed media, 22 x 30 in. Collection of the artist Above: Winter along the Brandywine. Photo by Chuck Bowers
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Letter from the Executive Director
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Winslow Homer at the Brandywine
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Preserving the Brandywine Battlefield
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Make your own Brandywine Critter
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Seeing Suffrage with 2020 Vision
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American Beauty: Selections from the Richard M. Scaife Bequest
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Members Spotlight
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Memorials & Tributes
This publication is printed on FSC-certified papers made from 30% post-consumer fiber using agri-based inks. By using eco-friendly paper, this issue of Catalyst will save many valuable resources: 10,143 gallons of water; 784 lbs. of solid waste; 1,870 lbs. of emissions. Catalyst is published semi-annually by the Brandywine Conservancy & Museum of Art, a public charity founded in 1967. It is sent free to all members. Questions may be directed to Marketing & Communications, P.O. Box 141, Chadds Ford, PA 19317. Š 2018 Brandywine Conservancy & Museum of Art. Brandywine Conservancy & Museum of Art is registered with the Commonwealth of Pennsylvania under the provision of Act No. 1990-202. Solicitation of Funds for Charitable Purposes Act. A copy of the official registration and financial information may be obtained from the Pennsylvania Department of State by calling toll-free, within PA (800) 732-0999. Registration does not imply endorsement.
Dear Friends, With 50 accomplished years under our belts, we now have our sight set towards the future and to the many exciting things yet to come. To jumpstart this next phase for our organization, our trustees and staff recently undertook a strategic planning process for the Brandywine Conservancy & Museum of Art and its two programs: the Brandywine River Museum of Art and the Brandywine Conservancy. In addition to defining key strategies to move our organization forward—which you can see on the following page—we also refreshed our mission statement for the Brandywine as a whole, as well as for the Conservancy and the Museum, to align the organization together with a clear focus. As we continue to position ourselves for our bright future, we decided to use this issue of Catalyst to highlight some of the many ways the Brandywine is already looking ahead and planning for the years to come. Whether it’s how we engage young audiences—our next generation of land stewards and art lovers—through our broad range of programs, to how we present the past with a vision to the future in our upcoming exhibition, Votes for Women: A Visual History coming in 2020. You’ll read about our decades-long effort and culminating success in conserving key areas where the Battle of Brandywine was fought— precious lands that are embedded in the fabric of our nation’s history. See what’s on the horizon for the Conservancy during an interview with its director, Ellen Ferretti, as she discusses the years ahead and the hard work that has gotten us to where we are now. And explore the many wonderful opportunities to enjoy in the coming year, including Brandywine Christmas—a seasonal favorite for generations, and for new and returning visitors. It’s an exciting time for the Brandywine, and we are most thankful for your continued support. We look forward to you joining us on our ongoing journey. Virginia A. Logan The Frolic Weymouth Executive Director & CEO
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MISSION STATEMENTS Brandywine Conservancy & Museum of Art preserves and presents elements of art and nature that highlight the extraordinary beauty of the Brandywine region in Pennsylvania and Delaware.
Brandywine Conservancy protects and conserves the land, water, natural and cultural resources of the BrandywineChristina watershed.
Brandywine River Museum of Art engages audiences through its presentation and interpretation of American art with a particular focus on the Wyeth family and other artists of the Brandywine region.
CORE STRATEGIES FINANCIAL SUSTAINABILITY Develop and implement plans to ensure long-term financial sustainability.
LANDSCAPE FOCUS Focus efforts on key landscapes to best connect critical lands and emphasize a holistic approach.
RAISE THE PROFILE OF THE MUSEUM Create and present exhibitions of scholarly merit and wide public appeal.
LEADERSHIP DEVELOPMENT Maintain strong leadership across the organization to fulfill the mission.
PRIORITIZE LAND AND PROGRAMS Develop and refine criteria—based on sound science, public needs and changing conditions—to prioritize land to conserve and restore, and where to best focus our programs.
TRANSFORM THE EXPERIENCE OF VISITING THE MUSEUM Transform the Museum to become the central feature of a campus that offers diverse experiences and facilitates the appreciation of art and nature.
COMPREHENSIVE INFRASTRUCTURE PLANNING Continue to develop a long-term master plan that encompasses buildings, infrastructure and grounds. ENHANCE VISIBILITY AND INFLUENCE Continue to be an innovative leader in its professional fields and communities. ART AND NATURE Highlight the convergence of art and nature to enhance the quality of life for visitors and for the communities in which Brandywine operates.
A SUITE OF SERVICES Use a suite of integrated services and tools to conserve and restore land, water and cultural resources. To respond to changing conditions, the Conservancy will continue to experiment, innovate, and develop new tools and services. EDUCATION AND ENGAGEMENT Expand education and engagement to connect people to the natural environment; involve key stakeholders; and improve management of natural lands, water and cultural resources.
BUILD REWARDING RELATIONSHIPS WITH NEW AND CURRENT AUDIENCES Elevate the Museum’s appeal to regional, national and international audiences. REFINE THE COLLECTION Seek to acquire works of American art of the highest quality. BECOME THE DESTINATION FOR THE STUDY OF WYETH FAMILY ARTISTS Facilitate research on three generations of Wyeth family artists through strategic acquisitions of key archival documents that support scholarship.
Read more about our core strategies at brandywine.org/mission 5
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Winslow Homer PHOTOGRA PHY AN D THE AR T O F PAIN TING
November 17, 2018–February 17, 2019
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Opposite page, top: Winslow Homer (1836–1910), Eight Bells, 1886, oil on canvas, 25 3/16 x 30 3/16 in. Addison Gallery of American Art, Andover. Gift of an anonymous donor. Credit: Addison Gallery of American Art, Phillips Academy, Andover, MA / Art Resource, NY Opposite page, bottom left: Winslow Homer (1836– 1910), Cliff at Prout’s Neck, c. 1883-87, albumen silver print, 3 5/8 x 4 ½ in. Bowdoin College Museum of Art, Brunswick. Gift of the Homer Family Opposite page, bottom right: Winslow Homer (1836–1910), West Point, Prout’s Neck, 1894, transparent and opaque watercolor and graphite with scraping on heavy wove paper. Sheet: 15 1/16 x 21 7/16 in. Philadelphia Museum of Art. Gift of Dr. and Mrs. George Woodward Left: Winslow Homer (1836–1910), The Nooning, c. 1872, oil on canvas, 13 5/16 x 19 5/8 in. Wadsworth Atheneum Museum of Art, Hartford. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund. Photography credit: Allen Phillips/Wadsworth Atheneum
Winslow Homer: Photography and the Art of Painting explores the surprising role photography played in the evolving practice of one of America’s most iconic artists. The exhibition features approximately 50 paintings, prints, watercolors and drawings from all major periods of the artist’s career, as well as a comparable number of photographs collected by Homer. As a young artist for Harper’s Weekly during the Civil War, Homer utilized photographs as source material for some of his drawings. Alexander Gardner’s famous photograph of Lincoln’s first inauguration, for example, provided Homer with the pictorial information he needed to construct his own detailed view of the event. Hampered by cumbersome equipment, Civil War photographers focused mainly on camp and civilian scenes; many of Homer’s war paintings, such as Playing Old Soldier, replicated the same type of popular genre piece war photographers were selling to the illustrated periodicals. Drawn from renowned museum collections across the country, this exhibition documents Homer’s postCivil War travels to newly popular tourist destinations including the White Mountains of New Hampshire, the Catskills and Adirondacks of New York, and Cape Ann in Massachusetts. In his travels he was introduced to a new type of photography—commercially produced views to promote tourism. These photographs captured a moment
in time and effects like glare, blur and shadow that the eye might not perceive. Homer quickly understood that photography could provide fresh, immediate perspectives that he could incorporate into his paintings. During the last three decades of his life, he often created compositions of the same subject in different mediums including painting, printmaking and photography. His use of various media came from his interest in probing the way things look and the challenge of portraying them realistically. Homer often borrowed certain elements—the cropping, the out of focus background and the flatness of the composition— from photographic convention, yet his painting, based on unique optical experiences, was an artistic creation reflective of myriad decisions. To Homer, paintings had the potential to make a subject more clearly understood; photography added to that conversation about how to portray the world around him. n
This exhibition is organized by the Bowdoin College Museum of Art. The Brandywine is the exhibition’s second and only other venue. Major support for this exhibition is provided by Linda L. Bean, the Robert J. Kleberg Jr. and Helen C. Kleberg Foundation, the Davenport Family Foundation, William C. and Laura Buck, and Bank of America. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
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PRESERVING THE BRANDYWINE BATTLEFIELD
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Opposite page: Reenactors from the 1st Delaware Regiment firing off a few rounds from their muskets at the Brandywine’s dedication ceremony on September 11, 2018. Left: Pictured with reenactors from the 1st Delaware Regiment, from left to right: the Brandywine’s Thomas Padon, Morris Stroud, Virginia Logan, Ellen Ferretti, David Shields, and the Museum of the American Revolution’s Dr. R. Scott Stephenson.
On September 11, 1777, the normally peaceful countryside between Chadds Ford and West Chester became the site of the legendary Battle of Brandywine. It was the longest single-day battle of the American Revolutionary War and took place on roughly 10-square miles along the Brandywine River in Chester and Delaware Counties. Approximately 26,000 soldiers were actively engaged at Brandywine—considered one of the largest battles of the American Revolution in terms of combatants. Both British and American forces suffered heavy losses that day, and while the latter eventually retreated, a new respect was gained for the Americans’ demonstrated resolve and discipline in battle. Exactly 241 years later, on the 2018 anniversary of the battle, the Brandywine Conservancy commemorated its acquisition of a key piece of land within the historic battlefield. Complete with Revolutionary War reenactors, and the occasional volley of musket fire, the dedication ceremony celebrated the purchase of this stunningly scenic 13-acre parcel located on Birmingham Hill—the epicenter of the battlefield—which was merged with an adjacent 100 acres previously acquired by the Conservancy in 2007. This acquisition completed the organization’s remarkable 25-year endeavor to preserve over 500 contiguous acres where the fiercest fighting transpired during the Battle of Brandywine. Beginning in the mid-1990s, the Conservancy and a consortium of local preservation groups, citizens, and federal, state, county and local government officials formed the Brandywine Battlefield Task Force. In addition to interpretation and education about the battle, the Task Force’s mission was to implement public and private
partnerships to preserve lands within the Brandywine Battlefield National Historic Landmark. This was the beginning of a concerted effort by the Conservancy to preserve the remaining undeveloped historic sites where the heaviest battle action occurred. Over the next 25 years, nearly $18 million was raised to purchase land outright or buy conservation easements resulting in the permanent protection of 500 acres of the battlefield. Chester County, the Commonwealth of Pennsylvania and the National Park Service were key partners in the project, along with Natural Lands. Securing this last parcel on Birmingham Hill brings fulfillment to decades of work to preserve the area and prevent development in the heart of one of the nation’s most important historic battlefields. In protecting this piece of our national heritage for future generations, the Brandywine Conservancy looks forward to its next chapter planning the long-term use and management of the Birmingham Hill property. Conservancy staff will undertake a collaborative master planning process that is expected to take a year to complete. The immediate goals are to preserve the property’s historic integrity and conserve its existing natural resources, while working alongside qualified partners. Eventually the Conservancy hopes to open the property for public visitation—respectful of the site’s historic value—with opportunities for public education and interpretation programs. n The final acquisition of the Birmingham Hill property was made possible by generous support and contributions by many dedicated supporters, including the National Park Service American Battlefield Protection Program, Chester County, the Longwood Foundation, the late Mr. H.F. Lenfest and his wife, Marguerite, the McLean Contributionship, the American Battlefield Trust, the Army Corps of Engineers, the Crestlea Foundation, the William P. Worth Trust, Mr. and Mrs. William P. Worth III, Mr. Peter Rogers, and Ms. Dianne Bricker.
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Brandywine Forever! Fostering the next generation of land stewards and art lovers Whether cultivating a love of the region we call home, or a love of art, the Brandywine Conservancy & Museum of Art offers a variety of fun and educational programs aimed at engaging young audiences. Ranging from the Museum’s creative workshops that mesh interactive gallery tours with art-making activities to the Conservancy’s efforts through nature walks and volunteer tree plantings to develop land conservation and stewardship-focused mindsets, each program is designed to nurture an appreciation for the Brandywine’s dual mission of art and nature. At the Brandywine, communicating the importance of conserving land and protecting water starts at an early age. One example, led by John Goodall, the Conservancy’s Senior Outreach Associate and Director of the Laurels Preserve, begins with a simple question: “Where is that place that makes you the happiest and is special to you?” 10
For the past eight years, Goodall has been asking this question to young riders of the Cheshire Hunt’s Pony Club Camp. Answers range from the trails the campers explore and ride, to their favorite parks, to their own backyards— each with its own set of treasured memories. Once their chosen places are in mind, the children are given an introduction to protecting land through easements, the importance of land stewardship, and the relationship of the land to its waterways and its native flora and fauna. Even for some adults, the concept of “easements” can be difficult to grasp, so Goodall takes a different approach. Using the term “forever lands,” Goodall describes how land placed under easement is protected from development in perpetuity. In essence, the land will be forever. Focusing on a map of the area, the campers are asked to locate their favorite places and mark it with a pin. The map highlights land currently preserved and
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Opposite page: Creating art in nature at the Brandywine. Left: A young conservationist assists at a Brandywine tree planting event. Top: Schoolchildren help build bird boxes with Conservancy staff.
protected under easements, allowing the campers to see if their pins are located on “forever land” or on lands that might be protected in the future. Based in Unionville, PA, and home to the former King Ranch cattle farm, the Cheshire Hunt Club is situated amongst the rolling hills and beautiful scenic vistas of more than 43 square miles of contiguous and protected open space, including the Brandywine’s Laurels Preserve. Out there, the love of the land is ingrained, and many residents have placed conservation easements on their property through the help of the Conservancy. “We are so lucky that [Brandywine’s co-founder] Frolic Weymouth and others realized the importance of protecting this beautiful area we call home,” notes Sanna Neilson, easement landowner and Cheshire
Hunt camp parent. The “forever lands” discussion left a lasting impression on Neilson’s children. “After the program, the kids definitely understood conservation better. They were grateful for the non-development in our area which allows them to enjoy this land.” By teaching the concept of “forever lands” at an early age, the Brandywine hopes to instill an appreciation for conservation in the minds of the young campers—our future land stewards. Each camper also receives a tree to take home and plant, furthering the connection between the land and the importance of its natural resources. At the Museum, a passion for art also starts at a young age and spans multiple generations of visitors. Many current patrons have fond childhood recollections of coming to the Brandywine River Museum of Art to see the 11
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remarkable work of three generations of Wyeth artists— including Jamie Wyeth’s Portrait of Pig, a visitor favorite— and to marvel at the elaborate train display at Christmas, among other highlights. Over the decades, the love of the Brandywine has brought back past visitors with their children, grandchildren and great-grandchildren to share their cherished memories. As Mary Cronin, the Museum’s Dean of Education, notes, “attracting families is key to developing future museum audiences.” Research, such as the Culture Track report conducted by LaPlaca Cohen, indicates that early arts exposure is critical to participation in the arts as an adult. This study also reveals that in addition to seeking new experiences and knowledge, people visiting museums are looking for fun. For over 25 years, the Brandywine has offered a variety of introductory programs designed for all ages, but especially for younger children. Families especially enjoy sharing moments together during the Museum’s First Sundays for Families program. On selected first Sundays of the month throughout the year, special offerings for families include creative hands-on activities led by teaching artists and multidisciplinary 12
performances in music, theater, dance and even circus arts and wire-walking. These programs are designed to make the Museum a fun and welcoming place by encouraging children to engage with works of art and experiment with self-expression. To remove economic barriers to visiting, the programs are held on free admission days with transportation support available to community partner groups. “These programs are so essential in getting children excited about art,” commented a family visitor. “The activities were fun and innovative, and the live performance was interactive and captivating.” Additional programs for families include Read-Aloud tours, which are tailored to young children and include a story, short tour and a hands-on craft. Museum Explorers workshops are held in the summer and geared to a broader age range, from 3 to 10, with thematic activities such as seeking out animals or portraits in the gallery and trying out varied art materials and techniques such as oil pastels, scratch art, collage and Crayola’s Model Magic. Museum education interns, some of whom attended these programs when younger, gain professional experience by assisting with teaching.
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Brandywine Seeks Renewal of Accreditation The land trust accreditation program recognizes land conservation organizations that meet national quality standards for protecting important natural places and working lands forever. The Brandywine Conservancy & Museum of Art is pleased to announce its application for accreditation renewal. The Land Trust Accreditation Commission, an independent program of the Land Trust Alliance, conducts an extensive review of each applicant’s policies and programs every five years. Ellen Ferretti, Director of the Brandywine Conservancy, noted: “Accreditation ensures that the Brandywine holds itself to the highest professional standards in the land trust field. It provides confidence to our landowners, constituents, members and donors that this organization can responsibly fulfill the promise of preserving and stewarding our working and natural resources for generations to come.” Top left: Jamie Wyeth’s Portrait of Pig is a favorite stop for children during the Museum’s Read-Aloud tours. Top right: A young visitor shows off her collage after a Museum Explorers workshop.
To assure access for families whose children may have sensory-processing disorders, the Museum offers Sensoryfriendly Saturdays three times a year. These days provide early admission and specially-designed activities created in consultation with occupational therapists, as well as a cool-down space and fidgets, to make the visit a positive experience for everyone. Through these efforts and more the Brandywine hopes to inspire future land conservationists, art lovers, community leaders and educators for many generations to come. n
The Commission invites public input and accepts signed, written comments on pending applications. Comments must relate to how the Brandywine Conservancy & Museum of Art complies with national quality standards, which address the ethical and technical operation of a land trust. For the full list of standards or to learn more about the accreditation program, please visit www.landtrustaccreditation. org. Comments can be submitted online, emailed to info@landtrustaccreditation.org, faxed to 518.587.3183 or mailed to: Land Trust Accreditation Commission, Attn: Public Comments, 36 Phila Street, Suite 2, Saratoga Springs, NY 12866. The deadline for comments on the Brandywine’s application is December 14, 2018.
For information on upcoming family programs and events, check out the Catalyst calendar insert in this issue.
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Annual Critter Sale Members Preview Sale
Thursday, November 29, 9:30 a.m.–5 p.m. Public Sale
Thursday, November 29, 5–9 p.m. Friday, November 30–Sunday, December 2, 9:30 a.m.–5 p.m. Featuring ornaments made from all-natural materials, by Museum volunteers. ADMISSION TO THE SALE IS FREE Proceeds benefit the Volunteers’ Purchase Fund, and Art Education and Programming
“NESTING & RESTING” CRITTER BIRD RECIPE For over 40 years, Brandywine volunteers have been handmaking delightful and whimsical Critter ornaments—with over 10,000 Critters produced each year for the annual holiday sale. Using their imaginations, the volunteers work with natural materials such as pine cones, acorns, egg shells, flowers and seed pods to give each Critter its own unique personality and expression. Try one at home with this “Nesting and Resting” Critter Bird recipe.
Equipment
• Glue gun • Wire cutters and green floral wire • Clear acrylic spray
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Ingredients
Directions
• 5” daylily stem for the
1. Create the bird by gluing the acorn (bird’s head) to the immature cypress cone (bird’s body).
branch (collect in late fall)
• Dried statice for the flowers • Hairy acorn cup for the nest • Spanish moss for the inside
the bird’s body
3. Using the hairy acorn cup as the nest, add and glue Spanish moss inside letting it spill over the edge.
Acorn for the bird’s head
4. Place and glue bird into the nest.
Pine cone scales for the tail
5. Glue the nest onto the daylily stem branch and decorate with statice flowers.
of the nest
• Immature cypress cone for • • • • •
2. Glue eyes, tail, wings and beak ingredients to bird’s body.
Redbud pod for the wings Melon seeds for the beak Columbine seeds for the eyes (or any tiny black seed)
6. Add wire to branch to create a hanger. 7. Spray with clear acrylic spray to seal.
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Holidays & Snowdays: Illustrations for Three Children’s Books NOVEMBER 3, 2018–JANUARY 6, 2019
Both children and adults alike have treasured memories of those favorite, delightfully illustrated stories we take off the bookshelves at special times of the year. For the coming holiday season, the Brandywine presents work by three highly talented artists who have recently envisioned additions to that seasonal library. Holidays & Snowdays is a glorious celebration of color and seasonal cheer featuring a variety of media, from scratchboard to collage. To his depictions of an unlikely twosome—a young immigrant and a polar bear—Matthew Trueman brings rich colors (mostly the traditional blues and silver-whites of the holiday) and textures to Simon and the Bear, a Hanukkah Tale, written by Eric A. Kimmel. Simon and his friend are stranded on an ice floe in the dark North Atlantic for most of the story. Working with mixed media, crushed paper and collage techniques, Trueman deftly conveys the tactile qualities of the polar bear’s fur and the crystalline ice. This is an age-old tale of miracles, wonder and awe, conjured by Trueman’s use of light—the bright flames of the holiday candles and swirling galaxies of stars that decorate the pages. Caldecott medalist Beth Krommes conveys the beauty of an unexpected snowstorm in her illustrations for Before Morning, written by Joyce Sidman. Krommes begins her work on scratchboards, producing black and white images that recall the visual qualities of wood engravings. She then adds delicate color washes to achieve a look that is distinctly her own and particularly appealing for this tale
Top: Beth Krommes, cover illustration, Before Morning, 2016, watercolor on scratchboard transfer, photo-mounted onto bristol board, 14 3/8 x 21 in. Collection of the artist Bottom: Matthew Trueman, cover illustration, Simon and the Bear, a Hanukkah Tale, 2014, mixed media and collage,13 x 21 ½ in. Collection of Doris and Eric A. Kimmel
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of being “snowed in.” Krommes, who lives in New Hampshire (and knows snow!), was awarded the Silver Medal from the Society of Illustrators 2016 Original Art Exhibit for her Before Morning illustrations. James Ransome, a winner of the Coretta Scott King Illustrator Award, sets a traditional holiday story in a different time and place. With his illustrations for The Nutcracker in Harlem by T. E. McMorrow, Ransome summons the grandeur of the old brownstone neighborhoods in the jazz-inspired Harlem of the 1920s to create a visually stunning version of a holiday favorite. This adaptation of the classic Nutcracker tale revolves around song. Working with collage, a variety of mediums, and using saturated colors that almost seem to sing on the page, Ransome evokes the sheer pleasure and energy of dance, music and theater. Like past exhibitions Drawing from a Story: Selected Caldecott Winners and Get the Picture! Recent Children’s Book Illustration, Holidays & Snowdays engages and nurtures young visitors and brings the Museum’s longstanding commitment to the history and traditions of children’s illustration to the present day. n This exhibition is made possible by Herr Foods, Inc., and the Freylinghuysen Foundation.
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Top: James Ransome, The party at Marie’s house, 2017, mixed media, 22 x 30 in. Collection of the artist Bottom: Beth Krommes, “Change the world before morning…,” 2016, watercolor on scratchboard transfer, photo-mounted onto bristol board, 14 ½ x 21 in. Collection of the artist
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Meet the Illustrators Matthew Trueman was born in Philadelphia, but his family moved to Italy when he was four. Returning to the States for high school, he was inspired to become an illustrator by a class visit to the Brandywine River Museum of Art—and, in particular, by the N. C. Wyeth paintings he saw there. He received a BFA in Illustration from the Ringling School of Art and Design in 1996. His first picture book, When the Chickens Went on Strike, was published in 2003. Since then, he has illustrated seven additional books. Trueman lives and works near the Delaware River with his family. Beth Krommes received a BFA in Painting from Syracuse University, an MAT in Art Education from the University of Massachusetts, and an AAS degree in Textile/Surface Design from the Fashion Institute of Technology in NYC. She has illustrated nine children’s books, and among her awards is the Golden Kite Award in Picture Illustration from the Society of Children’s Book Writers and Illustrators for The Lamp, the Ice, and the Boat Called Fish by Jacqueline Briggs Martin (2001). Several of her drawings for The House in the Night by Susan Marie Swanson were included in the Brandywine’s 2010 exhibition Drawing from a Story: Selected Caldecott Winners. (Photo by Kim Peck) James Ransome received a BFA from Pratt Institute in New York. He has illustrated over 60 picture books and has won numerous awards, including the Boston Globe-Horn Book Honor, an NAACP Image award, and the 2018 Coretta Scott King Illustrator Honor for Before She was Harriet: The Story of Harriet Tubman written by his wife, Lesa ClineRansome. Professor and coordinator of the MFA Illustration Graduate Program at Syracuse University, Ransome lives in New York’s Hudson River Valley region with his family.
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Framing the Future with
Ellen Ferretti
In 2016 the Brandywine Conservancy welcomed Ellen Ferretti as director. A lot of exciting things have happened since then, so we sat down with Ellen to discuss what’s been accomplished recently and what the Conservancy’s goals are for the future.
What got you interested in land conservation? I’ve always loved the outdoors, mostly through my experiences with state forests and parks. I studied environmental science and biology in college and then—after taking some time to focus on raising my children—I started a career in environmental consulting. My first years were spent assessing and cleaning up contaminated properties. I also started volunteering with the Pennsylvania Environmental Council and got involved with a new land trust in my hometown. My first foray into land conservation spurred from a personal experience of seeing a beloved local orchard developed into a golf course— teaching me how people respond on a local level. I also spent time developing land and water trails, community engagement on planning, open space and comprehensive plans—very much presaging the work that I now do at the Brandywine Conservancy.
What has been your experience at the Conservancy so far and what opportunities do you see? Most importantly, I want to acknowledge the accomplishments of the organization and the expertise that has gotten us to this point. When I got here, I found the Brandywine staff to be true pioneers in both land conservation and municipal assistance. I feel that one of the biggest opportunities for the organization is to fully 18
embrace the complex and innovative approaches we take to achieve our mission. As director, I’ve seen all the good that we have done so far and the many ways we can increase the complementary and cooperative nature of what we do to further our goals.
How is the new strategic plan structured to move the Conservancy forward? The plan outlines key regional landscapes where we have historically worked, while also allowing for strategic expansion in those areas. It gives us a framework in which to assess our current position and become more deliberate— both in what we do now and how we will collaborate with each other and our community partners in the future. The landscape focus also affords us an opportunity to provide a narrative within an identifiable geographic community.
Where do you see the Conservancy headed over the next few years? I see a reinvigoration of the core principles upon which this Conservancy was founded—conservation, stewardship and sustainable planning—all revolving around protecting land and water. These founding principles are more relevant than ever as we tackle the pressures of population growth and loss of critical lands. I can also see us expanding our educational outreach focus over the next couple of years. There’s a huge opportunity to reach out to the future con-
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servation leaders—through our children, young adults and families—and our strategic plan highlights the need for the Conservancy to expand our efforts in that area. Thanks to generous support from the William Penn Foundation, the Brandywine Creek Greenway and the Delaware River Watershed Initiative (DRWI) both continue to grow and prosper with many exciting projects. As part of the Greenway, a long-range plan was set for a connected system of trails that would join the Circuit regional trail network, allowing for local and long-distance opportunities. Part of that vision is to enhance a section of trail that is on the Brandywine’s campus. In collaboration with our partners, Chadds Ford Township and Delaware County, we hope to re-purpose an unused rail corridor as a multi-use High Trail and pedestrian bridge over the Brandywine River within the next five years. We will also begin the master planning process for the Brandywine Water Trail—a 22mile recreational water route that aims to connect communities to the river in Pennsylvania and Delaware. Water trails provide safe access to waterways and increased opportunities for education, conservation and restoration.
Together with our partners, the DRWI recently finished its first phase of projects culminating in a Clean Water Conference that highlighted all the work that has been done in the community so far. This also set the stage for even more collaborations to deal with the challenges and work that lie ahead for the next phase of the project.
What sets the Brandywine Conservancy apart from other land trusts in the region? The Conservancy truly shines through the many facets of the organization—conservation, stewardship, preserve management and municipal assistance—and how that all works together. It is also unique in that it is part of a larger enterprise with the Brandywine River Museum of Art offering a membership program that provides benefits such as educational opportunities both in art and nature, access to preserves, and the wonderful art exhibitions and the permanent collection of Brandywinebased artists who have been inspired by the land and people of our region. n
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Seeing Suffrage with 2020 Vision
The year 2020 marks the centennial anniversary of the passage of the Nineteenth Amendment to the Constitution of the United States, granting women the right to vote—although many voting struggles persisted for minority groups. To celebrate this anniversary the Brandywine River Museum of Art will present the exhibition Votes for Women: A Visual History, opening in February 2020. In the following narrative, go behind-the-scenes with Brandywine curator Amanda C. Burdan, Ph.D., as she unpacks artifacts and delves into her vision, process and the making of this exciting exhibition-in-progress.
Above: A group of women at the Wilmington train station departing for a suffrage demonstration in Washington, D.C., May 2, 1914. From the collection of Paul Preston Davis
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LOOKING TO THE FUTURE
“Votes for Women” pennant and hatband. Women’s Suffrage Ephemera Collection. Special Collections Department, Bryn Mawr College Library National American Woman Suffrage Association, 1916 Democratic National Convention trifold brochure “Coming Eventually, Why Not Now?” Women’s Suffrage Ephemera Collection. Special Collections Department, Bryn Mawr College Library Suffrage pins of Mary Whitall Worthington, Bryn Mawr class of 1910. Women’s Suffrage Ephemera Collection. Special Collections Department, Bryn Mawr College Library A plea for suffrage sent to West Chester resident Gilbert Cope by the Pennsylvania Men’s League for Woman Suffrage, 1915. Women’s Suffrage Collection, Chester County Historical Society Library, West Chester, PA
I began planning Votes for Women: A Visual History around illustrations and political cartoons on the theme of suffrage, but I soon realized that I just wasn’t “getting” the message from many of the pieces because I didn’t understand their context. Without a working knowledge of the visual cues and clues in the drawings, the point was often lost on me, and there was virtually no scholarship on this important aspect of the movement. To help exhibition visitors recognize not only the visual language of the suffragists, but the importance of visual messaging in this social justice movement, I decided to explore all related materials from flags and banners to fashion and film. Searching out the artifacts of the suffrage movement has led me to uncover a number of important collections—both public and private— where I can study the objects firsthand and spend time determining what each one means. Perhaps the greatest holdings of the visual culture of the suffrage movement are to be found at the Belmont-Paul Women’s Equality National Monument in Washington, D.C., which houses the historic collections of the National Women’s Party. Chief among their treasures are approximately 150 drawings by Nina Allender, the inhouse illustrator for The Suffragist—the National Women’s Party’s weekly newspaper that began in 1913. Studying Allender’s cartoons is a window into women’s political concerns of the period.
The National Women’s Party collection also encompasses some of the true relics of the suffrage movement in their textile department. Suffragists proudly wore their movement’s colors of purple and gold as sashes and capes, particularly during marches and demonstrations. Every garment in the collection was worn at one point by a woman on the front lines of the suffrage fight. As I continued to open boxes and search through storage, I found these objects were often not the pristine museum-quality specimen one might expect. They were wrinkled, stained, worn and faded— reminding me of the battles they have witnessed. Rather than painting posters, suffragists sewed banners proclaiming their messages and marched them right in front of the White House to persuade President Woodrow Wilson to support the movement. Women who carried these banners were known as “Silent Sentinels,” there to convey a message—without speaking—through their physical presence and their banners alone. Some of the most iconic suffrage slogans audaciously questioned the executive office directly reading, “Mr. President what will you do for woman suffrage” and “Mr. President how long must women wait for liberty.” My favorite banner bears a simpler slogan, more of a warning than a demand: “The Young Are At The Gates.” Its golden field is severely faded, a testament to the hours it once spent standing silently in the sun. 21
CATALYST | VOL. 46, NO. 2
Early 20th century women’s boots in storage at Fashion Archives & Museum of Shippensburg University Page from Carrie Chapman Catt Scrapbook, 19101940, National Woman’s Party Scrapbook Collection Page from Carrie Chapman Catt Scrapbook, 19101940, National Woman’s Party Scrapbook Collection
In the seemingly endless closets of the Fashion Archives and Museum of Shippensburg University, I have discovered a rich resource of period costumes that reveal how suffragist hemlines rose (just above the ankle) and shirtwaists and walking suits emulated a masculine mode of dress. At Bryn Mawr College, I found that a generation of alumnae suffragists donated a wide array of materials. Their collection of pins and ribbons once proudly worn by suffragists, now tucked away in organized boxes, are some of the small, everyday symbols of the movement that survive today. Suffrage is at once a national and a local story in towns across the country. I knew that our region was particularly active in the period, which drew me to the Chester County Historical Society to look for local evidence. There I found the photo album of county resident Katherine Wentworth Ruschenberger. When the Pennsylvania legislature issued a referendum on suffrage in 1915, Ruschenberger spearheaded her Justice Bell campaign. She commissioned the casting of a full-scale replica of
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the Liberty Bell, known as the Justice Bell, which traveled to every county in Pennsylvania in an effort to sway men’s votes. The Justice Bell’s clapper was chained until the passage of the Nineteenth Amendment when it was freed and rung in celebration on Independence Square in Philadelphia. The bell’s 5,000 mile journey is chronicled in the photographs in Ruschenberger’s album. In order to prepare the exhibition and understand suffrage from all angles, I have been brainstorming with colleagues at meetings of the Women’s Vote Centennial Initiative (www.2020centennial.org) in Washington, D.C., sharing ideas with staff from the National Archives, the Library of Congress, the National Portrait Gallery and the National Museum of American History, as well as representatives from the National Women’s Party, the National Park Service and the Girl Scouts of the United States of America, among others. By the time the exhibition opens in 2020, the hundred-year-old visual history of the suffrage movement will be brought into sharp focus. n – Amanda C. Burdan, Ph.D.
LOOKING TO THE FUTURE
American Beauty: Selections from the Richard M. Scaife Bequest MARCH 9–MAY 27, 2019
October 20, 2014, marked a highly unusual event in the annals of museum history, set in motion by Richard M. Scaife (1932-2014), a Pittsburgh-based newspaper publisher, art collector and philanthropist. Scaife had a visionary idea about how to advance two institutions for which he was a major benefactor: the Brandywine River Museum of Art and the Westmoreland Museum of Art. In his will, Scaife stipulated that his extensive collection of American art be evenly divided between the museums, with each taking turns in choosing their top picks. After Scaife’s death in July 2014, both institutions formed individual teams that included their respective curators, outside specialists in American art, and conservators to carefully study the works in his collection over a period of months and to strategize about their choices and the order in which they would be selected. 23
CATALYST | VOL. 46, NO. 2
Top: Albert Bierstadt (1830–1902), Coast of California, n.d., oil on paper mounted to canvas, 14 × 19 in. Brandywine River Museum of Art. Richard M. Scaife Bequest, 2015
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Bottom Left: Theodore Robinson (1852–1896), Yacht Club Basin, Cos Cob Harbor, 1894, oil on wood panel, 10 × 13 1/2 in. Brandywine River Museum of Art. Richard M. Scaife Bequest, 2015
Bottom Right: Willard Metcalf (1858–1925), Corner of the Garden, 1920, oil on canvas, 32 x 32 in. Westmoreland Museum of American Art. Bequest of Richard M. Scaife, 2015
LOOKING TO THE FUTURE
When the day came for the official selection to commence, the Brandywine’s Thomas Padon, George A. (Frolic) Weymouth and Virginia Logan traveled to Greensburg, Pennsylvania, where they were met by the Westmoreland’s Judith O’Toole, Barbara Jones and some of Westmoreland’s trustees. Scaife had designated the Brandywine to have first pick, and Padon selected Martin Johnson Heade’s stunning New Jersey Salt Marsh, a painting he said “captivated me from the first moment I saw it.” Padon added that “the canvas demonstrated the artist’s remarkable talent for capturing fleeting effects of atmosphere and light over an expansive landscape.” Westmoreland’s first pick was George Inness’s luminous Moonrise, Alexandria Bay, a work Judith O’Toole saw as an “iconic image from the artist’s third and probably greatest period.” The excitement in the room was palpable, and over the next few hours, each museum acquired stunning works that extended their holdings of American art. Richard Scaife’s bequest was one of the most transformative gifts in the Museum’s history. In choosing extraordinary scenes by Hudson River School artists John Frederick Kensett and Albert Bierstadt and American Impressionists Theodore Robinson and Julian Alden Weir, the Brandywine bolstered and broadened its holdings and its connection to the American landscape tradition. The Brandywine and the Westmoreland Museum of Art have collaborated to organize the exhibition American Beauty: Selections from the Richard M. Scaife Bequest, which brings together the best of the paintings each selected. This exhibition will allow the public the rare opportunity to see the 50 finest paintings in Scaife’s collection side by side. These works present a fascinating overview of American art in the nineteenth and twentieth centuries, while also bringing to light Scaife’s collecting tastes and his passion for beauty. n Support for this exhibition is provided by Linda L. Bean, the Davenport Family Foundation, and William C. and Laura Buck.
Image, page 23: Martin Johnson Heade (1819– 1904), New Jersey Salt Marsh, ca. 1875–1885, oil on canvas, 17 × 36 1/4 in. Brandywine River Museum of Art. Richard M. Scaife Bequest, 2015
Because your event should be a masterpiece! From intimate gatherings to grand formal occasions, your guests will enjoy the Brandywine’s spectacular riverside setting and world-renowned collection of American art. Customize every detail of your event with imaginative and delicious food, and a variety of dramatic indoor and outdoor entertaining spaces. BRANDYWINE.ORG/ENTERTAIN
SHARE YOUR LOVE OF ART & NATURE Let someone special in your life enjoy the benefits of a Brandywine membership! Call Kaitlin LeRoy, Membership Manager, at 610.388.8341 or purchase online at brandywine.org.
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MEMBERS SPOTLIGHT Karen Lefrak
Cathy King “…my connection to
“Being able to make
the Brandywine is
your own art while
daily. It is part of my
surrounded by
day, weekend and
amazing pieces of
special occasions.
art in a museum
It is my history, my
is a fantastic
memories as a child
experience for
and my key to mental
young children.”
health!”
— KAREN LEFRAK
— CATHY KING
A longtime resident of Chester County, Cathy King is a new member of the Brandywine and is already making the most of her membership. Pictured above, Cathy and her Thoroughbred/Clydesdale cross, Splash, enjoy their time together riding through the trails and lush woods of the Laurels Preserve—whether they’re looking for beavers in the river, spotting nesting turkey vultures overhead or coming face-to-face with magnificent bucks hiding in the brush. “You never know what you will come across when you walk through the Laurels,” says Cathy. “You also always meet someone riding, hiking or bicycling when you are out, and everyone is simply doing the same thing you are—enjoying this gem in Chester County.” Cathy not only appreciates the outdoor advantages of membership, but also the benefits inside the Museum— including the chance to enjoy the paintings of her favorite artist, N. C. Wyeth—and the special programs and events offered throughout the year. As a member and supporter of many different philanthropic organizations, Cathy appreciates the wide and deep roots that the Brandywine Conservancy & Museum of Art has throughout the area. When she is not spending time reflecting in the natural surroundings of the Laurels Preserve or enjoying a masterpiece in our galleries, Cathy and her husband, Mike, enjoy soaking up the sunshine in Lewes, DE, with their two rescued pit bulls. n
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Children’s Read-Aloud, a few fun crafts and “Den Den” the pig—that’s all Karen Lefrak and her family need to have a great day at the Brandywine! Members since 2014, Karen and her husband, Jonathan Salvin, participate in many of our family programs with their six-year-old daughter, Laurel. Their favorite activities include First Sundays for Families, Read-Aloud tours, making art and creating memories together. In particular, Laurel loves to spend time with Jamie Wyeth’s Portrait of Pig (otherwise known as Den Den). Her attachment to this Museum favorite is so great that the Brandywine’s education staff made sure to throw Den Den a proper “farewell-for-now” party before it traveled to The Denver Art Museum in 2016. The Brandywine’s high-quality children’s programming and world-class artwork—all in a beautiful setting—keep their family coming back. “We are fortunate that this resource is local,” notes Karen. She hopes that more parents of young children can experience and enjoy the Museum just as her family has throughout the years. n Want to share the spotlight? Contact Kaitlin LeRoy, Membership Manager, for details on how you can be featured in our next issue of Catalyst. Kaitlin can be reached at 610.388.8341 or kleroy@brandywine.org.
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 WOODROW & PAMELA
IN MEMORY OF LESLIE FARRELL
IN MEMORY OF KARL KUERNER JR.
IN HONOR OF ANNA SPENCE’S
ANDERSON
ROSS
BIRTHDAY
James G. Kaiser
Gene & Jan McElroy Kathleen Silvon
Elizabeth Buckley Mary Nell Ferry Joanne C. Goebel Mary & Michael Landa Jo & Joe Lurquin John & Rita Razze Andrew Stewart Mrs. Andrew Wyeth
IN HONOR OF BARBARA & RICHARD ARMEN’S 59TH WEDDING ANNIVERSARY
IN MEMORY OF ANDRÉ HARVEY
Carol Armen & Nicholas Stevenson
Mr. & Mrs. Theodore H. Ashford Lisa Cattermole & Family David S. Estock Jerry & Susan Grossman Don & Dody Harvey Pierre & Martina Hayward Ruth S. Hoopes Mr. & Mrs. Robert C. Jackson John & Dede Johnston Max & Peggy King Mary & Michael Landa Mr. & Mrs. David Lank Lau Associates LLC Brit Lecompte Jo & Joe Lurquin Mr. & Mrs. Thomas F. McCoy Susan Bissell Parker Dick Polich & the staff at the Polich Tallix Fine Art Foundry David & Susan Poston Louise L. Vinton Edward K. Wissing
IN HONOR OF WOODROW & PAMELA ANDERSON
James G. Kaiser IN MEMORY OF DAVID B. BARTHOLOW (in addition to previous gifts)
Bridget Bartholow Natalie & Michael Schoeny IN MEMORY OF CHARLES E. BOWERS
Laurie K. Doss Blair W. Fleischmann Elaine Irvine Katherine Jiggins Karyn Laudisi Krystina Napolitan David & Susan Poston John & Rita Razze Yvonne Smith Andrew Stewart
Marcia Martin IN HONOR OF REBECCA FISHER’S BIRTHDAY
Seth Fisher
Kristen Cramer Mark Desgrosseilliers Mr. & Mrs. James J. Flanigan Sue & Richard Heron Ruth S. Howell Philip Mohr Matthew Ward Womble Bond Dickinson LLP
H.F. “GERRY” LENFEST
IN HONOR OF GEORGE & JULIA STRAWBRIDGE
Mr. & Mrs. G. Bernard Hamilton IN MEMORY OF WILLIAM THAYER
Ray & Stacey Hunting IN MEMORY OF GAIL GRESHAM LAM
Mr. & Mrs. Wilson R. Lysle Thomas Strode Timothy Trout & the staff at The Protection Bureau T. Dennis & Joy Walker Virginia L. Way Judy & Tommy Young
IN MEMORY OF JOHN J.P. WEIR
Estate of Barbara L. Weir IN MEMORY OF EUGENE E. WEYMOUTH
Charlotte Stilwell IN MEMORY OF GEORGE A. “FROLIC” WEYMOUTH
IN HONOR OF VIRGINIA A. LOGAN
(in addition to previous gifts)
Andrew Stewart
Blue Sky Family Foundation Carl & Caroline Cox Katharine Gahagan Mrs. Sarah Harrison Mr. & Mrs. R. Scott Schroeder Ethel B. Wister
IN MEMORY OF BONNIE O’BOYLE
Fairways Golf & Country Club IN MEMORY OF VICTORIA HAY PACAUD
Mr. & Mrs. Henry Lafayette Collins, III
IN MEMORY OF STEPHEN L. KRAUSE IN MEMORY OF LEE DERAHM
Jan Siglin
IN MEMORY OF KATHARINE H. PORTER
Mr. & Mrs. James W. Snively IN HONOR OF KIM REYNOLDS
IN HONOR OF MAC WEYMOUTH
Brandywine Valley Driving Club Leslie Bottaro Timothy P. Canavan Vicki L. Gershon Corrina Snook Parsons Lydiann Spencer-Jones Dianne E. Valentine
George Wood IN MEMORY OF MARY K. ZERBEY
Elizabeth Buckley
May 29, 1930–August 5, 2018
The Brandywine lost a wonderful friend and supporter when H.F. “Gerry” Lenfest passed away in early August. A titan of the cable television industry, he was famously known for his dedication to philanthropy as well as his desire to give generously during his lifetime—an objective he shared with his wife and philanthropic partner, Marguerite. The Brandywine was a proud and frequent recipient of Mr. & Mrs. Lenfest’s generosity, one of more than 1,000 organizations they supported. From 1993 to only a few months from Mr. Lenfest’s passing, their contributions to the Brandywine funded exhibitions, general operations and land preservation. Notably, as a testament to Mr. Lenfest’s deep interest in the American Revolution, in 2007 they gave a significant contribution to purchase—and prevent development on—the 100.3-acre Birmingham Hill where the fiercest fighting occurred during the Battle of Brandywine. Just this past spring, they contributed generously again to support the purchase of the adjacent 13.6-acre property, the final piece of our decades-long effort to preserve more than 500 contiguous acres around Meetinghouse Road in Birmingham Township, PA. Mr. and Mrs. Lenfest gave without fanfare, more interested in the results of their contributions rather than in the accolades and recognition they received for their giving. We will forever be grateful for Gerry and Marguerite Lenfest’s support of our mission and its programs. The impact of their giving will be felt at the Brandywine for many years to come. n 27
P.O. Box 141, Route 1 Chadds Ford, PA 19317
MUSEUM HOURS Open daily, 9:30 a.m. to 5 p.m. Closed Thanksgiving Day & Christmas Day
EXHIBITIONS Holidays & Snowdays: Illustrations for Three Children’s Books November 3, 2018–January 6, 2019
THE LAURELS & WATERLOO MILLS PRESERVE HOURS Open daily, sunrise to sunset
INFORMATION brandywine.org/museum information@brandywine.org 610.388.2700
Winslow Homer: Photography and the Art of Painting November 17, 2018–February 17, 2019
INFORMATION brandywine.org/conservancy information@brandywine.org 610.388.8340
MILLSTONE CAFÉ Open daily, 10 a.m. to 3 p.m.
Brandywine Christmas November 23, 2018–January 6, 2019
FOLLOW THE CONSERVANCY @brandywineconservancy
FOLLOW THE MUSEUM @brandywinerivermuseum
American Beauty: Selections from the Richard M. Scaife Bequest March 9–May 27, 2019
@brandywinerivermuseum @branrivermuseum
N. C. Wyeth: New Perspectives June 22–September 15, 2019
@brandywineconservancy @branconservancy