The Woodmere museum filed a lawsuit on 27 August seeking the remainder of a $750,000 Institute of Museum and Library Services (IMLS) grant after an executive order revoked the funding. The institution had already received about $195,000 and planned projects and a new education facility relying on the grant. The March executive order "Continuing the Reduction of the Federal Bureaucracy" revoked funding for entities deemed unnecessary, including IMLS and its Save America's Treasures program. Woodmere's collection and historic mansion qualify for the preservation grant. The museum argues that Congress had agreed to fulfil the grant prior to the order and that the funding is essential to ongoing work.
The Woodmere, a museum on the grounds of a 19th century mansion in Philadelphia, is suing the administration of US President Donald Trump after he signed an executive order revoking a $750,000 federal grant the institution had been awarded. On 27 August, the Woodmere filed a lawsuit seeking the remainder of an Institute of Museum and Library Services (IMLS) grant that Congress had agreed to fulfil prior to the executive order. The Philadelphia Inquirer first reported news of the lawsuit.
The museum had already received roughly $195,000 of the allocated funds. But when Trump signed an executive order titled " Continuing the Reduction of the Federal Bureaucracy " on 14 March, one of its effects was to revoke funding for "elements of the federal bureaucracy that the president has determined are unnecessary". This included IMLS and its grant programme Save America's Treasures, which supports historic preservation projects and the safeguarding of collections deemed to be of national significance.
Charles Knox Smith, the collector who gifted the bulk of the Woodmere's permanent collection, was born in 1845 and was deeply affected by the American Civil War. Much of his collection, including Sarah Fisher Ames's bust of Abraham Lincoln, serves attests to his wartime experiences. The artist Edith Emerson was the museum's director from 1940 to 1978 and focused on exhibiting women artists; Emerson's partner was Violet Oakley, the first American woman to receive a public mural commission.
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