The Andrewses remained involved in the arts scene in New York City, and one exhibition they attended in 1952 was a catalyst for a profound change in their lives. The exhibition was a J. Alden Weir centennial at the American Society of Arts and Letters, and the catalogue included an introduction by Mahonri M. Young—Weir’s son-in-law and noted sculptor. By reading the catalogue, the Andrewses learned that Young was in fact living in the Weir homestead in Ridgefield. Upon this realization that they were living in the same town, Andrews decided to call on Mr. Young. They were initially greeted a bit gruffly, since Young assumed they wanted to fish on his pond, but from this first meeting a strong friendship would develop between Young and the Andrews family. They frequently visited Young and kept him company, painted with him in his studio and sketched the landscape of the farm. As Andrews related, whenever he wanted to see Young or paint the grounds, he would go to the studio, call up and ask Young: “Are you busy?” Young’s invariable answer was: “I’m always busy, but come in anyway.”
After the death of Young in 1957, the Andrews family bought the house, studios, outbuildings and enough land to protect the core of the farm. They did very little to alter the structures or the landscape, as they had the foresight to see that this was an important place to preserve. The house and studios especially retained much of their original character, filled with relics from the earlier occupants and as well the artwork additions of Sperry and Doris themselves.
