Our curators have pulled together interesting themes and selected snapshots of the Museum’s collection in these online galleries. Browse the galleries to discover the many ways to approach fine art at Reynolda House. Just like galleries at the Museum, online galleries rotate frequently; check back often to discover what’s new.
When Katharine Reynolds began decorating her new country house in 1916, she did not bring furniture from her previous home on Fifth Street in Winston-Salem. Instead, she hired professional decorator Earle Ash Belmont of Wanamaker’s department store in Philadelphia to create new interiors for the Reynolda bungalow. Following the current preference for well-made reproductions over antiques, Belmont acquired furniture in styles evoking the 16th through 18th centuries and arranged it in tasteful harmony with the architecture.
How do artists in the permanent collection use chairs to express their ideas?
See some of the furnishings Katharine Reynolds chose for her new home.
Reynolda’s fall exhibition, The Artist’s Garden: American Impressionism and the Garden Movement, covers the period from 1887 to 1920—a period which includes the design and construction phases of Reynolda House and Reynolda Gardens.
See more direct correlations between "The Artist's Garden" and Reynolda in Museum curator Allison Slaby's corresponding blog.
How can we see the Reynolda estate in the context of the Jim Crow South? Five Row was a segregated community for African American farm workers and their families, located on the edge of the estate. Residents of Five Row dug the foundations for Reynolda House, cleared land for the agricultural fields, and worked the farm from the 1910s until late 1950s, when Five Row was demolished for the building of Silas Creek Parkway.