Reynolda: Feature Stories from the Estate Vol. I

F A L L

F E A T U R E

S T O R I E S

F R O M

T H E

E S T A T E

2025

vol. 01

Preserving Reynolda Presenting

L A DY H E N R I E T TA S P E N C E R - C H U R C H I L L This November, Reynolda House invites you to a fundraising event with special guest, Lady Henrietta Spencer-Churchill— interior designer, historian, and descendant of the Churchill lineage. Hear insights from her latest book, Blenheim: 300 Years of Life in a Palace. Proceeds from the event support the ongoing care and preservation of Reynolda House, ensuring that this beloved historic home and museum continues to inspire for generations to come.

Presented By: ASHLEY AND RICHARD WIMMER AND WELLS FARGO.

Reception

Luncheon

NOVEMBER

NOVEMBER

SOLD

SOLD

11

R E G I S T E R AT REYNOLDA.ORG/ PRESERVINGREYNOLDA O R C A L L O U R A D VA N C E M E N T T E A M AT 3 3 6 . 7 5 8 . 5 8 8 9 .

[2.]

OUT

12

OUT

Tue s d a y

We dn es d a y

6-8:30 PM

NOON-2 PM

BROWN FAMILY CONSERVATORY

OLD TOWN CLUB

F O R M O R E I N F O R M AT I O N C O N TAC T

THOMAS ZYDEL

Director of Advancement and External Affairs P H O N E : 336.758.5889 E M A I L : tom@reynolda.org

Director’s Letter DEAR MEMBERS AND FRIENDS

ALLISON PERKINS Executive Director of Reynolda House

I

Wa k e Fo r e s t U n i v e r s i t y A s s o c i a t e P r o v o s t for Reynolda House & Reynolda Gardens

n moments of quiet reflection, I’m often struck by the enduring grace of Reynolda—

how it continues to evolve while honoring the layers of its past. It is a “third place” where history invites fresh perspective, and each new offering deepens our understanding of the world

art, place, and nature—just as Katharine Reynolds

around us.

envisioned when she first nurtured this place into

This fall, I’m pleased to welcome you to

being. Our shared story is stronger together, and

our feature exhibition, Camel City: Tobacco and

I’m eager to welcome you into this next chapter.

Transformation, 1875–1964 (August 16, 2025

Members and Friends can also expect to receive

– January 4, 2026). This thought-provoking

mailed information about upcoming programs and

presentation will explore Winston-Salem’s

are encouraged to visit our website for the most up-

identity as a tobacco town and the profound

to-date information.

impact the industry had on the city’s social, economic, and cultural transformation.

In January 2026, the historic house will temporarily close to allow for the installation of

With this season of change also comes an

a new HVAC system—a vital investment in the

exciting new venture: the launch of Reynolda:

protection of Reynolda’s treasured collections

Feature Stories from the Estate. This biannual

and the comfort of our visitors for years to come.

publication will gather just that—the many

During this time, I hope you’ll continue to find

stories from across the estate—its gardens, its

inspiration throughout the estate: inside the

art, and the lives that have shaped this special

exhibition gallery, in the gardens, along the trails,

place—into one dynamic platform. With this

and throughout Reynolda Village.

debut, we bid farewell to the former Member

With this restoration work ongoing

publication that served as a seasonal calendar,

in the Historic House, we will reopen our

along with Cultivate, the garden journal that

Babcock Wing in March 2026 with Layered

has long brought the beauty of Reynolda’s

Looking: Making Sense of Art, an exhibition

landscape into your home. Yet just as a perennial

that will encourage fresh ways of seeing and

flourishes season after season, Cultivate’s spirit

understanding works from Reynolda’s permanent

will continue to bloom within these new pages.

collection.

Stories of horticulture, landscape design, and the

I’m deeply grateful for your continued

natural world will now take root alongside essays,

connection to Reynolda—a place that thrives

artistic reflections, and glimpses into Reynolda’s

because of your curiosity and care. As you hold this

layered past.

first issue of Reynolda in your hands, I hope it brings

By weaving these narratives together, Reynolda will reflect the interconnectedness of

with it the same sense of discovery and inspiration we experience each day on the estate. •

WA R M

W I S H E S [3.]

FOR FRIENDS AND MEMBERS R

G

R H

Throughout this guide, “Members” “Friends.”

you wil l s ee ref erences to

a nd

M U S E U M M E M B E R S s u pp ort t he e d u ca t ion a l m ission of Re yn ol da. They

re c e i ve a vari et y o f perks, like be in g fi rst in lin e t o se e exhibit ion s, Mem b e rs - o n l y i nvi t a t i o n s t o sp e cia l p rogra ms a n d event s, u n limit e d fre e ad m i s s i on t h rou gh out the ye a r, and a Mu seu m St ore d i sc o u n t .

F R I E N D S O F R E Y N O L D A G A R D E N S he lp su st ain t he day- t o - d ay

op era t i o n s o f m a i n t a i n in g Re yn old a ’s ou t d o or g rou n d s, incl uding t he Fo rm a l G a rdens, B row n Fam ily C on se rva t ory, mead ow, a n d t ra i l s. B e n e fi t s f o r F ri ends i nc l ud e ea rly acce ss t o plan t sa l e s a n d o t h e r events.

I F YO U A R E N OT Y E T A M E M B E R O R F R I E N D

P le ase v i si t re y n ol da .o rg /s u pp o rt f o r m o re i n fo r m a ti o n o n h ow to jo i n

[4.]

pg. N O .

I N T H I S I SS U E

Camel City: Tobacco & Transformation, 1875-1964

8

On Curating Camel City: A Conversation with Phil Archer and Bari Helms

13

C u r rently O n View

14

Rest o ri n g a L e ga c y Un de r G l a s s

18

Sight Lin es

20

Wh ere Na t u re and Learning Meet

21

From Gard en t o Table for All

22

A Place t o Play

24

The Work of t he Worm

26

Growing Toget h er

27

Ne w Th is Sp rin g: Adu lt Cl asses

28

Ta king F l igh t

30

A House D esi gne d f or C om fort

33

Up Nex t : L ayered Lo oking

34

Vill ag e Directory

CONTENTS

F U L L P R O G R A M A N D R E G I S T R AT I O N I N F O R M AT I O N AT T H E C A L E N D A R S E C T I O N O F

6

THIS AND

FALL,

REYNOLDA

T R A N S F O R M AT I O N ,

WINSTON-SALEM’S VILLAGE

A

TO

A

P RO U D LY

1875–1964,

EXTRAORDINARY

HUB

OF

CAMEL

LANDMARK

EVOLUTION

INDUSTRIAL

POWER

FROM

AND

C ITY:

EXHIBITION A

TOBACCO THAT

MODEST

C U LT U RA L

TRACES

SOUTHERN

INGENUITY.

t the heart of this metamorphosis was

It also traces the emergence of labor

the R.J. Reynolds Tobacco Company, an

movements that sought equity in an industry

enterprise that not only propelled the city’s

[6.]

PRESENTS A

marked by stark power imbalances. And it

economic fortunes but also revolutionized

reckons with the evolving scientific and cultural

American manufacturing, marketing, and

understandings of tobacco’s impact, culminating

consumer culture. R.J. Reynolds was lauded as

in the 1964 Surgeon General’s report that

an industrialist who “could see further ahead

permanently altered public perception.

than most people can see behind them.” Yet, as

Through a dynamic assemblage of rare and

much as this story is one of entrepreneurship,

compelling artifacts – the majority of which are on

innovation, and expansion, it is also one of

loan from R.J. Reynolds Tobacco Company – Camel

inequity—of the workers whose labor built an

City presents an intricate portrait of a city and

empire, of the racial and gender hierarchies that

one of its most consequential industries—one that

defined opportunity, and of a growing public

shaped commerce, culture, and public health on an

reckoning with the consequences of an industry

international scale—at a pivotal moment in history.

that reshaped both livelihoods and public health.

Archival photographs offer an intimate glimpse

Presented in recognition of the 150th

into factory life, revealing both the modernity

anniversary of the R.J. Reynolds Tobacco

and the hardships of industrial labor. Original

Company, Camel City examines how innovation

advertisements and branding materials illustrate

and industry transformed Winston-Salem

the strategic artistry behind one of the most

into a commercial powerhouse. Explore the

influential corporate identities of the 20th century.

forces behind this rise—how mechanized

Masterworks by Frederick Mizen, Edward Leigh

cigarette production and pioneering advertising

Chase, and McClelland Barclay reflect how tobacco

campaigns reshaped commerce and consumer

companies enlisted fine art to craft an aspirational

culture. At the same time, the exhibition sheds

vision of their products. Supplemented by materials

light on the often-overlooked labor behind

from the Reynolda House Archives, the Forsyth

the success, particularly the contributions of

County Public Library, and many other sources, the

women, especially Black women, whose work

exhibition weaves together industry, identity, and

fueled production yet whose voices remained

social change, presenting a nuanced and thought-

marginalized.

provoking exploration of Winston-Salem’s past. •

EXHIBITION

MAJOR SPONSORS

SPONSORS

LEAD SPONSORS

CONTRIBUTING SPONSORS

Jim and Angie Johnston

Dianne and Chuck Blixt

Andrew and Ellen Schindler

Robert and Constance

EXHIBITION PA R T N E R S

Ragan and Dara Folan Debi and Noah Reynolds

Emken Fund

Saybrook Capital Gray and Leigh Smith

Barbara Babcock Millhouse Gwynne and Dan Taylor

W I T H A P P R E C I A T I O N , we acknowledge members of the Reynolds family whose support of Camel City: Tobacco and Transformation, 1875–1964 honors the legacy of R.J. Reynolds.

N I C O L E B AG L E Y

G R AY A N D L E I G H S M I T H

G A I L LY B R O O K

N A N C Y WA R B U R T O N

BARBARA BABCOCK

K AT H Y M O U N T C A S T L E

MILLHOUSE

N OA H R E Y N O L D S

W I T H G R A T I T U D E , we recognize families who have chosen to honor loved ones who worked at the R.J. Reynolds Tobacco Company through their support of Camel City: Tobacco and Transformation, 18751964. These offerings of remembrance keep their stories in the light.

H O WA R D U P C H U R C H A N D J O H N H O E M A N N

in honor of Willard Howard Upchurch’s 33 years at the company JA N I C E E M K E N M U L L E N A N D J U DY E M K E N

in honor of Robert A. Emken Sr. and Robert A. Emken Jr. for their combined 47 years with the company

I n M e m o r y O f B R U C E BA BC O C K , F r o m H i s F a m i l y

F I N D M O R E E X H I B I T I O N E V E N T S A N D I N F O R M AT I O N AT R E Y N O L DA . O R G /C A M E L C I T Y

[ 7. ]

On Curating Camel City

C U R AT I N G A H I S T O R I C A L EXHIBITION REQUIRES DIFFERENT SKILLS THAN C U R AT I N G A N A R T E X H I B I T I O N . H O W D I D YO U A P P ROAC H T E L L I N G A C O H ES I V E STO RY W H E N D E A L I N G W I T H M AT E R I A L S A N D A R T I F A C T S R AT H E R T H A N A R T W O R K S ?

H

As an archivist, creating a historical exhibition is all

A C O N V E RS AT I O N

I know; I’ve only ever approached exhibit planning with primary source materials. I ask myself what

WITH

story is there, and is it, or can it be, engaging to our audience. My process is deeply rooted in my own

PHIL

historical research, but it is influenced by the needs of our audience. Exhibits are an opportunity to foster

A

RCHER

AND

knowledge, curiosity, and understanding. Pulling stories from the past and having them interplay with

BARI

historical objects allows people to bring their own personal experiences to learning about history. I want

H

ELMS

to choose those stories that can challenge what people

A

think they know about history or that can provide a

W E R E T H E R E A N Y A RT I FAC TS O R H ISTO R I CA L

new perspective on understanding current times.

R E C O R D S T H AT S E E M E D O R D I N A R Y AT F I R S T B U T R E V E A L E D A POW E R F U L O R U N E X P E C T E D STO RY

With an exhibition of art, the visitor’s attention is usually arrested by the work itself. Then it’s our job to help build a relationship between the viewer and the artwork by describing the artist’s intent or something about the subject and why people might

[8.]

O N C E YO U D U G D E E P E R?

H

Flyers produced by the Local 22 union are completely unassuming at first glance. They very much look like products of office life bound for the trash can. Digging

care in 2025. On the other hand, an exhibition that

deeper into the creation of the union and its members

presents everyday objects–advertisements, union

reveals an extraordinary group of Black women, most

flyers, documentary photographs, or letters–might

notably Moranda Smith, Viola Brown, Velma Hopkins,

fail to grab our attention right away. For Camel City,

and Theodosia Simpson, who successfully organized

we’re commissioning some illustrations to pull the

workers and fought for higher wages and better

disparate objects into something close to coherence.

working conditions. But they did more than challenge

But we’re also lucky that the advertising art was very

the Jim Crow conditions prevalent in the company at

sophisticated in its time and still appealing to many

the time; they encouraged a radical vision that civil and

eyes today. The commercial and magazine paintings

human rights were inseparable from labor rights. They

of Mucha, Leyendecker, and Rockwell have a broad

protested segregation, fought sexual harassment in the

popularity today; similarly, the artists evoking modern

workplace, launched voter registration campaigns, and

glamor for R.J. Reynolds–yours for only a penny a

established worker education classes. This is a local

cigarette–were highly accomplished and aware of the

story with a huge national impact; Local 22 was the

power of an image to create brand loyalty.

model for civil rights unionism.

H O W D I D YO U B A L A N C E H I S T O R I C A L AC C U R AC Y W I T H C R E AT I N G A N A R R AT I V E T H AT W O U L D F E E L E N G AG I N G A N D AC C E S S I B L E T O V I S I T O R S?

H

A successful in-gallery experience is storytelling that resonates and has cultural and educational impact. That’s not necessarily separate from historical accuracy. I think it’s more about how much of the story we really need to tell for it to have that impact. It’s learning how to let go of granular details that are really only interesting for those who’ve spent a significant amount of time engaging with a subject. The best example for this show is the relationship between R.J. and James B. Duke and the American Tobacco Trust. It needs an economic historian to fully unpack that complicated historical baggage.

R.J. Reynolds’s quote, “If Buck [Duke] tries to swallow me he will have the belly-ache the balance of his life,” is an accurate summation of their relationship. Our expertise as museum storytellers is to play with that and make an engaging moment in the exhibition.

A

Visually, we knew the exhibition would be varied and

A B O V E : L to R: Phil Archer, Betsy Main Babcock Deputy Director and Bari Helms, archivist

dynamic. But we didn’t want it to feel anonymous— the work of a faceless corporation. It was important to humanize some of the key figures. The Reynolds vs. Duke example is perfect. We have R.J.’s daughter Nancy Susan Reynolds on audio tape talking about that contentious but mutually respectful relationship.

She heard her father talk about it firsthand, and from her we have the definitive explanation for naming

C O L L A B O R AT I O N I S S U C H A B I G PA R T O F

the first modern, national cigarette brand “Camel.”

E X H I B I T I O N S L I K E T H I S . C A N YO U D E S C R I B E H OW

Should we give away the story or let people discover it

YO U WO R K E D TO G E T H E R TO S H A P E T H E F I N A L

for themselves? In a nutshell, Duke wanted Reynolds

N A R R AT I V E ?

to create more shares in his company during a time when Duke owned two-thirds of it. This was known as splitting a stock or watering down a stock. Reynolds was firmly against it, Nancy recalled. He wanted his

H

I think we balance each other’s strengths and interests really well. When you’re telling a historical narrative like this that extends such a breadth of time, there

employees to retain as much ownership as possible. So

are always going to be areas you find more interesting

he asked, what is the animal that can go the farthest

than others. I approached the opportunity of this show

without water? The camel! Of course it also evoked the

knowing that I really wanted to sink my teeth into

Near and Middle East, which people associated with

the workers’ experience and the roles of women as

cigarettes because of the Turkish strain of tobacco that

both workers and consumers. I’ve also been eager to

was favored then.

tell the story of Local 22 in a broader way; it’s such an underappreciated local history gem. Having a curatorial partner meant I could immerse myself in that research, knowing that Phil and his unique perspectives were there to balance the workload.

[9.]

A S YO U E X P LO R E D T H E I T E M S F R O M R . J .

R E Y N O L D S T O B A C C O C O M PA N Y, W H AT D I D Y O U F I N D T H A T F E L T P A R T I C U L A R L Y R E L E VA N T T O T O D AY ’ S A U D I E N C E S ? W E R E T H E R E T H E M E S O R

C O N V E R S AT I O N S ?

H

A prevalent theme is building community and organizing. The R.J. Reynolds Tobacco Company was one of the first truly modern businesses in the South. It revolutionized the tobacco industry with innovative manufacturing, brand name advertising, and growth into global markets. But there was always this complicated balance between profits and worker rights. Change the company name, change the working conditions, change the pay rate, workers throughout the nation today are still having these same conversations. The activism of labor organizers in the 1940s was definitely creating a blueprint for future social justice movements. They connected workplace organizing to broader community empowerment. They were grappling with fractures of perceived differences.

After his visit to Winston-Salem in 1947, Woody Guthrie wrote, “...but it would go faster if all colors of feet would dance together.” The lessons of their resilience, their victories, no matter how brief, are proof that cultural and political change can happen.

[10.]

B E L O W : Strikers from United Tobacco Workers Local 22 union on the picket line at Piedmont Leaf Tobacco Company, 1946. Courtesy of Forsyth County Public Library Photograph Collection, Winston-Salem, N.C.

S T O R I E S T H AT S E E M E D T O E C H O C O N T E M P O R A R Y

T H E E X H I B I T I O N C O V E R S A P I V O TA L P E R I O D I N W I N STO N -SA L E M ’ S H I STO RY — O N E S H A P E D BY TO BAC C O’ S E C O N O M I C P OW E R, B U T A L S O BY L A B O R P R A C T I C E S , P U B L I C H E A LT H C O N C E R N S , A N D C U LT U R A L I D E N T I T Y . H O W D I D Y O U A P P ROAC H BA L A N C I N G T H ES E C O M P L E X I T I E S I N T H E N A R R AT I V E O F T H E E X H I B I T I O N ? W E R E T H E R E M O M E N T S W H E N I T F E LT C H A L L E N G I N G T O T E L L A S T O R Y T H AT I S B O T H C E L E B R AT O R Y A N D C R I T I C A L?

A

By the mid-1950s, the big tobacco companies had two products: cigarettes and doubt. Doubt about the overwhelming epidemiological evidence of smoking’s harms. The public health impacts were incalculable.

Yet, Reynolds continued to employ vast numbers of employees, with multigenerational employment for many families. The company also supported a lot of important and beneficial causes in the arts and historic preservation. Reynolda House and Graylyn represent the heights of success, but the story is about many more individuals than the Reynoldses and Grays. WinstonSalem is one of those industry towns, still associated in 2025 with a legacy industry. Detroit, Hollywood,

A B O V E : The Reynolds headquarters building at night, circa 1950s. Courtesy of R.J. Reynolds Tobacco Company

Vatican City…Winston-Salem! We can’t escape the past, so let’s try to better understand it.

T O B AC C O’ S S T O R Y I S S O P E R S O N A L F O R A L O T O F

I F Y O U C O U L D H AV E A C O N V E R S A T I O N W I T H

P E O P L E I N W I N STO N -SA L E M — I T ’S C O N N E C T E D

O N E O F T H E F I G U R E S W H OS E STO RY YO U

T O F A M I LY T R A D I T I O N S , J O B S , A N D E V E N S O M E

U N C O V E R E D I N T H E A R C H I V E S , W H AT W O U L D

D I F F I C U LT M E M O R I E S . H O W D I D YO U A P P R OAC H

YO U A S K T H E M ? A N D W H AT D O YO U T H I N K T H E Y

C U R AT I N G T H E E X H I B I T I O N I N A WAY T H AT

W O U L D S AY A B O U T T H E E X H I B I T I O N ?

AC K N O W L E D G E S S U C H P E R S O N A L C O N N E C T I O N S? ” ?

H

Smoking was an American pastime for decades. It was so ubiquitous it’s embedded somewhere in all of

H

I connected with the story of Moranda Smith, a groundbreaking labor organizer. Smith was initially skeptical of the union movement until she saw how

our histories. It’s not necessary to litigate the tobacco

they were developing women leaders. Smith was

companies; that work has been done. Within the

initially skeptical of the union movement until she saw

exhibition we are trying to hold space for a variety

how women were emerging as leaders. Her interests

of emotional responses. Some of the artifacts and

were in education and stocking a library full of Black

advertisements are fun. They will spark enjoyment,

authors and Black histories. She called for “not words,

yet there is trauma embedded in the narrative.

but action.” She was organizing until her untimely

Because this story is so personal to Winston-Salem,

death at the age of 34 in 1950. Paul Robeson sang at

I think this exhibit will prompt more visitors to

her funeral, one of the highest attended in Winston-

share their personal experiences. When they do so,

Salem history. I really resonate with her desire to

the museum becomes a community space to process

educate and share informational resources. I would

stories and emotions.

want her to see the legacy she left behind still being celebrated 75 years later. •

[1 1 . ]

Walk a Mile in My Shoes Weaving together tobacco labor history in Winston-Salem and the music that supported the movement, Walk a Mile In My Shoes presents historical scholarship with moving performances that fueled the fight for racial and economic justice. During the 1947 R.J. Reynolds tobacco factory strikes in Winston-Salem, Paul Robeson and Woody Guthrie’s music demonstrated solidarity and inspiration for the workers. Camel City curator Phil Archer will offer historical narratives that bridge a gap between creative expression and resistance, and baritone Jason McKinney as Paul Robeson and Mipso guitarist and vocalist Joseph Terrell as Woody Guthrie bring alive the songs that energized a movement.

OCTOBER

18

21

3-5 PM

6-8PM

Sa turday

[1 2 . ]

OCTOBER COST:

$

75

Tue s d a y

TO REGISTER FOR THIS EVENT AND OTHER CAMEL CITY HAPPENINGS GO TO R E Y N O L D A . O R G /C A M E L C I T Y

Lei gh Ann Hal l berg : Ph e no ms THROUGH OCTOBER 19, 2025

In her Phenoms series, artist Leigh Ann Hallberg creates large-scale abstract paintings inspired by her journey through local landscapes, including the Reynolda landscape. The six new paintings now on view, executed in a cool palette of green, blue, white, purple, and bronze metallic paint, represent Hallberg’s felt resonance with and sense of wonder about the natural world.

Sm i t h & L i b by : T WO RING S, SEVE N M O N T H S, O N E BULLET O N P E R M A N E N T D I S P L AY

To this day, it is not known whether Z. Smith Reynolds – youngest son of Katharine and R.J. – died by suicide, accident, or murder.

This popular exhibition presents a sampling of archival objects, news articles, and other primary sources to lay bare the mystery in all its fascinating complexity.

Good Impres sions :

St i l l I Ri s e :

PO RT R A I T S ACROSS THREE

T H E B L AC K EXP E R I E NC E AT R EYNO L DA

C E N T U R I ES F R O M REYNOLDA AND WA K E FOREST THROUGH SEPTEMBER 14, 2025

ON VIEW IN THE HISTORIC HOUSE

L E F T : Leigh Ann Hallberg, Phenom 2, 2017 Watercolor, graphite, and metal leaf on paper mounted on a wood armature.

Courtesy of the artist

O N P E R M A N E N T D I S P L AY

Curated by archivist Bari Helms, Still I Rise takes museum guests to the beginnings of this

Good Impressions features three centuries of

historic estate, examining the lives of the Black

portraits of men and women, Black and White,

women and men who helped shape Reynolda as

solitary and companionate, classic and modern.

it evolved from a Jim Crow era working estate

With rotating artworks by John Singleton Copley,

into an American art museum. •

Emanuel Gottlieb Leutze, Mary Cassatt and more.

[1 3 . ]

Restoring a Legacy Under Glass I N S I D E T H E B R O W N FA M I LY C O N S E R VATO RY

OCTOBER

8,

2024.

GO

AHEAD

AND

MARK IT ON

THE

TIMELINE

OF

R E Y N O L D A G A R D E N S . T H AT WA S T H E G L O R I O U S D AY W E C E L E B R AT E D THE

REOPENING

OF

THE

RESTORED

1913

LORD

&

BURNHAM

G R E E N H O U S E — N O W K N O W N A S T H E B R O W N F A M I L Y C O N S E R VA T O R Y .

JON ROETHLING Director of Reynolda Gardens

T

he restoration took nearly a year of demolition and rebuilding, but the dream began long before that—

before the pandemic, even. From the beginning, we looked to Katharine Reynolds’s forward-thinking spirit for inspiration.

The goal was simple and ambitious: return the structure to its original design while quietly embracing a century’s worth of technology. Beauty and brains, so to speak.

The turning point came when our consultant, Jim Smith of Montgomery Smith, Inc., discovered original plans for the greenhouse at the New York Botanical Garden. With his deep knowledge of Lord & Burnham architecture and the expertise of our contractor Prospiant (formerly Rough Brothers, Inc.), the vision started to take root. They even used original molds from Lord & Burnham to guide the reconstruction.

We revived the curved glass on the East and West wings, restored the vertical façade of the Palm House, and uncovered a few surprises along the way—like copper downspouts hidden under paint and essential vents that had been sealed off during a past project.

[14 .]

“ – FORREST ALLRED

When I first started working here, I would meander through the greenhouse because there was always something new. Fragrance, color—something changing every day. And now it’s that same excitement, just on another level.

Double Hung, a window restoration firm, rebuilt details like

Wake Forest University’s Construction team added

the “Fan Window” above the South entrance, using fragments

planter boxes and salvaged redwood curved beams that echo

found tucked away in the garage attic. Even the benches were

our garden arbors. There’s a quiet dialogue here—between

recast from original molds. The space itself was reimagined: no

what was and what is.

longer a purely functional growing house, but a flexible, inviting venue with perimeter benches for people, not just plants.

Accessibility was essential. We repoured concrete to

Each bay now offers a different climate and experience.

The East Wing is our Orangery: citrus, tropical fruits, begonias.

Beside it, the Arid House holds Mediterranean species and

eliminate steps near the South entrance and the Florist

marvels from Mexico. West of the Palm House is the Tropical

Workshop. On reopening day, families who once couldn’t access

Room—a vivid array of bromeliads, gingers, and anthuriums.

the space moved freely within it.

The far West Wing holds our orchids and violets, with space to

Technology came quietly: the Seed system now monitors climate and automatically adjusts vents and shades. It’s not

rotate seasonal showstoppers.

We’re planning three seasonal displays a year. You may

hard to imagine Katharine herself—so attuned to innovation—

have seen the holidays bring in uncommon poinsettias,

delighting in this modern convenience, managing her

cyclamen, and amaryllis. March ushered in a cascade

conservatory with a tap of a screen. New high-efficiency boilers

of orchids. And come October, we’ll revive Katharine’s

have already trimmed heating costs by 60%. Over the Palm

chrysanthemum tradition.

House dome, we replaced old aluminum blinds with tinted glass—light now spills in and the whole place sings. Heated water

Come often. Every season reveals something new—bloom, leaf, scent, light. •

at 80 degrees keeps tropical orchids and African violets cozy.

[1 5 . ]

“

The Brown Family Conservatory has amplified Reynolda Gardens’ presence.

Between the plants and the people, I always leave inspired.

– AMY DIXON

“

Just taking a walk through the five sections of the conservatory is always a highlight. To go from jungle to desert in a few steps— that’s magic.

– JOEY MARTIN

[16 . ]

“

The conservatory has brought pure joy to the community and to me. One favorite feature? A stump I found in the woods that now lives in the Palm House. Another: the fern planted beneath the benches—they give such softness in the room.

– MICHELLE HAWKS

The Brown Family Conservatory is the proud recipient of the C L A S S I C AWA R D at the 2025 Community Apperance Awards in Winston-Salem.

[1 7. ]

Curator

R E D I SC OV E R

Sight Lines

ALLISON SLABY

Hanging diagonally across from the Sargent portrait in the historic Reynolda library, and created sixty years earlier, is a hand-colored engraving of Columbia Jay by Robert Havell after John James Audubon. The balanced composition

A

portrays two male birds perched on a single cquired in 2022, through a generous gift of

branch entwined with poison ivy. The birds are

Mr. and Mrs. Leslie Baker, the portrait of

positioned differently from one another to reveal

Mrs. Augustus Hemenway (Harriet Hemenway)

unique aspects of their anatomy, and the unusual

by John Singer Sargent reveals the artist’s self-

plumage of the birds is emphasized through an

described “prodigious talent.” Painting in Paris,

analogous downward position of each head. In

London, New York, and Boston, Sargent invested

this particular image, Audubon digressed from

his subjects with elegance, vitality, and, in his

his pledge to record only live or freshly killed

most successful portraits, keen psychological

species of North American birds. The artist never

insights.

observed a live Columbia Jay, and this study was

Harriet Hemenway, was a prominent woman in Boston society, known primarily as the founder

created not from a recently killed bird but from a taxidermy specimen. •

of the Massachusetts Audubon Society. Harriet’s actions stemmed from her horror at the practice of killing birds for their feathers, which were used to decorate women’s hats. According to John H. Mitchell, writing in Sanctuary: The Journal of the Massachusetts Audubon Society, “One of the seminal events in the history of activism in this country took place in a parlor in Boston’s Back Bay in 1896. On a January afternoon, that year, one of the scions of Boston society, Mrs. Harriet Lawrence Hemenway, happened to read an article that described in graphic detail the aftereffects of a plume hunter’s rampage—dead, skinned birds everywhere on the ground …. She carried the article across Clarendon Street to her cousin Minna B. Hall.

There, over tea, they began to plot a strategy to put a halt to the cruel slaughter of birds for their feathers.” The result was the Massachusetts Audubon Society, which led to the foundation of the National Audubon Society.

A B O V E : John James Audubon (1785–1851), Columbia Jay, 1830.

Hand-colored engraving and aquatint on paper. Courtesy of Barbara Babcock Millhouse, IL2003.1.3 ON VIEW IN THE HISTORIC HOUSE LIBRARY

L E F T : John Singer Sargent (1856–1925), Mrs. Augustus Hemenway, 1890. Oil on canvas. Gift of Mr. and Mrs. Leslie Baker (2002) ON VIEW IN THE HISTORIC HOUSE LIBRARY [1 9. ]

WHERE

Nature AND

Learning MEET

A

s part of Forsyth Creek Week this spring, the historic Reynolda estate became a

living classroom for more than 100 students and caregivers. Families explored the estate’s streams, wetlands, and woodlands alongside Wake Forest University field biologists, discovering firsthand the biodiversity that thrives on the grounds.

From a bilingual story-time hosted by Imprints Cares to wildlife observations at the century-old Boathouse, Reynolda offered moments of wonder that sparked curiosity across generations— demonstrating the powerful role this preserved landscape continues to play in education and community enrichment. •

[20.]

FROM

W

hen Katharine Reynolds envisioned her country estate, she placed Reynolda’s

formal gardens prominently along the main road—an intentional decision to offer beauty and inspiration to the community, not just private enjoyment. At a time when Forsyth County produced only a quarter of its own food, she saw the gardens as a space for both nourishment and learning. Today, that vision continues through Reynolda’s partnership with H.O.P.E. (Helping Our People Eat), a local organization dedicated to feeding families facing food insecurity. Each year, Reynolda Gardens donates approximately 90% of its harvest—more than 1,450 pounds of fresh produce—to this vital cause, proving that the legacy planted more than a century ago still bears fruit for the community today. •

Garden TO

Table FOR

ALL [2 1 . ]

L E T ’S G E T TO G E T H E R

Place y a Pl A

TO

T O P L E F T : Babcock children on the Reynolda front lawn, c. 1943.

Reynolda House Museum of American Art Archives.

C R E AT I N G J O Y F U L M O M E N TS F O R E V E RY G E N E RAT I O N

B

[22.]

y the time you find yourself

guests can wield a paddle and serve

Lindsey—former Reynolda employee,

beneath Reynolda House—

up some joy in the very room where

art lover, globe-trotter, joy-spreader—

beneath the galleries lined with

the Babcock family once played away

that is fluttering in every corner of

American stories and the hushed air

rainy afternoons.

this basement revival.

of masterworks—you might hear it:

This welcome return to

the echo of a ping, a pong, a burst of

playtime is thanks to the Lindsey

and Charlie Babcock transformed

laughter. This isn’t a hallucination.

Pleban Miller Fund for a More

Reynolda’s lower level into a lively

It’s the restored Ping Pong Room, and

Family-Friendly Experience, a title

underground retreat for games and

it’s been charming visitors since its

that sounds like it should be stitched

gatherings. There was squash. There

reopening in 2023. For the first time

on a banner flying over a backyard

was billiards. There was, we imagine,

since the house became a museum,

picnic. And indeed, it is the spirit of

at least one lively Charleston danced

Back in the mid-1930s, Mary

LINDSEY PLEBAN MILLER (1982-2023) was among the first few people I met when I joined the staff at Reynolda House. Those of us who were fortunate to know and work with Lindsey felt drawn to her enthusiasm and joyful smile.

Lindsey was a continuous learner, ever devoted to the mission of the museum and its service to the public.

A B O V E : Mary Katharine, Charles, Barbara, and Betsy Main Babcock playing on a slide on Reynolda’s lawn, 1942. Reynolda House Museum of American Art Archives.

Lindsey’s connection to Reynolda extended beyond her professional life. She and her husband, Paul Miller, got to know each other on dates at Reynolda, and years later would bring their two children to early childhood programs, helping to enrich their learning while sharing a place that was so significant to Lindsey. It was always a pleasure to see her here. I appreciate the way the gift in her honor helps so many families make connections and create memorable and meaningful experiences together at Reynolda.

–Allison Perkins, Executive Director of Reynolda House

to the tune of Tommy Dorsey. The

Bing Crosby, and Billie Holiday. The

She was someone who brought

Ping Pong Room itself? Painted in red

music now fills the basement bar

people together—at Reynolda,

and white stripes to mimic a circus

with a tinge of the same spirited

around the world, and especially at

tent—a bold choice that still feels

energy it likely held nearly a century

home. She understood that joy isn’t a

delightfully right.

ago.

distraction from meaningful things;

To round out the atmosphere,

It’s hard to imagine a more

it is one of them. And now, thanks to

Reynolda archivist Bari Helms

fitting tribute to Lindsey Pleban

her legacy, families can come here

turned to the archives—and Mary

Miller than a room alive with

not just to look and learn, but to play.

Reynolds’s own 1937 record orders—

spinning paddles, swing-era

Which, in a place like this, is its own

for musical inspiration. The result is

melodies, and the sound of children

kind of masterpiece. •

a playlist featuring Ella Fitzgerald,

discovering something wonderful.

[23.]

THE

W O OF

M

ost of us have heard the phrase “busy as a bee.” And while I have no doubts about a bee’s work ethic

earning them a famed idiom, I would like to nominate another tiny animal that is deserving of such acclaim– the worm.

Worms are incredibly hard working creatures, and they

R

are a vital part of a garden’s soil ecosystem. Their tunnels loosen soil, which in turn helps with aeration and drainage

K THE

W O

within the soil and root structure. They also feed on dead organic material, which they turn into castings (a.k.a. worm poop). Worm castings are loaded with nutrients, adding to the soil’s overall health. And it’s this ability of putting nutrients back into the soil that I wanted to take advantage of.

The practice of raising worms for the purpose of creating compost is called vermiculture. The byproduct of vermiculture is a nutrient-rich soil amendment called vermicompost. Ever since learning about this process in school I was immediately drawn to it– in love with the idea of taking care of some cute, helpful garden creatures.

In January 2024, I received my worm farm starter kit. I decided to get a worm tower system,

R

along with 1,000 red wiggler worms. These worms are voracious eaters, fast breeders, and very resilient to environmental changes. They are the perfect

M JOEY MARTIN

L a n d s c a p e Te c h n i c i a n

worm for this four-tiered tower compost system.

The overall process of a worm tower is simple.

The first tray gets filled up with tier bedding material. This can include shredded cardboard, shredded paper, aged compost, coco coir, fall leaves or a myriad of other organic matter. This bedding is used to create a comfortable and healthy environment for worms. It provides worms with optimal conditions to live, eatand reproduce.

On one side of the bedding, I bury their main food source. I usually mix up some dead, rotting plant material, shredded paper and crumbled eggshells, adding in coffee grounds occasionally. I would suggest avoiding adding citrus fruits, as they could potentially harm the worms. If the conditions in the tray are perfect, the worms can eat up to half a pound of food a day.

Over time and many feedings, the tray that is filled with bedding and food will be replaced with dark-brown, crumbly worm castings. At this point this first tray has done its job.

As the worm tower grows, the second tray is placed on top of the first one, and I repeat the process with bedding and food. I make sure to not put any food in the first tray so the worms will naturally gravitate upwards into the food-filled

[24.]

second tray. Once all the worms have migrated into the top tray, I am left with an abundance of nutrient-rich worm poop that I can use in the garden.

While the worm farm was a great benefit to the plants growing in the garden, there was also a teaching aspect that I wanted to incorporate into our education programs. The humus soil in our Children’s Garden is rich with organic material, which worms thrive in, but it can sometimes be difficult to effectively illustrate. This worm farm brings the kids underground and they can see up close how hard these worms are working to make that humus area flourish.

Last spring, we had our first official worm program, which featured a ‘Feed the Worms Breakfast’ station. The children in our Young Explorers program got to safely cut up, dice, tear and mix an assortment of worm food goodies.

As the kids gathered around the worm farm, they were encouraged to pick up a worm. There were lot of icky groans and disgusted looks, but also eager hands trying to grab them all. Somewhere in between those reactions I discovered my highlight of the program. I absolutely loved the kids who were standoffish at first but bravely reached their hand out and held a worm. While still a little grossed out, they realized the worm was not so slimy and actually a little cute.

Out of more than 1,000 worms, four were named by some of the kids. They included Stretchy, Wormy, Squeezy and Terry—and along with all their other worm family and friends, they were fed very well that day.

At the end of last summer, I collected a decent amount of worm castings and distributed them over half of one vegetable garden plot. With a mixture of different cold season veggies, the side with the worm castings definitely grew at a faster pace. I noticed curly kale was lusher and the heads of cabbage were bigger and better formed. And while my little worm farm does not have the ability to cover every plant in the vegetable garden, it is good to have for areas that aren’t as fertile or to use with heavy feeding plants.

Maybe if these hardworking worms had wings and buzzed about the garden, they might get the recognition that they deserve. But unfortunately, these invertebrates’ backbreaking labor is buried underground.

Since becoming a Worm Daddy I have been so proud to show off the essential jobs that these worms do, whether it’s for a children’s program or a passing visitor. They are truly one of the hardest workers in the vegetable garden. •

[25.]

Growing Together W

STEPHANI MARTINELL E ATO N

C U LT I VAT I N G A FLOURISHING VOLUNTEER P R O G R A M AT R E Y N O L DA

hen I became Volunteer Manager at Reynolda House and Gardens in October 2022, I saw a chance to help something special grow. Reynolda’s history and beauty have long inspired people to give

their time—and I wanted to build on that legacy in a meaningful, modern way. One of my first goals was to unify the volunteer experience across the House and Gardens, aligning with Executive Director Allison Perkins’s “One Reynolda” vision. Though these spaces once operated separately, we saw an opportunity to

M a n a g e r o f To u r s a n d Vo l u n t e e r s

foster community through a shared mission.

We upgraded our behind-the-scenes systems to streamline scheduling and coordination, and focused our energy on what truly enhances the volunteer experience: accessible, flexible digital learning. Using video tutorials and online training hubs, volunteers now have tools that meet them where they are—on their own time and at their own pace.

As Gardens volunteer Janet Page shared, “We volunteers know exactly what tasks are available when.

There are so many volunteers now! The program is altogether different now, and all for the better.”

We’ve thoughtfully expanded both our volunteer training offerings and the types of shifts volunteers can sign up for—making it easier than ever for individuals to find meaningful ways to contribute.

From practical, skills-based online video trainings covering topics like fertilization techniques, weed identification, and how to safely remove ivy from trees, to welcoming in-person orientations, our goal is to equip volunteers with the knowledge and confidence they need to feel successful and connected in their roles.

A B O V E : L to R: Forrest Allred, lead horticulturist and Janet Page, Reynolda volunteer

A recent highlight of these efforts was our five-week “Lunch and Learn” series, where volunteers from both the House and Gardens came together to read and discuss A World of Her Own Making: Katharine Smith Reynolds and the Landscape of Reynolda by Catherine Howett. The book, which delves into Katharine Reynolds’s visionary approach to Reynolda as a model farm, home, and community, sparked thoughtful dialogue and reflection. It deepened our collective understanding of Reynolda’s history and its continued relevance—and reminded us of the power of learning together. These enriched training opportunities are not just about gaining skills; they’re about building community and honoring the legacy that guides our work.

Most importantly, volunteers are discovering new ways to engage across Reynolda. They’re not just helping—they’re shaping our future. If you’ve ever thought about volunteering at Reynolda, now’s the time.

Whether your passion is art, history, gardens, or giving back, we’d love to help you find your place here. •

INTERESTED IN VO LU N T E E R I N G YO U R T I M E AT R E Y N O L D A?

VISIT REYNOLDA.ORG/ VOLUNTEER OR EMAIL STEPHANI@REYNOLDA.ORG

[26.]

MORE INFO AND

On Deck this Spring

R E G I S T R AT I O N O N L I N E AT

L E F T : Z. Smith Reynolds with Reynolda’s Champion Jersey Bull, 1925

$180 / $144 MEMBER

$180 / $144 MEMBER

Ame r ican A rt in Fo c u s

Mo re Fu n t h an a Yach t

AN INTERACT I V E SU RV EY

I N T H E E AR LY T WE NT IE TH CE NT URY

T H U R S D AY S M A R C H 2 6 – A P R I L 2 3 , 2 02 6 | 1 – 3 P. M .

W E D N E S D AY S A P R I L 2 9 – J U N E 3 , 2 02 6 | 1 : 3 0 – 3 : 3 0 P. M .

INSTRUCTORS:

INSTRUCTOR:

JULIA TANNER . Director of Teaching and Learning A LLISO N SLABY . Cura to r

P HI L ARCHER . Betsy Main Babcock Deputy Director

Are you curious about American history and

Leading industrialists of a century ago escaped to grand

culture? Do you want to learn more about what

estates in the country, made more accessible by rail lines and

art can tell us about the past and ourselves?

the automobile. Their palatial properties harked back to a

Join Allison Slaby, curator, and Julia Tanner,

tradition of Anglo-Irish country houses and American colonial

director of teaching and learning, for a fun and

plantations, with extensive pleasure grounds, landscaped parks

informative survey of American art history from

and farming operations seen as necessary but secondary – the

the eighteenth century to today. The course will

less seen, or smelled, the better. But in some notable cases, like

cover key periods in American art, from colonial

Reynolda, the farming complexes were aesthetic showplaces

portraiture to Hudson River School landscapes

and scientifically advanced agricultural experiment stations.

to the invention of Abstract Expressionism and

Katharine Smith Reynolds in North Carolina, author Jack

more along the way. While learning art historical

London in California, and collector and horticulturist Henry

content and key periods, participants in the class

Francis du Pont in Delaware were among the builders of

will also practice methods for looking at art,

elaborate, status-confirming farms that were entwined with

developing skills that they can use to explore new

larger progressive causes of updating agricultural practices

works of art at Reynolda and in other places. The

and elevating rural life.

survey will highlight how Reynolda’s collection

M O D E L FARMS AND COUNT RY ESTAT E S

ADULT CLASSES AT REYNOLDA

R E Y N O L D A . O R G /A D U LT S

This course will explore commonalities between the

helps tell the story of American art while

estates, the interrelations of their owners, and the fates of

incorporating other interesting and well-known

properties once planned and developed as idealized farms,

works from other institutions.

fitted with palaces for pigs and condominiums for cows. • [2 7. ]

TAKING FLIGHT THE DARING, DASHING, AND DOOMED LIFE OF SMITH REYNOLDS

SOME PEOPLE ARE BORN TO F LY . S M I T H R E Y N O L DS WAS ONE OF THEM.

A

v ia t ion h a d ba re ly fo u n d its wings wh e n Smith , t he yo u n g e st c h il d

of K a t ha r in e a n d R. J. Re y no ld s, f e l l i n love wit h t he sk y. A s a boy grow ing up a t Re yn ol d a , he wat che d b arn sto rm e rs swoop a n d s p i n a b ove t h e e state’s g ol f cou rse on the fron t lawn , p e rf o rm in g d a re d ev i l st u n t s t ha t t hr ille d him .

B e fore l o n g, S m it h wa s a i rb o rn e h i m self — a t sixt e e n , h e e a r n e d hi s p r i vate p ilot ’s l ice n se, a n d by s eve n t e en, he was t he n at io n’s yo u n ge st lice n se d trans port p il o t . The sky se e me d lim it le ss, a n d Sm it h c hase d it wit h fe a r le s s a m b it io n.

P u blic fa scin a t ion wit h av iation cre a t e d g lob a l fol k h ero e s o f Earh art , L in d b e rg h , an d Wile y Post , wh os e ro u n d -t he -world flight Smit h hoped to re p e a t in 1 932. He qui ck ly g a ine d a re put at ion a s “ Dare d ev i l S m it h ,” ma st erin g st u n t flyin g a n d p e rf orm ing wi t h ae ria l circuses. Bu t S m it h’s gre a t e st a chieve me n t was far more am b it io u s — a 6,000- mile solo journey fro m L o n don to Hon g Kon g in 1931–3 2.

A B O V E : Smith Reynolds with biplane, circa 1928. Reynolda House Museum of American Art Archives.

[28.]

L E F T : A restored Savoia Marchetti S-56, donated

by Reynolda House, now hangs in the renovated terminal of Smith Reynolds Airport

On t h at s e ri es o f f l i gh t s, his

But less than a year later, Smith’s

m o d i f i e d Savoi a Marche tti S -5 6

life ended in tragedy. The unresolved

s eaplan e be c am e bo t h a li fe li ne an d a

circumstances of his death overshadowed

co mp an i o n. T h e “ b a by amph ib ia n” cra ft

what should have been remembered: a

car r i e d h i m a c ross thre e c o n t i n e n t s

young pilot who “flew through a short

an d one s ub c o nt i n en t — a n a u da c i ou s

span of life on the wings of adventure,”

f e at f or a you n g p i lo t wi t h o n l y b roke n

as one local paper put it.

i n st r u me n t s, p a t c hy maps, a n d s h a rp

In 1942, Winston- Salem’s growing

i n st i n c t s to g u i d e h i m . H i s l o g en t ri es,

airport was renamed Smith Reynolds

e qual p art s s wa gge r a n d s el f- d o u b t ,

Airport in his honor. The name was a

c a p t ure t h e a d ve nt u re ’s m i x o f d a ri n g

fitting tribute to a young man who had

an d di s com f o r t.

spent his life testing the limits of the sky.

“I ’ l l h ave t o h a n d i t t o myse lf thi s

Today, visitors to the airport can

t r i p,” he wro t e a f t e r o n e su cc e ss f ul leg,

experience a tangible link to Smith’s

“t ha t eve n t ho u gh my eart h in du ct or

legacy: a restored Savoia Marchetti

t y pe co mp as s h a d c ea s ed t o wor k si n ce

S -56, identical to the one he flew on

t h e d u c k in g [d u n k i n g ] i n Ma rs e i l l e, a n d

his legendary journey. One of only

I was n ot a s ye t very f am i l i a r wi t h t h e

two surviving models, the plane was

mag n e ti c co m p a s s, I h i t Pal e rm o, S i c i l y,

purchased by Reynolda House in 2005

dead on t h e n o s e.”

and later donated to the airport in 2021.

T h e tr i p was bo t h a tri um phant

Smith’s story isn’t tidy, nor is it

ex pl o i t a n d a h o n e y m o o n . Awa i t i n g

easily explained — but it ’s undeniably

S mi th i n Hon g Ko n g wa s L i b by Holman,

compelling. To learn more about Smith,

t he B ro ad way sta r he ha d se cret l y

see the exhibition, Smith & Libby, curated

marr i ed j u st we eks befo re departing.

by Phil Archer ( p. 13). •

[29.]

A

HOUSE DESIGNED COMFORT FOR

R E Y N O L D A H O U S E H A S A L WA Y S B E E N A H O M E T H A T B R E A T H E S .

W

[30.]

he n K at ha ri ne Re y n o l d s wrot e

the t ro p i c s. K a t h a ri ne bel ieve d t ha t a hom e

t o a rc h it ect Ch a rle s Ba r t o n Ke e n

sho uld b re at h e — no t j u st f or b e au t y, but

i n 19 12, s h e d es c ri b e d h e r v is i on : “ I a m

f or h e a lth. Like a ze p hy r w in d i ng t h ro u g h

an x i o u s f or i t t o be a be a u t i f u l a s we l l a s a

op e n w i nd ows an d sha d ed po rche s, it

co mf o rt a b l e h o u s e.” T h e res u lt was what

ca rrie d w it h it a se n s e of e a se a n d well-

i s st i ll c o n s id ered t h e l a rg est b u nga low i n

b e i ng. L ong bef ore ce n t ra l a ir con d it ion i ng

the wo r ld — a s p rawl ing, s u n li t stru ctu re

became co mmon , K a t ha rin e h a d t h e

that em b o d i e d c o m f o rt i n b o t h d e sig n a n d

fore sight to i nst al l s yst e ms t ha t imp rove d

s p i r i t . More t h a n h a l f o f t h e m a i n block

a ir qu a li t y a n d e n s u re d c om fo rt — a rare

of the f irst f lo or i s d evot ed t o p o rche s–an

combin a t i on of in n ova t i o n a n d p ra ct ic a li ty

i nv i t at i o n t o b reez i nes s u n s ee n n ort h of

t ha t se t Re yn ol d a ap ar t .

B E H I N D : Library Porch, circa 1920.

Gift of Brook Reynolds. Reynolda House Museum of American Art Archives.

[3 1 . ]

T he rhyt h m of a irflow ha s d e fin e d Re y n o l da’s st ory a c ro s s e ras. Whe n K a t ha rin e ’s gra n d d aug hte r, Ba r b a ra Ba bcock Millhou se, t ra n sforme d th e h o m e in to a mu se u m in t he 1 960 s, ai r ci rc u la t ion took on n e w me aning. The hou se was n o l ong er j ust a sa n ct u a ry of comfort bu t a sp a ce whe re f resh id eas swi rl e d — a p l a c e de sign e d t o cha ll enge a ssumpt io ns an d st i r c onve rsa t ion . The mu seum we lcome d exhibit ion s t ha t aske d h a rd qu est ions, cele b ra t e d ma rgin alize d voices, a n d exa m i n e d t h e Ame r i c a n exp e ri e nc e throu gh many le ns e s.

Airflow re ma in e d v it a l t o t his e ra o f “C o n st ru c t i ve Discomfor t ,” where Re yn ol d a ’s stat ely re ception ha ll be ga n t o h o st d ialog u e s a bo u t ra ce, labor, a n d ju st ice — t op ic s a s n e c e ssa ry a n d u rg e nt a s oxyg en it se lf.

Tod ay, Re yn old a is poise d t o e n t e r a new e ra: “ Fort ifie d C o mf o rt .” Begi nn in g in e a rly 20 2 6, the H VA C R E S T O R AT I O N P R OJ E C T S U P PO RT E D BY:

mu se u m will e mba rk on a m ajor HVAC re stora tion p ro j e c t — a n e sse n t ia l u p grad e t hat re fle c ts our con t in u e d d e d ica t ion t o b ot h v i si t o r expe rience a n d h i st o r i c p re s e r va t ion . W h at wa s o n c e a

Wake Forest University Z. Smith Reynolds Foundation Helen Frankenthaler Foundation Cannon Foundation

syst e m me a n t t o e n su re hu ma n comfort m ust n ow sa fe gu ard p rice le ss wo rks of a rt . In some spaces, origin a l a ir- ha n d lin g u n i ts have alre a dy f a l t e red, forc in g ot he r syst e m s t o st ra in a n d comp e n sate.

Va lve s i n t he ba se me n t re qu ire fre qu en t man ual a d ju st men ts to maintain t h e delicate d a n c e of t e mp e ratu re an d hu m i d i t y t h a t p ro t e c t s t h e mu se um’s c ollect ion .

As we st e p in t o t hi s n e w cha p t e r, we ca r ry f or ward K a t ha rin e ’s belie f in a home d e sig ned to b re a t h e. Re yn old a ’s ne w H VAC s y st e m—g uide d by the p r in c ip l e s of t he Bizot P rot oc ol , a se t o f gu id e lin e s d evelop ed by i n t e rn a t ion a l mus eum le ade rs t o ba la n ce e nv iro n me nt al re sp onsibility with t he p re s e r va t i o n of colle ctions—won’t j u st cool roo ms and wa rm ha n d s ; it will ke e p the very air o f Re y n o ld a i n mot i on , li ke bre at h i ts elf : rhyt hmic, c o n st a n t , u n ce a sin g.

C o mf or t i sn ’t j u st t e mp e rature ; i t ’s the whisp e r o f a ir moving throu gh a p la ce, u nseen but

T O P : East Hallway, facing Library, circa 1920.

Gift of Brook Reynolds. Reynolda House Museum of American Art Archives B O T T O M : Reception Hall, circa 1920. Gift of Brook Reynolds. Reynolda House Museum of American Art Archives

[32.]

e sse n t ia l . It ’s t he qu ie t sigh of a home st i ll awake, st il l we lcom in g, still b re a t hi ng as i t a lways has — u s he r in g n ew g ene ra t i on s t h rou gh it s op en doors and cle ar, st e ad y a ir. •

THE MUSEUM WILL CLOSE F O R H VA C R E S T O R A T I O N I N J A N U A R Y, B U T W E L O O K F O R WA R D T O W E L C O M I N G Y O U F O R T H E O P E N I N G O F L AY E R E D LOOKING THIS SPRING.

Layered Looking NEXT

UP

MAKING

SENSE

OF

ART

M A R C H 1 0 – J U LY 1 9 , 2 0 2 6 BA BC O C K W I N G GA L L E RY

W

hat if looking at art felt more like playing a game, or solving a puzzle, or turning on a song you

forgot you loved?

Layered Looking: Making Sense of Art invites you to move through Reynolda’s collection not with a guidebook or a lecture, but through sound, touch, memory, movement — even making things with your own two hands. It’s an exhibition about what happens when we give ourselves permission to engage art with our whole bodies and our full curiosity.

Instead of spotlighting one artist, period, or theme, the exhibition is organized around different ways of doing art appreciation — looking closely, listening deeply, striking a pose, building a bridge between your life and what you see. In one space, hear a saxophone solo as you reflect on brushstrokes. In another, you might sketch a mystery scene left unfinished by a painter two centuries ago. Around every corner, you’ll find playful provocations and gentle invitations to imagine more.

There’s no one right way in. That’s the point.

Whether you’re a first-time visitor or a lifelong art lover, you’ll walk away with a set of tools for seeing — tactile, sensory, reflective — that you can carry into any museum (and frankly, any moment of daily life). As G.K. Chesterton once said, “The true object of all human life is play.” We believe art is asking the same of us: Show up curious. Stay long enough to be inspired.•

T O P L E F T : Charles Burchfield (1893-1967), The Woodpecker, 1955-1963.

Watercolor, gouache, crayon on pieced paper.

Gift of Barbara Babcock Millhouse. (c) Burchfield Penney Art Center.

P R ES E N T E D BY:

[33.]

Reynolda Village

SHOPS & RESTAURANTS

120

stArt Gallery

A Proper The View Bookhouse

122

Penny Path Cafe & Crepe Shop

European Touch

116

Village Realty

Uncorked Masterpiece

119

Village Tavern

J. McLaughlin Naturopathic Health Clinic

Theodore’s

117

Dough-Joe’s

113

May Way Dumplings

Village Hair Designs

221

Sfeer + Co

111

114 106

RingMaster Jewelers McCalls

111

Village Fabric Shop Painters’ Palette Pure Barre

Half Past Three The Barn at Reynolda Village

217

107

Monkee’s

Gazebo

99 101 Norman Stockton

Aeracura Salon to MUS E U M and MUSEU M STORE

104

to GA R DENS

100 REYNOLDA W E LCOME C ENT E R and B ROW N FAM ILY C ONSERVATORY [34.]

All Through the House

SHOPS AND SERVICES

AERACURA SALON

McCALLS

RINGMASTER JEWELERS

An Aveda Concept Salon

Linens, fine lingerie, children’s wear,

Diamonds, custom jewelry, repair

ALL THROUGH THE HOUSE

gifts, and accessories

REYNOLDA WELCOME

Gifts, home furnishings, and

MONKEE’S

CENTER AND BROWN

accessories

Fine ladies’ clothing,

F A M I LY C O N S E R VAT O R Y

shoes, and accessories

Reynolda merchandise and plant shop

T H E B A R N AT REYNOLDA VILLAGE

N AT U R O PAT H I C

SFEER + CO.

Private venue for weddings, social

H E A LT H C L I N I C

Furniture and home decor

and corporate events

Natural, conventional, alternative,

THE BOOKHOUSE

Independent bookstore EUROPEAN TOUCH

Full-service day spa GAZEBO

Ladies’ designer fashions H A L F PA ST T H R E E

Women’s contemporary clothing where classic charm meets boho vibes J. MCLAUGHLIN

Men’s and ladies’ clothing

and integrative healing methods NORMAN STOCKTON

Men’s clothing and accessories

S TA R T G A L L E RY

Quality student artwork for exhibition and sale UNCORKED MASTERPIECE

PA I N T E R S’ PA L E T T E

A ceramic and canvas paint and

Art studio and gallery

party studio

A PROPER VIEW

VILLAGE FABRIC SHOP

Thoughtfully curated eyewear,

Fabric boutique and studio

exceptional eyecare PURE BARRE

Pure Barre technique classes and activewear

VILLAGE HAIR DESIGNS

Hair salon V I L L AG E R E A LT Y

Boutique real estate services

and accessories

RESTAURANTS

D O U G H -J O E ’ S

P E N N Y PAT H C A F É

V I L L A G E TAV E R N

DOUGHNUTS & COFFEE

& CRÊPE SHOP

Steaks, pasta, pizza, sandwiches,

Made-to-order cake doughnuts, baked

Savory and sweet crêpes, full

burgers, cocktails

goods, full coffee bar

coffee bar

M AY WAY D U M P L I N G S

THEODORE’S

Chinese noodles and dumplings

Local bar and market; sandwiches, salads, and soups

[35.]

PRESORT STANDARD U.S. Po st a g e

PAID G reen sb o ro, NC Pe r m i t No. 393

C O V E R : Frederic Mizen, On the heights of contentment. Oil on canvas, 1927 Courtesy of R.J. Reynolds Tobacco Company

Welco m e Center

Gardens

T U ES DAY

C O NSERVAT O RY

—

SAT U R DAY

9:30 AM—4:30 PM

T U ES DAY

—

ADMISSION

SAT U R DAY

9:30 AM—4:30 PM

S U N DAY

1:30 PM—4:30 PM

GARDEN

Grounds are open free of charge.

S U N DAY

MUSEUM

1:30 PM—4:30 PM

Adult admission charged F R E E W I T H VA L I D I . D .

Museum* T U ES DAY

—

GARDENS

Museum Members, children

D AW N — D U S K

under 18, students, active or retired military personnel,

SAT U R DAY

9:30 AM—4:30 PM S U N DAY

1:30 PM—4:30 PM

EBT cardholders, employees

Vi ll a ge H O U R S VA R Y B Y M E R C H A N T

of Wake Forest University and Atrium Health Wake Forest Baptist

* Historic House will close effective January 5, 2025 to begin HVAC preservation work. The Babcock Wing will reopen March 10 with Layered Looking on view.

S tay Conn ected

E-MAIL

PHONE

HELLO@REYNOLDA.ORG

888.663.1149

REYNOLDA HO US E I S PART O F