@Curate Reynolda

Reynolda House Museum of American Art

Celebrating the Centennial of Winston-Salem

To celebrate the merger of the towns Winston and Salem in 1913, we take a look at what was happening in the lives of the Reynolds family and the construction of their country estate at that time.

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1913

  • Winston and Salem are consolidated.  

  • R.J. Reynolds Tobacco Company begins producing Camel cigarettes.  

  • Hanes underwear hits the market when P.H. Hanes Knitting Co. makes underwear under its own label for the first time.  

  • Winston-Salem has population of 25,000, of which 6,100 work for R.J. Reynolds Company.



January 1, 1913

Bill from Reynolds Farms dairy shows that Katharine Smith Reynolds purchased ribs, hens, guineas, milk, turkey


January 2, 1913

Correspondence from Katharine Smith Reynolds to Louis Miller, of Buckenham & Miller who laid out the plans for the formal gardens.

We are ready to put in the planting along the fence and around the gate at the farm…I had an idea that [the plants] might be well placed if along the side of the hill on the other side of the highway, opposite greenhouses, gardener’s cottage and present farm buildings.  The property on this side, as you, perhaps, remember, slopes down the road to a little brook, with the hill rising beyond.  My idea was to run a road along the side of this hill beyond this brook; leaving space in between for a small natural park.  The houses then would be easily accessible to our water plan and sewerage system.”


January 5, 1913

“In October, 1912, a social meeting of class No. 4 of First  Presbyterian Church here was held at the home of Mr. & Mrs. Robert Critz.  Mrs. Critz was R. J. Reynolds’ sister.  Mrs. Reynolds, who was president of the class of about 30 members suggested that they organize and teach a mission  Sunday school at Wachovia schoolhouse with the ultimate goal of organizing a new church.  The schoolhouse stood at the present intersection of Arbor and  Reynolda Roads.  Mrs. Reynolds said she would send the teachers out each Sunday in her car.  The first session was held on Jan. 5, 1913 with 63 present.  J. S. Kuykendall, who had been teacher of class No. 4 was superintendent.  Mrs. Reynolds taught for five years.”  

[Sentinel, Jan. 17, 1963, “Do You Remember…”, by Bill East from NC room vertical files.]


January 8, 1913

Correspondence from Rev. Anderson to Katharine Smith Reynolds:

“I want to tell you also how much I appreciate the service you are rendering in such a quiet, unassuming  way to the sick and the poor.  Its influence is far wider than I believe even you can realize.”

 

Correspondence from Katharine Smith Reynolds to Sister Senah:

“…am preparing to give Irene and Ruth Critz their  coming out party in a few weeks.”


January 9, 1913   

Louis Miller to Katharine Smith Reynolds:

“In the planting list as it stands I have used quite a lot of the common cedars and also a number of the common flowering dogwoods…”  “I am going to try and be in Winston-Salem on Tuesday or Wed. of next week when I shall be pleased to call on you and go over the Farm with you.


January 13, 1913

Katharine Smith Reynolds describes supervising the placement of the farm buildings.


January 17, 1913

Receipt from Willard C. Northup, Architect for $100.00 for “plans, specifications, and supervision Gardeners cottage on account.”


Jan. 31, 1913

Correspondence from Charles Barton Keen to Katharine Smith Reynolds:

“I have just heard from the party whom I asked to check up my figures as to the amount of brick required for the Farm Building, and he confirms my figures that it will take about 150,000 brick for this work.”


Feb. 28, 1913

Katharine Smith Reynolds check in to Marlborough-Bleinheim Hotel, Atlantic City

Katharine Smith Reynolds to her parents on a Marlborough-Blenheim, Atlantic City, NJ Post Card:

"We are at the hotel now with all the children.  Mr. Reynolds has just left for New York. We will be here about two weeks. The children are all well and I am feeling fine now.  They all send much love.  Do write .  Affectionately, Katharine”


March 4, 1913        

Correspondence from R.J. Reynolds to Katharine Smith Reynolds:

“Considerable work done on your farm.”


June 13, 1913         

Katharine Smith Reynolds mailed plans for the barn and house to Irene Smith for her to study and make suggestions.

Smith has whooping cough.


July 18, 1913         

Correspondence from Louis Miller to Katharine Smith Reynolds:

“am sending you today under separate cover three prints of a general plan of your Winston estate, as nearly up to date as the plans you have recently accepted will show.”


August 13, 1913         

Katharine Smith Reynolds & R.J. Reynolds listed as staying at the Grove Park Inn in Asheville for the Horse Show.

[New York Herald]


September 22, 1913

Katharine works with RJR on label for Camels cigarettes.

Katharine becomes member of Clarence Poe’s North Carolina Conference for Social Service.


October 19, 1913          

Camel cigarettes first manufactured.

 

October 31, 1913          

Correspondence from Wiley Wilson Consulting Engineers to Charles Barton Keen:

“designing and superintending the installation of the cold storage room [dairy barn] outside, electrical wiring, etc.”


December 18, 1913      

Correspondence from Katharine Smith Reynolds to Anna Cassler of the YWCA:

“I have been quite ill for the past several weeks but am feeling pretty good now.  Am leaving for Atlantic City the latter part of the week for a two week sojourn.”

 


Follow #WS100yrs @CurateReynolda on Twitter to continue the fun!






Missed Community Day at the Museum? Enjoy this art activity at home.

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Last Saturday at Reynolda, the Museum celebrated Community Day: Kings and Queens of the Silver Screen. Visitors experienced an afternoon of Hollywood glamour from the golden age of the 1920’s and 30’s through dance, photography, and art activities. And the historic house and current exhibition, Star Power: Edward Steichen’s Glamour Photography were open to the public for free! See pictures from this memorable event: Community Day Photo Album

If you missed Community Day, you can still be part of the fun through our blog! Inspired by the vintage shoes from the Reynolds family on display alongside Star Power, we invite you design your very own shoe from the time period.

Need inspiration? Check out the Museum’s vintage fashion board on Pinterest.

Design a Shoe!

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What you’ll need:

  • Printer and paper (recommend heavier weight, even cardstock)
  • Crayons
  • Watercolor paints and brush
  • Water

*Feel free to improvise if you do not have these materials on hand.


Directions:

1) Choose a shoe design and download to your computer. Print design onto paper.

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http://www.reynoldahouse.org/extras/Projects/1927_Shoe_outline.pdf

http://www.reynoldahouse.org/extras/Projects/1928_shoe_outline.pdf

http://www.reynoldahouse.org/extras/Projects/1935_Shoe_outline.pdf

2) With crayons, draw designs and/or color in parts of the shoe. Leave some white space inside the lines.

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3) Using water colors, dip brush into clean water and into a color of paint. Brush the paint over a section of shoe and crayon. The paint will fill in wherever the crayon did not cover the paper. The wax of the crayon resists the watercolor.

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4) Remember to clean your brush in water between colors.

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Below are some examples from visitors. We would love to see your creations, snap a photo and submit it to our Facebook page here.

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Happy Painting!

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What’s in the Attic at Reynolda?

In the attic at Reynolda, visitors will discover three generations of the family’s clothing and accessories and a collection of children and grandchildren’s toys. In Katherine Reynolds’s time, the attic was where she stored her clothes, an irresistible lure to her daughters, nieces, and their friends.

“I think I was conscious of her clothes; of her being beautifully dressed…if I had known the the term— glamorous I would have used the term for her.”

-Elizabeth Lybrook Wyeth, Katharine’s Niece

It is remarkable that so much clothing has survived over the years, as two generations of Reynolds family children played dress-up in this attic. Moreover, Katharine Reynolds made generous donations to charitable organizations as well as gifts of clothing to wives of her employees.

“Oh there was one thing I remember so vividly…it was the most exciting thing to me when Mrs. Reynolds called us in to tell her good morning, when we were spending the night. We went in her room, and the bed was covered with these gorgeous sketches from the fashion designers in New York, the most famous ones. And the most beautiful sketches—you admired that.”

-Tippy Ruffin, a friend to the Reynold’s children

Some items from the costume collection have been conserved and are on view in the current exhibition, The Golden Age of Reynolda in the gallery with Star Power: Edward Steichen’s Glamour Photography.

Shooting Stars! - R.J.Reynolds High School Photographers

Written by guest bloggers Elizabeth Mae Johnson and Laura Beckerdite, R.J. Reynolds Photography students

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It’s a sunny afternoon at Reynolds High School and we’re down in the depths of the greenroom below the auditorium. There’s studio lights shining, models are being dressed and Ella Fitzgerald is serenading the photographers as they prepare for their shoot. As the music plays, we try to go back to a time where top hats were a must have for men, finger waves were the rage for ladies, and elegance was striven for. Who better than to reflect that elegance than Edward Steichen: King of all that is Chic. We believe that he captured the true essence of the time period through dramatic lighting, timeless beauty, iconic faces, and a passion for his work.

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When we began to brainstorm on how to recreate this specific type of style, we looked to clothing choices, makeup and hairstyles, and the mood of the photographs. We really wanted to focus on the different emotions Steichen captured in his portraits. This was the root of his images and also the root of what we, as the photographers, struggled with the most throughout this project. To help overcome this struggle, we took a hint from Vanity Fair’s popular strategy, “In Character”, and gave the models scenarios to portray to further draw out the emotion we wanted to convey. This tactic was a new concept to a lot of us and will definitely be something we use to help us in our future careers and projects.

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We mainly worked off the different moods, angles, and lighting displayed throughout his work as a whole with a few specific reference shots such as, Self-Portrait with Photographic Paraphernalia, Two Models wearing dresses by Vionnet, and his portrait of Leslie Howard, classically Steichen with a top hat on his head and cigarette in his hand.

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As young photographers, this project was particularly fun for us, it allowed us to explore a different style of photography we hadn’t tried before that will surely carry with us as we continue to grow in this profession. (That’s a wrap!)

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*Student photographs will be displayed at Reynolda House for Community Day on Saturday (4/27). For more info: http://ow.ly/k9ZWb

READ MORE: 

"Your Permanent Record" - WSFCS Blog: Photography by Reynolds High Students on Display at Community Day at Reynolda House Museum of American Art on April 27

The Portrait: The Original Facebook

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*See credit below post

Two centuries separate these portraits of two young women, but seeing them side by side today generates many questions around the idea of the portrait and what it says about changing notions of American girlhood.

What does each portrait tells us about the subjects’ world?

Their personalities?

The expectations each had for her life, or that society had if her?

What qualities do these women share?

What do their hair, dress, and setting suggest why their portrait was made?

Reynolda House has collected portraits from our staff and digital community to further draw out this interesting comparison. Please share your observations, comments, and own portraits on our Facebook  page or tweet us at @CurateReynolda #Affinities.  

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Affinities II: Pairings from the Collection

Through August 4, Reynolda House Museum of American Art presents Affinities II: Pairings from the Collection in the Northeast Bedroom gallery. The crux of this small exhibition of six works from the Museum’s collection is the comparison of two works in order to deepen a viewer’s understanding of each individual piece. The exhibition asks: What do we learn by comparing one artwork to its companion?

CREDIT FOR TOP IMAGELeft: Joseph Blackburn (c.1720– c.1778), Elizabeth Browne Rogers, 1761, oil on canvas, 49 1/2” x 39 1/2”, Original Purchase Fund from the Mary Reynolds Babcock Foundation, Z. Smith Reynolds Foundation, ARCA, and Anne Cannon Forsyth, 1967.2.5 RightFairfield Porter (1907–1975),Keelin Before the Reflected View No. 2, 1972, oil on canvas, 60” x 62.” Courtesy of Barbara B. Millhouse, IL2003.1.27.

Party in the Basement! Indoor Recreation during the Golden Age of Reynolda

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In 1935, Mary Babcock, the elder daughter of R.J. and Katharine, renovated the basement to express her ideas of the good life. In her mother’s day, the basement was largely unfinished with the exception of a room with showers and changing stalls for use after tennis and swimming in the outdoor pool. Mary built the winding staircase to connect the lower level to the Reception Hall.

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Mary turned her home into a place where she and her family could have fun with friends by offering them a choice of popular indoor sports: bowling, ping pong, billiards, riflery, squash, swimming, and roller skating. Black rubber floor tiling, installed throughout the entire area, served as durable surface for skating. Mary also added a squash court to the recreation area, encouraging a new sport that arrived in this country from England in 1884.

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The shooting gallery patented by William Mangels at Coney Island in 1928 was stocked with 22-caliber rifles. A switch starts a motor that rotates the targets, and a pulley at the upper right takes paper targets to the end of the gallery. The most difficult target to hit was a ping pong ball bouncing on spout of water. Brunswick Bowling and Billiards of Muskegon, Michigan, supplied the bowling alley equipment and billiard table.

Most of the remodeling and renovation took place in 1935-36, with the indoor pool completed by 1937.

More: Check out another historic house bowling alley at the Frick mansion in New York.

http://newyork.cbslocal.com/guide/inaccessible-new-york-the-frick-collection-bowling-alley/

The Golden Age of Reynolda: The Buzz about the Basement Photos

We like to share from the Reynolda House Archives on our Facebook page each week. Recent posts include images from the Golden Age of Reynolda (1923-37) to complement our current exhibition, Star Power: Edward Steichen’s Glamour Photography. The following images generated quite a buzz with our followers, so we wanted to share more.

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Party in the basement game room showing murals

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CREDIT: Party in the basement game room showing murals, c. 1950, Reynolda House Museum of American Art

In the mid-1930s, Mary Reynolds Babcock and her husband Charlie redesigned the lower level of the house to include a bowling alley, shooting gallery, ping pong room, indoor pool, squash court, bar, and game room. Murals provided a carnival-like setting for parties. The only surviving visual evidence is a double-exposed snapshot of a party with Charlie Babcock in a dark suit in the foreground and Mary’s head faintly visible to his right. In the background, one wall of murals shows Dick Reynolds, Jr. at the controls of an airplane with his wife Blitz next to him. 

Dick was an avid aviator who founded Reynolds Airways and once owned the airport Curtiss Field (later Roosevelt Field) where Charles Lindbergh lifted off in The Spirit of St. Louis. Jane (Mrs. Gordon) Gray hung from one wing and Mary Babcock hung from the other.

The murals also featured a circus wagon and a poker game with recognizable faces in caricature. Reynolds relatives (including the branch of the family that developed Reynolds Metals and “Reynolds Wrap”) were dispersed as little cherubs in the blue sky.


Follow the buzz here.

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Mirrored Art Deco bar

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CREDIT: Mirrored Art Deco bar, with Mary Reynolds Babcock at left, c. 1937. Reynolda House Museum of American Art

Mary Reynolds Babcock came of age in the late 1920s and enjoyed a social life that revolved around cocktail parties where martinis, whisky sours, and other mixed drinks were served. Mary’s generation pioneered a new type of space in their houses called a recreation room, which invariably contained a bar.

As Catherine Gilbert Murdock has written, “During Prohibition, acceptance of women’s home drinking facilitated development of new drinking rituals, in particular the cocktail party. The cocktail provided hard liquor, but softened - feminized enough to remove its most opprobrious male association. Women who would never think of consuming straight gin could ask for a dry martini without fearing for their reputations. The cocktail provided a neatly packaged, suitably disguised, fashionably decorated shot of liquor.” (Domesticating Drink: Women, Men and Alcohol in America, 1870-1940, p.164)

The Reynolda bar is a classic example of the Streamlined Modern style. Like French Art Deco, the style privileged curved lines, reflective materials, and bright contrasting colors. By the 1930s streamlined design could be found on locomotives, automobiles, and airplanes, as well as in playful interior decoration. Aerodynamics found expression at Reynolda in the curves of walls and banquettes, and details like the banding on the edge of the bar — a widely used motif suggesting airflow.

In its bright color contrasts, shiny metal surfaces, an diffused lighting, the Reynolda bar reflects the new generation’s sophisticated taste. But the bar was also designed to amuse: by moving from a convex to a concave mirror one’s reflections alters from slender to obese, which broke the ice at every party.


Follow the buzz here.


We would love to hear your comments and questions! Tweet us @CurateReynolda #StarPower.

Kathleen Hutton, Reynolda House Director of Education, as Community Hero

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This winter Reynolda House Director of Education, Kathleen Hutton was honored as a Wake Forest Community Hero.

In the fall of 2012, the Museum hosted the most school groups to visit Reynolda House in its history. From 4th graders studying Bearden as a native North Carolinian artist, to high school students reading Homer’s The Odyssey, Romare Bearden: A Black Odyssey was a hit.

"It’s my goal that Reynolda House be seen as a community partner and to support local teachers."

College classes visited from as close as Wake Forest University Department of Classical Languages and as far as Virginia Tech, led by poet Nikki Giovanni. The exhibition even served as a tool for corporate discussions around tolerance and diversity.

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A Community Hero’s Philosophy: Art is a way to tell one’s own story and gain self-knowledge

Anyone who has met Kathleen knows that she always speaks about education and art with passion. When asked what was the recurring theme that surfaced during the community outreach of the Bearden exhibit, Kathleen answered:

“He didn’t leave anyone out by telling his story. Everyone picked up on the universality of Bearden.”

Through this exhibition, Kathleen recommitted herself to art as a means to connect all kinds people, all sides of a community, and most importantly, to one’s self. This renewed mission truly encapsulates Kathleen as a community hero who approaches each day with endless enthusiasm and true purpose.

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Romare Bearden is not only a great American artist, but also the best artist from North Carolina

“It is so important Romare Bearden: A Black Odyssey came to Reynolda House.”

Kathleen explains because North Carolinians were able to experience a great artist from their own state. Young people could see that art is not that far away.

“I can’t believe Bearden was here. I will remember it for a long time.”

Get to know Kathleen on Twitter! Follow @WakeReynolda #KHQA

5 Questions with Textile Conservator Claudia Walpole

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Textile Conservator Claudia Walpole was onsite at Reynolda House earlier this month completing her conservation of the objects to be showcased in collaboration with Star Power: Edward Steichen Glamour Photography, on view February 23 - May 19. Showcasing The Golden Age of Reynolda (1923-1937), the objects treated include evening gowns, shoes, and accessories.


How did you choose textile conservation?

I was always interested in costume design, but when I studied abroad in Luxembourg during undergrad my eyes were opened. Textile Conservation married my love of costume, textiles, and history.

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What does a textile conservator do?

I can tell you what conservators don’t do, and that is restoration - there is a very clear distinction between conservation and restoration.  Conservators do not try to make things look “new” and we do not add to nor do we take away anything from the artifact   A basic tenet of our work is that everything we do treatment-wise is reversible.  It’s important to preserve the object as it is, respecting its intrinsic historic value.  Future scholars may then be able to study the textile object in it’s unaltered state, future scholars may study the artifact  trusting the information they glean is accurate.  For that reason, we also document everything we do with comprehensive reports describing the proposed treatment and the treatment actually undertaken.  Photographs are also an important element in this documentation.

Each type of object in a museum has a specialized conservator.  (ie. paintings, sculpture,furniture, textiles)

Textile conservators come from all backgrounds, i.e. science, fashion or costuming and the fiber arts, being good technicians.  And we end up working on everything from samplers and quilts to historic dress, ethnographic textiles, tapestries and flags and banners.

The first thing we do is examine the textile to determine it’s condition in terms of soiling and structural damage, then devise a treatment plan which first involves cleaning.  Then if there is structural damage, e.g. tears, holes, open seams which make the object fragile, we stabilize the textile with support linings, patches, overlays, and an array of conservation stitches. 

Textile conservators surface clean textiles with low-suction vacuuming, wet clean if appropriate with pH balanced solutions and deionized water, occasionally solvent clean them under controlled conditions and also occasionally use humidification to relax sharp creases (with cool, deionized water - not a regular steamer.)  We also advise on best practices for the archival storage, exhibition and the shipping of textile objects for exhibition.” 

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What is the biggest threat to conserving textiles?

Light exposure is the biggest threat, which causes dye fading and also breaks down the fibers on a molecular-level; next is acidic soiling and finally frequent or poor handling.
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What is the most interesting thing you learned during this conservation project?


The hats. One in particular has two real birds attached and I had to look into the proper way to handle the fragile feathers and skin.

I am often struck by the stark contrast between the meticulous hand work of the textiles I work on as opposed to the mass production of items today.  I primarily work on textiles that are at least 70 years old and most are much, much older - the oldest piece I’ve worked on is a Peruvian feather tabard from approximately 400-700 A.D. and the craftsmanship is incredible..

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What was the most challenging piece to restore for this show? And why?

The beaded gown because of its intricate beading, complex construction of silk chemise, built-in corset, and any modifications that had been made through time.

Sometimes you have to listen to the object, and let it tell you what it needs..

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*Claudia Walpole’s answers are adapted from an interview on February 5, 2013.

Art History in Action: The Case of Re-dating our Maurer

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Reynolda House curator Allison Slaby shares a tale of pure detective work that resulted in a new date for the Museum’s Alfred Maurer painting.  The story begins in early 2012 with an email to Diane A. Mullin, curator at the Weisman Art Museum at the University of Minnesota.

Dear Diane,

I’m hoping you can help me solve a curatorial puzzle regarding dating works by Alfred Maurer.
I have been working on the Maurer in our collection, entitled
Landscape: Provence [Pictured below].

Dating the piece is proving challenging.

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[Alfred Maurer, Landscape: Provence Courtesy of Reynolda House Museum of American Art]

While doing research for the Museum’s Electronic Cataloging Project, Allison was struck by the large date range assigned to the Museum’s Maurer painting.  The dates in the Museum’s records varied—sometimes circa 1912, sometimes circa 1912–22.  At some point, art dealers in New York had looked at a transparency (similar to a slide, but not the actual painting) of Reynolda’s Maurer and dated it to the early 1920s—1920–24. It’s likely that that’s when the Museum assigned a date of circa 1912 — 22 rather than just circa 1912.  Allison continued in her email to Diane:

Elizabeth McCausland reproduces a landscape in her Maurer biography that looks very similar and dates it circa 1916 ….  As you know, the date is significant — 1912 is when he was still in France —1916, 20, and 24 is after he returned to the States, never to return to Paris.

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Conducting research in the Reynolda House Library, Allison came across an article by Stacey Epstein in the American Art Review entitled “Alfred H. Maurer Reconsidered” (2004) which pictured a strikingly similar Maurer painting Landscape that was part of the Weisman Museum’s collection. [Pictured below] Like a detective following every lead, Allison wrote to Diane Mullin at the Weisman to inquire:

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[Alfred Maurer, Landscape. Courtesy of Weisman Art Museum]

In appearance, Reynolda’s painting very much resembles yours, which I believe dates to 1916.  Is your painting dated?

In fact, the Weisman’s Maurer was dated to 1916. Following her instincts and committed to solid scholarly standards, Allison decided to see the Weisman’s Maurer in person to confirm her suspicions.

My inclination is to date our painting circa 1916, but I would like to have some evidence to back that up.  I will be in Minneapolis (and at the Weisman!) April 28-30 for the AAM/AAMG meeting…. If you have any time…to meet, or if you could simply set aside any material that might be helpful for me to review, I would be very grateful!  I would, of course, love to see the painting as well if possible.

With thanks and best wishes,

Allison Slaby

While attending the meeting of the Association of Academic Museums and Galleries (AAMG), Allison met with Diane and reviewed the Weisman’s Maurer.  She then followed up her investigation.

Thanks so much for meeting with me yesterday.  After reviewing the Maurer landscape in your collection and reviewing images of the undated Maurer in our collection, would you agree with me that assigning a circa 1916 date to the work in our collection would be more accurate?

Thanks again, and I look forward to being in touch!

Diane’s response:

Dear Allison,

Very nice meeting too.  Yes, I agree that the date of circa 1916 is a more accurate assignation for your Maurer work.

Take care and please do stay in touch.

All best,

Diane Mullin, Senior Curator, Weisman Art Museum

With solid evidence and scholarly research, Allison wrote to Reynolda House’s collection department on December 7, 2012.

I would like to re-date Reynolda’s Alfred Maurer painting Landscape: Provence from “circa 1912-1922” to “circa 1916.”  I am basing this decision on the research that I did for the ECP last spring.  At the time, I was struck by the visual similarities between our painting and one at the Weisman Art Museum at the University of Minnesota.  I had the chance to see the Weisman’s painting in April and to confer with their curator, Diane Mullin.  Diane agrees that a date of circa 1916 is more accurate.  So does Stacey Epstein, the author of an article in American Art Review entitled “Alfred H. Maurer Reconsidered” from 2004.  See below for my correspondence with Diane and Stacey.

Alfred Maurer is a unique artist whose style changes dramatically over the course of several years.  By 1922, he had moved from the Fauvist-inspired landscapes (like ours) to painting after painting of the heads of women.  So, 1922 is much too late a date for our work.

Please let me know if you agree to this change.  Since the painting will be on view in the Armory Show exhibition, it’s a good time to change the date officially.

And so the case of the re-dating of Reynolda House’s Alfred Maurer Landscape: Provence can confidently be resolved to circa 1916! …for now.

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Learn more…
Gallery Talk: “The Armory Show: 100 Years Later”
Sunday, February 17, 2013, 2:30 p.m.
Members/students free; non-members free with Museum admission. Free for Wake Forest University Faculty/Staff/Students
On the 100th anniversary of the opening of the Armory Show in New York, Managing Curator Allison Slaby will speak about the exhibition’s reception in 1913, which ranged from marvel and appreciation to outrage and derision.

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The Armory Show: One Hundred Years Later
Ongoing through June 23, 2013
The groundbreaking Armory show opened in New York City in February of 1913, and introduced paintings, prints, and sculpture by modern American and European artists. The Armory Show: One Hundred Years Later features works by American artists who participated in the original 1913 exhibition