Opening Hours

Coronavirus Temporary Closure: Please note that Kettle’s Yard House and Gallery will be closed from 17 March 2020. You can keep up to date with the latest information here.

Café, galleries and shop: Tuesday – Sunday 11am – 5pm

House: Tuesday – Sunday 12  – 5pm

Free, timed entry tickets to the House are available at the information desk on arrival or online here.

Last entry to the House is at 4.30pm

Access Information & Contact Us

Find access information here. 

+44 (0)1223 748 100


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Find out What’s On at Kettle’s Yard here.

30 April 2019 – 27 May 2019

Artist Alan Reynolds (1926-2014) had a close relationship with Kettle’s Yard, including a solo exhibition in 2003. Kettle’s Yard recently received a substantial legacy following the artist’s death and that of his wife, Vona, in 2016. This display celebrates Alan and Vona’s generosity, featuring paintings, prints and notebooks that showcase Reynolds’ rich and varied career. Displayed alongside them are works by the abstract artists he admired and emulated, including Josef Albers, Sonia Delaunay and Sophie Taueber-Arp, all drawn from Reynolds’ personal collection.

About Alan Reynolds

Alan Reynolds was born in Newmarket in 1926. After serving in the Second World War, Reynolds joined Woolwich Polytechnic School of Art in 1948, before winning a scholarship in 1952 to the Royal College of Art. In 1957, he married Vona Darby, who became his lifelong companion and supporter. During these years he established himself as a successful landscape painter, earning a reputation for his neo-romantic, dreamlike depictions of Suffolk fields and Kentish hop gardens.

In the late 1950s, however, Reynolds’ work underwent a radical transformation, turning his back on nature and embracing pure ‘concrete’ abstraction inspired by artists such as Paul Klee and Piet Mondrian. By the late 1960s, Reynolds had abandoned painting altogether, pursuing theories of structure, geometry and rhythm through his constructed cardboard reliefs, woodblock printing and tonal modular drawings. This practice – what former Kettle’s Yard Director Michael Harrison described as his ‘true voice’ – would dominate the remaining fifty years of his career.

Reynolds had a very close relationship with Harrison and Kettle’s Yard. He was the subject of a solo retrospective exhibition in 2003, and later an extensive monograph written by Harrison in 2011, three years before his death.


The first floor research space is fully accessible. It can be reached by one flight of stairs or by lift. There is an accessible toilet on the first floor just beside the research space.

Image credits

Alan Reynolds, Study for ‘Summer: Young September’s Cornfield’, 1954, watercolour and ink on paper

Alan Reynolds, Structure with Ovoid, c. 1962, Watercolour and gouache on paper