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Artists inner vision : sound recording

Creator:
Hollingsworth, Alvin C.  Search this
Bearden, Romare, 1911-1988  Search this
Names:
Gammon, Reginald, 1921-2005  Search this
Ginsburg, Max, 1931-  Search this
Ossorio, Alfonso, 1916-1990  Search this
Extent:
1 Sound cassette
Type:
Collection descriptions
Archival materials
Sound cassettes
Sound recordings
Date:
1970 Nov. 21
Scope and Contents:
A panel discussion, "The Artist's Inner Vision," moderated by Alvin C. Hollingsworth. Panelists include: Romare Bearden, Reginald Gammon, Max Ginsburg, and Alfonso Ossorio.
Biographical / Historical:
Painter; New York, N.Y.
Provenance:
Donor is unspecified.
Restrictions:
Untranscribed; use requires an appointment.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Art, American  Search this
Genre/Form:
Sound recordings
Identifier:
AAA.hollalva
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e65ab0f1-01cb-4961-a277-4c0b351bceda
EDAN-URL:
ead_collection:sova-aaa-hollalva

Carl Holty papers

Creator:
Holty, Carl, 1900-1973  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Byrne, Charles B.  Search this
Hiler, Hilaire, 1898-1966  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Photograph albums
Date:
circa 1860s-1972
bulk 1940-1967
Summary:
The Carl Holty papers are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and contain correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.
Scope and Content Note:
The papers of Carl Holty are dated circa 1860s-1972 (bulk 1940-1967), measure 1.8 linear feet and consist of correspondence, writings, printed material and photographs documenting Holty's career as an abstract painter and painting teacher.

Correspondence with Romare Bearden, Charles Byrne and Hilaire Hiler concerns art, exhibitions and reviews, education, and news of mutual friends. Holty's writings include articles, autobiographical writings, unpublished manuscripts of a monograph, Art In America, and an untitled novel. Also found among his writings is a journal which contains his reminiscences of artist friends and acquaintances, and reflections on art, art history, and his life, personal plans and aspirations.

Printed material consists mainly of clippings about or mentioning Holty, and reviews and publicity relating to The Painter's Mind, a book Holty wrote with Romare Bearden. Miscellaneous records consist of a transcript of an interview with Carl Holty and an identification card issued to his father.

Photographs are of artwork, people and places. Also included are 6 photograph albums of Holty's artwork, and a small number of negatives. The people pictured are mainly Holty, friends and family. There is also a group photograph that includes Joan Miró.
Arrangement note:
The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, 1940-1972 (Box 1; 5 folders)

Series 2: Writings, 1944-1967 (Box 1; 0.6 linear ft.)

Series 3: Printed Material, 1931-1972 (Box 1; 5 folders)

Series 4: Miscellaneous Records, 1900, 1966 (Box 1; 2 folders)

Series 5: Photographs, circa 1860s-1972 (Boxes 1-3; 0.9 linear ft.)
Biographical/Historical note:
Carl Holty was born in 1900 to American parents in Freiburg, Germany, where his father was studying medicine. Carl was still an infant when the family returned to Milwaukee, Wisconsin, where they lived with his grandparents in a traditional German neighborhood. It was Carl's grandfather who first introduced him to art through visits to a small local commercial gallery.

After showing an interest in being an artist at around age 12, Holty began taking lessons with a local painter. As a teenager he began drawing cartoons and soon set his sights on becoming a poster artist. With that in mind, Holty enrolled at the Art Institute of Chicago in 1919. He soon headed to New York and took courses at the Parsons School of Design and then at the National Academy of Design. In 1923 he returned to Milwaukee and opened a portrait painting studio.

Holty married in 1925 and took his bride to Europe, remaining abroad for the next decade. He entered Hans Hofmann's school in Munich in 1926, and exposure to Hofmann's ideas about color, space, and form greatly influenced and transformed his work. In 1927, the Holtys relocated to Switzerland in search of treatment for Mrs. Holty's tuberculosis. Holty and Hofmann remained in touch, and while in Switzerland, Holty increasingly incorporated Hofmann's teachings into his paintings as they grew more abstract in style.

After his wife's death in 1930, Holty moved to Paris for five years where he participated in several exhibitions and his work was well-received. Robert Delaunay invited him to join Abstration-Création, and the group published some of Holty's work in its magazine.

Upon returning to the United States in 1935, Holty settled in New York City where he eventually remarried and had a daughter. He renewed friendships with Hans Hofmann, Vaclav Vytlacil, and Stuart Davis, whom he had known in Paris. A figure in vanguard art circles, Holty was involved in meetings that resulted in the formation of the American Abstract Artists, and in 1938 he served as the group's chairman.

Holty taught drawing and paining at Brooklyn College from 1950 until his retirement in 1970, when he was designated Professor Emeritus. His years at Brooklyn College were punctuated by brief stints as a visiting instructor at the Art Students League, Washington University (St. Louis), and University of Louisville; he served as artist-in-residence at the universities of Georgia, Florida, California (Berkeley), and Wisconsin, and the Corcoran School of Art.

He exhibited widely at major museums throughout the United States including: the San Francisco Art Museum, Seattle Art Museum, Whitney Museum of American Art, Carnegie Institute, Metropolitan Museum of Art, Museum of Modern Art, and the Solomon R. Guggenheim Museum. Holty's work was shown at major New York galleries such as J. B. Neumann, Samuel Kootz Gallery, and Graham Gallery, and is in the permanent collections of many museums including: Addison Gallery of American Art, Brooklyn Museum, Butler Institute of Art, Carnegie Institute, Smithsonian American Art Museum, and the Solomon R. Guggenheim Museum.

Carl Holty died March 22, 1973 in New York City, after a short illness.
Related Archival Materials note:
Six interviews with Carl Holty (in addition to the one described in this finding aid) are available at the Archives of American Art. Three are oral histories conducted by the Archives of American Art, 1964-1968. The others are parts of interview collections accessioned by the Archives: Interviews relating to American Abstract Artists (Ruth Bowman), Anne Bowen Parsons collection of Interviews on Art, and Collette Roberts Interviews with Artists.

In addition, substantial correspondence with Carl Holty is included among the Hilaire Hiler papers and Romare Bearden papers owned by the Archives of American Art.
Separated Materials note:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N68-93 and N68-105), much of which was subsequently donated. Loaned material that was not later donated includes Holty's letters to his wife, Elizabeth, and daughter, Antonia, letters to Zoe Dusanne, letters from Ulfert Wilkie and Erwin Breithaupt, a small amount of general correspondence, and a typescript copy of Holty's journal. This material remains with the lender and is not described in the collection container inventory.
Provenance:
The Carl Holty papers were donated in increments between 1972 and 2006. The bulk of the papers were originally loaned in 1968, and later donated by Holty in 1972. Charles Byrne, a friend of Holty, donated a small amount of correspondence, printed material, and photographs in 1976-1977; family photographs were given by Holty's biographer, Virginia Liles, in 2006.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Interviews
Photograph albums
Citation:
Carl Holty papers, circa 1860s-1972 (bulk 1940-1967). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.holtcarl
See more items in:
Carl Holty papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c54088fa-0235-4a48-95dd-63496b5b713a
EDAN-URL:
ead_collection:sova-aaa-holtcarl
Online Media:

Sheldon Ross Gallery records

Creator:
Sheldon Ross  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Middle Earth Gallery  Search this
United States. Federal Bureau of Investigation  Search this
Bearden, Romare, 1911-1988  Search this
Grosz, George, 1893-1959  Search this
Ross, Sheldon, 1925-2000  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Photographs
Date:
circa 1970-2007
bulk 1976-1995
Summary:
The records of the Sheldon Ross Gallery, Birmingham, Michigan, measure 2.6 linear feet and are dated 1970-2007, with the bulk of materials dating from 1976-1995. The majority of the collection consists of artists' files. About half of the materials relate to Romare Bearden's work and his relationship with Sheldon Ross, the gallery owner. Also included are artists' files regarding George Grosz and Michigan artists. The contents of artists' files vary but generally include biographical information, printed materials and photographic images. The collection also contains correspondence, exhibition files, and photographs documenting the gallery's activities. There is a 0.8 linear foot unprocessed addition to this collection donated in 2022 that includes project, exhibition and estate files regarding Romare Bearden containing correspondence, financial records, lists of works of art, price lists and printed material. Materials date from circa 1967-1997.
Scope and Contents note:
The records of the Sheldon Ross Gallery, Birmingham, Michigan, measure 2.6 linear feet and are dated 1970-2007, with the bulk of materials dating from 1976-1995. The majority of the collection consists of artists' files. About half of the materials relate to Romare Bearden's work and his relationship with Sheldon Ross, the gallery owner. Also included are artists' files regarding George Grosz and Michigan artists. The contents of artists' files vary but generally include biographical information, printed materials and photographic images. The collection also contains correspondence, exhibition files, and photographs documenting the gallery's activities.

The gallery records document its exhibition history, exhibition reviews, sales of artwork, and Ross' significant projects. Also included are photographs and slides documenting much of the artwork exhibited. Materials relating to Romare Bearden include writings by and about Bearden and his artwork and correspondence between Bearden and Ross during the years 1976-1989. There are many catalogs of Bearden's solo exhibitions at galleries, museums, and institutions, as well as exhibition reviews from newspapers and magazines, and images of Bearden's works.

The gallery exhibited other well-known artists including 20th century American artists and German Expressionists, notably George Grosz, who instructed Bearden at the Art Students League in New York. Found in the records are exhibition catalogues, price lists, inventory cards and artists' background materials. Also found is correspondence with museums, artists and clients, and slides and other photographic material of artwork offered by the gallery. Of note is correspondence between Sheldon Ross and the FBI concerning Ross' participation as an expert witness in a prosecution of individuals who were involved in Romare Bearden forgeries.

There are drawings of Sheldon Ross and The Sheldon Ross Galley by his son, Robert Ross. Photographs are of Sheldon Ross and Romare Bearden, Sheldon Ross with family and friends, and the predecessor gallery, Middle Earth Gallery.

There is a 0.8 linear foot unprocessed addition to this collection donated in 2022 that includes project, exhibition and estate files regarding Romare Bearden containing correspondence, financial records, lists of works of art, price lists and printed material. Materials date from circa 1967-1997.
Arrangement note:
The collection is arranged in 8 Series. Materials are generally arranged by record type and chronologically thereafter.

Missing Title

Series 1: Gallery History, 1976-2000 (Box 1, OV 4; 0.2 linear feet)

Series 2: Correspondence, 1982-1999 (Box 1; 0.1 linear feet)

Series 3: Exhibition Files, 1976-1988 (Box 1; 0.1 linear feet)

Series 4: Artists' Files, 1968-2007 (Boxes 1-2; 0.9 linear feet)

Series 5: Printed Material, 1976-2000 (Box 2; 2 folders; OV 4; 0.2 linear feet)

Series 6: Drawings by Robert Ross, after 1975, (OV 5; 0.1 linear feet)

Series 7: Photographic Materials, circa 1970-2000 (Boxes 2-3, OV 5; 0.2 linear feet)

Series 8: Unprocessed Addition, circa 1967-1997 (Boxes 6-7, 0.8 linear feet)
Biographical/Historical note:
The Sheldon Ross Gallery (1975-1993), Birmingham, Michigan, and later Sheldon Ross Fine Arts and Sheldon Ross Fine Arts LLC (1993-2000) were operated by Sheldon Ross until his death in 2000. The Sheldon Ross Gallery was the only gallery in the Detroit area to consistently show German Expressionist art, emphasizing graphics. However, the gallery and Ross are best known for their early and continued support of Romare Bearden's work. The exhibition history shows a balance between an interest in local artists and an effort to offer diverse artwork from broad based sources.
Provenance:
The records were donated to the Archives of American Art in 2010 and 2022 by Phyllis Ross, widow of Sheldon Ross.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Expressionism (Art)  Search this
Arts -- Forgeries  Search this
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Sketches
Writings
Photographs
Citation:
Sheldon Ross Gallery records, circa 1970-2007, bulk 1976-1995. Archives of American Art, Smithsonian Institution. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shelrosg
See more items in:
Sheldon Ross Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aa949e9e-9ee7-4a0f-985d-441f5cbcaa14
EDAN-URL:
ead_collection:sova-aaa-shelrosg
Online Media:

André Thibault/Teabo papers regarding Romare Bearden

Creator:
Thibault/Teabo, André, 1948?  Search this
Names:
Bearden, Nanette  Search this
Bearden, Romare, 1911-1988  Search this
Goings, Russell L.  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Date:
circa 1930s-2003
bulk 1980-1998
Summary:
The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.
Scope and Contents:
The papers of studio assistant Andre Thibault/Teabo regarding African American painter Romare Bearden measure 0.9 linear feet and date from circa 1930s to 2003 with the bulk of the material dating from 1980 to 1998. The papers consist of administrative records such as financial and gallery records. Correspondence includes letters from Romare Bearden, his wife Nanette and Andre Thibault. Of note is correspondence between Thibault and Nanette concerning the signature on a Bearden painting. Printed material includes exhibition catalogs, posters, magazines, art books and source material used by Bearden. Artwork consists of a self-portrait, a sketchbook, collage pieces, and oversize drawings by Bearden. Photographic material is comprised of photographs of Bearden, his art, studio, Andre Thibault/Teabo, Russell Goings and others.
Arrangement:
This collection is arranged in five series.

Series 1: Administrative Records, 1985-1988 (Box 1; 2 folders)

Series 2: Correspondence, 1987-1996 (Box 1; 3 folders)

Series 3: Printed Material, 1949-1958, 1971-2003 (Box 1-2, OV 3; 0.5 linear feet)

Series 4: Artwork, circa 1930s-1940s, circa 1980-1988 (Box 2, OV 3; 0.2 linear feet)

Series 5: Photographic Material, 1983-1991 (Box 2, OV 3; 0.2 linear feet)
Biographical / Historical:
Andre Thibault/Teabo (1948?- ) is an artist in New York, N.Y. and was Romare Bearden's studio assistant from 1980-1988.

Romare Bearden (1911-1988) was an African American painter who worked in New York, N.Y. Bearden worked in various mediums and is known for his colorful abstract paintings depicting the lives of African American people and for his work in collage. In 1963 he co-founded the African American artistic group named Spiral that endeavored to answer the question "What is Black Art?" and in 1968 was involved in founding the Studio Museum in Harlem, New York. The following year Bearden co-founded the Cinque Gallery which promoted and exhibited the works of African American artists. In 1976 he received a Gold Medal from the Governor of North Carolina for the advancement of the arts and posthumously received the Lifetime Achievement Award from the Studio Museum in Harlem in 1988.
Provenance:
The papers were donated to the Archives of American Art by André Thibault/Teabo in 2017.
Restrictions:
This collection is open for research. Access to originals papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
The André Thibault/Teabo papers regarding Romare Bearden, circa 1930s-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thibandr
See more items in:
André Thibault/Teabo papers regarding Romare Bearden
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97882b3be-30ac-4884-b0af-efc2a706c4ae
EDAN-URL:
ead_collection:sova-aaa-thibandr

Printed material on Romare Bearden, Alice Neel, and Howard Newman

Creator:
Florio, Dennis  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Neel, Alice, 1900-1984  Search this
Newman, Howard, 1943-  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1975-1990
Scope and Contents:
Primarily printed matter, compiled by Florio concerning artists Romare Bearden, Alice Neel, and Howard Newman. Bearden material includes exhibition announcements and catalogs, 1975-1986, and an unsigned orginal silkscreen print attributed to Bearden. Neel material includes articles and reviews, 1980-1990, exhibition announcements, 1984-1985, exhibition catalogs, 1975-1985; and a letter from Mayor Koch to Dennis Florio regarding Neels' 82nd birthday party at Gracie Mansion. There is a 1979 exhibition catalog for Howard Newman.
Provenance:
Donated 1999 by the estate of Dennis Florio via Lurage Tate, Executor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Identifier:
AAA.flordenn
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d63ac0d4-0c75-469b-a001-59a536892ae3
EDAN-URL:
ead_collection:sova-aaa-flordenn

Romare Bearden letter to Dana Little

Creator:
Bearden, Romare, 1911-1988  Search this
Names:
Little, Dana  Search this
Extent:
1 Item
Type:
Collection descriptions
Archival materials
Date:
1981 Mar. 14
Scope and Contents:
Letter from Bearden to Dana Little, Associate Editor of the Smithsonian Magazine. Bearden thanks Little for the magazines she sent him and invites her to view a show of his works at Cordier & Ekstrom in New York.
General:
Letter is dated Mar. 14th, no year given, year inferred from accompanying documentation from Little (in collection file).
Provenance:
Transferred from the Smithsonian Magazine via Dana Little, Mar. 18, 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Identifier:
AAA.bearroma2
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d3237972-bf82-49b7-8483-12b85b9af8d6
EDAN-URL:
ead_collection:sova-aaa-bearroma2

Charlene Hodges Byrd collection

Creator:
Byrd, Charlene Hodges, 1929-2009  Search this
Names:
Morgan State College  Search this
Bearden, Romare, 1911-1988  Search this
Cummings, Ida R. (Ida Rebecca), 1868-1958  Search this
Douglass, Frederick, 1817?-1895  Search this
Grimké, Francis J. (Francis James), 1850-1937  Search this
Hodges, Joyce Ethel Cummings, 1903-1971  Search this
Shimm, Erminie F. (Erminie Florence), 1867-1936  Search this
Shimm, Sarah A., 1843-1885  Search this
Thomas, Elizabeth N. (Elizabeth Nelson), d. 1932  Search this
Washington, Booker T., 1856-1915  Search this
Extent:
43 Linear feet (35 document boxes and 39 oversize boxes)
Type:
Collection descriptions
Archival materials
Place:
Washington (D.C.)
Date:
circa 1750-2009
bulk 1880-1960
Summary:
The Charlene Hodges Byrd collection measures 43 linear feet, and dates from circa 1750-2009, with the bulk of the material dating from 1880-1960. The collection documents the personal life and professional career of Charlene Hodges Byrd, an African American teacher from Washington, D.C., along with material for several related families from Pennsylvania, Maryland, and Washington, D.C. Family members prominently represented include Sarah A. Shimm, teacher and essayist under the name Faith Lichen; her daughters Erminie F. Shimm and Grace E. Shimm Cummings, both teachers; and Byrd's mother, Joyce Ethel Cummings Hodges, also a teacher. Correspondence and writings chiefly discuss family life, religion, race, education, and the relationship with Frederick Douglass and his family. The collection is arranged in 10 series: Biographical Material, Correspondence, Writings, Subject Files, Financial and Legal Records, Printed Material, Volumes, Memorabilia, Textiles, and Photographs.
Scope and Contents:
Series 1. Papers related to biographical and family histories of the Byrd, Cummings, Davage, Dews, Hodges, Shimm, Spruill, and Thomas families. Material includes family trees; school diplomas and certificates; programs; awards; marriage and divorce papers; funeral documents; and obituaries.

Series 2: Chiefly letters from family and friends regarding family news, financial matters, school, work, neighborhood affairs, church events, travel and the weather. The majority of the letters are addressed to Charlene Hodges Byrd, Grace E. Shimm Cummings, Ida R. Cummings, Elizabeth Dews Hodges, Joyce Ethel Cummings Hodges, Erminie F. Shimm, Sarah A. Shimm, and Elizabeth N. Thomas. Other correspondence includes letters from Booker T. Washington, Bessye Beardon, Charlotte Davage, Amelia Douglass, and Harrell S. Spruill. There are also a number of greeting cards, postcards, and empty envelopes.

Series 3. Writings include essays, speeches, papers written for school, teacher's notebooks, and a diary of Erminie F. Shimm, 1903. Topics include education, Frederick Douglass, religion, race, Africa, and the temperance movement.

Series 4. Subject files on Charlene Hodges Byrd's involvement with Alpha Kappa Alpha Sorority; Book Lovers of Charleston, West Virginia, a women's book club organized in 1923; Church Women United radio program; and The Links, Inc., a volunteer service organization. The papers on Liberia relate to missionary work, and were probably gathered by Erminie F. Shimm; and the Shimm-Thomas Collection are papers related to the deposit and later return of family items housed as a collection at Morgan State College.

Series 5. The financial and legal records include invoices and receipts, bank books, real estate tax assessments, deeds, and wills. There is also material related to the estate of Erminie F. Shimm.

Series 6. Printed materials includes books, pamphlets, newspapers, newsletters, clippings, invitations and programs. The books and pamphlets are chiefly school yearbooks and newspapers and other texts related to religion, politics, music, and poetry. Also included is a copy of Frederick Douglass's autobiography and a printed copy of his speech "The Race Problem." The clippings include obituaries, articles about Charlene Hodges Byrd and her husband Charles R. Byrd, essays by Sarah A. Shimm under the name Faith Lichen, and articles on the assassination of Martin Luther King, Jr. The invitations and programs are primarily for school graduations, weddings, social events, and funerals. Other printed material includes newsletters; business cards; calling cards; postage stamps, chiefly from Liberia; and blank postcards. The binder on Frederick Douglass was prepared by Byrd and her goddaughter for the West Virginia School Studies Fair, and includes copies of Byrd family artifacts.

Series 7. Autograph books, guest books, and scrapbooks. The autograph book of Grace E. Shimm Cummings includes autographs from Amelia Douglass, Lewis B. Douglass, Charles R. Douglass, W. H. Clair, and Francis J. Grimke. The scrapbook of Grace E. Shimm Cummings and Erminie F. Shimm consists primarily of clippings, and was assembled from an old teacher's book with a student registration and punishment pages still intact at the back.

Series 8. Miscellaneous items in the collection including artwork, a coin purse, a piece of handwoven cloth belonging to Catherine Nelson's great grandmother, and leather hair curlers.

Series 9: The textiles are chiefly christening gowns, children's garments, and an apron. Several garments belonged to Joyce Ethel Cummings Hodges, Charlene Hodges Byrd, and Elizabeth N. Thomas. There is also a doll that belonged to Amelia Douglass's niece, Kitty Cromwell.

Series 10. Photographs include pictures of Charlene Hodges Byrd, Joyce Ethel Hodges Cummings, Frederick Douglass, Elizabeth Dews Hodges, Charles Gilmor Cummings, Grace E. Shimm Cummings, Erminie F. Shimm, and other friends and relatives of the Byrd, Hodges, Cummings, Douglass, and Shimm families. Subjects are primarily portraits and candids, along with some wedding, baby, and school pictures. While some of the photographs are annotated, many of the individuals are unidentified. Included are vintage photographs, cabinet cards, cartes-de-visites, tintypes, daguerreotypes, and negatives.
Biographical / Historical:
The Shimm, Thomas, Cummings, Hodges, Davage, and related African American families chiefly lived in Virginia, Pennsylvania, Maryland, and Washington, D.C. Numerous family members worked as teachers, barbers, or in the service industry. They were active in local churches and service organizations, and had established friendships with local church leaders as well as with Frederick Douglass and his family.

The Shimm and Thomas families were located in Virginia, Pennsylvania, Maryland, and Washington, D.C. The Thomas family can be traced back to Philip Nelson, who owned property in Leesburg, Virginia and Philadelphia, Pennsylvania. Family genealogical papers list Nelson as a descendent of British Admiral Horatio Nelson. This lineage, however, is not supported in publically available family histories of Horatio Nelson. Philip Nelson and his wife Araminta had five children: Catherine (b. 1805?), William, Levi (b. 1820?), Henrietta, and Grayson.

Catherine Nelson married Elias E. Thomas (b. 1816?) of Virginia in 1840. They wed in Philadelphia and had five children: Levi Nelson (b. 1841), Sarah (1843-1885), Edward (b. 1844), Elizabeth (1848-1932), and Charles (b. 1851).

Sarah Thomas married William Y. Shimm (b. 1841), a barber in Reading, Pennsylvania, on July 26, 1863. They had 2 daughters, Erminie (1867-1936) and Grace (1865-1910). The Shimms lived in Pennsylvania and Ohio, but had moved to Washington, D.C., around 1871. Sarah was a teacher and a writer who published under the name "Faith Lichen." Her writings, primarily essays and commentaries about race and politics, were printed in several newspapers including The National Republican, The Celtic Weekly, The People's Advocate, and The Sunday Morning Gazette.

Sarah's sister Elizabeth was also a teacher in Maryland. Her brother Charles was a lawyer in Washington, D.C., and a graduate of the first class at Howard University's law school.

Erminie and Grace Shimm became teachers in the Washington, D.C., public school system. Erminie was active in her church and supportive of missionary work in Liberia. Grace married Charles Gilmor Cummings, a pastor in Alexandria, Virginia, on July 9, 1902. They had one daughter, Joyce Ethel (1903-1971), and second child in 1905 who died in infancy. Grace died in 1910 of heart failure. After her death, Grace's sister Erminie and Charles's family helped raise Joyce Ethel in Washington, D.C., and Baltimore, Maryland.

Joyce Ethel Cummings Hodges graduated from Morgan College in 1924, and received her master's degree from Howard University in 1931. She taught at Douglass High School in Baltimore from 1924-1964. Joyce Ethel married Charles E. Hodges (1900--975) in 1927 and they divorced in 1953. The couple had one daughter, Charlene (1929-2009).

Charlene Hodges Byrd grew up in Washington, D.C., but attended the Northfield School for Girls in East Northfield, Massachusetts, for high school, graduating in 1946. She received her bachelor's degree from Connecticut College in 1950, and her master's degree in English Language and Literature from the University of Chicago in 1951. She married Charles R. Byrd (1919-2004) in 1952. They had one son in 1954, but he died four days after birth. Byrd soon began a career as a teacher and education administrator, eventually working for Kanawha County Schools in Charleston, West Virginia. She was also active in her local community as a member of the Book Lovers of Charleston, West Virginia; Church Women United; and The Links, Inc.

Charles E. Hodges was born Bridgewater, Virginia, where his father was a minister. He graduated from Morgan College in 1923 and received his master's degree from the University of Pennsylvania in 1943. He was a teacher and served as principal of the North Street School in Hagerstown, Maryland. After he and Joyce Ethel divorced in 1953, he married Elizabeth Dews (1913-1999) in 1955.

Elizabeth Dews Hodges, born Elizabeth Virginia Waumbeeka, was adopted by James Edward (1889-1954) and Sarah Virginia Dews (1888?-1964) in Washington, D.C., in 1920. She graduated from Miner Teachers College in 1939, and worked as a teacher in Annapolis, Maryland, at Wiley H. Bates High School for 34 years. She was awarded a medal for her work there by the Freedom Foundation of Valley Forge in 1959. Elizabeth was active in local organizations in Maryland and Washington, D.C., including the SE/NE Friends of the Capitol View Branch Library; Eastern Star Chapter 4; Mount Ephraim Baptist Church; National Museum of Women in the Arts; National Association for the Advancement of Colored Peoples; and the Columbia Lighthouse for the Blind.

The Davage family is descended from Sidney Hall (b. 1818?) and Charles Davage (b. 1815?). Sidney was a former slave at the Perry Hall mansion in Baltimore, and was manumitted by 1840. She married Charles, a coachman, on April 12, 1842. They had five children: Eliza Jane (1843-1913), Sophia (b. 1847), Charlotte (b. 1849), Charles (b. 1854), and Hester (b. 1845). Their daughter Eliza Jane married Henry Cummings (b. 1830?). They had seven children: Harry Sythe (1866-1917), Charles Gilmor (1870-1924), William (b. 1882), Ida R. (1868-1958), Estelle (1874-1944), Carroll (b. 1875), Francis (b. 1872), and Aaron (1864?-1932).

Harry Sythe Cummings, a lawyer in Baltimore, became the city's first African American City Council member. He was first elected in 1890 and served intermittently until his death in 1917, often working on issues related to education. Cummings also delivered a speech at the Republican National Convention in 1904 seconding the presidential nomination of Theodore Roosevelt. He married Blanche Conklin in 1899, and they had three children: Harry S. Jr. (b. 1905), Lucille (d. 1906), and Louise.

Charles Gilmor Cummings graduated from Drew Theological Seminary in 1898, and was a pastor in Alexandria, Virginia and elsewhere. After the death of his wife Grace in 1910, he married Rosa Catherine Bearden, grandmother of artist Romare Bearden, in 1912.

Ida R. Cummings graduated from Morgan College in 1922, and was the first African American kindergarten teacher in Baltimore. She was also active in local organizations, and was president of the Colored Fresh Air and Empty Stocking Circle; chairman of the Woman's Section Council of Defense in Baltimore during the World War, 1914-1918; and president of the Woman's Campaign Bureau of the Colored Republican Voters' League of Maryland.
Provenance:
The Charlene Hodges Byrd collection was donated to the National Museum of African American History and Culture by Herbert S. Garten, co-personal representative of the Estate of Charlene H. Byrd, in 2010.
Restrictions:
Access to collection requires appointment.
Rights:
This collection is subject to all copyright laws.
Topic:
African Americans -- Maryland  Search this
African Americans -- Photographs  Search this
African American families  Search this
African Americans -- Pennsylvania  Search this
African American newspapers  Search this
African American -- Social life and customs  Search this
African American women journalists  Search this
African Americans -- Education  Search this
African American churches  Search this
African American educators  Search this
African Americans -- Washington (D.C.)  Search this
Citation:
Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.
Identifier:
NMAAHC.A2010.26
See more items in:
Charlene Hodges Byrd collection
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3b5e50c57-6cdc-4a60-9599-51a62881a4f9
EDAN-URL:
ead_collection:sova-nmaahc-a2010-26
Online Media:

Hughie Lee-Smith papers

Creator:
Lee-Smith, Hughie  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Audubon Artists (New York, N.Y.)  Search this
Ira Aldridge Society  Search this
National Academy of Design (U.S.)  Search this
Bearden, Romare, 1911-1988  Search this
Goreleigh, Rex, 1902-  Search this
Correspondent:
Carter, Clarence Holbrook, 1904-2000  Search this
Gammon, Reginald, 1921-2005  Search this
Hirsch, Joseph, 1910-1981  Search this
Wald, Carol  Search this
Wessel, Sophie  Search this
Woodruff, Hale, 1900-1980  Search this
Extent:
33.7 Linear feet
0.381 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Interviews
Photographs
Video recordings
Sound recordings
Drawings
Date:
circa 1890-2007
bulk 1931-1999
Summary:
The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.
Scope and Contents:
The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.

Biographical material includes records of Hughie Lee-Smith's schooling, military service, and awards, as well as resumes, bibliographies, and biographical summaries. Also found are family records, including the papers of his mother, Alice Carroll.

Lee-Smith's correspondence is with family, students, arts and cultural organizations, as well as schools, galleries, and museums, primarily regarding his participation in events and exhibitions. He also corresponded with fellow artists, such as Clarence Holbrook Carter, Reginald Gammon, Joseph Hirsch, Carol Wald, and Hale Woodruff, among many others. He maintained extensive correspondence with artist Sophie Wessel.

Lee-Smith's writings include artist statements and personal writings on his history and early influences, as well as many draft lectures and speeches, school writings, notes, and untitled writing fragments. Writings by others primarily include student essays and articles on the topic of Lee-Smith's work. Personal business records include scattered financial documents, including artwork sales records, and contracts and agreements with various art galleries and other organizations. Also found are files regarding his art commissions, gifts, professional activities, and records of his employment at the Art Students League. Exhibition files document select exhibitions in which Hughie Lee-Smith participated, primarily during the 1980s and 1990s. Organization records were maintained by Lee-Smith to document his participation in various groups, such as the National Academy of Design, Ira Aldridge Society, and Audubon Artists.

Printed material consists primarily of exhibition announcements and invitations for exhibitions of Lee-Smith's work, as well as news clippings, magazines, press releases, and publications from various art organizations and schools. One scrapbook contains exhibition announcements additional loose scrapbook pages document his early career. Photographs include many portraits of Hughie Lee-Smith, Lee-Smith in his studio, at events, and with friends and family. Additionally there are many photographs, slides, and transparencies of Lee-Smith's artwork. Also found are five photograph albums. A small amount of original artwork includes drawings by Lee-Smith and two sketchbooks belonging to his wife Patricia.

The collection includes numerous interviews of Hughie Lee-Smith, recorded on 37 sound cassettes, one sound tape reel, and four video cassettes. One audio interview is in digital format. Also found are planning documents, research material, and video footage for a documentary about the life and work of Hughie Lee-Smith, produced by New Deal Films, Inc, but never completed. Footage includes interviews with artists and art historians regarding Lee-Smith, gallery events, and images of his paintings.

The papers of artist Rex Goreleigh primarily documents his later life and includes a letters, biographical documents, printed material, estate records, and photographs and slides depicting Goreleigh, his studio, and artwork. Hughie Lee-Smith was close friends with Goreleigh and served as executor of his estate.

Also of note is a scrapbook put together for Goreleigh's 70th birthday in 1972. Of note is one scrapbook which contains photographs, notes, and artwork by fellow artists and students, including drawings by Romare Bearden and Hughie Lee-Smith.
Arrangement:
The collection is arranged as 13 series.

Missing Title

Series 1: Biographical Material, circa 1890-2001 (1.7 linear feet; Box 1-2, 35, RD 38)

Series 2: Correspondence, 1931-2006 (6.1 linear feet; Box 2-8, 0.006 GB; ER01)

Series 3: Writings, circa 1934-1998 (0.8 linear feet; Box 8-9)

Series 4: Personal Business Records, 1934-2001 (1.6 linear feet; Box 9-11, 35)

Series 5: Exhibition Files, circa 1973-2001 (1.2 linear feet; Box 11-12)

Series 6: Organization Records, 1941-2005 (2.1 linear feet; Box 12-14)

Series 7: Printed Material, 1919, 1930-2007 (8.5 linear feet; Box 14-22, 34)

Series 8: Scrapbooks, circa 1938-1990s (0.2 linear feet; Box 22, 35)

Series 9: Photographs, circa 1890-2003 (4.4 linear feet; Box 22-26, 35, OV 37)

Series 10: Artwork, circa 1940s-1980s (0.2 linear feet; Box 26)

Series 11: Interviews, 1973-1998 (2.1 linear feet; Box 26-28, 0.375 GB; ER02)

Series 12: Documentary Film Materials, 1985-2004 (3.5 linear feet; Box 28-32)

Series 13: Rex Goreleigh Papers, 1935-1994 (0.9 linear feet; 32-33, 36)
Biographical / Historical:
Hughie Lee-Smith (1915-1999) was a painter and educator in Ohio, Michigan, and New York. Born in Eustis, Florida, he lived for a period of time with family in Atlanta before joining his mother in Cleveland, Ohio, in 1925. In 1934 he received a scholarship to attend the Art School of the Detroit Society of Arts and Crafts, and in 1935 returned to Cleveland to attend the Cleveland School of Art. While in school he began exhibiting his paintings and teaching part-time at Karamu House. From 1938 to 1940 Lee-Smith completed lithography commissions for the Ohio WPA. In 1941 he moved to Detroit, married his first wife Mabel Louise Everett, and worked at a Ford automobile factory. He was then drafted into the U.S. Navy as a mural artist. After the war he briefly returned to factory work before enrolling at Wayne State University, earning a degree in Art Education in 1953. From 1953 to 1965 he taught summer art classes at the Grosse-Point War Memorial in Detroit.

In 1957 Lee-Smith moved to the East Village in New York City, signed with the Janet Nassler Gallery (Petite Gallery), exhibited his work extensively, and joined several art organizations. He also taught art at schools in Princeton, New Jersey. In 1967 he became the second African-American member of the National Academy of Design. He was visiting instructor and artist-in-residence at several art programs, including Howard University, and taught at the Art Students League from 1972 to 1988. In 1978 he married his third wife, Patricia. The New Jersey State Museum organized an extensive retrospective of Lee-Smith's work in 1988 which travelled nationally. Despite ill-health in the mid-1990s, he continued to create new paintings and exhibit his work. In 1997 he moved with his wife to Albuquerque, New Mexico, where he lived until his death in 1999.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Hughie Lee-Smith conducted by Carroll Greene in 1968.
Provenance:
A small amount of material was donated 1969-1981 by Hughie Lee-Smith. Additional papers were donated in 2011 by Patricia Lee-Smith, widow of Hughie Lee-Smith.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Fragile original address books are closed to researchers and have been digitized for access. Contact Reference Services for more information.
Rights:
Authorization to publish requires written permission from Robert Panzer, VAGA. The donor has retained all intellectual property rights, including copyright, that they may own. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Michigan -- Detroit  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Ohio -- Cleveland  Search this
Educators -- New York (State) -- New York  Search this
Educators -- Michigan -- Detroit  Search this
Topic:
Artists' studios -- Photographs  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American military personnel  Search this
Genre/Form:
Scrapbooks
Interviews
Photographs
Video recordings
Sound recordings
Drawings
Citation:
Hughie Lee-Smith papers, circa 1890-2007, bulk 1931-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.leeshugh
See more items in:
Hughie Lee-Smith papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d69fbd0e-001a-499b-9af3-a6dde3bc825e
EDAN-URL:
ead_collection:sova-aaa-leeshugh

Lenore Seroka photographs

Creator:
Seroka, Lenore  Search this
Names:
Andrews, Benny, 1930-2006  Search this
Artschwager, Richard, 1923-2013  Search this
Bearden, Romare, 1911-1988  Search this
Bishop, Isabel, 1902-1988  Search this
Bourgeois, Louise, 1911-2010  Search this
Cavallon, Giorgio, 1904-1989  Search this
Chamberlain, John, 1927-2011  Search this
Christo, 1935-  Search this
Close, Chuck, 1940-  Search this
De Creeft, José, 1884-1982  Search this
Estes, Richard, 1932-  Search this
Ferber, Herbert, 1906-1991  Search this
Flavin, Dan, 1933-  Search this
Freilicher, Jane, 1924-  Search this
Gikow, Ruth, 1915-1982  Search this
Golub, Leon, 1922-2004  Search this
Goodhough, Robert, 1917-  Search this
Goulet, Lorrie, 1925-  Search this
Graves, Nancy Stevenson, 1940-1995  Search this
Greene, Balcomb, 1904-1990  Search this
Gwathmey, Robert, 1903-1988  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirschfeld, Al  Search this
Johnson, Ray, 1927-1995  Search this
Katz, Alex, 1927-  Search this
Krasner, Lee, 1908-1984  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, David, 1926-2009  Search this
Levine, Jack, 1915-2010  Search this
Lichtenstein, Roy, 1923-1997  Search this
Lipton, Seymour, 1903-1986  Search this
Neel, Alice, 1900-1984  Search this
Nesbitt, Lowell, 1933-1993  Search this
Pearlstein, Philip, 1924-  Search this
Resika, Paul  Search this
Rivers, Larry, 1925-2002  Search this
Rockburne, Dorothea  Search this
Rosenquist, James, 1933-  Search this
Segal, George, 1924-2000  Search this
Snelson, Kenneth, 1927-2016  Search this
Solman, Joseph, 1909-2008  Search this
Soyer, Raphael, 1899-1987  Search this
Wesselmann, Tom, 1931-2004  Search this
Youngerman, Jack, 1926-2020  Search this
Extent:
0.3 Linear feet ((51 items))
Type:
Collection descriptions
Archival materials
Date:
1977-1984
Scope and Contents:
Photographs of artists taken by Seroka.
Biographical / Historical:
Photographer; Great Neck, N.Y.
Provenance:
Donated 1984 by Lenore Seroka.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
Authorizatin to publish, quote or reproduce requires written permission from Lenore Seroka. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- New York (State) -- Great Neck  Search this
Topic:
Photography, Artistic -- Photographs  Search this
Portrait photography -- Photographs  Search this
Women artists  Search this
Women photographers  Search this
Identifier:
AAA.seroleno
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9858136e9-6ce3-4d39-89c7-2264e3bf284f
EDAN-URL:
ead_collection:sova-aaa-seroleno

Erle Loran papers

Creator:
Loran, Erle, 1905-1999  Search this
Names:
Fine Arts Museums of San Francisco  Search this
Friends of Ethnic Art  Search this
San Francisco Art Institute  Search this
University of California, Berkeley -- Faculty  Search this
Bearden, Romare, 1911-1988  Search this
Cézanne, Paul, 1839-1906  Search this
Dasburg, Andrew, 1887-1979  Search this
Greenberg, Clement, 1909-1994  Search this
Haley, John, 1905-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Hatfield, Dalzell, 1893-1963  Search this
Hofmann, Hans, 1880-1966  Search this
Levinson, Harry  Search this
Sabean, Samuel  Search this
Schaefer, Bertha, 1895-1971  Search this
Still, Clyfford, 1904-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
12.6 Linear feet
Type:
Collection descriptions
Archival materials
Watercolors
Sketches
Photographs
Writings
Date:
1912-1999
Summary:
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.

Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.

Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.

Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.

Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.

Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.

Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)

Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)

Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)

Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)

Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)

Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)

Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.

In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.

Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.

During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.

Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.

Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- Berkeley  Search this
Painters -- California -- Berkeley  Search this
Topic:
Art, Abstract  Search this
Art -- Collectors and collecting -- California -- San Francisco Bay Area  Search this
Painting, Modern -- 20th century -- California -- Berkeley  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Watercolors
Sketches
Photographs
Writings
Citation:
Erle Loran Papers, 1912-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loraerle
See more items in:
Erle Loran papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw925cee8b4-a8f7-4f7f-b704-bf23331c4f25
EDAN-URL:
ead_collection:sova-aaa-loraerle
Online Media:

Romare Bearden papers

Creator:
Bearden, Romare, 1911-1988  Search this
Names:
Alston, Charles Henry, 1907-1977  Search this
Holty, Carl, 1900-1973  Search this
Lawrence, Jacob, 1917-2000  Search this
Middleton, Samuel M., 1927-  Search this
Reinhardt, Ad, 1913-1967  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketches
Exhibition catalogs
Maps
Photographs
Date:
1937-1982
Summary:
The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material. Found are numerous letters referring to African-American arts movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature.
Scope and Contents:
The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material.

Correspondence is with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues, primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Jacob Lawrence, Ad Reinhardt, Carl Holty, and Sam Middleton are found. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding.

Writings by Bearden include lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. There are also writings by others and one folder of fragments and notes assumed to be by Bearden.

The collection houses two folders of photographs and snapshots of Bearden, family members, other unidentified artists or friends, classes and/or lectures, and works of art. Also found are several undated ink drawings, sketches in pencil and ink, and a hand-drawn and colored map with overlay of Paris. Printed material includes examples of Bearden's commissioned artwork for publications, press releases, exhibition catalogs and announcements, invitations, newspaper and magazine clippings, and miscellaneous printed materials. Although much of the printed material concerns Bearden's work, a fair portion concerns African-American art, artists, and cultural movements.
Arrangement:
The collection is arranged into seven series based on type of materials. Documents within each of the seven series have been arranged in chronological order, except for the writings which have been further subdivided by creator and are undated. Printed materials have been arranged primarily according to form of material and are in rough chronological order.

Missing Title

Series 1: Biographical, 1977, undated (Box 1; 1 folder)

Series 2: Correspondence, 1944-1981, undated (Box 1-2; 0.8 linear feet)

Series 3: Writings By and About Bearden, circa 1950s-1980s (Box 3; 6 folders)

Series 4: Legal and Financial Material, 1970-1977 (Box 3; 3 folders)

Series 5: Photographs, undated (Box 3; 2 folders)

Series 6: Drawings, undated (Box 3, OV 6; 4 folders)

Series 7: Printed Material, 1937-1982 (Box 3-5; 1 linear foot)
Biographical / Historical:
Born in Mecklenburg County, North Carolina, in 1914, Bearden's family relocated to New York City when Bearden was a toddler. Living in Harlem during the Harlem Renaissance of the 1920s, Bearden was exposed to such luminaries as writer Langston Hughes, painter Aaron Douglas, and musician Duke Ellington. While attending New York University, Bearden became interested in cartooning and became the art editor of the NYU Medley in his senior year. He received his B.S. in mathematics in 1935, initially planning to pursue medical school. Realizing that he had little interest in the other sciences however, Bearden began attending classes at the Art Students League in the evenings, studying under George Grosz.

In the mid-1930s Bearden published numerous political cartoons in journals and newspapers, including the Afro-American, but by the end of the decade, he shifted his emphasis to painting. Bearden's first paintings, on large sheets of brown paper, recalled his early memories of the South. After serving in the Army, Bearden began exhibiting more frequently, particularly in Washington, D.C. at the G Street Gallery and in New York with Samuel Kootz.

During a career lasting almost half a century, Bearden produced approximately two thousand works. Although best known for the collages of urban and southern scenes that he first experimented with in the mid-1960s, Bearden also completed paintings, drawings, monotypes, edition prints, public murals, record album jackets, magazine and book illustrations, and costume and set designs for theater and ballet. His work focused on religious subjects, African-American culture, jazz clubs and brothels, and history and literature. Not confining his abilities to the visual arts, Bearden also devoted attention to writing and song writing. Several of his collaborations were published as sheet music, among the most famous of which is "Seabreeze," recorded by Billy Eckstine. In addition, Bearden coauthored three full-length books: The Painter's Mind: A Study of the Relations of Structure and Space in Painting (1969) with painter Carl Holty; Six Black Masters of American Art (1972); and A History of African-American Artists: From 1792 to the Present (posthumously, 1993), the latter two with journalist Harry Henderson.

Bearden was also active in the African-American arts movement of the period, serving as art director of the Harlem Cultural Council, a founding member of the Black Academy of Arts and Letters, and organizer of exhibitions, such as the Metropolitan Museum's "Harlem on My Mind" (1968). Romare Bearden died in 1988.
Related Materials:
Within the Archives holdings are two oral history interviews with Romare Bearden. One was conducted in 1968 by Henri Ghent and another in 1980 by Avis Berman.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N68-87) including correspondence, a scrapbook, photographs, catalogs, clippings, and writings. Except for the correspondence, loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Romare Bearden lent material for microfilming to the Archives of American Art in 1968, donating the correspondence. Bearden also gave additional papers between 1977 and 1983.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Works of art  Search this
Painting  Search this
Genre/Form:
Drawings
Sketches
Exhibition catalogs
Maps -- Paris (France)
Photographs
Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bearroma
See more items in:
Romare Bearden papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ed3f5b60-2e93-4f30-af75-dbd95d060a90
EDAN-URL:
ead_collection:sova-aaa-bearroma
Online Media:

Biographical

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Extent:
1 Folder (Box 1)
Type:
Archival materials
Date:
undated
1977
Scope and Contents note:
One folder of miscellaneous biographical information that includes awards, certificates, family history, resumes, and other miscellaneous documents.
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bearroma, Series 1
See more items in:
Romare Bearden papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b5b60dae-8055-42da-a999-691853d5d339
EDAN-URL:
ead_component:sova-aaa-bearroma-ref15

Miscellaneous Biographical Information

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
undated
1977
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 1: Biographical
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cc148a11-ea48-4343-ba18-545abb3cfca8
EDAN-URL:
ead_component:sova-aaa-bearroma-ref16

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Extent:
0.8 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1944-1981
Scope and Contents note:
Letters to and from Bearden with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, and associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Ad Reinhardt, Carl Holty, and Sam Middleton are found, as well as a 1946 letter from Samuel Kootz Gallery agreeing to be the sole representative of Bearden for a two year period. There are a few letters from Jacob Lawrence, including a 1971 letter stating that Bearden's exhibition brings "back memories of 33 West 125th Street....which as is so offtimes true - turn out to be times we treasure greatly". Lawrence is referring to a studio building on West 125th where Bearden also had a studio in the late 1930s and early 1940s. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding. There is also a 1970 Guggenheim award letter for a fellowship to develop and write "A History of Afro-American Artists".
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bearroma, Series 2
See more items in:
Romare Bearden papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw988a54d2c-ebc7-45ad-9f10-8f193ed10ba4
EDAN-URL:
ead_component:sova-aaa-bearroma-ref18

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
undated
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96547d71c-8ac5-4623-a94a-7d017189a83f
EDAN-URL:
ead_component:sova-aaa-bearroma-ref19

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 1, Folder 3
Type:
Archival materials
Date:
1944-1950
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d89639f8-98b7-4184-bf98-b5fe06385005
EDAN-URL:
ead_component:sova-aaa-bearroma-ref20

Correspondence

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 2, Folder 1
Type:
Archival materials
Date:
1972 October
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a52060ec-afbe-426e-9acf-5a06eb04d35e
EDAN-URL:
ead_component:sova-aaa-bearroma-ref21

Writings By and About Bearden

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Extent:
6 Folders (Box 3)
Type:
Archival materials
Date:
circa 1950s-1980s
Scope and Contents note:
This series houses writings, primarily in draft or manuscript version, by Bearden, such as lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. One folder of writings by others includes an interview transcript edited by Bearden, a student paper, numerous essays about Bearden and his work, and one proposal for a film based on Bearden's life. One folder of fragments and notes assumed to be by Bearden is also found and one folder of unidentified writings.
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bearroma, Series 3
See more items in:
Romare Bearden papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91d6cf6d5-5961-476e-951b-b7a3f23e6c43
EDAN-URL:
ead_component:sova-aaa-bearroma-ref23

Writings By Bearden

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 3, Folder 1
Type:
Archival materials
Date:
circa 1950s-1980s
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 3: Writings By and About Bearden
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw984260456-cf84-4c08-af0d-3d00fcccacd8
EDAN-URL:
ead_component:sova-aaa-bearroma-ref24

Writings By Bearden, Prose and Poetry

Collection Creator:
Bearden, Romare, 1911-1988  Search this
Container:
Box 3, Folder 3
Type:
Archival materials
Date:
circa 1950s-1980s
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.
See more items in:
Romare Bearden papers
Romare Bearden papers / Series 3: Writings By and About Bearden
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95ccc76dc-2aa7-4a82-8368-eedfb5e93ae9
EDAN-URL:
ead_component:sova-aaa-bearroma-ref25

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