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Jozef Pielage papers, 1933-1987

Creator:
Pielage, Jozef, 1901-2000  Search this
Pielage, Jozef, 1901-2000  Search this
Subject:
Burrell, Alfred Ray  Search this
Roberts, Yasmin  Search this
Beard, Edward A.  Search this
Brown, Milton W. (Milton Wolf)  Search this
Gaydash, Rosamond Croce  Search this
Gietzen, Gordon  Search this
Lazzari, Pietro  Search this
Antioch College  Search this
Associated American Artists  Search this
Corcoran Gallery of Art  Search this
Howard University. Gallery of Art  Search this
Rabin & Krueger Gallery  Search this
Topic:
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6590
(DSI-AAA_SIRISBib)215894
AAA_collcode_pieljoze
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215894

Bishop Richard Allen

Artist:
Unidentified Artist  Search this
Sitter:
Bp. Richard Allen, 14 Feb 1760 - 26 Mar 1831  Search this
Medium:
Pastel on paper
Dimensions:
21.3cm x 16.7cm (8 3/8" x 6 9/16"), Sight
Type:
Painting
Date:
c. 1785
Topic:
Bp. Richard Allen: Male  Search this
Bp. Richard Allen: Religion and Spirituality\Founder\Religious Order  Search this
Bp. Richard Allen: Religion and Spirituality\Clergy\Bishop  Search this
Bp. Richard Allen: Society and Social Change\Enslaved person  Search this
Portrait  Search this
Credit Line:
Owner: Howard University Gallery of Art
Object number:
DC100050
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4501fe564-255a-4efe-bf4a-9529ab98a951
EDAN-URL:
edanmdm:npg_DC100050

Impressions/Expressions: Black American Graphics

Collaborator:
The Studio Museum in Harlem, American, founded 1968  Search this
Howard University Gallery of Art, American, founded 1928  Search this
Print Maker:
Margo Humphrey, American, born 1942  Search this
Producer:
Smithsonian Institution, Washington, DC, USA  Search this
Creator:
Richard J. Powell, American, probably born around 1955  Search this
Contributor:
Smithsonian Institution's Travelling Exhibitions, Founded 1951  Search this
Medium:
Offset lithograph on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
1980
Credit Line:
Gift of Various Donors
Accession Number:
1981-29-256
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq4e899d365-4afa-4235-b9ff-0dd0b770f6ca
EDAN-URL:
edanmdm:chndm_1981-29-256

The Historical Records of the Barnett-Aden Gallery

Creator:
Barnett-Aden Gallery  Search this
Names:
Anacostia Community Museum  Search this
Corcoran Gallery of Art  Search this
Howard University  Search this
Howard University. Gallery of Art  Search this
Aden, Alonzo J., 1906-1963  Search this
Asher, Lila Oliver  Search this
Driskell, David C.  Search this
Ealey, Adolphus  Search this
Greene, Carroll  Search this
Herring, James V. (James Vernon)  Search this
Johnson, Robert L., 1946 April 8-  Search this
Lazzari, Pietro, 1898-1979  Search this
Long, Richard, 1945-  Search this
Porter, James A. (James Amos), 1905-1970  Search this
Roosevelt, Eleanor, 1884-1962  Search this
Spellman, Gladys Noon  Search this
Thomas, Alma  Search this
Wells, James Lesesne, 1902-1993  Search this
Extent:
0.5 Cubic feet
Culture:
African American artists  Search this
Type:
Collection descriptions
Archival materials
Correspondence
Ephemera
Catalogues
Business records
Place:
Washington (D.C.)
South Carolina
Date:
1954-1989
bulk 1961-1977
Summary:
The Historical Records of the Barnett-Aden Gallery showcases one of the first galleries owned and operated by African Americans. The work of the Gallery was invaluable as they opened the exhibition space to established and unknown artists regardless of race or gender.
Scope and Contents:
The Historical Records of Barnett-Aden Gallery collection includes historical background materials on the gallery, its founders James V. Herring and Alonzo Aden as well as Adolphus Ealey, its steward after its closure in 1969. The materials include correspondence, business records, photographs, exhibition catalogues, and clippings.
Arrangement:
The materials in this collection have been kept at the folder level and separated into four series. The materials have been ordered and organized based on the content. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
Historical Sketch:
The Barnett-Aden Gallery, suggested to be the first African American privately-owned gallery in the U.S, open its doors on October 16, 1943. The gallery was founded by artist and scholar James V. Herring alongside his protegee, curator Alonzo Aden. The gallery was housed in a private home that they shared, located on 127 Randolph Street NW in Washington, DC. These men aimed to create an art gallery that provided a venue for underrepresented artists of all races and genres. It was this partnership that laid the foundation for the shift in African American representation in modern art. Aden stated that the gallery's aims were to help foster new talent while also bringing "art of superior quality" to the community. Throughout its history, the gallery held almost 200 exhibitions and showcased the work of over 400 artists.

James Vernon Herring was born on January 7, 1887 in Clio, South Carolina to an African American mother, Alice Herring (1860-1942), and white father, William Culbreth. As a young man, he moved to Washington, DC for better educational opportunities. Herring was educated at the Howard Academy, a preparatory high school located at nearby Howard University campus. Herring received his undergraduate degree from Syracuse University and completed graduate studies at Columbia and Harvard Universities. Trained in art and classical studies with a focus on French impressionism, Herring was initially brought on Howard University's faculty as architecture instructor in 1920. This experience inspired Herring to create the Department of Art at the university where he convinced former home economics student and future prominent visual artist, Alma Thomas to be the art school's first graduate in 1924. Herring continued to mentor and discover young artists as was the case with Alonzo Aden.

Alonzo Aden was born on May 6, 1906 in Spartanburg, South Carolina to Naomi Barnett (1883-1956) and Ephraim Aden (1859-1917). His working-class parents wanting more for their eldest son, decided to send him to live with relatives in Washington, DC for greater educational opportunities. Aden did well academically and completed some studies at Hampton Institute (now Hampton University) before finally entering Howard University in 1927. The following year, Herring opened the Howard University Gallery of Art and installed Aden as its first curator. Aden initially pursued a career as an educator but became more interested in art history and after his graduation from Howard in 1933, he pursued studies in museum and curatorial work.

Recent scholarship has suggested that Herring and Aden were in a romantic as well as working relationship. Working together in the Howard Gallery of Art, they sought to provide a space for art students, local artists and other relatively unknown artists from around the world. Living together since 1929, Herring supported Aden's post-graduate pursuits including his studies of African arts and crafts in galleries across Europe as well as his curatorial work at the American Negro Exposition in Chicago in 1940. Aden returned to Washington to great acclaim and continued his work with Herring at the Howard Gallery of Art.

The Gallery was housed in a Victorian townhouse located in the then middle-class African American neighborhoods of LeDroit Park and Logan Circle (present-day Bloomingdale). Research notes that the house was purchased during the late 1920s by Herring with some assistance of artist Alma Thomas (or vice versa). Both were listed as owners of the property until 1933 when Aden was listed as the co-owner. In 1943, Aden resigned as head of the Howard Gallery for unknown reasons which led Herring and Aden to open a gallery in their home. The gallery was named after Aden's mother Naomi, who also served as an early benefactor of the gallery giving $1,000 in support. It was the support of various benefactors alongside Herring's salary as a Howard professor and Aden's several "government jobs" that kept the gallery afloat during its time in the home. The first floor of the gallery consisted entirely of exhibition space with the second-floor space interchanged between exhibition, study, and living spaces over the years. Herring's library, also located on the upper floors, was used for research by students and local scholars. Herring and Aden never saw the gallery as a truly profitable venture but instead wanted to offer avenues for the artists to showcase their work. As policy, each artist retained all money earned from sales but were required to donate at least one work of art to the Barnett-Aden collection.

The gallery, the first of its kind in Washington at the time, exhibited works of artists regardless of race; African American artists displayed alongside their more notable white peers. Notable artists featured in the gallery include Henri Matisse, Paul Cezanne, Pablo Picasso, Marc Chagall, and M.C. Escher were exhibited alongside notable African American artists Richmond Barthé, Romare Bearden, Elizabeth Catlett, Charles White, Selma Burke as well as many others. Several Howard professors who went on to have notable art careers also exhibited their work at the gallery including James Porter, Lois Mailou Jones, and James Lesesne Wells. Many of the artists featured in the gallery were also greatly involved in the operations. Alma Thomas served gallery's vice president before she began exhibiting her work there in 1950s. Artist and scholar, David Driskell served as the associate director of the gallery after Aden's death.

The gallery held five to eight exhibitions every year including a special annual anniversary exhibition. In 1944, the gallery opened a show featuring Brazilian modern artist, Candido Portinari, who had previously completed a mural at the Library of Congress, that sparked great interest at the gallery. The exhibition opening brought in visitors from all over Washington including members of the president's cabinet, foreign ambassadors and First Lady Eleanor Roosevelt. This renewed interest created a somewhat hectic pace in keeping up with the work of the gallery. This pace coupled with the full-time jobs and other ventures including a gift shop enabled the gallery to act as a luminary of the African American and local arts community in Washington.

In 1961, while preparing for the annual anniversary exhibition, Alonzo Aden died suddenly. Herring with aid of his friends and students took on the management of the gallery after his partner's death but was unable to keep the pace of Aden's work and the attendance declined. In 1969, Herring died in the home leaving behind a formidable legacy. The home and its contents including the gallery's art collection was sold in order to settle the debts of Herring's estate. The collection was divided amongst three individuals. Artist and former Herring student, Adolphus Ealey inherited the bulk of the collection that featured 250 significant works. Herring's books, graphic drawings, and prints were given to Herring associate and friend, Dr. Felton J. Earls, while the sculptures went to art collectors and friends Dr. and Mrs. Cecil Marquez.

The portion of the collection owned by Ealey was described as the preeminent selection from the gallery's collection. The size and ongoing upkeep of the collection was significant which caused the collection to be moved several times over the years. The collection which out of necessity was originally stored in Ealey's Southwest Washington apartment then moved a to a house in LeDroit Park and then to another space in the Washington neighborhood of Fort Lincoln. Ealey collaborated with colleagues and institutions to have it exhibited in various locations but also bid to find the collection a permanent home. During the 1970s, the collection was featured at the Museum of Afro-American Culture and History in Philadelphia, the Anacostia Neighborhood Museum (now the Smithsonian Anacostia Community Museum) and the Corcoran Gallery of Art.

Unable to find an institutional home for the collection, Ealey was forced to sell the collection in 1989 to the Florida Endowment Fund for Higher Education. Ealey stipulated that collection must remain intact but also that the new owners had to develop educational and outreach programs focused on African Americans in the arts. Failing to find consistent opportunities to exhibit the collection, the owners were forced to sell the collection. In 1998, Robert L. Johnson, then chairman and founder of the television channel, Black Entertainment Television (BET), purchased the collection. The collection went on a national tour then was displayed for some time at the BET headquarters in Washington. In 2015, Johnson donated selections from the gallery collection to the Smithsonian National Museum of African American History and Culture in an effort to preserve the legacy of the Barnett-Aden Gallery and the tireless work of James V. Herring and Alonzo Aden for generations to come.

Historical Timeline

1897 -- James Vernon Herring was born January 7 in Clio, South Carolina.

1906 -- Alonzo James Aden was born May 6 in Spartanburg, South Carolina.

1914-1916 -- While attending Syracuse University, Herring taught summer classes at Wilberforce University in Ohio for two summers.

1917 -- Herring graduated from Syracuse University with a Bachelors of Pedagogy in Art degree.

1917-1920 -- Herring served as YMCA secretary for the YMCA in Muscle Shoals, Alabama, and then Camp Lee, Virginia. Herring also held teaching positions at Straight College in New Orleans and Bennett College in North Carolina

1920 -- Alonzo was sent to Washington, D.C. to live with his uncle, James Aden, and his wife Laura.

1921 -- Herring was initially hired as architectural drawing instructor at Howard University and after negotiations established Department of Art later that same year.

1927 -- Herring organized an exhibition of Howard U. students' artwork that toured the Deep South U.S. Aden enrolled in Howard University in pursuit of an education degree.

1930 -- The Howard University Gallery of Art formally opened on April 7. Aden was hired as gallery assistant.

1933 -- Aden received his Bachelor of Arts in Education; Herring added Aden's name as co-owner of the 127 Randolph Place home.

1934-1939 -- Aden engaged in post-graduate study and museum curatorial work around the U.S. and Europe.

1940 -- Aden served as art curator for the American Negro Exposition (the "Negro's World Fair") in Chicago

1943 -- Aden resigned his position at the Howard University Gallery of Art for undisclosed reasons. The Barnett-Aden Gallery was founded by James V. Herring and Alonzo Aden. The first exhibition, "American Paintings for the Home" featured Elizabeth Catlett, Lois Mailou Jones, Malvin Gray Johnson, James Lesesne Wells, Jacob Lawrence, and many others.

1944 -- First anniversary exhibition featuring artist Candido Portinari, Brazilian artist who was already known in Washington from his mural for the Library of Congress. It was attended by the First Lady, Eleanor Roosevelt. Exhibition, "The Negro in Art" and "American Paintings for the Home" featuring Catlett, James A. Porter, Wells, Jones, Richmond Barthé, Hale Woodruff, Betsy Graves Reyneau and others.

1946 -- Exhibition, "Paintings by Lois Mailou Jones" and featured paintings of Jacob Lawrence for Third Anniversary exhibition.

1947 -- Fourth Anniversary Exhibition, "Recent Paintings by Charles White". Exhibition of Elizabeth Catlett, "Paintings, Sculpture, and Prints of The Negro Woman".

1948 -- Exhibition, "Paintings and Drawings by James A. Porter".

1949 -- Exhibition, "Sylvia Carewe".

1950 -- "Exhibition of Six Washington Artists" featuring Romare Bearden, Samuel Bookatz, Bernice Cross, Robert Gates, Norma Mazo, and James A. Porter. "Exhibition "Paintings and Prints by James Lesesne Wells."

1951 -- Exhibition, "Three Washington Artists" featuring Richard Dempsey, Sam Herman, and Jack Perlmutter Exhibition, "Herman Maril: Paintings in Retrospect, 1931-1951"

1953 -- Tenth Anniversary Exhibition, "Eighteen Washington Artists" featuring Sarah Baker, Samuel Bookatz, William Calfee, Bernice Cross, Robert Franklin Gates, Jacob Kainen, Marjorie Phillips, James Porter, and James Lesesne Wells.

1954 -- Exhibition "Six Washington Painters" featuring Theresa Abbott, Gabriel Cherin, Gloria Besser Green, Alma W. Thomas, and Anita Wertheim.

1955 -- Twelfth anniversary exhibition focused on "Jack Perlmutter".

1957 -- Exhibition, "David C. Driskell: Exhibition of Paintings"

1958 -- Exhibition "Norman Lewis: Paintings"

1959 -- Sixteenth Anniversary Exhibition of "Paintings by Pietro Lazzari, Helen Rennie, Alma Thomas, Andrea De Zerega". Exhibition of "Religious Paintings and Prints by James L. Wells and Sculpture by Selma Burke"

1962 -- Alonzo Aden died suddenly at the age of 56 on October 13 in Washington D.C. Herring solely inherits the Gallery collection.

1969 -- Herring dies at age 84 in Washington, DC. on May 29. Artist Adolphus Ealey inherits the bulk of the gallery collection along with Dr. Felton J. Earls and Dr. and Mrs. Cecil Marquez.

1974 -- Two exhibitions of the collection at the Anacostia Neighborhood Museum and the Corcoran Gallery of Art.

1989 -- Collection sold to Florida Endowment Fund for Higher Education.

1998 -- Robert Johnson, founder and former CEO of Black Entertainment Television (BET) purchased the entire collection and serves as administrators over the collection.
Provenance:
Acquired through a purchase by the Smithsonian National Museum of African American History and Culture.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Topic:
Photographs  Search this
Art  Search this
Business  Search this
LGBTQ  Search this
Museums  Search this
Painting, American  Search this
Galleries  Search this
Education  Search this
finance  Search this
Local and Regional  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Genre/Form:
Correspondence
Ephemera
Catalogues
Business records
Citation:
Historical Records of the Barnett-Aden Gallery, Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.A2014.63.32
See more items in:
The Historical Records of the Barnett-Aden Gallery
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_collection:sova-nmaahc-a2014-63-32

Letters

Collection Creator:
Thomas, Alma  Search this
Extent:
0.6 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
circa 1930-2001
Scope and Contents:
This series consists primarily of incoming letters from colleagues and art institutions concerning the exhibition of Thomas's work and related activities; there are only three copies of outgoing letters written by Alma Thomas found in the folders for 1972, 1973, and 1977.

There are letters from individuals, galleries, museums, and educational institutions including Franz Bader and Franz Bader Gallery; Adelyn Breeskin and the Smithsonian National Museum of American Art; Harold Hart and Martha Jackson Gallery; Vincent Melzac and the Corcoran Gallery of Art; the Columbus Museum; Howard University Gallery of Art; Fisk University; and Fort Wayne Museum of Art.

Also found are scattered letters from Valliere Auzenne, poet Nathalie J. Cole Johnson, Celine Tabary, and Joshua Taylor. Following Alma Thomas's death, J. Maurice Thomas dealt with the various galleries interested in exhibiting her sister's work and annotated many of the letters in this series.
Arrangement:
Letters are arranged chronologically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thomalma, Series 2
See more items in:
Alma Thomas papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-thomalma-ref689

Alma W. Thomas: A Retrospective Exhibition, 1959-1966 (1966), Howard University Gallery of Art

Collection Creator:
Thomas, Alma  Search this
Container:
Box 2, Folder 43
Type:
Archival materials
Date:
1966
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Alma Thomas papers
Alma Thomas papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-thomalma-ref799

Alma W. Thomas: Recent Paintings (1975), Howard University Gallery of Art

Collection Creator:
Thomas, Alma  Search this
Container:
Box 3, Folder 9
Type:
Archival materials
Date:
1975
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Alma Thomas papers
Alma Thomas papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-thomalma-ref819

Howard University

Subseries Creator:
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock Studio (Washington, D.C.)  Search this
Container:
Box 45
Type:
Archival materials
Date:
1954 November 3
Scope and Contents note:
Subject/Sitter: art exhibit at Howard University Gallery of Art
Subseries Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client
Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and white negatives Part 1
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-06-ref12998

Alma Thomas papers

Creator:
Thomas, Alma  Search this
Names:
Art in Embassies Program (U.S.)  Search this
Martha Jackson Gallery  Search this
Bader, Franz, 1903-1994  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Johnson, Nathalie J. Cole  Search this
Sarg, Tony, 1882-1942  Search this
Tarbary, Celine  Search this
Taylor, Joshua Charles, 1917-  Search this
Thomas, J. Maurice (John Maurice), 1900 or 1901-  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Audiocassettes
Video recordings
Photographs
Date:
circa 1894-2001
Summary:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.
Scope and Contents note:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.

Biographical material includes identity cards, chronologies, an audio recording including a biographical account, and scattered documentation of Thomas's education and teaching careers with D.C. Public Schools, Howard University, and Thomas Garrett Settlement in Wilmington, Delaware. Also found are records relating to Thomas's participation in a summer marionette class taught by Tony Sarg in 1934, and a tour of European art centers which Thomas took in 1958.

Letters relate primarily to the exhibition of Thomas's work and related events and are from galleries, museums, other art institutions, colleagues, and friends including Franz Bader, Adelyn Breeskin, Corcoran Gallery of Art, Howard University Gallery of Art, Martha Jackson Gallery, Nathalie J. Cole Johnson, Vincent Melzac, Celine Tabary, and Joshua Taylor.

Notes and writings include four notebooks and autobiographical writings by Thomas, a "Birthday Book," and an annotated engagement calendar. J. Maurice Thomas's writings about Alma Thomas, her research for a bibliography on James Weldon Johnson, and writings by others, including Jacob Kainen, about Alma Thomas, are also found here.

Exhibition files contain a wide variety of documentation for many group and solo exhibitions of Thomas's work from the early 1950s through a 1998-2000 traveling retrospective exhibition, including solo exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in 1972. The records include letters from Franz Bader Gallery, David Driskell at Fisk University, and Vincent Melzac. Photographs include Thomas with individuals including William Buckner, Jeff Donaldson, David Driskell, James W. Herring, and Vincent Melzac. Also found is a photograph of the 1951 Little Paris Studio Group picturing Lois Mailou Jones, Celine Tabary, Alma Thomas, and others. Two video recordings are of events related to the 1998-2000 retrospective at the Fort Wayne Museum of Art and the Columbus Museum of Art. Records documenting a 1981-1982 exhibition at the Smithsonian National Museum of American Art, A Life in Art: Alma Thomas, includes the script of a video written by Adolphus Ealey.

Personal business records include price lists, gift and loan receipts, and files concerning the Art in Embassies Program, the Martha Jackson Gallery, a benefit auction for the Corcoran School of Art, and the designation of the Thomas family home in Washington, D.C. as a historic property.

Eleven scrapbooks document Thomas's teaching career through the activities of the art classes she taught at Shaw Junior High School.

Printed materials include announcements and catalogs for exhibitions and other events; clippings which document Thomas's career and subjects of interest to her; Christmas cards featuring block prints designed by Thomas; and other programs and publications featuring Thomas.

Photographs are of Alma Thomas, family, and friends and colleagues including Sam Gilliam, James V. Herring, and Nathalie V. Cole Johnson; art classes taught by Thomas; Thomas's homes in Columbus, Georgia and Washington, D.C.; and exhibitions not documented in Series 4: Exhibition Files, including photographs of Alma Thomas at an opening at Barnett Aden Gallery with Alonzo Aden and others.
Arrangement note:
The papers have been arranged into 8 series:

Series 1: Biographical Material, 1911-2001 (Box 1; 0.5 linear feet)

Series 2: Letters, circa 1930-2001 (Boxes 1-2; 0.6 linear feet)

Series 3: Notes and Writings, circa 1920s-circa 1998 (Box 2; 0.7 linear feet)

Series 4: Exhibition Files, 1951-2000 (Boxes 2-3, OV 7; 0.8 linear feet)

Series 5: Personal Business Records, circa 1950s-1994 (Box 3; 0.2 linear feet)

Series 6: Printed Material, circa 1908-2000 (Boxes 3-5, OV 7; 1.8 linear feet)

Series 7: Scrapbooks, 1930-1946 (Box 5; 0.3 linear feet)

Series 8: Photographs, circa 1894-2001 (Boxes 5-6; 0.6 linear feet)
Biographical/Historical note:
Washington, D.C. painter and art educator Alma Thomas (1891-1978) was known for her abstract paintings filled with dense patterns of color, and was considered a major artist of the Washington Color School.

Thomas was born in Columbus, Georgia, in 1894, and was the eldest of the four daughters of John Harris Thomas and Amelia Cantey Thomas. The family moved to Washington, D.C. in 1906 and Thomas was first introduced to art classes at Armstrong Technical High School. Following her graduation in 1911 she took a course in kindergarten teaching at the Miner Normal School, and subsequently worked as a substitute teacher in the Washington, D.C. public school system until 1914, when she took a teaching position on the Eastern shore of Maryland. From 1916 to 1923 she taught kindergarten at Thomas Garrett Settlement House in Wilmington, Delaware.

Thomas originally enrolled at Howard University in Washington, D.C. as a home economics major in 1921, but after studying under Lois Mailou Jones amd James V. Herring in Herring's newly established art department, she earned a Bachelor's degree in Fine Art in 1924, and became the first person to graduate from the program. Thomas then began her teaching career at Shaw Junior High School in Washington, D.C. that lasted from 1924, until her retirement in 1960. During this time she established community arts programs that would encourage her students to develop an appreciation of fine arts. Activities included marionette programs, distribution of student-designed holiday menu cards for dinners given for soldiers at the Tuskegee Veterans' Hospital, art clubs, lectures, and student exhibitions. In 1943 she became the founding vice president of Barnett Aden Gallery, which was established by James V. Herring and Alonzo Aden and was the first integrated gallery in Washington, D.C.

In 1934 Thomas earned an M.A. degree in Art Education from Columbia University. At American University in Washington, D.C., she studied creative painting under Joe Summerford, Robert Gates, and Jacob Kainen from 1950 to 1960, and began to break away from representational painting and experiment more seriously with Abstract Expressionism. In 1958 she participated in a tour of the art centers of Western Europe under the auspices of the Tyler School of Fine Arts at Temple University in Philadelphia.

Following her retirement from teaching in 1960, Thomas devoted herself full-time to painting, and continued to develop her signature style. She was inspired by nature and the desire to express beauty through composition and color, and refused to be constrained by societal expectations related to her race, gender, and age, achieving her greatest success in the last decade of her life. Her work was exhibited at the Dupont Theatre Art Gallery, Franz Bader Gallery, and the Howard University Gallery of Art, before she was honored in 1972 with exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in Washington, D.C.

Thomas's work has been exhibited at the White House and can be found in the permanent collections of major museums, including the Metropolitan Museum of Art, the National Museum of Women in the Arts, and the Smithsonian American Art Museum.
Separated Materials note:
In 1979, J. Maurice Thomas loaned papers for microfilming. Most, but not all, of the loaned material was later donated and is described in this finding aid. Loaned materials not donated at a later date are available on reels 1541-1543 and are not described in the container listing of this finding aid.
Provenance:
J. Maurice Thomas, the artist's sister, loaned portions of the collection for microfilming in 1979. Most, but not all of this material was then later donated in several accretions by J. Maurice Thomas, between 1979 and 2004. Charles Thomas Lewis, Thomas' nephew, gave additional papers in 2010.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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 -- Washington (D.C.)  Search this
Educators -- Washington (D.C.)  Search this
Topic:
Painting, American  Search this
African American artists  Search this
Women artists  Search this
Washington Color School (Group of artists)  Search this
Genre/Form:
Scrapbooks
Audiocassettes
Video recordings
Photographs
Citation:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thomalma
See more items in:
Alma Thomas papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thomalma
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Online Media:

Jozef Pielage papers

Creator:
Pielage, Jozef  Search this
Names:
Antioch College  Search this
Associated American Artists  Search this
Corcoran Gallery of Art  Search this
Howard University. Gallery of Art  Search this
Rabin & Krueger Gallery  Search this
Beard, Edward A., 1916-  Search this
Brown, Milton W. (Milton Wolf), 1911-1998  Search this
Burrell, Alfred Ray, b. 1877  Search this
Gaydash, Rosamond Croce, 1904-  Search this
Gietzen, Gordon  Search this
Lazzari, Pietro, 1898-1979  Search this
Roberts, Yasmin  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1933-1987
Scope and Contents:
Resumés, correspondence, exhibition files, card file, price lists, art work, photographs, exhibition announcements and catalogs, clippings, and other printed material regarding Pielage's career as a painter and art instructor in Washington, D.C.
Correspondence (1937-1994) is mostly with Washington, D.C. art galleries and museums. Other correspondents include Antioch College, Oh., Hon. Edward A. Beard, Milton Brown, Rosamond Gaydash, Gordon Gietzen, and Pietro Lazzari. Exhibition files (1941-1979) contain correspondence, lists of art work and prices, photographs, exhibition catalogs and announcements and clippings for Pielage's exhibitions at Associated American Artists Gallery, Corcoran Gallery of Art, Howard University Gallery of Art, the Rabin & Krueger Gallery in Newark, N.J., and elsewhere. The card file is a listing of art works, and is undated. Art work consists of a sketch by Pielage (1961), and prints by Alfred Ray Burrell and Yasmin Roberts (both undated). Photographs are of Pielage and others at Antioch College, 1937-1939, Pielage in his studio, and his work.
Biographical / Historical:
Painter, educator; Washington, D.C. b. 1901. d. Sept. 13, 2000. Taught at Antioch College. He studied painting at the Corcoran Gallery of Art, and showed his work mainly in in the Washington, D.C. area during the 1950s and early 1960s.
Provenance:
Donated 1995 by Susanne Hupp, cousin of Pielage.
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.
Occupation:
Painters -- Washington (D.C.)  Search this
Topic:
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Identifier:
AAA.pieljoze
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pieljoze

Howard University Gallery of Art, "Paintings showing Negroes in America," 1941-1942

Collection Creator::
National Museum of American Art. Office of Registration and Collections Management  Search this
Container:
Box 20 of 34
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 97-001, National Museum of American Art. Office of Registration and Collections Management, Records
See more items in:
Records
Records / Box 20
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa97-001-refidd1e3247

Howard University Gallery of Art, "Christian Art," 1940-1941

Collection Creator::
National Museum of American Art. Office of Registration and Collections Management  Search this
Container:
Box 20 of 34
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 97-001, National Museum of American Art. Office of Registration and Collections Management, Records
See more items in:
Records
Records / Box 20
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa97-001-refidd1e3295

Loans: Howard University Gallery of Art, 2000-2004

Collection Creator::
Smithsonian Institution. Traveling Exhibition Service  Search this
Container:
Box 8 of 15
Type:
Archival materials
Collection Rights:
Restricted for 15 years. until Jan-01-2028; Transferring office; 9/27/1984 memorandum, Glenn to Loar; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 17-358, Smithsonian Institution. Traveling Exhibition Service, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 8
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa17-358-refidd1e6435

James A. Porter Gallery Grand Opening Poster

Subject:
James Amos Porter  Search this
Medium:
ink on paper
Dimensions:
20 × 16 in. (50.8 × 40.6 cm)
Type:
poster
Date:
c. 1970
Accession Number:
1997.0020.0068
Restrictions & Rights:
Usage conditions apply
See more items in:
Anacostia Community Museum Collection
Data Source:
Anacostia Community Museum
GUID:
http://n2t.net/ark:/65665/dl80cc35387-8cbc-4486-b16c-674cb1f73c83
EDAN-URL:
edanmdm:acm_1997.0020.0068
Online Media:

Islamic art : an exhibition of metal work, pottery, textiles and Persian calligraphy and miniatures, lent by Heeramaneck Galleries, New York / Catalogue compiled by James V. Herring. August-September 1943, Howard University Gallery of Art, Howard University, Washington, D.C

Author:
Howard University Gallery of Art  Search this
Herring, James Vernon 1887-  Search this
Heeramaneck Galleries, New York  Search this
Physical description:
[12] p. 22 cm
Type:
Exhibitions
Place:
Iran
Date:
1943
1943]
Topic:
Islamic art objects  Search this
Illumination of books and manuscripts  Search this
Call number:
709.53 .H68
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_861928

21st annual faculty exhibition : April 4-April 30, 1991, Howard University, Gallery of Art, College of Fine Arts, Washington, D.C

Author:
Howard University Department of Art  Search this
Howard University Gallery of Art  Search this
Subject:
Howard University Department of Art Exhibitions  Search this
Physical description:
22 p. : ill. ; 28 cm
Type:
Exhibitions
Place:
Washington (D.C.)
Date:
1991
1991]
Topic:
African American artists  Search this
Artists, Black--Exhibitions  Search this
African American art  Search this
Art, American  Search this
Call number:
N6538.N5 H852 1991
N6538.N5H852 1991
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_438965

James A. Porter, artist and art historian : the memory of the legacy

Author:
Porter, James A (James Amos) 1905-1970  Search this
Howard University Gallery of Art  Search this
Subject:
Porter, James A (James Amos) 1905-1970  Search this
Physical description:
152 p. : ill. (some col.) ; 28 cm
Type:
Books
Exhibitions
Date:
1992
C1992
Call number:
N40.1.P8387 H8 1992
N40.1.P8387 H8 1992
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_435338

Soundings : an exhibition of sculpture by Ed Love : Gallery of Art, Howard University, Washington, D.C., September 14 thru November 26, 1986 / Robert Farris Thompson

Author:
Thompson, Robert Farris  Search this
Howard University Gallery of Art  Search this
Subject:
Love, Ed 1936-  Search this
Physical description:
41 p. : ill. ; 31 cm
Type:
Exhibitions
Place:
Washington (D.C.)
Date:
1986
[1986]
Topic:
Metal sculpture, American  Search this
Sculpture, American  Search this
Art metal-work  Search this
Call number:
NB1220 .T47 1986
NB1220.T47 1986
N40.1.L894T4
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_315280

Barbecue, (painting)

Painter:
Motley, Archibald John Jr. 1891-1981  Search this
Medium:
Oil on canvas
Culture:
African American  Search this
Type:
Paintings
Owner/Location:
Howard University Gallery of Art 2455 6th Street, N.W Washington District of Columbia 20059
Date:
Ca. 1934
Topic:
Landscape--Time--Evening  Search this
Figure group  Search this
Ethnic  Search this
Recreation--Leisure--Eating & Drinking  Search this
Occupation--Service--Waiter  Search this
Occupation--Cook  Search this
Control number:
IAP 8F880031
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_473757

Saturday Night, (painting)

Painter:
Motley, Archibald John Jr. 1891-1981  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Howard University Gallery of Art 2455 6th Street, N.W Washington District of Columbia 20059
Date:
1935
Topic:
Architecture interior--Commercial--Restaurant  Search this
Figure group  Search this
Recreation--Leisure--Eating & Drinking  Search this
Recreation--Leisure--Smoking  Search this
Control number:
IAP 8F880034
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_473760

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