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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

Porter Drawing [from enclosure] [black-and-white cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Artist:
Porter, James A. (James Amos), 1905-1970  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Subseries Creator:
Scurlock Studio (Washington, D.C.)  Search this
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
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 8" x 10".)
Container:
Box 126
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Copy photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
Scope and Contents:
Job Number: 24493
Copy photograph of a painting--portrait of man dressed in academic regalia. Ink on negative: "G H.U. Prof. Geo. Lightfoot (Painting)." "Kodak Safety Film" edge imprint.
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.
Topic:
Academic costume  Search this
Paintings -- Photographs -- 1930-1940 -- Washington D.C.  Search this
Genre/Form:
Photographs -- 1930-1960 -- Black-and-white negatives -- Acetate film
Copy photographs
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives / 4.1: Black-and-White Silver Gelatin negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-01-ref4021

Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour

Creator:
Anacostia Neighborhood Museum  Search this
Jones, Brian  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran School of Art (Washington, D.C.)  Search this
Howard University  Search this
Stovall Workshop Inc.  Search this
Gilliam, Sam, 1933-  Search this
McNeill, Lloyd  Search this
Porter, James A. (James Amos), 1905-1970  Search this
Stovall, Di Bagley  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
5 Sound recordings (audio cassette)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Narration
Place:
Washington (D.C.)
Georgia
Springfield (Mass.)
United States
Date:
1983
Scope and Contents:
Brian Jones provides the narration for the self guided audio tour for the exhibition, Through Their Eyes: The Art of Lou and Di Stovall. The life history of Lou and Di Stovall and their work with the Stovall Workshop Inc., Lou's relationship with Sam Gilliam and Lloyd McNeill, Lou's work with the Corcoran Gallery, Di's education at the Corcoran School of Art, the meaning of the poster, and Lou's passion for drawing are briefly discussed. Individual works - posters, prints, and fine art - by Lou and Di, including a collaboration piece by Gilliam and Lou, are described.
Audio tour script - unedited audio narration. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003296-3: sound distorted. Dated 19831026, 19831027. AV001367 and AV001377: dated 198310. AV001368 and AV001369: dated 19831020. AV001365: undated.
Biographical / Historical:
Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour was created for an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Di Stovall, also known as Di Bagley Stovall and Di Bagley, was born in Columbus, Georgia in 1947. As a child, she loved collecting small things, animate and inanimate. Stovall studied with Barbara Pound, a painter known for landscapes, oil, and watercolor, throughout her childhood and teenage years. In the late 1960s, Stovall was educated at Columbus College and Bradley Museum, both in Georgia, before moving to Washington, D.C. to attend Corcoran School of Art. Stovall is a noted master of the miniature, creating representational and abstract images painted in absorbing detail. Although she creates drawings, prints, and watercolors, she prefers to work with acrylic on paper to capture the minute detail she seeks. Stovall's work also includes acrylic paint on glass, hand-crafted jewelry, and wooden cabinetry. Overall, Stovall's work is colorful, whimsical, and sophisticated. Color is extremely important to her. In 1971, she married Lou Stovall, a printmaker.
Local Numbers:
ACMA AV003296-1

ACMA AV003296-2

ACMA AV003296-3

ACMA AV001367

ACMA AV001377

ACMA AV001368

ACMA AV001369

ACMA AV001365
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Posters  Search this
Landscapes  Search this
Drawing  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Narration
Series Citation:
Through Their Eyes: The Art of Lou and Di Stovall audiovisual records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-001, Item ACMA AV003450
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-03-001-ref505

[Drawing : black-and-white copy photograph, cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Artist:
Freelon, Allan  Search this
Porter, James A. (James Amos), 1905-1970  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 5" x 7".)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Copy photographs
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
Scope and Contents:
Copy of drawing of a fisherman loading fish in a (presumably) icebox. No ink on negative. "Eastman Safety Kodak Film" edge imprint. Found in an envelope marked "Porter Drawings" and therefore attributed to Dr. James A. Porter. However, Ms. Coni Uzelac, daughter of Dr. Porter, suggests that it may be by Allan Freelon instead (e-mail message, 19 November 2008).
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

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.
Topic:
Drawing -- 20th century -- Photographs  Search this
Genre/Form:
Copy photographs
Photographs -- 1930-1960 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: P - Pyron / Porter Drawing
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref82714

Porter Drawing [from enclosure] [black-and-white cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Artist:
Porter, James A. (James Amos), 1905-1970  Search this
Creator:
Eastman Kodak Company (film manufacturer)  Search this
Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 5" x 7".)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Copy photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
Scope and Contents:
Copy of drawing of a nude man holding an object. No ink on negative. "Kodak Safety Film" edge imprint.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

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.
Topic:
Nudity  Search this
Nudes  Search this
Drawing -- 20th century -- Photographs  Search this
Genre/Form:
Photographs -- 1930-1960 -- Black-and-white negatives -- Acetate film
Copy photographs
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: P - Pyron / Porter Drawing
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref82715

Porter Drawing [from enclosure] [black-and-white cellulose acetate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Artist:
Porter, James A. (James Amos), 1905-1970  Search this
Subseries Creator:
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
1 Item (Silver gelatin on cellulose acetate film sheet., 8" x 10".)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Copy photographs
Place:
Washington (D.C.) -- African Americans
Date:
undated
Scope and Contents:
Copy photograph of painting of ambiguous figures walking through trees . Ink on negative: "24493 Porter E." No visible edge imprint.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

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.
Topic:
Drawing -- 20th century -- Photographs  Search this
Genre/Form:
Photographs -- 1930-1960 -- Black-and-white negatives -- Acetate film
Copy photographs
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number
Scurlock Studio Records, Subseries 4.5: Black and white negatives in cold storage arranged by job number / Scurlock client negatives: P - Pyron / Prather, Theodore
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-05-ref82716

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

New vistas : Lois Mailou Jones' and James Porter's American modernisms / John Tyson

Author:
Tyson, John A  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Jones, Lois Mailou  Search this
Porter, James A (James Amos) 1905-1970  Search this
Type:
Articles
Place:
Washington (D.C.)
Date:
2017
Topic:
African American painters  Search this
Call number:
NX164.N4 B5X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1094862

Contemporary Afro-American art

Author:
Porter, James A (James Amos) 1905-1970  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Type:
Articles
Date:
1971
Topic:
African American art--History  Search this
Call number:
NX567 .C714 1966
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_734808

Talking animals / by Wilfrid D. Hambly ; illustrated by James A. Porter

Author:
Hambly, Wilfrid D (Wilfrid Dyson) 1886-1962  Search this
Porter, James A (James Amos) 1905-1970  Search this
Physical description:
x, 100 p. : ill. ; 26 cm
Type:
Folklore
Juvenile literature
Place:
Africa
Date:
1985
1985, c1949
Topic:
Animals  Search this
Tales  Search this
Call number:
PZ8.1.H15 Tal 1985
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_738345

The American Negro artist looks at Africa

Author:
Porter, James A (James Amos) 1905-1970  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Physical description:
p. 293-301
Type:
Books
Date:
1962
Topic:
African American artists  Search this
African American art--African influences  Search this
Call number:
VF-- Artists--African Diaspora--20th Century
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_750288

The Negro artist and racial bias : 1937

Author:
Porter, James A (James Amos) 1905-1970  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Type:
Articles
Date:
2003
1937
Topic:
African American art--African influences  Search this
African American artists  Search this
Call number:
N7428.5 .P72 2003
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_764031

Prints by American Negro artists. [Edited by T.V. Roelof-Lanner

Author:
Roelof-Lanner, T. V  Search this
Porter, James A (James Amos) 1905-1970-  Search this
Waddy, Ruth G. 1909-  Search this
Cultural Exchange Center of Los Angeles  Search this
Physical description:
51 p. 70 plates (part col.) 31 cm
Type:
Books
Place:
United States
Date:
1967
[1967]
20th century
Topic:
Prints, American  Search this
African American artists  Search this
Artists, Black  Search this
Call number:
NE508 .P95 1967
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_639414

James Amos Porter (1905-1970) : spotlight on his works on paper : drawings, sketches, vignettes, portraits, bookplates, illustrations, murals (including a stained glass window)

Title:
James A. Porter, spotlight on his works on paper
Spotlight on his works on paper
Author:
Porter, James A (James Amos) 1905-1970  Search this
Wesport Foundation & Gallery  Search this
Subject:
Porter, James A (James Amos) 1905-1970  Search this
Physical description:
iv, 24 p. : ill. (some col.) 28 cm
Type:
Books
Exhibitions
Date:
1998
C1998
Call number:
N40.1.P8387 W47 1998
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_661976

James Porter : the dual role of artist and historian

Author:
Featherstone, Starmanda Bullock  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Porter, James A (James Amos) 1905-1970  Search this
Type:
Articles
Date:
1992
1993
Call number:
E185.5 .A512
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_524219

Modern Negro art / James A. Porter ; with a new introduction by David C. Driskell

Author:
Porter, James A (James Amos) 1905-1970  Search this
Physical description:
xxxvii, 276 pages : illustrations (some color) ; 24 cm
Type:
Books
Date:
1992
1943
Topic:
African American art  Search this
African American artists  Search this
African American painting  Search this
African American sculpture  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_435417

Modern Negro art, by James A. Porter ... With eighty-five halftone plates

Author:
Porter, James A (James Amos) 1905-1970  Search this
Physical description:
viii, 272 p. incl. plates. 21 cm
Type:
Books
Date:
1943
Topic:
African American art  Search this
African American artists  Search this
Call number:
N6538.N5 P6 1943X
N6538.N5P6 1943X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_439605

Modern Negro art [by] James A. Porter

Author:
Porter, James A (James Amos) 1905-1970  Search this
Physical description:
viii, 272 pages illustrations 23 cm
Type:
Books
Date:
1969
1943
Topic:
African American art  Search this
African American artists  Search this
Call number:
N6538.N5 P6 1969X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1470

Ten Afro-American artists of the Nineteenth century

Author:
Porter, James A (James Amos) 1905-1970  Search this
Howard University Gallery of Art  Search this
Physical description:
33 p. illus. 25 cm
Type:
Exhibitions
Date:
1967
[1967]
Topic:
African American art  Search this
African American artists  Search this
Call number:
N6538.N5 P84
N6538.N5P84
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_45828

Problems in the history of Negro art James A. Porter

Author:
Porter, James A (James Amos) 1905-1970  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Physical description:
p. 9-36
Type:
Books
Date:
1942
19th century
20th century
Topic:
African American art--History  Search this
African American art  Search this
African American artists  Search this
African American artisans  Search this
Call number:
VF-- Artists--African Diaspora--19th century
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1002153

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