Join Myrtis Bedolla and Michael Evanson as they explore the life of Dr. Adolphus Ealey (1941-1992) who served as the curator and director of The Barnett Aden Gallery, which was founded in 1943, by Professor James Herring of Howard University and his student, Alonzo Aden, the first curator. The Barnett Aden Gallery was located in Washington, D.C. and was the nation’s first successful black-owned gallery.
Curator’s Choice: Select Works from Private Collections
March 11 – April 23, 2017
Chosen by Myrtis Bedolla, Founding Director, Galerie Myrtis are selected works of cultural and historical significance offered from private collections. Featured Artists: Antonio Blackburn, Augustus Dunbier, Adolphus Ealey, Johnnie Lee Gray, Thomas Moran, Stephanie Pogue and Lucille Malkia Roberts.
Augustus William Dunbier, Negro Woman, 1934, Oil on Canvas Board, 33 1/2″H x 27 1/2″W (framed), Provenance: Jacqueline Miller Collection gift from Adolphus Ealey, The Barnett Aden Collection
Exploring the Life of Adolphus Ealey and the Barnett Aden Gallery
This Gallery Talk explores the life of Dr. Adolphus Ealey (1941-1992) who served as the curator and director of The Barnett Aden Gallery, which was founded in 1943, by Professor James Herring of Howard University and his student, Alonzo Aden, the first curator. The gallery helped to launch the careers of artists such as Romare Bearden, Elizabeth Catlett, David Driskell, John Farrar, Lois Mailou Jones, Herman Maril, Delilah Pierce, James Porter, Céline Marie Tabary, Charles Sebree, Henry O. Tanner, Alma Thomas, Laura Wheeler Waring, James Wells, Charles White, Ellis Wilson and Hale Woodruff. The gallery operated for 26 years in Washington, D.C. and was the nation’s first successful black-owned art gallery.
Myrtis Bedolla, Curator, will share insights about the pioneering Barnett Aden Gallery and Ealey’s role as its second curator and director, and examine his career as artist and scholar. In 1969, Ealey inherited the famed Barnett-Aden collection which consisted of over 250 works of art by 19th and 20th century artists. The most revered pieces were those created by African Americans. Today, the majority of the collection is owned by Robert L. Johnson, founder of Black Entertainment Television (BET).
Bedolla will also address why the Barnett Aden Gallery was established; how the collection was built, why Ealey sold the collection for $6 million in 1989; and how Robert L. Johnson came to acquire it ten years later.
Michael Evanson was one of Adolphus Ealey’s close and dear friends. They met in Philadelphia around 1976 when Adolphus became the museum director for the African American Museum of Philadelphia. During the course of their friendship Adolphus helped open a new dimension of appreciation in Michael for fine arts and the art world.
Michael was fortunate to ride around as co-pilot on many of Adolphus’ artistic journeys in Washington, DC as Adolphus was museum curator, art appraiser, art collector, and creative consultant to many clients, artists, and business associates in the Washington area. Michael appreciates that Adolphus was an extraordinary artist himself and always worked to ensure a lasting legacy for the Barnett-Aden Collection.
Johnnie Lee Gray, The Revolution: Separate But Equal (detail) – Jim Crow Series, Acrylic on plywood, 20 5/8″H x 27 5/8″W
Curator’s Choice: Select Works from Private Collections
March 11 – April 23, 2017
Chosen by Myrtis Bedolla, Founding Director, Galerie Myrtis are selected works of cultural and historical significance offered from private collections. Featured Artists: Antonio Blackburn, Augustus Dunbier, Adolphus Ealey, Johnnie Lee Gray, Thomas Moran, Stephanie Pogue and Lucille Malkia Roberts.
Artwork
Antonio Blackburn (Attributed to), Calla Lily, N.D., Watercolor on Paper, 37"H x 27"W (framed
Provenance: Michael Evanson Collection gift from Adolphus Ealey, Barnett/Aden Gallery
Adolphus Ealey, Untitled (Floral - Still Life), N.D., Watercolor on Paper, 31"H x 24 1/2"W (framed)
Provenance: Michael Evanson Collection gift from Adolphus Ealey, Barnett/Aden Gallery
Johnnie Lee Gray, The Revolution: We Shall Overcome - Jim Crow Series, N.D., Acrylic on plywood, 2 of 3, 20"H x 26 5/8"W (framed), Provenance: Collection of Mrs. Shirley Sims Gray
Johnnie Lee Gray, The Revolution: Separate But Equal - Jim Crow Series, N.D., Acrylic on plywood, 3 of 3, 20"H x 23 5/8"W (framed), Provenance: Collection of Mrs. Shirley Sims Gray
Johnnie Lee Gray, The Juke Joint: Summer of 65', 1992, Acrylic on plywood, 21 1/2"H x 22"W (framed)
Provenance: Collection of Mrs. Shirley Sims Gray
Thomas Moran, A Tower of Cortez - Mexico, 1883, Drypoint Etching, Ink on Paper, 22 1/2"H x 19 1/2"W (framed)
Provenance: Michael Evanson Collection gift from Adolphus Ealey
Stephanie Pogue, The New Hat, 1974, Color viscosity etching, 11 of 20, 33"H x 25 1/2"W (framed)
Provenance: William Pogue Collection
Stephanie Pogue, The Moon and I, 1966, Lithograph, 8 of 8, 20"H x 23 1/2"W (framed)
Provenance: William Pogue Collection
Stephanie Pogue, Caught in the Wind, 1978, Color viscosity etching, 5 of 50, 34 ½” H x 27 ½”W (framed)
Provenance: William Pogue Collection
Stephanie Pogue, Seated Woman, 1978, Color viscosity etching, A/P, 32 1/2"H x 28 3/4"W (framed)
Provenance: William Pogue Collection
Stephanie Pogue, Seated Woman, 1987, Color viscosity etching, A/P, 31"H x 25"W (framed
Provenance: William Pogue Collection
Stephanie Pogue, Paris Skylight, 1984, Color viscosity etching, 33 1/4"H x 40 1/2"W (framed),
Provenance: William Pogue Collection
Stephanie Pogue, Madras Skylight, 1983, Color viscosity etching, 9 of 20, 30 1/2"H x 26 1/2"W (framed),
Provenance: William Pogue Collection
Stephanie Pogue, The Prophet Malachi, 1973, Color viscosity etching/ Color State III, A/P, 28”H x 35 ¼”W (framed)
Provenance: William Pogue Collection
Stephanie Pogue, Dancing Puppet, 1987, Color viscosity etching 1 of 10, 30 ½”H x 24 16/4”W (framed)
Provenance: William Pogue Collection
Lucille Malkia Roberts, Wharf Maine Ave, N.D., Oil on Masonite Board, 37"H x 28"W (framed),
Provenance: Betty A. Brooks Estate
Lucille Malkia Roberts, Untitled (Mosque), N.D., Oil on Masonite Board, 30 1/2"H x 23"W (framed)
Provenance: Betty A. Brooks Estate
Augustus William Dunbier, Negro Woman, 1934, Oil on Canvas Board, 33 1/2"H x 27 1/2"W (framed)
Provenance: Jacqueline Miller Collection gift from Adolphus Ealey, The Barnett Aden Collection
Augustus Dunbier, Negro Woman, Oil on Canvas Board, 1934 - (Exhibition Catalogue: The Barnett-Aden Collection, pg. 70)
The Jacqueline Miller Collection