Richmond Barthe papers, 1901-1989 | Amistad Research Center

By Deja Trudeaux

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Collection Overview

Title: Richmond Barthe papers, 1901-1989

Creator: Barthe, Richmond (1901-1989)

Extent: 3.0 Linear Feet

Arrangement: Alphabetical and chronological

Date Acquired: 12/01/1987. More info below under Accruals.

Languages: English, French

Scope and Contents of the Materials

The papers of Richmond Barthe, Harlem Renaissance sculptor, consist of correspondence, contact books, programs, brochures, news and magazine clippings, notes, lists, financial information, poetry, letters, passports, publications, resumes, advertisements, and photographs. The papers have been arranged in three general groups of correspondence, other materials, and photographs.

The correspondence has been arranged into nine divisions alphabetically according to topic and chronologically within each file unit. The first dates from 1951-1988, containing mostly letters, postcards, and news clippings from close associates. Letters to and from committees involve contractual agreements to erect the statues, Richard Allen, Toussaint L'Ouverture, and the equestrian monument of General Dessalines. The majority of the correspondence consists of invitations, greeting cards, and postcards dating 1974-1988. Individual items are a letter and pamphlet, Negro Giants in History, from Inge Hardison, an African American sculptor. An additional portion contains letters and photographs from a close friend, Kitty Spence. Finally a letter, photographs, and a program from the 1930 exhibition at the Women's City Club in Chicago sent from A'Lelia Walker, an African American businesswoman and patron of the arts.

Other materials contains Barthe's collected objects, resumes, passports, and awards. These items are organized alphabetically according to name, topic, or format and chronologically (if applicable) within the file units. These items include contact information (address, contact, and telephone number book NYC years circa 1929), lists (passenger list S.S. Constitution, artworks, financial supporters 1983), a profile of accomplishments, letters from other repositories 1941, cards (business cards and post cards, including Barthe at the naming of Barthe Drive 1986, handmade card by Robert Villegas 1988), Barthe's Living Will, and an audio tape interview of Barthe from 1987. Also included are Barthe's collected creative writings (personal, anonymous poems, Susan Hodge poems, Robert Schlick poems circa 1932, and manuscript of poems by John Bryan), a calendar designed and signed by Geraldine McCullough, information from the Gumby Scrapbook, Barthe's study tools (sketches, photographs, and news clippings), an unfinished canvas painting (included with oversize materials) and sheet music (The Negro Speaks of Rivers by Langston Hughes). Other collected materials include news and magazine clippings, pamphlets, programs, catalogs (1930 show in Chicago, Sculpture by Richmond Barthe, and Manfredi exhibition), articles (Arno Breker), newsletters (National Sculpture Society 1977), and publications. Six passports dated 1951-1974, financial information from 1947 to 1975, the notice of taking deposition of James Garner in the Barthe vs. Bill Cosby case, and resumes circa 1942 are also included with the collection, as well as a diploma from Xavier University and portfolio which is situated with the oversized materials.

The final group in the Barthe collection is photographs, in boxes 3 and 4 arranged in alphabetical order and chronologically within each separate folder. There are photographs and negatives of sculptures (Claude Ardrey, winged phallus sculpture with negative, classical sculpture, contact sheets, medieval statues, professional photographs and negatives of Barthe's sculptures), photographs of people (Mary McLeod Bethune, and the artist’s mother), places (polaroids of studio in Pasadena, Jamaica 1939-1970), events (Passion Play), and study aides (two children in low relief for Haitian coin). In box 6, photographs are separated between color and black and white and generally are organized chronologically. Loose photograph pages from a scrapbook are included with oversize materials.

Biographical Note

Richmond Barthe was an African American sculptor known for his public works. Originally from the South, Barthe moved north in pursuit of training as a artist and eventually became associated with the Harlem Renaissance. He was one of the first African American artists to focus thematically on the lives of African Americans.

Born on January 28, 1901 in Bay St. Louis, Mississippi, to parents Richmond Barthe and Marie Clementine Roboteau, Barthe's father died at 22 when Barthe was only one-month-old. When Barthe was very young, he developed talent as an artist. When he was twelve years old, his work was exhibited at the Mississippi County fair, where he received a blue ribbon for first prize. In 1915 at the age of 14, a family from New Orleans hired Barthe as a butler and handyman, at which time he quit school and continued drawing in his free time. Lyle Saxon, a literary critic for the New Orleans Times Picayune, recognized his talent and tried to help his artistic development by enrolling him into New Orleans area art schools, but he was denied admission because of his race. Saxon and parish priest Harry Kane were determined to find an art school in the United States where Barthe could expand his talents.

With the aid of the Reverend Kane, and with no high school degree, Barthe was admitted into the Art Institute of Chicago in 1924. Majoring in painting, he paid for his supplies by working as a porter and a busboy. In 1927, Barthe was introduced to sculpting by his anatomy teacher, Charles Schroeder. He exhibited two busts of his classmates in the Negro in Art Week Exhibition at the Art Institute of Chicago, which were later also shown at the Chicago Art League annual exhibition.

After his graduation in 1928, he moved to New York City (1930-1939) and established his first studio in Harlem. During this time, he developed his reputation as a Harlem Renaissance sculptor, although he became impatient with racial discrimination and being called a "race" artist. Harlem was a center for gay life, and Barthe became integrated into this culture, having many gay patrons and subjects. A major theme in his work was the exploration of race and homoeroticism. His early works were mostly of African subjects, such as African Woman and Blackberry Woman, and the theme of homosexuality was made apparent in sculptures of male nudes, such as Feral Benga, and African Man Dancing. He was inspired by Italian Renaissance artists Michelangelo, Pollaiuolo, Ghirlandaio, and Reni. Barthe's first solo exhibitions began in 1934 at the Caz-Delbo Gallery in New York, Grand Rapids Art Gallery in Michigan, and Women's City Art Club in Chicago. His work was also exhibited in numerous group shows at various institutions, such as the Harmon Foundation and New York's World Fair.

In the mid-1930s, Barthe moved from Harlem to midtown Manhattan to move closer to theatrical celebrities. Here, he made portrait busts and also sculpted his largest work, an 8 x 80 ft. frieze for the Harlem River Housing Project. In the 1940s, he received numerous awards, including the Guggenheim Fellowship, and in 1945 was elected to the National Sculpture Society. He also won the Audubon Artists' Gold Medal of Honor, and the James J. Huey Award for interracial injustice. He was a member of the Liturgical Arts Society, New York Clay Club, and the Sculptors' Guild.

In 1949, Barthe purchased a house in Jamaica to escape the violence of the city, but continued to split his time between the small village of Colgate, Jamaica, and New York City. In 1950, he received a commission from the Haitian government to sculpt Toussaint L'Ouverture, which now stands in the front of the palace of Port-au-Prince. In 1964, he received the key to the city of Bay Saint Louis. He left the West Indies because of increasing violence in 1969 and spent five years traveling between Switzerland, Italy, and Spain, finally settling in Pasadena, California to work on his memoirs and create many of his works. Actor James Garner, took an interest in Barthe's work in California, providing him with financial assistance. In 1978, he had a solo exhibition at the William Grant Still Center in Louisiana and was honored by the League of Allied Arts (1981). He died in 1989, and his retrospective was held at the American Art Association in New York in 1990. His work toured around the United States along with that of Richard Hunt in the Landau/Traveling Exhibition, Two Sculptors, Two Eras. His work is found in the Metropolitan and Whitney Museums in NY, the Smithsonian Institute in Washington, D.C., and also the Art Institute of Chicago.

Administrative Information

Accruals: There have been two additions to this collection.

Access Restrictions: None

Use Restrictions: Copyright to these papers has not been assigned to the Amistad Research Center. It is the responsibility of an author to secure permission for publication from the holder of the copyright to any material contained in this collection.

Physical Access Note: The Barthe hats within the collection cannot be handled at this time.

Acquisition Source: Estate of Richmond Barthe

Acquisition Method: Gift

Appraisal Information: This collection documents the Harlem Renaissance sculptor, Richmond Barthe.

Related Publications: Vendryes, Margaret Rose. Barthe, A Life in Sculpture. Mississippi: University Press of Mississippi, 2008.

Preferred Citation: Richmond Barthe papers, Amistad Research Center at Tulane University, New Orleans, LA.

Processing Information: Processed from June to August 2009.

Box and Folder Listing

Browse by Box:

[Box 1: Correspondence and other materials],
[Box 2: Other materials],
[Box 3: Other materials and photographs],
[Box 4: Photographs],
[Box 5: Printing blocks],
[Box 6: Photographs; 5 x 7 inches or less],
[Box 7: Photograph album and oversize materials],
[Box 8: Richmond Barthé hats (3)],
[All]

Box 6: Photographs; 5 x 7 inches or less

Item 1: Richmond Barthe [father], circa 1901: 1 1/2 x 1 1/2 in., b/w
Item 2: R. Bruce Nugent on the deck of a steamliner, circa 1929: 1 1/2 x 2 1/2 in., b/w
Item 3: Richmond Barthe with his Mask of a Boy, circa 1931: 4 1/4 x 5 1/2 in., b/w
Item 4: Verso reads: "For Richmond, Rom. London", 1931 August: 3 x 4 1/4 in., b/w
Item 5: Verso reads: "R. Schlick and Kelvin Lindeman, the Danish author, Riisskov", 1931
Item 6: Richmond Barthe and unidentified group, verso reads "Merry Christmas to you! And looking back, what a merry one we must have had in 1934! Emelie and Adele", circa 1934: 4 1/4 x 5 1/2 in., b/w
Item 7: Richmond Barthe, circa 1935: 5 x7 in., b/w
Item 8: Nora Holt, 1937 December: 3 1/2 x 5 1/2 in., photographic postcard, b/w, inscribed to Barthe
Item 9: Fernand, 1939 May: 3 x 4 1/2 in., b/w/ inscribed to Barthe
Item 10: Richmond Barthe in London, 1968: 3 x5 in., b/w
Item 11: Deirdre Ellerson, verso reads; "Age 17. Senior yearbook picture 69-70", circa 1970: 2 1/2 x 3 1/2 in., b/w
Item 12: Sandy Milligan, 1977 May 25: 3 x 3 1/2 in., b/w
Item 13: Richmond Barthe, undated: 1 1/2 x 2 in., b/w, 2 photographs
Item 14: Richmond Barthe (?) and two unidentified men, undated: 2 x 3 in., b/w/
Item 15: Richmond Barthe and unidentified man and woman, undated: 2 1/2 x 2 1/2 in., b/w
Item 16: Richmond Barthe and unidentified man, undated: 2 1/2 x 2 1/2 in., b/w
Item 17: Richmond Barthe with Kitty and Derek Spence and unidentified woman, undated: 3 1/4 x 4 1/4 in., b/w
Item 18: Richmon Barthe with Kitty and Derek Spence and unidentified man, undated: 4 x 5 in., b/w
Item 19: Richmon Barthe with Kitty and Derek Spence and unidentified man, undated: 3 1/2 x 4 1/2 in., b/w, inscribed to Barthe
Item 20: Countee Cullen and Harold Jackman, undated: 3 x 5 in., b/w
Item 21: Emely and "Dellie" Danielson, undated: 2 1/2 x 3 1/2 in., b/w
Item 22: Deirdre Ellerson, verso reads: "Deirdre at 10 months...", undated: 2 1/4 x 3 in., b/w
Item 23: Julianna Force, undated: 3 x 3 3/4 in., b/w
Item 24: Kitty and Derek Spence, undated: 3 1/2 x 4 1/2 in., b/w
Item 25: Kitty Spence, undated: 3 x 4 1/2 in., b/w
Item 26: Kitty Spence, undated: 3 x 4 1/2 in., b/w
Item 27: Kitty Spence, undated: 3 1/2 x 5 in., b/w
Item 28: Heinz Warneke, undated: 3 x 3 in., b/w
Item 29: Eric; verso reads: "Eric, Age 18", undated: 2 x 3 in., b/w
Item 30: Franz; verso reads: "Always your friend Franz", undated: 2 1/2 x 4 in., b/w
Item 31: Gus, undated: 2 1/2 x 4 in., b/w
Item 32: Gus, undated: 2 3/4 x 4 in., b/w
Item 33: Gus, undated: 2 1/2 x 4 1/2 in., b/w
Item 34: Johnny; verso reads: "Here is Johnny with a group of our staff members", undated: 3 x 3 3/4 in., b/w
Item 35: Johnny; verso reads: "Johnny on the right...", undated: 3 x 3 3/4 in., b/w
Item 36: Rusty; verso reads: "This was taken this past Christmas. Rusty is on the right.", undated: 3 x 4 1/4 in., b/w
Item 37: Barthe at unidentified house under construction, undated: 2 x 3 in., b/w
Item 38: Barthe and unidentified man at unidentified house under construction, undated: 2 x 3 in., b/w
Item 39-51: Unidentified individuals at unidentified house under construction, undated: 2 x 3 in., b/w
Item 52: Unidentified individual, undated: b/w
Item 52a: Unidentified woman with cat, 1968 July: 3 x 3 in., b/w
Item 53-102: Unidentified individual, undated: b/w
Item 103: verso reads: "These are my dunes at Oceano-Happy New Year", undated: 4 x 5 in., b/w
Item 104: verso reads: "Oceano Dunes & the bay & hills of San Luis", undated: 4 x 5 in., b/w
Item 105: verso reads: "Garden 19, Wilton St., London, England. For Richmond Barthe from Ron", undated: 4 1/2 x 5 in., sepia
Item 106: verso reads: "Statue in the Garden 19, Wilton St., London, England", undated: 4 1/2 x 5 in., sepia
Item 107-115: Unidentified house and grounds, undated: 4 x 4 1/2 in., b/w
Item 116-120: Statue: George Washington by Henry Kirke Brown, Union Square, New York, New York, undated: 3 1/4 x 4 1/2 in., b/w
Item 121: Iolus, Richmond Barthe's house in Jamaica, undated: 4 x 6 in., sepia
Item 122: Richmond Barthe and unidentified individuals, 1967 November: 3 1/2 x 5 in., color
Item 123: Richmond Barthe, Peter Glass, and Marilyn Dixon, 1976 December: 3 1/2 x 4 1/2 in., color
Item 124: Richmond Barthe and unidentified man, 1983 March: 3 1/2 x 5 in., color
Item 125: Richmond Barthe, 1985 February: 3 1/2 x 5 in., color
Item 126: Richmond Barthe with unidentified individuals, 1986 January: 3 1/2 x 5 in., color
Item 127: Richmond Barthe in Pasadena studio, undated: 4 x 5 3/4 in., color
Item 128: Richmond Barthe with unidentified man, undated: 3 1/2 x 5 in., color
Item 129: Richmond Barthe with unidentified individuals, undated: 2 1/2 x 3 1/2 in., color
Item 130: Kitty and Derek Spence, High Hope, Jamaica, 1965: 3 1/2 x 3 1/2 in., color
Item 131: Kitty and Derek Spence, 1966 September: 3 1/2 x 4 in., color
Item 132: Kitty Spence with dog, 1982: 3 x 3 in., color
Item 133: Kitty and Derek Spence, undated: 3 x 4 1/2 in., color
Item 134: Kitty and Derek Spence, undated: 3 x 3 in., color
Item 135: Kitty and Derek Spence, undated: 3 1/2 x 4 1/2 in., color
Item 136: Kitty and Derek Spence, undated: 3 x 4 1/2 in., color
Item 137: Kitty and Derek Spence, undated: 3 1/2 x 5 in., color
Item 138: Kitty Spence, undated: 3 x 4 1/2 in., color
Item 139: Aida Biggs (Robateau), Oscar, and Annelle in California, undated: 3 1/2 x 5 in., color
Item 140: verso reads: "Rita and Louis, LA, Cal.", 1974 April: 3 x 4 1/2 in, color
Item 141: verso reads: "Aunell, Louis, and Edna", 1983 August: 3 1/2 x 5 in., color
Item 142: verso reads: "Aunell, Louis, and Edna", 1983 August: 3 1/2 x 5 in., color
Item 143: verso reads: "Edna and Louis", 1983 August: 3 1/2 x 5 in., color
Item 144: verso reads: "Edna and Louis, Jackson's Backyard", 1983 August: 3 1/2 x 5 in., color
Item 145: verso reads: "Edna and Louis in the Jackson's Backyard", 1983 August: 3 1/2 x 5 in., color
Item 146: Trudy Barthe Charles, 1977 December 25: 3 1/2 x 5 1/2 in., color
Item 147: verso reads: "Mother Mary, Brother Jack, Wife Mary Frances, and Me", 1967 March: 3 x 3 in., color
Item 148: verso reads: "Deirdre and Alex", 1968 April: 3 x 3 in., color
Item 149: verso reads: "climbing Mt. Mansfield - one of our favorite past-times. Alex, Eric. D.M.E., Mailis, Deirdre (standing) and Evan", circa 1969 January: 3 x 3 in., color
Item 150: verso reads: "Evan Ellerson, Age 14 3/4", 1969: 2 x 2 3/4 in., color
Item 151: verso reads: Grace - my new wife. Looking for 1st time at interior of new home", 1970 July: 2 x 2 in., color
Item 152: verso reads: Evan Ellerson, 17 yrs. Graduation picture", 1971: 2 x 3 in., color
Item 153: verso reads: "Grace and daughter Debbie and granddaughter Christy", 1972 July: 3 x 3 in., color
Item 154: verso reads: "Linn and David, Christmas", 1972: 3 x 4 in., color
Item 155: verso reads: "Sandy (Edith Jane) & Johnny Milligan & Caps. The third generation of Ponds. Atlanta, a re-union", 1972 or 1974: 3 1/2 x 3 1/2 in., color
Item 156: Bryan and Kevin Keith, 1973 November: 3 1/2 x 5 in., color
Item 157: Jonathan Russell and Debra Linn Milligan, 1973 December: 2 3/4 x 3 3/4 in., color
Item 158: verso reads: Grace and Caps, 1973: 3 x 3 3/4 in., color
Item 159: verso reads: "Lynn Marie age 13", 1973: 3 1/2 x 5 in., color
Item 160: verso reads: Sandy, Rusty, Johnny & Debbie. The Milligans", 1974 October: 2 x 3 1/4 in., color
Item 161: The Pond-Milligan-Gardner Family, 1975 October 15: 4 x 5 in., color
Item 162: verso reads: Evan-a year ago dressed for friend's wedding", 1976: 3 x 3 in., color
Item 163: Marilyn and Tom Billing, 1977 December: 3 1/4 x 3 1/2 in., color
Item 164: Marilyn and Tom Billing, 1977 December: 3 1/4 x 3 1/2 in., color
Item 165: verso reads: "Sara, Sydney Ann, Sean, Steve", 1978 December: 3 1/2 x 3 1/2 in., color
Item 166: verso reads: "Jenny and Me. Florida/81. (Jenny is Mark & Janet's little one.", 1981: 3 1/4 x 3 1/2 in., color
Item 167: Trudy, Lauren, and John Charles, 1981: 2 x 2 3/4 in., color
Item 168: Harold Albert Barthe Jr and family (Genevieve, Brigitte, and Qiana), 1982 April: 3 1/2 x 5 in.; color
Item 169: verso reads: "Flora Kathryn Naslund, age 3, Louisville, Kentucky", 1983: 3 1/2 x 5 in., color
Item 170: verso reads: "For Barthe. Love Always Arturo & Melanie (wedding day)", 1985 June 30: 4 x 6 in., color
Item 171: Paul Chauchavadze, undated: 2 x 3 in., color
Item 172: Edna F. Wright [Richmond Barthe's sister], undated: 3 1/2 x 3 1/2 in., color
Item 173: verso reads: "me, Joele her daughter, Jane(?)", undated: 3 x 54 in., color
Item 174: Richmond Barthe with Santa Croce, husband of Marcia Matthews, undated: 3 x 4 1/2 in., color
Item 175: Crystal Estrella Villeas, undated: 3 1/2 x 4 1/2 in., color
Item 176: Crystal Estrella Villeas, undated: 3 1/2 x 4 1/2 in., color
Item 177: Crystal Estrella Villeas, undated: 3 1/2 x 4 1/2 in., color
Item 178: Crystal Estrella Villeas, undated: 3 1/2 x 4 1/2 in., color
Item 179: Debra Linn Milligan, age 8, undated: 2 1/4 x 3 1/4 in., color
Item 180: Jonathan Russell Milligan "Rusty" age 10, undated: 2 1/4 x 3 1/4 in., color
Item 181: verso reads: "Gene's friend", undated: 3 1/2 x 5 in., color
Item 182: Unidentified individuals (likely in Jamaica), 1953: color
Item 183: Unidentified individuals, 1968 December: color
Item 184: Unidentified individuals, 1968 December: color
Item 185: Unidentified individual, 1975 January: color
Item 186: Unidentified individuals, 1975 December: color
Item 187: Unidentified individuals, 1977 November: color
Item 188: Unidentified individuals, 1978: color
Item 189: Unidentified individuals, 1980 November: color
Item 190: Unidentified individual, 1981 April: color
Item 191: Unidentified individuals, 1983 July: color
Item 191a: Unidentified individuals, 1983 November: color
Item 192: Unidentified individuals, 1989 December: color
Item 193: Unidentified individual, 1985 January: color
Item 194: Unidentified individuals, 1986 July: color
Item 195: Unidentified individuals, 1986 July: color
Item 195a: Unidentified individuals, 1986 July: color
Item 196-213: Unidentified individuals, undated: color
Item 214: J. Paul Getty Museum, 1976 May: 3 1/2 x 3 1/2 in., color
Item 215: Schomburg Center, New York Public Library, 1983 June: 3 1/2 x 3 1/2 in., color
Item 216: 135th and 7th Ave. Lenox YMCA Building, St. Phillips Property, 1983 June: 3 1/2 x 3 1/2 in., color
Item 217: City of Pasadena sign, 1986 August: 3 1/2 x 5 in., color
Item 218-227: Unidentified buildings and landscapes, undated: color