The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.
Scope and Content Note:
The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.
Among the biographical material are award and membership certificates, biographical notes, and personal documentation.
The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."
Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."
Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.
Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).
Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."
Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.
The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.
Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.
Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.
Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.
Arrangement:
The collection is organized into 8 series:
Missing Title
Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)
Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)
Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)
Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)
Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)
Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)
Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)
Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)
Biographical Note:
Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.
Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.
Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.
When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."
Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.
He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.
Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.
He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.
The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.
Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.
Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.
Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.
He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.
Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.
During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.
Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.
He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.
Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.
Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.
Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.
Separated Material:
Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.
Provenance:
The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordigs with no duplicate access copy 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.
Historic Properties Reconnaissance for Archaeological Potential of Selected Fort Devens Off-Base Facilities in Connecticut, Massachusetts, Rhode Island and Vermont
1 Item (paper squeeze, b&w, 21 in.x 28 in. (53.3 cm. x 71 cm.))
Container:
Item C-1
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5053, bottom and 5038.
Scope and Contents:
- Original handwritten annotation reads, "Ni R I."
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 1. ([neg.] 5053, bottom, and [neg.] 5038) Naqsh-i Rustam. Lines 1-6, left."
- Additional information from staff reads, "Squeeze No. 1: Lines 1-6, top left edge."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Achaemenid Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-001
FSA A.6 06.C001
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
Ernst Herzfeld first visited Naqsh-i Rustam in November 1905 during his expedition return from the Assur (Kalat Schergat, Iraq) excavation. During the two last months of 1923 as well as early March 1924, in addition of his work on the terrace of Persepolis, Herzfeld spent time at Naqsh-i Rustam checking the inscriptions. In 1928, the architect Friedrich Krefter joined Herzfeld in Persia, in an expedition funded by the Notgemeinschaft der Deutschen Wissenschaft, to complete various measured plans and drawings in Persepolis, Pasargadae, and Naqsh-i Rustam. On March 1, 1931, now under the auspices of the Oriental Institute of the University of Chicago, excavations at Persepolis were begun. Ultimately, in 1933, attention was directed to Naqsh-i Rustam, where Herzfeld traced the outer enclosure of the site and copied the inscription on the tomb of Darius I. Ernst Herzfeld left Persepolis permanently in Spring 1934.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 21 in.x 28 in. (53.3 cm. x 71 cm.))
Container:
Item C-2
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5058, top.
Scope and Contents:
- Original handwritten annotation reads, "5."
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 2. ([neg.] 5058, top) Naqsh-i Rustam. Lines 7-12, left."
- Additional information from staff reads, "Squeeze No. 2: Lines 7-12, second from top, left edge."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Achaemenid Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-002
FSA A.6 06.C002
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
Ernst Herzfeld first visited Naqsh-i Rustam in November 1905 during his expedition return from the Assur (Kalat Schergat, Iraq) excavation. During the two last months of 1923 as well as early March 1924, in addition of his work on the terrace of Persepolis, Herzfeld spent time at Naqsh-i Rustam checking the inscriptions. In 1928, the architect Friedrich Krefter joined Herzfeld in Persia, in an expedition funded by the Notgemeinschaft der Deutschen Wissenschaft, to complete various measured plans and drawings in Persepolis, Pasargadae, and Naqsh-i Rustam. On March 1, 1931, now under the auspices of the Oriental Institute of the University of Chicago, excavations at Persepolis were begun. Ultimately, in 1933, attention was directed to Naqsh-i Rustam, where Herzfeld traced the outer enclosure of the site and copied the inscription on the tomb of Darius I. Ernst Herzfeld left Persepolis permanently in Spring 1934.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 21 in.x 28 in. (53.3 cm. x 71 cm.))
Container:
Item C-3
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5049, bottom.
Scope and Contents:
- Original handwritten annotation reads, "7."
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 3. ([neg.] 5049, bottom) Naqsh-i Rustam. Lines 13-18, left."
- Additional information from staff reads, "Squeeze No. 3: Lines 13-18, third from top, left edge."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Achaemenid Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-003
FSA A.6 06.C003
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
Ernst Herzfeld first visited Naqsh-i Rustam in November 1905 during his expedition return from the Assur (Kalat Schergat, Iraq) excavation. During the two last months of 1923 as well as early March 1924, in addition of his work on the terrace of Persepolis, Herzfeld spent time at Naqsh-i Rustam checking the inscriptions. In 1928, the architect Friedrich Krefter joined Herzfeld in Persia, in an expedition funded by the Notgemeinschaft der Deutschen Wissenschaft, to complete various measured plans and drawings in Persepolis, Pasargadae, and Naqsh-i Rustam. On March 1, 1931, now under the auspices of the Oriental Institute of the University of Chicago, excavations at Persepolis were begun. Ultimately, in 1933, attention was directed to Naqsh-i Rustam, where Herzfeld traced the outer enclosure of the site and copied the inscription on the tomb of Darius I. Ernst Herzfeld left Persepolis permanently in Spring 1934.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 21 in.x 28 in. (53.3 cm. x 71 cm.))
Container:
Item C-4
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5055, top.
Scope and Contents:
- Original handwritten annotation reads, "4."
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 4. ([neg.] 5055, top) Naqsh-i Rustam. Lines 21-26, right."
- Additional information from staff reads, "Squeeze No. 4: Lines 21-26, fourth from top, right edge."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-004
FSA A.6 06.C004
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 22 in.x 29 in. (55.9 cm. x 73.7 cm.))
Container:
Item C-5
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5063.
Scope and Contents:
- Original handwritten annotation reads, "13."
Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 5. ([neg.] 5063) Naqsh-i Rustam. Lines 25-32, left."
- Additional information from staff reads, "Squeeze No. 5: Lines 25-32, fifth from top, left edge."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-005
FSA A.6 06.C005
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 22 in.x 29 in. (55.9 cm. x 73.7 cm.))
Container:
Item C-6
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5054.
Scope and Contents:
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 6. ([neg.] 5054) Naqsh-i Rustam. Lines 1-7, middle."
- Additional information from staff reads, "Squeeze No. 6: Lines 1-7, top, middle."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-006
FSA A.6 06.C006
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 22 in.x 28 in. (55.9 cm. x 71 cm.))
Container:
Item C-7
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5052 and 5047.
Scope and Contents:
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Original handwritten annotation reads, "Ni R 4."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 7. ([neg.] 5052 and [neg.] 5047) Naqsh-i Rustam. Lines 8-13, middle."
- Additional information from staff reads, "Squeeze No. 7: Lines 8-13, second from top, middle."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-007
FSA A.6 06.C007
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 26 in.x 27 in. (66 cm. x 68.6 cm.))
Container:
Item C-8
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5050, top.
Scope and Contents:
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Original handwritten annotation reads, "8."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 8. ([neg.] 5050, top) Naqsh-i Rustam. Lines 13-20, middle."
- Additional information from staff reads, "Squeeze No. 8: Lines 13-20, third from top, middle."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-008
FSA A.6 06.C008
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 16 in.x 24 in. (40.6 cm. x 61 cm.))
Container:
Item C-9
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5050, bottom.
Scope and Contents:
- Original handwritten annotation reads, "11."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 9. ([neg.] 5050, bottom) Naqsh-i Rustam. Lines 21-25, middle."
- Additional information from staff reads, "Squeeze No. 9: Lines 21-25, fourth from top, middle."
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-009
FSA A.6 06.C009
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and on Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Item (paper squeeze, b&w, 20 in.x 30 in. (50.8 cm. x 76.2 cm.))
Container:
Item C-10
Type:
Archival materials
Paper squeezes
Place:
Asia
Iran
Naqsh-i Rustam (Iran)
Iran -- Fars -- Naqsh-i Rustam -- Tomb of Darius I
Date:
1923-1934
Scope and Contents note:
Print corresponds to negative 5035, bottom, 5064, bottom.
Scope and Contents:
- Information from Roland G. Kent's 1953 publication reads, "DNb = Darius, Naqsh-i Rustam. The inscrition Naqsh-i Rustam B stands on the two sides of the door in the center of the crossbeam: Old Persian in the panel to its left, in 60 lines; Elamite, 43 lines, in the panel to the right, with an Aramaic version in 25 lines at the bottom; in the last panel to the right, the Akkadian version in 39 lines with the space of one line vacant between lines 31 and 32."
- Original handwritten annotation reads, "14."
- Additional information from Joseph Upton's Finding Aid reads, "Squeeze No. 10. ([neg.] 5064, bottom) Naqsh-i Rustam. Lines 25-30."
- Additional information from staff reads, "Squeeze No. 10: Lines 25-30, fifth from top, middle."
- Additional information from Roland G. Kent's publication reads, "Some miles north of Persepolis, on the south face of a steep ridge known as Ḥusain Kūh or 'Mountain of Husain', there are four gigantic niches, cut in the shape of Greek crosses, and serving as entrances to the tombs lying in the rock behind them. The second from the east is the tomb of Darius I, and bears inscriptions." [Roland Kent: Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953, p.109."]
Naqsh-i Rustam (Iran): Squeeze of Inscription, DNb, Old Persian Version, on the Tomb of Darius I
Arrangement:
Papers squeezes are organized in sequential number following language scripts, which are housed in folders, and stored in metal flat files.
Local Numbers:
C-010
FSA A.6 06.C010
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Roland G. Kent's publication, "Old Persian. Grammar, Texts, Lexicon. 2nd Revised Edition. American Oriental Society, Vol. 33. American Oriental Society, New Haven, Connecticut, 1953," and Joseph Upton's Catalogue of the Herzfeld Archive.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
