Search Results

Creator:

Kadish, Reuben, 1913-1992  Search this

Names:

Ashton, Dore  Search this

Cherry, Herman  Search this

Conant, Howard  Search this

De Kooning, Willem, 1904-1997  Search this

Guston, Philip, 1913-1980  Search this

Hiler, Hilaire, 1898-1966  Search this

Langsner, Jules, 1911-1967  Search this

Neininger, Urban  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Pollock, Charles C.  Search this

Pollock, Jackson, 1912-1956  Search this

Siqueiros, David Alfaro  Search this

Tully, Judd  Search this

Extent:

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Date:

1851-1995

bulk 1913-1995

Summary:

This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Scope and Content Note:

The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.

Arrangement:

The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Missing Title

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)

Biographical Note:

Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.

Related Material:

Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.

Provenance:

The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.

Restrictions:

The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.

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.

Topic:

Sculptors -- New York (State) -- New York -- Interviews  Search this

Muralists -- California  Search this

Sculptors -- California  Search this

Genre/Form:

Drawings

Photographs

Citation:

Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kadireub

See more items in:

Reuben Kadish papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974482335-aae0-4e72-8e41-8c2fb3fe28f8

EDAN-URL:

ead_collection:sova-aaa-kadireub

Creator:

Mooney, James, 1861-1921  Search this

Extent:

120 Items (Catalogued pages Catalogued 120 pages)

Culture:

Cherokee (archaeological)  Search this

Type:

Collection descriptions

Archival materials

Place:

Alabama -- Archeology

Georgia -- Archeology

North Carolina -- Archeology

Tennessee -- Archeology

Date:

undated

Scope and Contents:

Catalog of archeological sites in Alanta Georgia, Kentucky, North Carolina, Tennessee & Virginia and other data relating to the Cherokee country.

Local Numbers:

NAA MS 2425-a

Topic:

Virginia -- Archeology  Search this

Kentucky -- Archeology  Search this

Citation:

Manuscript 2425-a, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2425A

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3dbd742d5-b088-4f04-aede-a7d747ffe7b2

EDAN-URL:

ead_collection:sova-naa-ms2425a

Creator:

Smithsonian Institution United States National Museum Department of Anthropology Division of Archeology  Search this

Jochelson, Waldemar I.  Search this

Bernheimer, Charles L.  Search this

Colburn, Burnham S.  Search this

Featherstonehaugh, Thomas  Search this

Geist, Otto William  Search this

Hill, A. T.  Search this

Hough, Walter, 1859-1935  Search this

Langford, George Langford  Search this

Montgomery, Henry  Search this

Moore, Clarence B. (Clarence Bloomfield), 1852-1936  Search this

Pittier, Henri F.  Search this

Stebbins, F. B.  Search this

Artex, Charles Artes (archeological collector)  Search this

Beckwith, C. W.  Search this

Branch, C. W.  Search this

Hempstead, F. S.  Search this

Pillars, James  Search this

Price, Governor  Search this

Squier, Ephraim George  Search this

Davis, Edwin Hamilton  Search this

Riaboushinsky Expedition. Ethnological Section  Search this

Collector:

Colburn, Burnham S.  Search this

Photographer:

Hillers, John K., 1843-1925  Search this

Jackson, William Henry, 1843-1942  Search this

Matteson, Sumner W.  Search this

Mearns, Edgar S.  Search this

Mindeleff, Victor, 1860-1948  Search this

O'Sullivan, Timothy H., 1840-1882  Search this

Names:

Wetherill, Richard -- Mancos Canyon, Colorado  Search this

Extent:

1,600 Items

Culture:

Tlingit -- burials  Search this

Cherokee  Search this

Unangan (Aleut)  Search this

Arctic peoples  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Negatives

Photomechanical prints

Tintypes

Drawings

Clippings

Notes

Letters

Place:

Massachusetts -- Dighton Rock

Alabama -- 1931 -- Moundville

Alabama -- Archeology

Alaska -- Archeology

Arizona -- Archeology

Arkansas -- Archeology

California -- Archeology

Colorado -- Archeology

Connecticut -- Archeology

Delaware -- Archeology

Florida -- Archeology

Georgia -- Archeology

Illinois -- Archeology

Indiana -- Archeology

Iowa -- Archeology

Kansas -- Archeology

Kentucky -- Archeology

Maryland -- Archeology

Maine -- Archeology

Massachusetts -- Archeology

Michigan -- Archeology

Minnesota -- Archeology

Mississippi -- Archeology

Missouri -- Archeology

Nebraska -- Archeology

Nevada -- Archeology

New Jersey -- Archeology

New Mexico -- Archeology

New York (State) -- Archeology

North Carolina -- Archeology

North Dakota -- Archeology

Ohio -- Archeology

Oklahoma -- Archeology

Oregon -- Archeology

Pennsylvania -- Archeology

South Carolina -- Archeology

Tennessee -- Archeology

Texas -- Archeology

Utah -- Archeology

Virginia -- Archeology

Washington -- Archeology

Costa Rica -- Archeology

British Columbia -- Antiquities

Canada -- Archeology

New Zealand -- Archeology

Nova Scotia -- Archeology

Pacific Islanders -- Archeology

West Indies -- Archeology

Date:

1870s-1930s

Scope and Contents:

The material consists mostly of photographic prints. A few negatives, photomechanical prints, tintypes, drawings, newspaper clippings, notes, and letters are also included. Much of the material is annotated. In part, the file was assembled for or relates to many accessions and cataloging units of the division.

The material was received from professionals and amateurs, mostly working in North America. The images are of artifactual and skeletal specimens, fradulent specimens, collections of specimens, sites, excavations, site features, ruins, petroglyphs, and field parties. A few are reproductions of maps and portraits of native people. Some of the specimens are in the Smithsonianʹs collections, but many are not.

Included among the many subjects are photographs of Dighton Rock in Massachusetts; many ruins of the 1931 Moundville, Alabama, excavation; Tlingit burial boxes; excavations, specimens, and Aleut portraits taken by Waldemar I. Jochelsonʹs Ethnological Section of the Riaboushinsky Expedition, 1909-1912; Richard Wetherillʹs party in Mancos Canyon, Colorado, and F. S. Hempsteadʹs Archaeological and Topographic Map of Portsmouth," [Ohio].

Some of the material relates to the work of Charles L. Bernheimer in Utah, Burnham S. Colburn in Georgia and North Carolina, Thomas Featherstonehaugh in Florida, Otto William Geist in Alaska, A. T. Hill in Nebraska, Walter Hough in Arizona (for the Gates-United States National Museum Expedition, 1901), George Langford in Illinois, Henry Montgomery in North Dakota, Clarence B. Moore in Florida, Henri F. Pittier in Costa Rica, and F. B. Stebbins in Tennessee. Collections are those of Charles Artes (filed Indiana), Thomas Beckwith (filed Missouri), C. W. Branch (filed West Indies), Burham S. Colburn Cherokee relics (filed North Carolina), James Pillars (filed Ohio), Governor Price (frauds from New Mexico), Ephraim George Squier and Edwin Hamilton Davis (filed Ohio).

The material is from Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Maryland, Maine, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Nebraska, Nevada, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, South Carolina, Tennessee, Texas Utah, Virginia, Washington, Costa Rica, British Columbia, Canada, New Zealand, Nova Scotia, South Pacific, and West Indies.

The works of many photographers are included. Among them are John K. Hillers, William Henry Jackson, Sumner W. Matteson, Edgar A. Mearns, Victor Mindeleff, and Timothy H. OʹSullivan.

Arrangement:

(1) Frauds; (2) petroglyphs (3) general

Topic:

Archeology -- artifacts -- skeletal specimens -- frauds -- collection -- sites -- Excavations -- Petroglyphs  Search this

Archeology -- frauds -- New Mexico  Search this

Archeology -- Alabama  Search this

Archeology -- Arizona  Search this

Archeology -- Alaska  Search this

Archeology -- Arkansas  Search this

Archeology -- California  Search this

Archeology -- Colorado  Search this

Archeology -- Connecticut  Search this

Archeology -- Delaware  Search this

Archeology -- Florida  Search this

Archeology -- Georgia  Search this

Archeology -- Illinois  Search this

Archeology -- Indiana  Search this

Archeology -- Iowa  Search this

Archeology -- Kansas  Search this

Archeology -- Kentucky  Search this

Archeology -- Maryland  Search this

Archeology -- Maine  Search this

Archeology -- Massachusetts  Search this

Archeology -- Michigan  Search this

Archeology -- Minnesota  Search this

Archeology -- Mississippi  Search this

Archeology -- Missouri  Search this

Archeology -- Nebraska  Search this

Archeology -- Nevada  Search this

Archeology -- New Jersey  Search this

Archeology -- New Mexico  Search this

Archeology -- Archeology  Search this

Archeology -- North Carolina  Search this

Archeology -- North Dakota  Search this

Archeology -- Ohio  Search this

Archeology -- Oklahoma  Search this

Archeology -- Oregon  Search this

Archeology -- Pennsylvania  Search this

Archeology -- South Carolina  Search this

Archeology -- Texas  Search this

Archeology -- Utah  Search this

Archeology -- Virginia  Search this

Archeology -- Washington  Search this

Archeology -- Costa Rica  Search this

Archeology -- British Columbia  Search this

Archeology -- Canada  Search this

Archeology -- New Zealand  Search this

Archeology -- Nova Scotia  Search this

Archeology -- Oceania  Search this

Archeology -- West Indies  Search this

Genre/Form:

Photographic prints

Negatives

Photomechanical prints

Tintypes

Drawings

Clippings

Notes

Letters

Citation:

Photo lot 40, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.40

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3413cc2cb-bf9c-41d2-bd29-5e2c850d63d9

EDAN-URL:

ead_collection:sova-naa-photolot-40

Creator:

Mooney, James, 1861-1921  Search this

Transcriber:

Walker, Winslow M. (Winslow Metcalf), 1903-1996  Search this

Annotator:

Mooney, James, 1861-1921  Search this

Extent:

25 Maps

Culture:

Cherokee  Search this

Type:

Collection descriptions

Archival materials

Maps

Place:

Alabama -- Archeology

Georgia -- Archeology

North Carolina -- Archeology

South Carolina -- Archeology

Tennessee -- Archeology

Date:

ca. 1886

Scope and Contents:

Twenty-five U. S. G. S. topographic maps annotated by Mooney to show old village sites of the Cherokee in Alaska, Georgia, Kentucky, North Carolina, South Carolina, Tennesse and Virginia; with transcriptions of Mooneyʹs notations by Winslow M. Walker, attached to each map.

Local Numbers:

NAA MS 3318

Topic:

Kentucky -- Archeology  Search this

Virginia -- Archeology  Search this

Citation:

Manuscript 3318, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS3318

See more items in:

MS 3318 U. S. G. S. Topographic Maps

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw385b021b8-eff3-4b56-8c8c-202d7b3750d7

EDAN-URL:

ead_collection:sova-naa-ms3318

Creator:

Gray, Cleve  Search this

Names:

Berry-Hill Galleries  Search this

Betty Parsons Gallery  Search this

Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this

Jacques Seligmann & Co  Search this

Neuberger Museum of Art  Search this

Pratt Institute  Search this

Princeton University  Search this

Rhode Island School of Design  Search this

Barzun, Jacques, 1907-  Search this

Calder, Alexander, 1898-1976  Search this

Davis, Jim, 1901-1974  Search this

Dillenberger, Jane  Search this

Duchamp, Marcel, 1887-1968  Search this

Ernst, Jimmy, 1920-1984  Search this

Gabo, Naum, 1890-1977  Search this

Grace, Louise N.  Search this

Gray, Francine du Plessix  Search this

Lipchitz, Jacques, 1891-1973  Search this

Marin, John, 1870-1953  Search this

Pollock, Jackson, 1912-1956  Search this

Richter, Hans, 1888-1976  Search this

Smith, David, 1906-1965  Search this

Villon, Jacques, 1875-1963  Search this

Weber, Nicholas Fox, 1947-  Search this

Extent:

9.2 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Date:

1933-2005

Summary:

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.

Occupation:

Sculptors -- Connecticut  Search this

Painters -- Connecticut  Search this

Topic:

Art, Modern -- 20th century -- United States  Search this

Vietnam War, 1961-1975 -- Protest Movements -- United States  Search this

Designers  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Citation:

Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.grayclev

See more items in:

Cleve Gray papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92d3d47d0-baa3-4085-80f2-9b5d1730c052

EDAN-URL:

ead_collection:sova-aaa-grayclev

Creator:

Bushnell, David I., Jr. (David Ives), 1875-1941  Search this

Extent:

5 Items (Typed data on cards, arranged by state. boxes. Typed data on cards, arranged by state. 5 boxes.)

Type:

Collection descriptions

Archival materials

Place:

United States -- Archeology

Date:

undated

Scope and Contents:

Apparently assembled for a proposed Handbook of Aboriginal Remains East of the Mississippi. Also includes data on some states West of Mississippi River.

Box No. 1: Alabama, Arkansas - microfilm on reel 67-4/68, Connecticut, Delaware, District of Columbia, Florida, Georgia, Indiana, Illinois.

Box No. 2: Kentucky, Maine, Maryland, Massachusetts, Michigan, Mississippi, New Hampshire, New Jersey, New York

Box No. 3: North Carolina, Ohio, Pennsylvania, Rhode Island, South Carolina, West Virginia, Vermont.

Box No. 4: Virginia, Wisconsin

Box No. 5: (West of Mississippi River) There is also a miscellaneous group of cards covering various states apparently not completed, including: Iowa, Kansas, Louisiana, Minnesota, Missouri, North Dakota, South Dakota, and Texas. In addition there are miscellaneous notes on the states already completed.

Arrangement:

Alphabetical by state

Local Numbers:

NAA MS 4098

Local Note:

Typed cards

Other Archival Materials:

See also MS 2619-a and MS 7138. MS 2400 also has some materials relating to the Handbook.

Citation:

Manuscript 4098, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4098

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw31e0b3074-2eb9-4aff-8c5d-f45873eca556

EDAN-URL:

ead_collection:sova-naa-ms4098

Creator:

Walker, Winslow M. (Winslow Metcalf), 1903-1996  Search this

Mooney, James, 1861-1921  Search this

Extent:

37 Pages

Culture:

Cherokee (archaeological)  Search this

Type:

Collection descriptions

Archival materials

Pages

Place:

Alabama -- Archeology

Georgia -- Archeology

North Carolina -- Archeology

Date:

undated

Scope and Contents:

Transcriptions of notes by Mooney (mansucript 2425-a) and interpretations of other data of Mooneyʹs with references to topographic maps annotated by Mooney. (See No. 3318 for maps.)

Local Numbers:

NAA MS 2425-b

Topic:

Kentucky -- Archeology  Search this

Virginia -- Archeology  Search this

Citation:

Manuscript 2425-b, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2425B

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3d05345a1-465b-4ff1-9b8b-cfee7476fbce

EDAN-URL:

ead_collection:sova-naa-ms2425b

Creator:

Mooney, James, 1861-1921  Search this

Extent:

2 Notebooks

Culture:

Cherokee  Search this

Type:

Collection descriptions

Archival materials

Notebooks

Place:

Georgia -- Archeology

Alabama -- Archeology

Tennessee -- Archeology

Date:

1880s

Scope and Contents:

Mainly archeology notes on Georgia, Alabama, Tennessee. Some historical and ethnographic notes, including brief Cherokee references.

Arrangement:

(1) Notebook 1 20 items

(2) Notebook 2 72 items

Local Numbers:

NAA MS 2113

Citation:

Manuscript 2113, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2113

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw38f4fd492-76f1-4bea-80fb-7f82e081194f

EDAN-URL:

ead_collection:sova-naa-ms2113

Creator:

Mindeleff, Victor, 1860-1948  Search this

Photographer:

Hillers, John K., 1843-1925  Search this

Jackson, William Henry, 1843-1942  Search this

Mindeleff, Cosmos, 1863-  Search this

Extent:

383 Prints (circa 383 prints, 3 photo albums, albumen )

Culture:

Indians of North America -- Southwest, New  Search this

Tewa Pueblos  Search this

Hopi Pueblo  Search this

A:shiwi (Zuni)  Search this

Acoma Pueblo  Search this

Diné (Navajo)  Search this

Pueblo  Search this

Type:

Collection descriptions

Archival materials

Prints

Place:

Arizona

New Mexico

Date:

circa 1879-1887

Scope and Contents note:

Three photograph albums made by Victor Mindeleff documenting pueblo architecture, villages, and people. Some photographs, including those published in the Eighth Annual Report of the Bureau of American Ethnology, were made by Hillers, according to notations on file prints in Bureau of American Ethnology.

Biographical/Historical note:

In the 1880s, Victor Mindeleff (1860-1948) was employed by the Bureau of American Ethnology to conduct studies of Pueblo architecture. He hired His brother, Cosmos Mindeleff (1863-1938), to be his assistant. They worked at Zuni, Acoma, and Hopi villages, as well as among the Navajo; at ruins at Kin Tiel, Canyon de Chelly, and Chaco Canyon; and at Etowah Mound in Georgia. Victor Mindeleff left the BAE in 1890 for a career in architecture.

Local Call Number(s):

NAA Photo Lot 4362

Location of Other Archival Materials:

Original negatives for some of these photographs held in National Anthropological Archives Photo Lot 14.

Additional Mindeleff photographs can be found in the National Anthropological Archives in Photo Lot 24, Photo Lot 28, Photo Lot 40, Photo Lot 78, and the BAE historical negatives.

Victor Mindeleff's manuscript, Origins of Pueblo Architecture (1887), and correspondence describing his fieldwork can be found in the National Anthropological Archives in the records of the Department of Anthropology.

Aditional Mindeleff sketches, plans, and drawings relating to Pueblo architecture held in MS 2138 and MS 2621] in the National Anthropological Archives.

Location of Other Archival Materials:

Sketches and ground plans, also made by Victor Mindeleff or his brother Cosmos, were sent to the Bureau of American Ethnology with these photograph albums. They now form MS 2926 in the National Anthropological Archives.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Cliff-dwellings  Search this

Architecture  Search this

Pueblos  Search this

Dwellings  Search this

Citation:

Photo Lot 4362, Victor Mindeleff photograph albums relating to Pueblo architecture, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.4362

See more items in:

Victor Mindeleff photograph albums relating to Pueblo architecture

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3a3b9490f-b884-4294-874d-f867fdf7fbcb

EDAN-URL:

ead_collection:sova-naa-photolot-4362

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Artifact

Place:

Columbia County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138485-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/33220ac40-8ad7-434a-9c64-e927eb663cc0

EDAN-URL:

edanmdm:nmnhanthropology_8017769

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Point

Place:

Columbia County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138486-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3bcb61b30-313a-445a-b8b4-ebcee412a9d4

EDAN-URL:

edanmdm:nmnhanthropology_8017770

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Sherd

Place:

Columbia County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138492-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3cadd5831-e492-4530-a526-a7fccd86879e

EDAN-URL:

edanmdm:nmnhanthropology_8017777

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Shell

Place:

Bartow County / Richmond County / Bibbs County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138509-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3b8df23a3-2100-4719-bb8e-6de9569ef01f

EDAN-URL:

edanmdm:nmnhanthropology_8017797

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Point

Place:

Unknown County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138512-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/37700ea04-c235-46d4-ab0a-20c27536545b

EDAN-URL:

edanmdm:nmnhanthropology_8017801

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Culture:

Mississippian  Search this

Object Type:

Cast

Place:

Unknown County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138514-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3da3d8d7d-237a-4f78-a7b8-988ef8a7e869

EDAN-URL:

edanmdm:nmnhanthropology_8017803

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Point

Place:

Lincoln County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138515-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3beeddc43-12d6-46d3-a58f-a781a3076846

EDAN-URL:

edanmdm:nmnhanthropology_8017804

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Point

Place:

Lincoln County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138516-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/303bc8003-a277-4458-98e0-0f4bf2db07e6

EDAN-URL:

edanmdm:nmnhanthropology_8017805

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Point

Place:

Lincoln County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138517-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3cf8ac55f-2036-4dc2-9092-e5180a3734b4

EDAN-URL:

edanmdm:nmnhanthropology_8017806

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Point

Place:

Lincoln County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138518-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/39606d6b1-654e-477c-920b-94dc6ef75e60

EDAN-URL:

edanmdm:nmnhanthropology_8017807

Collector:

Dr. Charles Rau  Search this

Donor Name:

Dr. Charles Rau  Search this

Object Type:

Core

Place:

Lincoln County, Georgia, United States, North America

Accession Date:

10 Dec 1887

Topic:

Archaeology  Search this

Accession Number:

019931

USNM Number:

A138519-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3b5c5ac7f-efae-49af-bda7-58c022d8f49c

EDAN-URL:

edanmdm:nmnhanthropology_8017808