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Cones, Myra L. and Harris, G. Yvonne

Series Donor:
Becker, John M.  Search this
Gay Officers Action League. GOAL  Search this
Heritage of Pride (HOP)  Search this
Rohrbaugh, Richard  Search this
Series Creator:
Hirsch, Leonard  Search this
Guest, Barbara  Search this
Barna, Joseph T.  Search this
Guest, Michael E.  Search this
Type:
Archival materials
Date:
1979-2001
Scope and Contents:
This series contains materials collected and created by Myra Lynn Cones and her wife, G. Yvonne Harris. The series includes photographs, emphemera, periodicals, magazines, programs and commemorative materials from musical groups (The Village People) and television shows (Queer as Folk) as well as materials relating to marches (A Simple Matter of Justice, 1993), the AIDS Quilt, the women's festival Sisterfire, and an original poem.
Biographical / Historical:
This short biography was submitted by the donors Myra Lynn Cones and G. Yvonne Harris in October 2022

"Short Biography from 1981-2022

We first met in 1980, at on a military base in Hampton, Virginia. We were both working at the Arts and Crafts Center. We became friends first, through our love of art and being artists ourselves.

Soon there after we discovered that this was not the first time we had met. While discussing one day about our lives in Hampton, we discovered that we went to the same kindergarten school, at the same time! The conversation started like this:

Yvonne: I went to Jones Kindergarten. Myra: So, did I. Yvonne: Do you remember the Humpty Dumpty play at the end of the year? I played one of the soldiers in the group. Myra: Yep, I was a soldier too. Do you remember the Christmas party? Yvonne: Yeah, I do. Myra: Well, my dad played Santa.

That's when we knew this was too special to ignore.

In March of 1981 we moved in together as roommates. By May, we were a couple.

We were invited to our first lesbian bar, by a couple who could not believe in the three years we were together thus far, we had never been to one. We went to a place in Norfolk, Virginia called the Her She Bar. Funny how we describe the night like that scene in the Wizard of Oz, when the film is in black and white and the door of the bar opened up and there was color. And that was the start of our foray into the Gay and Lesbian scene in the 80's. We came out to our family in the 80's. Considering both of us coming from Christian raised families, they did very well with their acceptance.

We became part of the community, by participating in art shows at the local women's bars, and women events at the local college. Later we ventured outside the area to do shows at other women's events in Norfolk, Richmond, and the famous Women's festival Sisterfire.

We decided that we wanted to move to Washington DC, because there was an active artists and LGBT community. We both worked retail, we found that we could transfer through our companies.

In 1990, we both moved to Washington DC. While starting out in DC Yvonne had a part-time job at the well known LGBT bookstore Lambda Rising, owned by Deacon MacCububbin, and then Lammas Women Bookstore, owned and operated by Mary Farmer. We were learning about the community, participating in Pride events, and living our best LGBT life. We stayed for 10 years in a little one-bedroom apartment and later bought our first home in 2000.

After Washington DC legalized gay marriage in 2010, We decided to jump the broom. We were first going to have the ceremony done at the justice of the peace. But remembered that we had a client, who was a patron of our work who was not only clergy, but was also Lesbian. We contacted the Reverend Bonnie Berger. Reverend Bonnie conducted many weddings, and after the announcement of legalized marriages came through, she was indeed a busy woman. So, we gave her a date and she was ready to do the ceremony on May 9, 2010. We had a boat at the time, and thought that having the ceremony at the marina would be great. So, we had our boat at the dock and the guests on the pier. Not only did the invited guess come, but we were surprised to see all the folks we knew at the marina, our fellow boaters. The guys and their wives and girlfriends showed up for support and love.

As of this year 2022, we have been together 41 years. And we have enjoyed being in the city, in the heart of the artistic world, galleries, and museum that continues to feed our creativity, and seeing the advances that have been made in rights and visibility in the LGBTQ community. We've seen a lot in these 40 odd years. One doesn't realize that until you have a conversation with a 20 something year old young gay man, who looks at you in astonishment when they discover that you've been an out lesbian in the 80's.

Co-worker: How long have you two been together Yvonne: We've been together 41 years, married for 12 Co-worker: (eyes wide) Wow, that long. That was at a time when it was hard, being out in the 80's. Was it scary?

That is how far we've come. Wizard of Oz, black and white to color!"
Series Restrictions:
The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1146, Series 26
See more items in:
Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8eb565972-afaf-4486-ba58-1aa659ebfa86
EDAN-URL:
ead_component:sova-nmah-ac-1146-ref3188

Cleve Gray papers

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
Vietnamese Conflict, 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
Online Media:

Sketch for "Portrait of Mother Patricia Waldron"

Artist:
Thomas Cowperthwaite Eakins, 25 Jul 1844 - 25 Jun 1916  Search this
Sitter:
Mother Patricia Waldron  Search this
Medium:
Oil on canvas on Masonite
Dimensions:
36.5 x 26.7cm (14 3/8 x 10 1/2"), Image: 24.1 x 19.1cm (9 1/2 x 7 1/2")
Type:
Painting
Place:
United States\Pennsylvania\Philadelphia\Philadelphia
Date:
1903
Topic:
Preparatory sketch  Search this
Costume\Headgear\Religious  Search this
Mother Patricia Waldron: Female  Search this
Mother Patricia Waldron: Religion and Spirituality\Nun  Search this
Portrait  Search this
Credit Line:
Owner: Philadelphia Museum of Art
Object number:
1930-32-14
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm47e8f6dda-be5b-46c8-b2c8-3b66cab1113f
EDAN-URL:
edanmdm:npg_1930-32-14

Percy Thomas Fenn

Artist:
William F. Draper, 24 Dec 1912 - 26 Oct 2003  Search this
Sitter:
Percy Thomas Fenn, 1865 - 1942  Search this
Medium:
Oil on Masonite
Dimensions:
90cm x 75cm (35 7/16" x 29 1/2"), Sight
Type:
Painting
Date:
1935
Topic:
Percy Thomas Fenn: Male  Search this
Percy Thomas Fenn: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: Valentine Museum
Object number:
66.182.2
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm448ec3f8f-7ff5-48e9-b7a3-3819b2bd24f3
EDAN-URL:
edanmdm:npg_66.182.2

Johannes Adam Simon Oertel

Artist:
Johannes Adam Simon Oertel, 1823 - 1909  Search this
Sitter:
Johannes Adam Simon Oertel, 1823 - 1909  Search this
Medium:
Oil on canvas on Masonite
Dimensions:
50.7cm x 40.5cm (19 15/16" x 15 15/16"), Accurate
Type:
Painting
Date:
c. 1856
Topic:
Interior  Search this
Personal Attribute\Facial Hair\Mustache  Search this
Personal Attribute\Facial Hair\Beard  Search this
Self-portrait  Search this
Johannes Adam Simon Oertel: Visual Arts\Artist  Search this
Johannes Adam Simon Oertel: Male  Search this
Johannes Adam Simon Oertel: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: National Academy of Design
Object number:
952-P-32
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm464396151-db84-4878-a440-e0ecafcd858d
EDAN-URL:
edanmdm:npg_952-P-32

James Manning

Artist:
Cosmo John Alexander, 1724 - 1772  Search this
Sitter:
James Manning, 1738 - 1791  Search this
Medium:
Oil on canvas on Masonite
Dimensions:
74.9cm x 62.2cm (29 1/2" x 24 1/2"), Sight
Type:
Painting
Date:
1770
Topic:
James Manning: Male  Search this
James Manning: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: Brown University
Object number:
BP1
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4ef8587e5-f23a-4138-a020-856e785fe1cf
EDAN-URL:
edanmdm:npg_BP1

William Rogers

Artist:
Eliza J. Rogers, 1775 - 1875?  Search this
Copy after:
Rembrandt Peale, 22 Feb 1778 - 3 Oct 1860  Search this
Sitter:
William Rogers, 1751 - 1824  Search this
Medium:
Oil on canvas on Masonite
Dimensions:
68.6cm x 58.4cm (27" x 23"), Sight
Type:
Painting
Date:
c. 1800-50
Topic:
William Rogers: Male  Search this
William Rogers: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: Brown University
Object number:
BP24
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4c387a541-04e5-412b-b792-ebd717543965
EDAN-URL:
edanmdm:npg_BP24

I Had A Dream

Alternate Title:
Martin Luther King, Jr.
Artist:
Edward Biberman, 23 Oct 1904 - 27 Jan 1986  Search this
Sitter:
Martin Luther King, Jr., 15 Jan 1929 - 4 Apr 1968  Search this
Medium:
Oil on Masonite
Dimensions:
61 x 76.2cm (24 x 30")
Type:
Painting
Date:
1968
Topic:
Personal Attribute\Facial Hair\Mustache  Search this
Martin Luther King, Jr.: Male  Search this
Martin Luther King, Jr.: Society and Social Change\Reformer\Activist\Civil rights activist\Civil rights leader  Search this
Martin Luther King, Jr.: Religion and Spirituality\Clergy\Minister  Search this
Martin Luther King, Jr.: Nobel Prize  Search this
Martin Luther King, Jr.: Presidential Medal of Freedom  Search this
Martin Luther King, Jr.: Congressional Gold Medal  Search this
Portrait  Search this
Credit Line:
Owner: Los Angeles County Museum of Art
Object number:
M.2011.42 LACMA
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4113ba346-0897-4782-b390-edfe8d28dbe8
EDAN-URL:
edanmdm:npg_M.2011.42_LACMA

Jesse Jackson

Artist:
Richard Mantel, born 1941  Search this
Sitter:
Jesse Louis Jackson, Sr., born 8 Oct 1941  Search this
Medium:
Acrylic on Masonite
Dimensions:
35.5cm x 25.2cm (14" x 9 15/16"), Image
Type:
Painting
Date:
1988
Topic:
Personal Attribute\Facial Hair\Mustache  Search this
Costume\Dress Accessory\Handkerchief  Search this
Costume\Dress Accessory\Tie\Necktie  Search this
Costume\Jewelry\Watch\Wrist watch  Search this
Jesse Louis Jackson, Sr.: Male  Search this
Jesse Louis Jackson, Sr.: Politics and Government\Presidential Candidate  Search this
Jesse Louis Jackson, Sr.: Society and Social Change\Reformer\Activist\Civil rights activist\Civil rights leader  Search this
Jesse Louis Jackson, Sr.: Religion and Spirituality\Clergy\Minister  Search this
Jesse Louis Jackson, Sr.: Presidential Medal of Freedom  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Time magazine
Object number:
NPG.90.TC72
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm468e536ea-2c62-46a0-8929-3be4249cb692
EDAN-URL:
edanmdm:npg_NPG.90.TC72

Christian Renatus Von Zinzendorf

Artist:
John Valentine Haidt, 4 Oct 1700 - 18 Jan 1780  Search this
Sitter:
Christian Renatus Von Zinzendorf, 1727 - 1752  Search this
Medium:
Oil on canvas, on Masonite panel
Dimensions:
Sight: 74.5 x 64.2cm (29 5/16 x 25 1/4")
Type:
Painting
Date:
c. 1748-52
Topic:
Christian Renatus Von Zinzendorf: Male  Search this
Christian Renatus Von Zinzendorf: Religion and Spirituality\Clergy\Pastor  Search this
Portrait  Search this
Credit Line:
Owner: Moravian Archives
Object number:
PA220061
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm40516d1a4-941d-4bef-9bf1-43495dde7e54
EDAN-URL:
edanmdm:npg_PA220061

Charles Bricket Haddock

Attribution:
Ulysses Dow Tenney, 8 Apr 1826 - 1908  Search this
Copy after:
Francis Alexander, 3 Feb 1800 - 27 Mar 1880  Search this
Sitter:
Charles Bricket Haddock, 1796 - 1861  Search this
Medium:
Oil on Masonite
Dimensions:
89cm x 74.8cm (35 1/16" x 29 7/16"), Accurate
Type:
Painting
Date:
c. 1850-1900
Topic:
Charles Bricket Haddock: Male  Search this
Charles Bricket Haddock: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: Dartmouth College
Object number:
PX. 524
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm45b4fe37a-57d3-4ce8-ad59-a305a3cce9b8
EDAN-URL:
edanmdm:npg_PX._524

John Levy Inida Fieldwork - Tape 28

Recorder:
Levy, John, 1910-1976  Search this
Field worker:
Levy, John, 1910-1976  Search this
Creator:
Staal, Frits  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 5 in.)
Culture:
Indians  Search this
Type:
Archival materials
Sound recordings
Place:
India
Local Numbers:
FW-ASCH-5RR-5588

FLP.110187
Date/Time and Place of an Event Note:
Recorded in: India, 1959.
General:
CDR copy- Tape Info: All the tapes on this CD were originally "mystery tapes," put in acid-free boxes and numbered immediately preceding the move from the Victor Bldg to Capital Galery. Minimal information, if any was available. FW-ASCH-5RR-5 988 consists primarily of unaccompanied religious chanting, probably by lay persons rather than clergy. The various tracks had apparently been recorded on separate occasions and spliced together. The lyrics are a mix of religious Latin, e.g., Santa Maria, Christe, Sacramento, dolor, Senora, etc., and what sou See front for additional information.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
World music  Search this
World music -- India.  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-5RR-5588
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk585e9e0d2-2402-4364-ac6b-a4fe5ce233ba
EDAN-URL:
ead_component:sova-cfch-asch-ref27273

Christian chanting, middle east, piping

Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 5 in.)
Type:
Archival materials
Sound recordings
Local Numbers:
FW-ASCH-5RR-5988
General:
CDR copy- FW-ASCH-5RR-5988 consists primarily of unaccompanied religious chanting, probably by lay persons rather than clergy. The various tracks had apparently been recorded on separate occasions and spliced together. The lyrics are a mix of religious Latin, e.g., the terms Santa Maria, Christe, Sacramento, dolor, Senora, etc., and what sounds like a slavic language. Yet the scales used often sound Middle Eastern. The tape concludes with two bagpipe pieces.
Restrictions:
Restrictions on access. rr.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-5RR-5988
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk59b7618f2-d3f5-4a64-bc92-acc93b9ba1f7
EDAN-URL:
ead_component:sova-cfch-asch-ref27888

Elisha Thornton, Sr.

Artist:
Hannah Thornton, 1790 - 1853  Search this
Sitter:
Elisha Thornton, Sr., 1747 - 1816  Search this
Medium:
Negative cut and wash on paper
Dimensions:
7.9cm x 7.2cm (3 1/8" x 2 13/16"), Sight
Type:
Silhouette
Date:
c. 1806-16
Topic:
Elisha Thornton, Sr.: Male  Search this
Elisha Thornton, Sr.: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: Old Dartmouth Historical Society /New Bedford Whaling Museum
Object number:
00.87.3
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4f33fc28e-872c-40fe-9413-b5417b5fe8a5
EDAN-URL:
edanmdm:npg_00.87.3

Horace Holley

Attribution:
Ralph Eleaser Whiteside Earl, c. 1788 - 1838  Search this
Sitter:
Horace Holley, 1781 - 1827  Search this
Medium:
Oil on canvas
Dimensions:
Sight: 75 x 62.3cm (29 1/2 x 24 1/2")
Type:
Painting
Date:
c. 1815-25
Topic:
Horace Holley: Male  Search this
Horace Holley: Education and Scholarship\Administrator\College\President  Search this
Horace Holley: Religion and Spirituality\Clergy\Minister  Search this
Portrait  Search this
Credit Line:
Owner: Tennessee State Museum
Object number:
1-818
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm49246f84a-d8a3-4be7-a7e7-ea88826a4f5f
EDAN-URL:
edanmdm:npg_1-818

James Chrysostom Bouchard

Artist:
Unidentified Artist  Search this
Sitter:
James Chrysostom Bouchard, 1823 - 1889  Search this
Medium:
Oil on canvas
Dimensions:
69cm x 53.8cm (27 3/16" x 21 3/16"), Accurate
Type:
Painting
Date:
c. 1870-89
Topic:
James Chrysostom Bouchard: Male  Search this
James Chrysostom Bouchard: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: de Saisset Museum
Object number:
1.315
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm448a969d0-38bd-4c26-87f4-eafdd6ef8319
EDAN-URL:
edanmdm:npg_1.315

Michael Accolti

Artist:
Ernest Pierre De Saisset, 1864 - 1899  Search this
Sitter:
Michael Accolti, 1807 - 1907  Search this
Medium:
Oil on canvas
Dimensions:
Sight: 76.5cm x 69cm (30 1/8" x 27 3/16"), Accurate
Type:
Painting
Date:
c. 1885-99
Topic:
Interior  Search this
Michael Accolti: Male  Search this
Michael Accolti: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: de Saisset Museum
Object number:
1.57
Restrictions & Rights:
Usage conditions apply
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Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4f8a60e54-9164-4547-bb2f-65eefce599b2
EDAN-URL:
edanmdm:npg_1.57

Enoch Chapin

Artist:
Abel Buel Moore, 1806 - 1879  Search this
Sitter:
Enoch Chapin, 1785 - 1885?  Search this
Medium:
Oil on canvas
Dimensions:
55.9cm x 68.6cm (22" x 27"), Estimate
Type:
Painting
Date:
c. 1835-45
Topic:
Enoch Chapin: Male  Search this
Enoch Chapin: Religion and Spirituality\Clergy\Deacon  Search this
Portrait  Search this
Credit Line:
Owner: George Walter Vincent Smith Art Museum
Object number:
1.72.1
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4c45e22f2-a685-4ee7-ae6d-7ac77462c07e
EDAN-URL:
edanmdm:npg_1.72.1

James Hervey Otey

Attribution:
William Brown Cooper, 1811 - 1900  Search this
Sitter:
James Hervey Otey, 1800 - 1863  Search this
Medium:
Oil on canvas
Dimensions:
90.3cm x 72.5cm (35 9/16" x 28 9/16"), Sight
Type:
Painting
Date:
c. 1850-60
Topic:
James Hervey Otey: Male  Search this
James Hervey Otey: Religion and Spirituality\Clergy  Search this
James Hervey Otey: Religion and Spirituality\Clergy\Prelate\Bishop  Search this
Portrait  Search this
Credit Line:
Owner: Tennessee State Museum
Object number:
1.837
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm434811921-9bdb-46ac-91ec-43563da281f7
EDAN-URL:
edanmdm:npg_1.837

Andrews Norton

Artist:
Unidentified Artist  Search this
Sitter:
Andrews Norton, 1786 - 1853  Search this
Medium:
Marble
Dimensions:
55cm x 39cm x 25cm (21 5/8" x 15 3/8" x 9 13/16"), Estimate
Type:
Sculpture
Date:
1825-35
Topic:
Andrews Norton: Male  Search this
Andrews Norton: Religion and Spirituality\Clergy  Search this
Portrait  Search this
Credit Line:
Owner: Unknown Owner
Object number:
10.1969
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm48d723373-97ec-419b-963e-07f53d08a305
EDAN-URL:
edanmdm:npg_10.1969

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