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Provenance:

New Orleans Town Gardeners, Inc.  Search this

Landscape designer:

Hartwig, Robert L.  Search this

Designer:

McClune, Mike  Search this

Gardener:

Muir, Chris  Search this

Becnel, Karl  Search this

Photographer:

Bush, Barbara G.  Search this

Freeman, Tina  Search this

Wang, Bei Bei  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Scope and Contents:

This file contains 11 digital images and 1 folder.

General:

This 0.6 acre property was established by the current owners in 2004. They were originally drawn to the property because of its potential to have a view of a private back garden from a sheltered terrace. They enlisted the landscape architect Robert L. Hartwig to shape the gardens around their Louisiana French Revival home. The formal and stately design of the garden was inspired by the architecture of the home. The edge of the garden is defined by an old brick wall and a 20-foot Eagleston holly hedge on three sides. An odoatissium, awabuki viburnum hedge graces one side of the walkway to the front gate while a variety of colorful camellias line the other side. The front gate features an ornamental wrought iron arbor mounted to two old brick pillars with white iceberg climbing rose blooms that cling to it in the summer. Three corners of the garden feature large Japanese maples. A 75-year-old live oak tree with Asiatic jasmine planted beneath, stands at the center of the lawn. The multiple white crepe myrtle on the property contrast against the taupe home. Major plantings in the garden include beds of agapanthus, leatherleaf mahonia, aspidistra, periwinkle, and liriope. Augustine grass was used for the lawn because of its exceptional tolerance for heat and sun.

The property features a spacious terrace and meandering walkways constructed of Arizona Rosa Flagstone. A rectangular swimming pool sits to the west side of the lawn, with a pergola positioned behind. Garden seating in the center of the pergola is protected on either side by brick walls covered with manicured ficus. A main focal point of the garden is an assemblage of bronze sculptures representing the owner's five young children that sit to the east side of the garden surrounded by white crepe myrtle trees. The pieces were created by Oklahoma sculptor Leonard McMurray in 1966 and have since weathered to a green patina. The owner created a small potting shed behind the brick wall that they use to practice their hobby of plant propagation. The parapets lining the terrace are crowned with pots of their propogated begonias and calamondins.

Persons associated with the garden include: Robert L. Hartwig (landscape designer, 2004); Mike McClune (designer, 2010); Chris Muir (gardener, 2006); Karl Becnel (gardener, 2004-present).

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Louisiana -- Metairie  Search this

The Weinmann Garden (Metairie, Louisiana)  Search this

United States of America -- Louisiana -- Jefferson Parish -- Metairie  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item LA105

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Louisiana

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb64722bfbd-04a4-4c55-be4c-9a2976d32207

EDAN-URL:

ead_component:sova-aag-gca-ref33230

Manufacturer:

Lockheed Aircraft Company  Search this

Materials:

All-metal

Dimensions:

Overall: 390 x 1170cm, 6345kg, 1580cm (12ft 9 9/16in. x 38ft 4 5/8in., 13988.2lb., 51ft 10 1/16in.)

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Date:

1943

Credit Line:

Transferred from the U.S. Air Force

Inventory Number:

A19600295000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

World War II Aviation (UHC)

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9f8c73f98-d611-4493-a62b-0c7b0d79a9e9

EDAN-URL:

edanmdm:nasm_A19600295000

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2018-02-12T19:58:53.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_2sPA3bBchUw

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2021-10-25T16:17:03.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_J90qyRg7-MM

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2013-03-26T21:00:33.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_ipwe0Jluhpo

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2020-10-15T03:04:04.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_ghOvL1CBIxs

Collector:

James Mooney  Search this

Donor Name:

Bureau Of American Ethnology  Search this

Culture:

Kiowa  Search this

Object Type:

Tipi Model

Place:

Not Given, Oklahoma, United States, North America

Accession Date:

18 Mar 1904

Topic:

Ethnology  Search this

Accession Number:

042431

USNM Number:

E245010-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3c8c6a6d9-01ab-4483-ada7-86634d4ee396

EDAN-URL:

edanmdm:nmnhanthropology_8372376

Creator:

Whitehorse, Roland Noah, 1920-1998  Search this

Extent:

11 Drawings (watercolor, ink, and pencil)

Container:

Box 7616

Culture:

Kiowa  Search this

Type:

Collection descriptions

Archival materials

Graphic Materials

Drawings

Works of art

Watercolors

Place:

North America

Date:

1974

Scope and Contents:

The collection consists of eleven (11) watercolor, ink and pencil drawings by Roland N. Whitehorse. The drawings depict grotesquely comical men. One drawing folds at the edges so that it stands. It is a bust of a cadaverous man, with eagle feathers, discolored eye, diaper pen on a braid, tattoos, and other objects. There is another copy of this drawing and two preliminary drawings in the collection. Three drawings are a set depicting three views of a pot-bellied, garishly painted man. The remaining drawings are pencil sketches of similar figures in various poses.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Roland Noah Whitehorse (1920-1988) was a Kiowa artist, historian, and storyteller. He was born in Carnegie, Oklahoma and attended St. Patrick's Catholic Missions School, Riverside Indian School, Bacone College, and the Dallas Art Institute. He served with the 47th Infantry Regiment, 9th Infantry Division of the U.S. Army, and worked at Ft. Sill as an exhibit specialist with the Ft. Sill Museum and graphics illustrator for the Department of the Army. He was a direct descendant of To-hau-son, the last principal Chief of the Kiowas, and designed the official logo for the Kiowa Tribe of Oklahoma.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Drawings

Watercolors

Citation:

MS 7616 Roland N. Whitehorse drawings, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS7616

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw30cad98c1-6e32-428c-bd65-f17daacf8678

EDAN-URL:

ead_collection:sova-naa-ms7616

Created by:

Princetta Newman, American, born 1943  Search this

Subject of:

Leroy Gibbs, American, 1910 - 1999  Search this

Vernon African Methodist Episcopal Church, American, founded 1905  Search this

Owned by:

Eddie Faye Gates, American, 1934 - 2021  Search this

Medium:

digital

Dimensions:

File size (overall): 686.42 MB

Type:

digital images

programs

digital media - born analog

Place collected:

Tulsa, Tulsa County, Oklahoma, United States, North and Central America

Date:

1999

Topic:

African American  Search this

African Methodist Episcopal  Search this

American South  Search this

American West  Search this

Communities  Search this

Families  Search this

Funeral customs and rites  Search this

Methodist  Search this

Religion  Search this

The Black Church  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist

Object number:

2014.117.67

Restrictions & Rights:

No Known Copyright Restrictions

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Eddie Faye Gates Collection, Tulsa, Oklahoma

Classification:

Memorabilia and Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5b9b51667-8ba9-4819-a229-579429b8279d

EDAN-URL:

edanmdm:nmaahc_2014.117.67

Printed by:

Unidentified  Search this

Subject of:

Dr. T. Oscar Chappelle Sr., American, 1915 - 1990  Search this

Morning Star Baptist Church, American, founded 1916  Search this

Dr. T. Oscar Chappelle Jr., American, 1942 - 2008  Search this

Written by:

Eddie Faye Gates, American, 1934 - 2021  Search this

Owned by:

Eddie Faye Gates, American, 1934 - 2021  Search this

Medium:

digital

Dimensions:

File size (overall): 891 MB

Type:

digital images

programs

digital media - born analog

Place collected:

Tulsa, Tulsa County, Oklahoma, United States, North and Central America

Date:

1990

Topic:

African American  Search this

American South  Search this

American West  Search this

Baptist  Search this

Communities  Search this

Families  Search this

Funeral customs and rites  Search this

Religion  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist

Object number:

2014.117.71

Restrictions & Rights:

No Known Copyright Restrictions

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Eddie Faye Gates Collection, Tulsa, Oklahoma

Classification:

Memorabilia and Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd53cb5ab93-f827-4d7d-9483-10538ce95ab4

EDAN-URL:

edanmdm:nmaahc_2014.117.71

Printed by:

Unidentified  Search this

Subject of:

Fannie Ezelle Hill, American, 1904 - 2006  Search this

Vernon African Methodist Episcopal Church, American, founded 1905  Search this

Written by:

Eddie Faye Gates, American, 1934 - 2021  Search this

Owned by:

Eddie Faye Gates, American, 1934 - 2021  Search this

Medium:

digital

Dimensions:

File size (overall): 944.32 MB

Type:

digital images

programs

digital media - born analog

Place collected:

Tulsa, Tulsa County, Oklahoma, United States, North and Central America

Date:

February 13, 2006

Topic:

African American  Search this

Activism  Search this

African Methodist Episcopal  Search this

American South  Search this

American West  Search this

Communities  Search this

Families  Search this

Funeral customs and rites  Search this

Methodist  Search this

Religion  Search this

The Black Church  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist

Object number:

2014.117.72

Restrictions & Rights:

No Known Copyright Restrictions

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Eddie Faye Gates Collection, Tulsa, Oklahoma

Classification:

Memorabilia and Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd51e8f0943-6b95-4b1a-a1ec-a2ca55a32cf5

EDAN-URL:

edanmdm:nmaahc_2014.117.72

Printed by:

Unidentified  Search this

Subject of:

Gloria Jackson, American, 1921 - 2006  Search this

First Baptist Church of North Tulsa, American, founded 1899  Search this

Owned by:

Eddie Faye Gates, American, 1934 - 2021  Search this

Medium:

digital

Dimensions:

File size (overall): 1.05 GB

Type:

digital images

programs

digital media - born analog

Place depicted:

Tulsa, Tulsa County, Oklahoma, United States, North and Central America

Date:

April 28, 2006

Topic:

African American  Search this

American South  Search this

American West  Search this

Baptist  Search this

Communities  Search this

Families  Search this

Funeral customs and rites  Search this

Prayer  Search this

Religion  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist

Object number:

2014.117.74

Restrictions & Rights:

No Known Copyright Restrictions

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Eddie Faye Gates Collection, Tulsa, Oklahoma

Classification:

Memorabilia and Ephemera

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5eabf0d31-2624-4729-8c2e-799085c4603d

EDAN-URL:

edanmdm:nmaahc_2014.117.74

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

Created by:

Garfield Peart, Jamaican American  Search this

Subject of:

Fort Sill, American, founded 1869  Search this

Medium:

digital

Dimensions:

H x W: 5898 pixels × 4257 pixels

File size (Total): 1.94 MB

Type:

exterior elevations

architectural drawings

conceptual drawings

digital images

digital media - born analog

Place depicted:

Lawton, Comanche County, Oklahoma, United States, North and Central America

Date:

May 2008

Topic:

African American  Search this

Architecture  Search this

Design  Search this

Health  Search this

Housing  Search this

Military  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Donated by Garfield L. Peart, MBA, AIA, NOMA; Architect

Object number:

2021.90.1

Restrictions & Rights:

© Garfield Peart

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Rendering Visible

Classification:

Decorative Arts, Craft, and Design

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5dd5e9b41-0234-4588-b4e0-dbcb4a5097a5

EDAN-URL:

edanmdm:nmaahc_2021.90.1

Created by:

Garfield Peart, Jamaican American  Search this

Subject of:

Fort Sill, American, founded 1869  Search this

Medium:

digital

Dimensions:

H x W: 5971 pixels × 4626 pixels

File size (Total): 1.86 MB

Type:

exterior elevations

architectural drawings

conceptual drawings

digital images

digital media - born analog

Place depicted:

Lawton, Comanche County, Oklahoma, United States, North and Central America

Date:

May 2008

Topic:

African American  Search this

Architecture  Search this

Design  Search this

Health  Search this

Housing  Search this

Military  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Donated by Garfield L. Peart, MBA, AIA, NOMA; Architect

Object number:

2021.90.2

Restrictions & Rights:

© Garfield Peart

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Rendering Visible

Classification:

Decorative Arts, Craft, and Design

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd52dc51731-a4f6-4a95-b3ec-1504969d8054

EDAN-URL:

edanmdm:nmaahc_2021.90.2

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2018-06-14T20:49:49.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_el2fIAisJe8

Creator:

Tichkematse, 1857-1932  Search this

Extent:

1 Volume (8.75 x 5.5 inches)

Culture:

Tsitsistas/Suhtai (Cheyenne)  Search this

Type:

Collection descriptions

Archival materials

Volumes

Works of art

Ledger drawings

Photographs

Place:

Fort Supply (Okla.)

North America

Date:

1887 April

Scope and Contents:

The collection consists of a small notebook of ruled paper containing twenty-one drawings by Tichkematse, one (1) cyanotype photograph, and one (1) note. The notebook has been disbound and the covers retained. The drawings document an 1887 hunting excursion taken by Colonel Bliss of Fort Supply (in Indian Territory) and Major John Dunlop, a visitor to the fort from Washington D.C. Included in the collection are a cyanotype picture featuring Colonel Bliss, end papers, and covers of the book as well as a typescript note pasted to the inside cover describing the drawings. Many drawings are inscribed with names identifying the figures, most of whom are Cheyenne men who were enlisted as Army scouts.

Biographical Note:

Tichkematse, also known as Squint Eyes, (1857-1932) was among the men held prisoner at Fort Marion in Saint Augustine, Florida, from 1875-1878. While imprisoned, he learned to speak English and to read and write. Upon release he attended school at the Hampton Institute in Virginia for about a year before coming to the Smithsonian. There he was trained in the preparation of bird and mammal specimens for study and display. During his time at the Smithsonian, he also produced drawings illustrating his old life on the Plains, full of buffalo hunts and battles as well as everyday camp life. In 1880 he returned to the Cheyenne and Arapaho Reservation in what is now Oklahoma, but he continued his affiliation with the Smithsonian. He was active in collecting bird and mammal specimens as well as craft items acquired from Cheyenne friends and relatives, which he shipped to the museum.

Major John Dunlop was a supply sergeant in San Antonio before the Civil War. He then went to Mexico, and later to Washington. While in Washington he met Col. Bliss and the maintained a friendship over time, resulting in his visiting Bliss in Indian Territory and participating in the hunt depicted.

Historical Note:

Fort Supply, established in 1868, was initially designated as a supply camp where U.S. Cavalry troops could restock and refresh themselves. It was from this post that Custer and the Seventh Cavalry marched to the Battle of Washita. Over the next twenty-five years, soldiers from Fort Supply performed duties that included peace-keeping and monitoring of the Cheyenne and Arapaho reservation and the Cherokee Outlet as well as monitoring the Land Run of 1893. From 1869 to early 1870, the post served as the temporary location for the Cheyenne and Arapaho Indian Agency.

Local Numbers:

NAA MS 7500

Related Materials:

The National Anthropological Archives holds a photographic copy of the complete book of drawings in PhotoLot R79-24.

The National Anthropological Archives holds additional drawings by Tichkematse in MS 39-d-2 Drawings by Tichkematse and others and Tichkematse and Etahdleuh drawings (MS 290844).

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Ledger drawings

Photographs

Citation:

MS 7500 Tichkematse book of drawings, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS7500

See more items in:

MS 7500 Tichkematse book of drawings

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw352d9cc0d-bad6-4a6b-9166-aaba9d151072

EDAN-URL:

ead_collection:sova-naa-ms7500

Artist:

Brummett Echohawk, 3 Mar 1922 - 13 Feb 2006  Search this

Sitter:

James Robert Jones, born 1939  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 91.4 × 66cm (36 × 26")

Type:

Painting

Date:

1985

Topic:

Interior  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Symbols & Motifs\Flag\National\United States  Search this

Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this

James Robert Jones: Male  Search this

James Robert Jones: Law and Law Enforcement\Lawyer  Search this

James Robert Jones: Politics and Government\Diplomat\Ambassador  Search this

James Robert Jones: Politics and Government\US Congressman\Oklahoma  Search this

Portrait  Search this

Credit Line:

Owner: U.S. House of Representatives

Object number:

2002.008.004

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/sm4fa7fc458-f374-4649-960c-c3ecb717f6de

EDAN-URL:

edanmdm:npg_2002.008.004

Creator:

Silver Horn, 1860-1940  Search this

Extent:

1 Volume (graphite, colored pencil, ink and watercolor on the pages of a bound record book, 8.25 x 13.5 inches)

Container:

Box 1

Box 2

Culture:

Kiowa  Search this

Type:

Collection descriptions

Archival materials

Volumes

Works of art

Ledger drawings

Diaries

Place:

North America

Date:

circa 1884-1897

Scope and Contents:

The collection consists of a bound volume of preprinted US Army forms for recording results of target practice, subsequently filled with drawings of courting, hunting, warfare, Saynday stories, and scenes from the Kiowa Sun Dance by Silver Horn and other Kiowa artists. The artists were probably all Army scouts. The book also contains a 30 page pictorial diary by Silver Horn, spanning the period between January 1893 to June 1897. The diary starts near the end of the book and proceeds from the back towards the front. Among the many names inscribed in the book are "Hawgone" (Silver Horn) and "Auchchiah," both of whom served in Troop L of the Seventh Cavalry, an all-Indian troop that was commanded by Scott. The manuscript contains 186 drawings, as well as a number of scribbled images. The pages are hand numbered, 5-356, in red ink in the upper left corner of each page. A second hand pagination in black ink runs from the back of the book toward the front, encompassing the last thirty pages of the book. Previous inscriptions in the book record the results of target practice at Fort Meade, Dakota Territory in 1884. Hugh Scott was stationed at Fort Meade between 1883 to 1886.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Silver Horn, known as Haungooah in Kiowa, was born in 1860. His name also appears as Hugone, Hangun or Hawgon. He was a member of a prominent Kiowa family. His residential band, led by his father Agiati (Gathering Feathers), actively opposed the United States government's efforts to confine the Kiowa to a reservation. Members of his family participated in the Red River War of 1874-1875 and were among the last Kiowa to surrender to the military. In 1891, Silver Horn enlisted in Troop L of the Seventh U.S. Cavalry. He served with Troop L, which was part of a broader experiment involving the enlistment of all-Indian troops, until 1894.

In 1901, Silver Horn secured employment with James Mooney, an ethnologist with the Bureau of American Ethnology. Mooney was interested in the designs on Kiowa shields and tipis and hired Silver Horn to produce illustrations of the designs and models of the shields and tipis. The project provided Silver Horn with steady work between 1902 and 1904 and occassional employment between 1904 and 1906. Silver Horn also produced illustrations for Hugh Scott, an army officer and avocational ethnologist. Silver Horn was active in the religious life of the Kiowa. He was a Tsaidetalyi bundle keeper and participated in the Sun Dance, Ghost Dance, and Peyote religion. He was also a member of the Ohoma society. Silver Horn died on December 14, 1940.

Hugh Scott was a graduate of the United States Military Academy and served as an officer in the Seventh Cavalry. He was initially stationed in the Dakota Territory. There he learned Plains Indian sign language, a skill that enabled him to communicate more easily with the Cheyenne, Sioux, Crow, and Arikara scouts with whom he worked. He was transferred to Fort Sill, Indian Territory in 1889. From 1891 to 1893, he commanded Troop L of the Seventh Cavalry, an all-Indian troop that was comprised primarily of Kiowa men. He was an avocational ethnologist and compiled a small collection of Plains Indian material during his service in the West, including paintings and drawings by Silver Horn. In 1911, he published illustrations from this collection in "Notes on the Kado, or Sun Dance of the Kiowa", which appeared in American Anthropologist.

Local Numbers:

NAA MS 4252

Publication Note:

Many of the Sun Dance images are published with explanations in:

Scott, Hugh L. "Notes on the Kado, or Sun Dance of the Kiowa," American Anthropologist 13, no. 3 (1911): 345-79.

Exhibition Note:

Several of the Saynday images are published with associated stories in Saynday Was Coming Along...Silverhorn's Drawings of the Kiowa Trickster, Smithsonian Institution Traveling Exhibition Service, Candace Greene and Frederick Reuss, 1993.

Genre/Form:

Works of art

Ledger drawings

Diaries

Citation:

MS 4252 Military target record book containing drawings by Silver Horn and others and a pictorial diary by Silver Horn, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4252

See more items in:

MS 4252 Military target record book containing drawings by Silver Horn and others and a pictorial diary by Silver Horn

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3448874fe-7317-40c1-8214-f7354245d292

EDAN-URL:

ead_collection:sova-naa-ms4252

Collection Creator:

Junkin, Hattie Meyers, 1896-1985  Search this

Container:

Box 4, Folder 17

Type:

Archival materials

Text

Date:

1931-11

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

See more items in:

Hattie Meyers Junkin Papers

Hattie Meyers Junkin Papers / Series 3: General materials of Hattie Meyers Junkin

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg27555f373-0faa-4727-be16-7a2237173799

EDAN-URL:

ead_component:sova-nasm-xxxx-0171-ref130