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[Daffodil Hill in The American College Arboretum]: Goodwin Daffodil Hill, view looking up to MDRT Foundation Hall.

Photographer:
Pfaff, Alfred J.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Daffodil Hill in The American College Arboretum (Bryn Mawr, Pennsylvania)
United States of America -- Pennsylvania -- Bryn Mawr
Date:
2001 Apr.
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- Pennsylvania -- Bryn Mawr  Search this
Office buildings  Search this
Daffodils  Search this
Narcissus -- Chinese  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA613003
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA613: Bryn Mawr -- Daffodil Hill in The American College Arboretum
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref17512

[Daffodil Hill in The American College Arboretum]: Goodwin Daffodil Hill, daffodil division plantings clearly defined by mowed paths.

Photographer:
Pfaff, Alfred J.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Daffodil Hill in The American College Arboretum (Bryn Mawr, Pennsylvania)
United States of America -- Pennsylvania -- Bryn Mawr
Date:
2001 Apr.
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- Pennsylvania -- Bryn Mawr  Search this
Daffodils  Search this
Arboretums  Search this
Narcissus -- Chinese  Search this
Parkways  Search this
Walkways, grass  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item PA613005
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania / PA613: Bryn Mawr -- Daffodil Hill in The American College Arboretum
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref17513

Loo, C. T.

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 58, Folder 29
Type:
Archival materials
Date:
1934-1952
Collection Restrictions:
Use of original papers requires an appointment.
Collection 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.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-jacqself-ref10417
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Diary

Collection Creator:
Tam, Reuben  Search this
Container:
Box 5, Folder 8
Type:
Archival materials
Date:
1962-1974
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Reuben Tam papers, 1931-2006. Archives of American Art, Smithsonian Institution.
See more items in:
Reuben Tam papers
Reuben Tam papers / Series 3: Diaries
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-tamreub-ref160
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  • View Diary digital asset number 1

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:

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:
Painters  Search this
Topic:
Women artists  Search this
Art, Modern -- 20th century -- United States  Search this
Women artists -- Photographs  Search this
Vietnamese Conflict, 1961-1975 -- Protest Movements -- United States  Search this
Sculptors  Search this
Designers  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
EDAN-URL:
ead_collection:sova-aaa-grayclev

[Questover]: spider web sculpture with surrounding bulbs and woodland beyond.

Photographer:
Daniels, Emily  Search this
Provenance:
Indianapolis Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col., 35 mm.)
Type:
Archival materials
Slides
Place:
Questover (Indianapolis, Indiana)
Indiana -- Indianapolis
United States of America -- Indiana -- Marion County -- Indianapolis
Date:
2006.
Former Title:
[Vellamada]
Collection Restrictions:
Access to original images 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.
Topic:
Gardens -- Indiana -- Indianapolis  Search this
Trees  Search this
Spring  Search this
Daffodils  Search this
Bulbs  Search this
Woodland gardens  Search this
Sculpture  Search this
Narcissus -- Chinese  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item IN023011
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Indiana / IN023: Indianapolis -- Questover
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref7355

MS 7599 The Book of Narcissus

Creator:
Weng Guoliang  Search this
Yu youren (cover calligrapher)  Search this
Illustrator:
Chunxue  Search this
Extent:
1 Volume (27.3x15.5x.5 cm)
Type:
Collection descriptions
Archival materials
Volumes
Date:
undated
Scope and Contents:
Contents: 1. The structure and function of narcissus; 2. The various terms of narcissus and their origins; 3. The myths of narcissus from China and foreign countries; 4. One poem of narcissus from France; 5. The descriptions of narcissus by the Chinese literati; 6. The poetry of narcissus by the poets ofthe Song dynasty; 7. The discussion about the narcissus is not only found in Zhngzhou area but also in other places; 8. The status of narcissus in the ballad of southern China; 9. The research about the narcissus is originated from Wudan san (a mountain in southeastern China); 10. The research about the Chinese narcissus to determine if it is a foreign import; 11. The decorations, games, and taboos related to the narcissus; 12. The method to plant the narcissus; 13. The method to plant the narcissus; 13. The reason why growing narcissus in Zhangzhou is especially prosperous; 14. The production quantity and market demand of narcissus in Zhangzhou; 15. The god(dess), exercise and other information about narcissus. Included is a separate sheet (19.5X13.7 cm), an advertisement of the book. The name Chunxue (illustrator) is the author's nom de plume.
Local Numbers:
NAA MS 7599
Local Note:
Information from Huey-ing Jeng, museum intern from GeorgeWashington University, and Chang-su Houchins, of the Department of Anthropology.
Topic:
Narcissus -- Chinese  Search this
Flowers -- Chinese  Search this
China -- Narcissus  Search this
Citation:
Manuscript 7599, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS7599
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms7599
Online Media:

44c Year of the Tiger single

Title:
Scott Catalogue USA 4435
Medium:
paper; ink (multicolored) / photogravure
Type:
Postage Stamps
Place:
United States of America
Date:
January 14, 2010
Topic:
Holidays & Celebrations  Search this
Asian-Pacific American Heritage  Search this
Contemporary (1990-present)  Search this
Plants  Search this
U.S. Stamps  Search this
Credit line:
Copyright United States Postal Service. All rights reserved.
Object number:
2010.2009.1
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm86233be28-b7a9-40a4-b915-bc172a5ac1db
EDAN-URL:
edanmdm:npm_2010.2009.1

5 Yuan, China, 2005

Physical Description:
paper (overall material)
Measurements:
overall: 6.3 cm x 13.6 cm x .01 cm; 2 15/32 in x 5 11/32 in x in
Object Name:
note
Place made:
China
Date made:
2005
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Credit Line:
SI Transfer
ID Number:
2016.0129.07
Accession number:
2016.0129
Catalog number:
2016.0129.07
Serial number:
TX09721193
See more items in:
Work and Industry: National Numismatic Collection
Chinese Banknotes
NNC_Transcription_Center_Chinese_Banknote_01
NNC Chinese Bank Notes
Chinese Paper Money
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b2-9221-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1807252
Online Media:

Abbott's Monthly Vol. II No. 5

Created by:
Abbott's Monthly, American, 1929 - 1933  Search this
Published by:
Robert Sengstacke Abbott, American, 1830 - 1940  Search this
Edited by:
Lucius Clinton Harper, American, 1895 - 1952  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 11 3/8 x 8 9/16 x 1/4 in. (28.9 x 21.7 x 0.6 cm)
Type:
magazines (periodicals)
Place made:
3435 Indiana Avenue, Chicago, Cook County, Illinois, United States, North and Central America
Place depicted:
Uruguay, Latin America, South America
Date:
May 1931
Topic:
African American  Search this
Literature  Search this
Mass media  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Bobbie Ross in memory of Elizabeth Dillard
Object number:
2012.84.1
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Exhibition:
Making a Way Out of No Way
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd58f7ecbd1-e6d0-4323-9d05-7542750216f8
EDAN-URL:
edanmdm:nmaahc_2012.84.1
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  • View <I>Abbott's Monthly Vol. II No. 5</I> digital asset number 1

Album of Flowers and Portrait of Shitao: Bamboo and Narcissus

Artist:
Shitao (1642-1707)  Search this
Seal of:
Zhang Daqian 張大千 (China, 1899-1983)  Search this
Medium:
Ink and color on paper
Dimensions:
H x W (image): 25.6 x 34.5 cm (10 1/16 x 13 9/16 in)
Type:
Album
Painting
Origin:
Yangzhou, Jiangsu province, China
Date:
ca. 1698
Period:
Qing dynasty
Topic:
bamboo  Search this
Qing dynasty (1644 - 1911)  Search this
China  Search this
narcissus  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Gift of Arthur M. Sackler
Accession Number:
S1987.207.3
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3b649cd35-99ba-4a22-aea8-7ba221da0d7f
EDAN-URL:
edanmdm:fsg_S1987.207.3

Camellia, Narcissus, and Plum Blossoms

Artist:
Huang Binhong (1865-1955)  Search this
Medium:
Ink and color on paper
Dimensions:
H x W (image): 72 x 31.5 cm (28 3/8 x 12 3/8 in)
Type:
Painting
Origin:
Xixian, Anhui province, China
Date:
1951
Period:
Modern period
Topic:
Modern period (1912 - present)  Search this
plum blossom  Search this
camellia  Search this
China  Search this
narcissus  Search this
Chinese Art  Search this
Credit Line:
Gift of Arthur M. Sackler
Accession Number:
S1987.243
Restrictions & Rights:
Usage conditions apply
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye34674f686-ddc4-42b2-a2a7-ccb4da6a4230
EDAN-URL:
edanmdm:fsg_S1987.243

Tray with narcissus decoration in mother-of-pearl

Medium:
Lacquer over wood, and mother-of-pearl
Dimensions:
H x Diam (overall): 4 x 33.3 cm (1 9/16 x 13 1/8 in)
Type:
Lacquer
Container
Origin:
China
Date:
1100-1279
Period:
Probably Southern Song dynasty
Topic:
flower  Search this
Southern Song dynasty (1127 - 1279)  Search this
butterfly  Search this
China  Search this
narcissus  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Gift of Arthur M. Sackler
Accession Number:
S1987.363
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye39469746a-f0f2-48c3-add1-bcb45d84072b
EDAN-URL:
edanmdm:fsg_S1987.363

Narcissus and Wintersweet

Artist:
Copy after Qiu Ying 仇英 (ca. 1494-1552)  Search this
Medium:
Ink and color on paper
Dimensions:
H x W (image): 49.8 × 24.8 cm (19 5/8 × 9 3/4 in)
Type:
Painting
Origin:
China
Date:
after 1547
Period:
Ming dynasty
Topic:
flower  Search this
Ming dynasty (1368 - 1644)  Search this
China  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Purchase — Charles Lang Freer Endowment
Accession Number:
F1960.26
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye311b991e4-291f-4ed8-8164-25c0e70060c0
EDAN-URL:
edanmdm:fsg_F1960.26

The Three Purities: Plum Blossoms, Bamboo, and Narcissus

Artist:
Xi Gang 奚岡 (1746-1803)  Search this
Medium:
Ink and color on paper
Dimensions:
H x W (image): 120.6 x 33 cm (47 1/2 x 13 in)
Type:
Painting
Origin:
China
Date:
1788
Period:
Qing dynasty
Topic:
flower  Search this
bamboo  Search this
Qing dynasty (1644 - 1911)  Search this
China  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Purchase — Charles Lang Freer Endowment
Accession Number:
F1977.7
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye36f9b8ee0-6334-413e-a109-4b8fb535a23f
EDAN-URL:
edanmdm:fsg_F1977.7

Landscapes, Flowers and Birds: Narcissus

Artist:
Luo Ping (1733-1799)  Search this
Medium:
Ink on paper
Dimensions:
H x W (image): 22 x 27 cm (8 11/16 x 10 5/8 in)
Type:
Album
Painting
Origin:
China
Date:
1780
Period:
Qing dynasty
Topic:
flower  Search this
Qing dynasty (1644 - 1911)  Search this
China  Search this
narcissus  Search this
Chinese Art  Search this
WWII-era provenance  Search this
Credit Line:
Transfer from the United States Customs Service, Department of the Treasury
Accession Number:
F1980.112h
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye314a9004b-ceff-4ccd-b157-ddce1db9973f
EDAN-URL:
edanmdm:fsg_F1980.112h

Mandarin Ducks under Blossoming Plum Tree

Artist:
School of Shen Quan (1682-after 1760)  Search this
Medium:
Hanging scroll mounted on panel; ink and color on silk
Dimensions:
H x W (image): 162.6 x 80.8 cm (64 x 31 13/16 in)
Type:
Painting
Origin:
China
Date:
mid 18th century
Period:
Qing dynasty
Topic:
bird  Search this
duck  Search this
tree  Search this
flower  Search this
Qing dynasty (1644 - 1911)  Search this
plum blossom  Search this
fungus-of-immortality  Search this
China  Search this
bird and flower  Search this
narcissus  Search this
Chinese Art  Search this
Credit Line:
Gift of Charles Lang Freer
Accession Number:
F1916.101
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye304c100ef-69c3-4d8d-899c-f06aed14be72
EDAN-URL:
edanmdm:fsg_F1916.101

Children at Play

Artist:
Traditionally attributed to Zhang Xuan (active early-mid-8th century)  Search this
Medium:
Hanging scroll mounted on panel; ink and color on silk
Dimensions:
H x W (image): 63.4 x 39.5 cm (24 15/16 x 15 9/16 in)
Type:
Painting
Origin:
China
Date:
1368-1644
Period:
Ming dynasty
Topic:
bird  Search this
flower  Search this
playing  Search this
goat  Search this
Ming dynasty (1368 - 1644)  Search this
new year  Search this
child  Search this
lotus  Search this
cat  Search this
camellia  Search this
palace  Search this
garden  Search this
banana tree  Search this
China  Search this
plum tree  Search this
narcissus  Search this
rock  Search this
Chinese Art  Search this
Credit Line:
Gift of Charles Lang Freer
Accession Number:
F1916.60
Restrictions & Rights:
CC0
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3099bc486-65ba-4ef3-9800-ff1f2c75d114
EDAN-URL:
edanmdm:fsg_F1916.60

Narcissus

Artist:
Traditionally attributed to Zhao Mengjian (1199-ca. 1267)  Search this
Medium:
Ink on paper
Dimensions:
H x W (image): 31.5 x 76.6 cm (12 3/8 x 30 3/16 in)
Type:
Painting
Origin:
China
Date:
13th century
Period:
Southern Song dynasty
Topic:
flower  Search this
Southern Song dynasty (1127 - 1279)  Search this
China  Search this
narcissus  Search this
Chinese Art  Search this
Credit Line:
Purchase — Charles Lang Freer Endowment
Accession Number:
F1933.8
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye34dadd469-4a51-4c28-b3f5-6093c5a2e92b
EDAN-URL:
edanmdm:fsg_F1933.8
Online Media:

Peaches, Rocks, and Flowers

Medium:
Ink and color on silk
Dimensions:
H x W: 129.1 x 57.2 cm (50 13/16 x 22 1/2 in)
Type:
Painting
Origin:
China
Date:
1644-1911
Period:
Qing dynasty
Topic:
still life  Search this
flower  Search this
Qing dynasty (1644 - 1911)  Search this
China  Search this
peach tree  Search this
narcissus  Search this
Chinese Art  Search this
Credit Line:
Gift of Charles Lang Freer
Accession Number:
F1909.166
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3350e621f-a845-41c6-9838-010dc0cbea04
EDAN-URL:
edanmdm:fsg_F1909.166

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