A Finding Aid to the Cleve Gray Papers,
1933-2005, in the Archives of American Art, by Catherine S. Gaines
Table of Contents:
- Biographical Information
- Overview of the Collection
- How to Use the Collection
- Detailed Description and Container Inventory
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'Keefe. 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.
Overview of the Collection
Scope and Contents
The Cleve Gray papers, 1933-2005, measure 8.8 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 and Series Description
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.)
Subjects and Names
This collection is indexed in the online catalog of the Archives of American Art under the following terms:
- Dillenberger, Jane
- Duchanp, Marcel, 1887-1968
- Gabo, Naum, 1890-
- Lipchitz, Jacques, 1891-1973
- Marin, John, 1870-1953
- Pollock, Jackson, 1912-1956
- Richter, Hans, 1888-1976
- Smith, David, 1906-1965
- Neuberger Museum of Art
- Art, Modern--20th century--United States
- Vietnamese Conflict, 1961-1975--Protest movements--United States
- Women artists--Photographs
- Women artists
Types of Materials:
- Drafts (documents)
- Reviews (documents)
- Sound recordings
- Video recordings
- Barzun, Jacques, 1907-
- Calder, Alexander, 1898-1976
- Davis, Jim, 1901-1974
- Ernst, Jimmy, 1920-
- Gabo, Naum, 1890-
- Grace, Louise N.
- Gray, Francine du Plessix
- Marin, John, 1870-1953
- Richter, Hans, 1888-1976
- Weber, Nicholas Fox, 1947-
- Villon, Jacques, 1875-1963
- Berry-Hill Galleries
- Betty Parsons Gallery
- Connecticut--Commission on Arts, Tourismm Culture, History and Film
- Jacques Seligmann and Co.
- Neuberger Museum of Art
- Pratt Institute
- Princeton University
- Rhode Island School of Design
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.
Separated and Related Materials
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.
How the Collection was Processed
The 1967 and 1968 gifts were processed by Archives of American Art staff prior to microfilming. Final processing by Catherine S. Gaines in 2008 merged all portions of the Cleve Gray papers; their arrangement now reflects current archival standards and may no longer correspond to the arrangement on microfilm.
How to Use the Collection
Restrictions on Use
Use of original material requires an appointment. Use of archival audiovisual recordigs with no duplicate access copy requires advance notice.
Ownership & Literary Rights
The Cleve Gray papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
How to Cite this Collection
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Detailed Description and Container Inventory
Biographical Material, 1943-circa 2001
(Box 1; 0.1 linear ft.)
Personal documentation consists of reproductions of Gray's Princeton University transcript and U. S. Army honorable discharge papers.
Additional awards (Neuberger Museum of Art Lifetime Achievement Award and Connecticut Aberdeen-Angus Breeders' Association blue ribbon) are housed with Artifacts (Series 7).
|1||2||Biographical Notes, 1962-circa 2001, undated|
|1||5||"Personal Documentation," 1943-1948|
Alphabetical Files, 1936-2005
(Boxes 1-5, 9; 4.3 linear ft.)
Alphabetical files consist of 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. Correspondents of note include: Abe Ajay, Jacques Barzun, John Cage, Alexander Calder, James E. Davis, Marcel Duchamp, Helen Frankenthaler, Naum Gabo, Albert Gleizes, Bruce Goff, Louise N. Grace, Philip Guston, Howard and Jean Lipman, Robert Motherwell, Barnet Newman, Hans and Fridel Richter, George Rickey, Bridget Riley, Barbara Rose, George Rowley, and Jacques and Gaby Villon. Other substantial correspondence is with: Berry-Hill Galleries, Betty Parsons Gallery, Century Association, Columbia University, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, New York Studio School, Pratt Institute, Princeton University, Rhode Island School of Design, and Yale University.
Subject files mostly consist of correspondence, but include printed material and some photographs. Among them are: Art Collection of Cleve and Francine Gray, Art in America Ceramics Project, Art in America Decorative Arts Show, Artist-Art Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, "Narcissus in Chaos," Outdoor Art at the Station, Promised Gifts to Museums, Sculpture, Threnody, Vestments, and Vietnam Protest. Other files of particular interest relate to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research materials and illustrations (photographs of artists including: Nell Blaine, Lee Bontecou, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, and Ethel Magafan) for his Cosmopolitan article "Women - Leaders of Modern Art."
Abrams, Harry N.
Addison Gallery of American Art, 1967-1997
|1||7||Addison Gallery of American Art Committee, 1955-1967|
|1||8||Addison Gallery of American Art Committee, 1969-1974|
"Admired Articles," 1924-1996, undated
|1||12||Ajay, Abe, 1970-1992|
|1||13||Albright-Knox Art Gallery, 1975-1983|
|1||14||Albright-Knox Exhibition Catalog (thank you letters), 1977|
Aldrich Museum of Contemporary Art - Alva Gallery, 1985-2002
|1||16||American Academy and Institute of Arts and Letters, 1985-1998|
American Academy in Rome, 1985-1996
American Council of Learned Societies - Archives of American Art, 1966-1998
|1||19||Arlene McDaniel Galleries, 1983-1992|
|1||20||Armstrong Gallery, 1983-1987, undated|
|1||21||Art Advisory Services, Inc., 1993-2001, undated|
|1||22||Art Collection of Cleve and Francine Gray, 1960-1997, undated|
|1||23||Art for Mexico, 1986|
|1||24||Art in America, 1968-1971|
|1||25||Art in America Ceramics Project, 1961-1966|
|1||26||Art in America Decorative Arts Show, 1963|
|1||27||Art in Embassies Program, U. S. Department of State, 1991-2002|
Art Loss Register - Art Now: New York, 1970-1997
|1||29||Arte de America y España, Madrid, 1963|
|1||30||Artist-Art Dealer Consignments and Visual Artists' Rights Act of 1989, 1978-1989|
Artists' Tax Equity Act of 1979, 1976-1979
|1||33||Associated American Artists, 1963-1972, undated|
Atelier Mourlot Ltd. - Barnet, Will, 1968-2002,
|1||35||Barzun, Jacques, 1949-1995, undated|
|1||36||Barzun, Jacques, 1967-1995|
|1||37||Beier, Carol, 1970-1971|
|1||38||Berrigan, Carol Natalie, 1972-1973|
|1||39||Berrigan, Philip, 1973-1989|
Berry-Hill Galleries, Inc., 1988-2003, undated
Beth El Temple of West Hartford, Sisterhood - Betts, Edward,
|1||46-49||Betty Parsons Gallery, 1968-1971|
Betty Parsons Gallery, 1983, undated
|2||3||Birch, Stephen, Jr., Estate of, 1971|
|2||4||Boody Fine Arts, Inc., 1985-1996|
Boston, Richard and Cindy - Breeskin, Adelyn, 1968-1994
|2||6||Brooklyn Museum of Art, 1984-1997|
Bruce Museum - Buckalew, Ralph,
|2||8||Butler Institute of American Art, 1995-1998|
Cage, John - Cartier-Bresson, Henri,
|2||10||Central Connecticut State University, 1989-1990|
|2||11||Century Association, 1968-2001, undated|
Chamberlain, Richard - Clevepak Corporation,
|2||13||Collins Communications, 1997|
|2||14||Arts Center, 1959-1962|
|2||15||John Jay National Scholarship Program, 1971|
|2||16||Review of Graduate Program in Painting and Sculpture, 1977|
Columbus Museum of Art - Connecticut Civil Liberties Union,
|2||18||Connecticut Commission on the Arts, 1977-1994, undated|
Copley, William - Cormus, Frances,
Correspondence, Business, 1946-1966, undated
|2||Cosmopolitan Article, "Women-Leaders of Modern Art" (|
|2||22||Correspondence, Research Material, and Manuscript), circa 1960-1961|
Illustrations (photographs of artists and art work),
Crawford, Ralston - Danto, Arthur C.,
|2||25||Davis, James E., 1966-1967|
|2||26||Davis, James E., 1966-1971, undated|
De Cordova Museum - Dehner, Dorothy,
|2||28||Dillenberger, Jane, 1978-1991, undated|
|2||29||Drake, Allan, 1972-1973, undated|
|2||30||Drury, Felix, 1976|
Duchamp, Marcel, 1967-2001
|2||32||Duchamp-Poincaré Symposium (Harvard University, 1999), 1998-2001|
|2||33||Duffy, Joseph, 1968-1970, undated|
|2||34||Duke University Museum of Art, 1985-1997, undated|
Eichenberg, Fritz - Estudio Actual,
|2||36||Eva Cohon Gallery Ltd., 1990-1992, undated|
|2||37||Eve Mannes Gallery, 1987|
|2||38||Fairweather Hardin Gallery, 1983-1987, undated|
|2||39||Farm, 1951-1960, undated|
|2||40||Farmington Public Schools, 1988|
|2||42||Ferber, Herbert, 1989|
|2||43||Fogg Art Museum, Harvard University, 1971-1995, undated|
Frankenthaler, Helen - Gabo, Miriam,
|2||46||Correspondence, 1966-1978, undated|
|2||47||Galleria Pagani Exhibition, 1962-1963|
|2||48||Gallery Two Nine One, 1984-1985|
Georges Borchardt, Inc., Literary Agent-Gervais, André, 1978-1987
|2||50||Gleizes, Albert, 1949-1950|
|2||51||Goff, Bruce, 1964-1965|
|2||52||Goff, Bruce, 1968-1969|
|2||53||Goodale, James C., 1931|
Grace, Louise N., 1943-1946
Grace, Louise N., 1944-1946
|2||57||Graduate Theological Union, Berkeley, 1995-2000|
Greater Hartford Civic and Arts Festival - Guberman, Sidney,
Guggenheim-Kandinsky Affair - Handman, Wynn, 1964-1976
|2||60||Hank Baum Gallery/Graphics Gallery/Graphic Gallery, 1969-1980|
Hanover, Nancy - Harry N. Abrams, Inc., 1970-1998
Hartford Courant - Hirshhorn Museum and Sculpture Garden, 1969-1998, undated
|2||63||Holt, Rinehart and Winston, Inc., 1968-2002, undated|
|2||64||"Homage to Betty Parsons," 1997|
|2||65||Honolulu, 1969-1971, undated|
Honolulu Academy of Arts,
House and Garden-Instituto Mexicano Norteamericano de
Relaciones Culturales, A.C., 1968-1987, undated
|3||3||Irving Galleries, 1980-1999, undated|
|3||4||Israel, 1971-1981, undated|
Javits, Marian B. - Jewish Museum,
Jacques Seligmann and Co., Inc., 1949-1959
|3||7||Jacques Seligmann and Co., Inc., 1947-1976|
|3||8||Jerold Morris International Gallery Limited, 1962-1963|
|3||9||John Simon Guggenheim Memorial Foundation, 1972-1973|
Johns, Jasper - Kennedy Graphics, Inc.,
|3||11||Kennedy, John F. (Cosmopolitan Gallery exhibition), 1964|
Kienbusch, William - Kramer, Nathaniel D.,
|3||13||Krannert Art Museum, University of Illinois, 1977-1978|
|3||14||Lavin, Marilyn, 1984|
Legal Documents (leases, agreements, insurance policy, etc.),
(Reel D314, frames 689-716)
|3||16||Leonardo: International Journal of Contemporary Art, 1969|
|3||17||Leslie Feely Fine Art, 1994-1995|
Lewis, Tom and Stasia - Luers, William H., 1969-2001, undated
|3||19||M. H. de Young Memorial Museum, 2001-2005|
|3||20||Mac Dowell Colony, undated|
|3||21||Mailing Lists, 1995-1997|
|3||22||Mailing Lists, undated|
|3||23||Mangel Gallery/Benjamin Mangel Gallery, 1983-2000,undated|
|3||24||Mangravite, Peppino, 1969-1970|
|3||25||Marble Care and Repair, 1987, undated|
|3||26||Marin, John (book and exhibitions), 1968-1992, undated|
Martha Lincoln Gallery - Massachusetts College of Art, 1970-1996
|3||28||Mattatuck Historical Society, 1979-1997, undated|
Matter, Mercedes - Miller, Stephen,
Minnesota Museum of Art - Murch, Katharine (Mrs. Walter T.),
|3||31||Museum of Fine Arts, Boston, 1990-1997|
|3||32||Museum of Fine Arts, Houston, 1983-1998|
Museum of Modern Art, 1995-1999, undated
|3||34||"My Insomnia" (fan mail re: Gray's poem in The New York Times), 1976|
Nabakov, Dominique and Nicolas - Nakian, Paul S.,
|3||36||"Narcissus in Chaos" correspondence, 1958-1961, undated|
|3||37||National Collection of Fine Arts/National Museum of American Art, Smithsonian Institution, 1968-1997|
Neuberger Museum of Art, State University of New York, College at Purchase,
|3||40||Neuberger, Roy, 1973-1987|
New Britain Museum of American Art, 1981-2003
New York Foundation for the Arts - New York Graphic Society Ltd.,
|3||43||New York Studio School, 1972-1977, undated|
The New Yorker - Newark Museum,
Newman, Barnett, 1968-1989, undated
Nicholson, John and Carol Grim - Ogden City Schools, 1968-2001, undated
|3||47||Oklahoma Art Center, 1963|
Orozco, José Clemente - Osborn, Robert,
|3||49||Outdoor Art at the Station, 1987|
|3||50||Outdoor Art at the Station, 1988-1989|
Partisan Review - Pincus-Witten, Robert,
|3||52||Politicians and Political Campaigns, 1968-1990|
|3||53||Ponce de Leon, Michael, 1968-1969|
|3||54||Pratt Graphic Art Center, 1964-1966|
|3||55||Pratt Center for Contemporary Printmaking/Pratt Graphics Center, 1967-1986, undated|
|3||56||Alumni Collectors Exhibition, 1971-1972|
|3||57||Art History Notes, Quizzes, Examinations, 1936-1940|
Art Museum, 1970-1991
Promised Gifts to Museums, 1973-2005
"Questions You Should Ask Your Framer and Answers You Should Get" - Reynal, Jeanne, 1972, undated
|4||Rhode Island School of Design|
|4||2||College, 1968-2000, undated|
Museum, 1969-1997, undated
|4||4||Richard Feigen Gallery, 1968|
|4||5||Richter, Fridel, 1972-1978|
|4||Richter, Hans (See also: Von Hofacker, Marion, Box 4, F 51)|
|4||6||Book (includes permissions), 1969-1972|
|4||7||Correspondence, 1940, 1965-1975, undated|
|4||9||Exhibitions (Neuberger Museum, Rhode Island School of Design, Stamford Museum, University of Iowa), 1971-1995|
|4||10||Inventories and Lists of Art Work, 1965-1994, undated|
Rickey, George - Riley, Bridget, 1984-1994, undated
|4||12||Robert L. Kidd Associates, Incorporated, 1983-1985|
Roberts, Colette - Rorimer, Kay (Mrs. James T.), 1968-1995, undated
|4||14||Rose, Barbara, 1988-1996, undated|
Roth, Philip - Rothschild, Philippe, 1985-1991
|4||16||Rowley, George (includes transcript of conversation with Gray about Chinese and Western composition), 1955|
|4||17||Royal Globe Insurance Co. Claim, 1971|
Rubenstein, Angelica Zander - Saidenberg Gallery Inc., 1965-1994
|4||19||St. John the Divine, Cathedral Church of, 1974-1990, undated|
St. John's Parish (Washington, CT), 1971
|4||21||St. Paul's School, 1968-1969|
St. Peter's Church - Schapiro, Meyer,
|4||23||Schmit, Dorothee (re: Villon), 1999-2001, undated|
Schrag, Karl - Scull, Robert C., 1968-2000
|4||25||Sculpture, 1971-1977, undated|
"The Seduction and Betrayal of Contemporary Art," 1988-1989
|4||27||Sharon Creative Arts Foundation, 1972|
|4||28||Shearer, Rhonda (re: Marcel Duchamp), 1998|
Sheldon Memorial Art Gallery and Sculpture Garden - Sloan, Eric,
Book (includes permissions), 1966-1999, undated
|4||32||Book (thank you letters), 1968-1969|
|4||34||Smith, John E., 1979-1981|
|4||35||Sneed Gallery/Sneed-Hillman Gallery, 1969-1987, undated|
Solo Press, Inc. - Staempfli Gallery,
State University of New York at Albany, Art Gallery - Thaw, Eugene Victor,
|4||38||Thomas Gilcrease Institute of American History and Art, 1963-1964|
Thomson, Virgil - 3K s.n.c. Stamperia D'Arte, 1969-1982
|4||40||Threnody, 1973-2002, undated|
Trevor-Roper, Alexandra - University of Connecticut, 1974-1992, undated
|4||42||University of Hartford, 1984-2001|
|4||43||Vermont Studio Center, 1994|
Vestments, 1975-1984, undated
|4||45||Vicente, Harriet (Mrs. Esteban), 1970-1973|
Vietnam Protest, 1967-1970
Vietnam Protest, circa 1969
Vietnam Protest, 1968-1969
Villon, Jacques and Gaby, 1946-1963
|4||50||Virginia Lynch Gallery, 1986-2003, undated|
Visual Arts and Galleries Association - Waddell, Richard W., 1967-2001
Wadsworth Atheneum, 1973-2003, undated
Walmsley, Arthur E. (Bishop, Episcopal Diocese of Connecticut), 1988
Warren, CT, 1964-1986, undated
|4||55||Washington Art Association (Washington Depot, CT), 1984-1988|
Weber, Nicholas Fox (re: Cleve Gray), 1996-1999, undated
Weber, Nicholas Fox (edited galley sheets, Cleve Gray, 1998
(oversized material housed in Box 9)
Weiss, Peter - West Cornwall Gallery, 1972-1988, undated
Whitney Museum of American Art, 1974-1997
William Benton Museum of Art - Worcester Art Museum, 1974-2001
|5||7||Wykeham Rise, 1968-1973|
|5||8||Yager, Karen (re: conservation of Marc Chagall watercolor), 1991-1992|
Yale University, 1968-2002
|5||10||Yau, John, 1983|
Unidentified (Aggie - Ullu), 1961-1987
|5||12||Illegible; Unsigned, 1966-2004, undated|
Oversize Alphabetical Files (Weber, Nicholas Fox), 1998
(Boxes 5-6; 0.85 linear ft.)
This series consists of manuscripts and drafts, research materials, notes, and miscellaneous writings. Writings by Cleve Gray on a wide range of art-related topics include articles, catalog introductions and reviews. Of particular interest are autobiographical notes in the form of a chronology that Nicholas Fox Weber, Gray's biographer, cited as an "autochronology."
Among the writings by other authors are pieces about Cleve Gray including the manuscript of Cleve Gray by Nicholas Fox Weber and records concerning three books edited by Gray, David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for the next volume in the series, Naum Gabo, which was never published. Also included are notes relating to Cleve Gray's translation of A l'Iinfinitif by Marcel Duchamp.
Also found is a small volume of notes and reminiscences about Jackson Pollock by an unidentified author.
A small number of miscellaneous writings by Gray and others are scattered throughout the alphabetical files (Series 2). Alphabetical files also contain correspondence regarding the publication Cleve Gray by Nicholas Fox Weber and the books on artists edited by Gray. Among the photographs (Series 8) are those used to illustrate David Smith by David Smith: Sculpture and Writings and a few illustrations for John Marin.
3.1: By Cleve Gray, 1936-1994
Gray's writings inclued manuscripts of published articles, catalog introductions, and reviews, along with artist's statements, his "autochronology," lecture notes and texts, poems, political statements, and student papers.
Writings by Cleve Gray are categorized by format and arranged alphabetically within each.
Articles, Catalog Introductions, Reviews ("Alexander Calder's
Circus"-"The Holocaust Triptychs"), 1960s, undated
Articles, Catalog Introductions, Reviews ("Jacques Villon"-"Narcissus in Chaos"), circa 1953-1979, undated
|5||15||Articles, Catalog Introductions, Reviews ("Naum Gabo Talks about Constructivism"), undated|
Articles, Catalog Introductions, Reviews ("Opening Exhibition at
the Cosmopolitan Gallery" - "Thoughts on John Marin"), 1964, undated
Articles, Catalog Introductions, Reviews (Untitled), 1970, undated
|5||18||Artist's Statements, 1975, undated|
|5||19||"Autochronology," circa 1977|
|5||20||Book Proposal (with Bryan Robertson), undated|
|5||21||Lectures and Talks, 1975-1994, undated|
|5||22||Lists, 1984, undated|
|5||23||Notes, Miscellaneous, undated|
|5||24||Notes, Miscellaneous, undated|
|5||25||Poems, 1976-1991, undated|
|5||26||Political Statements, circa 1968-1970|
|5||27||Student Papers ("Early Writings," Princeton University), 1936-1939|
3.2: By Other Authors, 1952-2000
Writings about Gray include a biography, Cleve Gray, by Nicholas Fox Weber, and manuscripts of a poem, student paper, and reviews.
A significant portion of this subseries is comprised of manuscripts, drafts, notes, and research materials for three books edited by Cleve Gray, David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Published by Holt, Rinehart and Winston, Inc. between 1968 and 1973, each volume features selected writings by the artist about his work and life, along with photogrphs. Research material survives for the next volume in the series, Naum Gabo, which was never published. Gray discontinued the series when Gabo abruptly changed his mind just as the manuscript was nearly completed. This subseries also contains notes concerning Gray's translation of A L'Infinitif by Marcel Duchamp.
Also found is "The Resurrection in Art," a lecture by Jane Daggett Dillenberger. Among the items by unknown authors is a small volume containing notes and reminiscences of Jackson Pollock.
About Cleve Gray - Cleve Gray by Nicholas Fox Weber (manuscript), 1997
About Cleve Gray - Miscellaneous Writings, 1952, undated
|5||Edited by Cleve Gray - David Smith by David Smith: Sculpture and Writings|
Manuscript and Drafts, circa 1967-1968
|5||35||Manuscript and Drafts, circa 1967-1968|
|5||36||Notes (Archives of American Art microfilm and other sources), circa 1967-1968|
|5||37||Notes (re: Draft #3), circa 1967-1968|
|5||38||"Notes to the Pages" (citing Smith sketchbooks and Archives of American Art microfilm), circa 1967-1968|
Research Materials (notes, transcripts of Smith's writings and copies of documents on Archives of American Art microfilm), circa 1967-1968
|5||Edited by Cleve Gray - Hans Richter|
Research Materials (interview transcripts), undated
|5||43||Research Materials (notes), 1970, undated|
Edited by Cleve Gray - John Marin, Research Materials (letters, mostly to Stieglitz), 1915-1940, undated
|5||Edited by Cleve Gray - Naum Gabo|
|5||46||Photographs, Lists, Miscellaneous Notes, 1971, undated|
|6||Edited by Cleve Gray - Naum Gabo - Research Materials|
"Chapters - Titles and Mottos," undated
"Constructivist Ideology and Constructivist Realism," 1937-1948
"Constructivist Philosophy," 1928-1968
"Early History," 1960-1963
"Miscellaneous Notes and Documents," 1937-1971, undated
"Personal Philosophy," 1946-1969, undated
"Science," 1948-1956, undated
"Sculpture," 1948-1966, undated
"Teaching," 1948-1966, undated
"Theories of Art," 1947-1969, undated
"Time-Kinetic," circa 1965-1969
|6||21||Translated by Cleve Gray - A l'Iinfinitif by Marcel Duchamp, circa 1966|
|6||22||Dillenberger, Jane Daggett. "The Resurrection in Art" (lecture), 2000|
Notes and Reminiscences about Jackson Pollock, undated
|6||24||Untitled Article about Lassiter Spurgeon, undated|
|6||25||Untitled Poem, undated|
Artwork, circa 1933-1987
(Boxes 6, 9, OV12; 0.45 linear ft.)
Artwork by Cleve Gray mostly consists of drawings and sketches in pencil, ink, colored markers, pastels, and charcoal; also found are a smallnumber of paintings, prints, and watercolors. Their subjects include figures and European landscapes (many with notes on color), as well as abstract compositions.
Two works by other artists are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).
Artwork is arranged into 2 subseries:
4.1: By Cleve Gray, circa 1933-1987
|6||Drawings and Sketches|
|6||28||Colored Markers, undated|
Colored Markers, undated
(oversized material housed in Box 9)
|6||30||"Illustrations by Gray for Andover and Princeton Publications," circa 1933-1940|
Ink, 1959, undated
(oversized material housed in Box 9)
Ink (Design for Movement in Space, West Elevation, Southern End) 1987
|6||35||Mixed Media, undated|
(oversized material housed in Box 9)
Pastels (portrait of Francine), undated
(oversized material housed in Box 9)
Pencil (panoramic landscape near Berchtesgaden), undated
(rolled document, oversized material housed in Box 9)
Pencil, Colored, undated
|6||47||Paintings (self-portrait), undated|
(oversized material housed in Box 9)
(Reel D314, frame 1782)
|6||52||Watercolors, circa 1968-1969, undated|
(oversized material housed in Box 9)
Oversize Artwork by Cleve Gray, Drawings and Sketches, 1959, undated
Oversize Artwork by Cleve Gray, Paintings; Watercolors
Oversize Artwork by Cleve Gray, Drawings and Sketches; Paintings, 1987, undated
Subseries 4.2: By Other Artists, circa 1970s
This subseries consists of two items: an unsigned mobile of paper cut-outs (possibly by by Alexander Calder), and a pencil drawing signed Dick (probably Richard Avedon).
|6||54||Unsigned. Mobile of Paper Cut-Outs, circa 1970s|
|6||55||Dick. Pencil Drawing, circa 1970s|
Oversize Art Work by Other Artists, undated
Audio/Visual Records, 1971-1989
(Box 6; 0.25 linear ft.)
Audio recordings are in cassette and reel formats. They include a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and another titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview of Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette, "Glenville School Students at SUNY (Lincoln Center Activity)."
Audio Cassettes, 1981-1989, undated
"A New Look at John Marin," lecture by Cleve Gray at Honolulu Academy of Arts, 1971
Cleve Gray on John Marin, 1972, undated
Jimmy Ernst interviewed by Francine Gray,
|6||60||Jimmy Ernst interviewed by Francine Gray (transcript), undated|
|6||61||Videocassette, "Glenville School Students at S.U.N.Y. (Lincoln Center Activity)," undated|
(Box 6, RD 11; 0.45 linear ft.)
Artifacts include a Chinese scroll representative of those that hung in Cleve Gray's studio, and two of his paintbrushes. Other artifacts are awards - a blue ribbon from the Aberdeen-Angus Breeders' Association, and the Neuberger Museum of Art Lifetime Achievement Award.
Certificates relating to other awards are filed with Biographical Information (Series 1).
Connecticut Aberdeen-Angus Breeders' Assoc., 1957
Neuberger Museum of Art Lifetime Achievement Award, 1999
(etched glass on wood base; wrapped package)
Chinese Scroll, undated
Paint Brushes, undated
(2 wrapped packages)
Oversize Artifacts, undated
Printed Material, 1933-2005
(Boxes 7-8; 1.25 linear ft.)
The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - is about or by Cleve Gray. Miscellaneous printed items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and the Vietnam protest memorabilia reflect Gray's passionate involvement in the anti-war movement, and include a small number of items that were written by or mention him.
Additional printed material is scattered throughout the alphabetical files (Series 2).
About or Mentioning Cleve Gray, 1949-1999, undated
|7||3||Art Topics, undated|
|7||4||By Cleve Gray, 1948-1989|
|7||5||Book Chapter by Cleve Gray, "John Marin: The Etched Line" in Artist's Proof: The Annual of Prints and Printmaking, Volume IX, 1969|
|7||6||Book Review by Cleve Gray, 1960-1961|
About or Mentioning Cleve Gray, 1947-2005, undated
|7||14||Vietnam Protests, 1968-1969|
|7||Exhibition Catalogs and Announcements|
Cleve Gray Solo Exhibitions, 1946-2004, undated
Cleve Gray Group Shows, 1947-2003, undated
|7||28||Cleve Gray, Juror, 1983|
|7||29||Other Artists' Exhibitions, 1968-1980|
|7||30||Exhibition Reviews by Cleve Gray, 1961-1966|
|8||1||Invitations to Events Honoring Cleve Gray, 1968-1999|
|8||2||Lecture Announcements, Cleve Gray, Speaker, 1986, undated|
|8||3||Letters to the Editor by Cleve Gray, 1960-1968|
|8||4||"Miscellaneous Printed Items," 1963-1965, undated|
|8||5||Poem by Cleve Gray, "My Insomnia," 1976|
|8||6||Postcards of Prague (blank), undated|
Publications Mentioning Cleve Gray, 1963-2005
|8||Reproductions of Art Work|
|8||9||By Cleve Gray, circa 1933-1952, undated|
|8||10||By Cleve Gray, 2001, undated|
|8||11||By Other Artists, undated|
|8||12||Vietnam Protest Ephemera, 1968-1969, undated|
|8||13||Wine Label, West Coast Chardonnay, 2002|
Photographs, circa 1934-2002
(Boxes 8-10; 1.15 linear ft.)
Photographs are of artwork, events, people, places, and miscellaneous subjects. Also found with this series are photographs used to illustrate David Smith by David Smith: Sculpture and Writings, and a small number of negatives and color transparencies.
Most of the artwork appearing in the photographs is by Cleve Gray and consists of drawings, paintings, and sculpture arranged by medium. Among them are destroyed paintings, and an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of preparatory drawings for Threnody, the work in progress, and completed panels. Other artists represented are: 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 Francine and their family. Among these are one of the family with their infant son, Thaddeus, by Irving Penn; a portrait of Gray at about age three (a modern copy print); and other portraits of him by Cornelia Lavin, Alexander Liberman, Frances McLaughlin-Gill, and Nancy Tutko. Other individuals pictured are Hans Richter and some of his descendants. Photographs of places consist of Gray's studio.
Events are an unidentified exhibition opening and miscellaneous subjects are exhibition installations.
A small number of photographs are scattered throughout the alphabetical files (Series 2).
|8||Artwork by Cleve Gray|
|8||15||Paintings (Across - Mystery, Mystery), undated|
|8||16||Paintings (Night, Ochos Rios - Tea at Puteaux), undated|
|8||17||Paintings (Todtentanz #2 - Young Boy with a Cutlass, and unknown titles), undated|
|8||18||Paintings, Destroyed, undated|
|8||19||Photograph, Photo Abstraction (copy print), undated|
Photograph, Photo Abstraction (original photograph), circa 1934
(oversized material housed in Box 9)
|8||21||Sculpture, 1962, undated|
|8||22||Threnody, Preparatory Drawings, circa 1972-1973|
Threnody, In Progress, circa 1972-1973
|8||25||Threnody, Panels, circa 1974|
Artwork by Other Artists, undated
Events, Exhibition Opening (unidentified), undated
(oversized material housed in Box 9)
David Smith by David Smith: Sculpture and Writings, edited by Cleve Gray, undated
|8||29||John Marin, edited by Cleve Gray, undated|
|8||People, Cleve Gray|
Portraits (photographers include: Cornelia Lavin, Alexander Liberman,
Frances McLaughlin-Gill, and Nancy Tutko), circa 1960s-1980
(oversized material housed in Box 9)
Portraits, 1984-1989, undated
|8||32||In Studio, 1970s-1997, undated|
With Francine, 1957, undated
(oversized material housed in Box 9)
|8||34||With Francine, undated|
|8||35||With Francine and Sons, circa 1960s-1990s|
|8||36||With Family and Friends (with baby Thaddeus, Irving Penn, photographer; with Francine and Hans Richter in Richter's studio), circa 1959, undated|
|8||37||With Others (University of Hartford, Honorary Doctor of Fine Arts degree), 1992|
|8||38||People, Others (Hans Richter?, Richter descendants), 1996|
Places, Cleve Gray's Studio, undated
|8||40||Miscellaneous Subjects, Cow, undated|
|8||Miscellaneous Subjects, Exhibition Installations|
|8||41||Threnody at Neuberger Museum of Art, State University of New York, College at Purchase, 1974|
|8||42||Unidentified (Alexander Liberman, photographer) and "Century Masters: Cleve Gray, 43 Years of Work" at The Century Association, 1989-2002|
|8||Negatives, Art Work by Cleve Gray|
|8||45||Paintings by Cleve Gray (destroyed), undated|
Photograph by Cleve Gray, Photo Abstraction,
|8||47||Threnody ("contact #1" - "contact #4), circa 1972-1974|
|8||48||Threnody ("contact #5" - "contact #8"), circa 1972-1974|
|8||49||Threnody ("contact #9" - "contact #13"), circa 1972-1974|
|8||50||Negatives, Illustrations for David Smith by David Smith: Sculpture and Writings, circa 1968|
|8||51||Negatives, People - Cleve Gray, undated|
|8||52||Transparencies, Artwork - Paintings by Cleve Gray, undated|
Oversize Photographs, Art Work by Cleve Gray, circa 1934
Oversize Photographs, Events, undated
Oversize Photographs, People, circa 1960s-1980s, undated
Oversize Photographs, Illustrations for David Smith by David
Smith: Sculpture and Writings, undated