The images are shown in roughly chronological order. The gallery will grow as more works are located and documented.
Click an image to see the full caption and details as we know them.
If you have a painting by Gray, or know where one is, I’d really love to hear from you.
c. 1945 Heide
Made c. 1945 using oil on hardboard. It measures 73 × 84 cm. The work was included in Always Modern: The Heide Story, which was exhibited from 2024 to 2026. It is held in a private collection.
1948 Self-Portrait
Made in 1948, the work uses oil on board and measures 75 × 68 cm. It is held in a private collection.
1955 Furrow
Likely shown at Gray’s first solo exhibition at the Gallery of Modern Art, Melbourne. Painted in enamel on masonite, it belongs to a body of work from the mid-1950s that helped define his early style.
1957 Waiting for the Mail
Made in 1957, the work uses oil on board and measures 119 × 87 cm. It is held in a private collection.
1958 The Tank
Made in 1958, the work uses enamel on board and measures 76 × 61 cm. It was held in the collection of the Museum of Modern Art, New York, from 1963 to 2024 and is now in a private collection.
1958 Fencing
Fencing is an early painting by Gray Smith from his first solo exhibition at the Contemporary Art Gallery in Melbourne, held during its transition to the Museum of Modern Art Australia.
1958 Splitting Logs
Made in 1958, the work uses enamel on board. It is held in a private collection.
1959 Mr. Johnstone
Made in 1959, the work uses enamel on board and measures 110 × 55 cm. It was exhibited at the Museum of Modern Art in Australia and is held in the collection of the National Gallery of Australia.
1966 Finding Gold at Duntroon
Made in 1966, the work uses enamel on board and measures 46 × 61 cm. It was included in the exhibition Canberry Paintings: The First 100 Years.
1966 The Harp of Erin Inn Flood
Made in 1966, the work uses enamel on board and measures 55 × 110 cm. It was included in the exhibition Canberry Paintings: The First 100 Years and is held in the collection of the National Gallery of Australia.
1966 St. John's Struck by Lightning
Made in 1966, the work uses enamel on board. It was included in the exhibition Canberry Paintings: The First 100 Years and is held in a private collection.
1966 First Sight of Canberra
Made in 1966 using enamel on board. It measures 61 × 91.5 cm and is held in a private collection. The work was included in the 1966 exhibition The Canberry Paintings: The First Hundred Years.
1966 Alan Cunningham - Botanist
Made in 1966, the work uses enamel on board. It was included in the exhibition Canberry Painting: The First Hundred Years and is held in a private collection.
1966 New Recruit
Made in 1966 using enamel on board. It is held in a private collection. The work was included in the 1966 exhibition The Canberry Paintings: The First Hundred Years.
1966 William Farrer’s Experiments
Made in 1966 using enamel on board. It is held in a private collection. The work was included in the 1966 exhibition The Canberry Paintings: The First Hundred Years.
1966 10, 10, 2 & ¼ – No Fat
Made in 1966 using enamel on board. It is held in a private collection. The work was included in the 1966 exhibition The Canberry Paintings: The First Hundred Years.
1966 The Galloping Parson
Made in 1966 using enamel on board. It is held in a private collection. The work was included in the 1966 exhibition The Canberry Paintings: The First Hundred Years.
1966 Stockyards at Actin
Made in 1966 using enamel on board. It is held in a private collection. The work was included in the 1966 exhibition The Canberry Paintings: The First Hundred Years.
1967 The Rectory (Le Presbytère)
Made in 1967, the work uses oil on board and measures 60 × 75 cm. It was exhibited in 1967 at the home of Henri Souillac French Cultural Attaché in Canberra and in 1968 in Deux Aspects de la Peinture Australienne: Gray Smith, Arthur Wicks at the Cité Internationale des Arts.
c. 1967–68 – Retour à notre enfance
Likely painted during Gray Smith’s 1967–68 trip to Paris and the United Kingdom, shortly after the Canberry series, Retour à notre enfance reflects a reflective phase during his time overseas.
1976 Daisy Bates
Made in 1976, the work uses oil on board. It measures 89 × 48 cm.