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Costantino Nivola papers, circa 1938-2009, bulk 1950-1980

Creator:
Nivola, Costantino, 1911-1988  Search this
Nivola, Costantino, 1911-1988  Search this
Type:
Drawings
Interviews
Sound recordings
Video recordings
Topic:
Art, Municipal  Search this
Sand casting  Search this
Theme:
American Art and Artists in a Global Context  Search this
Record number:
(DSI-AAA_CollID)8096
(DSI-AAA_SIRISBib)210267
AAA_collcode_nivocost
Theme:
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210267

Clippings and Press

Collection Creator:
Zarina  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1970-1999
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.

Use of electronic records requires advance notice.
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:
Zarina Hashmi papers, 1950-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Zarina Hashmi papers
Zarina Hashmi papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-zarina-ref27
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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

Costantino Nivola papers

Creator:
Nivola, Costantino, 1911-1988  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Sound recordings
Video recordings
Date:
circa 1938-2009
bulk 1950-1980
Summary:
The papers of sculptor and design teacher Costantino Nivola measure 2.1 linear feet and date from circa 1938 to 2009, bulk 1950 to 1980. The papers document Nivola's career in Italy and New York through biographical material, correspondence, writings, professional activities, project files, printed material, photographs, and audiovisual recordings.
Scope and Contents:
The papers of sculptor and design teacher Costantino Nivola measure 2.1 linear feet and date from circa 1938 to 2009, bulk 1950 to 1980. The papers document Nivola's career in Italy and New York through biographical material, correspondence, writings, professional activities, project files, printed material, photographs, and audiovisual recordings.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1938-1988 (3 folders; Box 1)

Series 2: Correspondence, circa 1938-circa 1988 (0.3 linear feet; Box 2)

Series 3: Writings, circa 1940-circa 1988 (5 folders; Box 1)

Series 4: Professional Activities, 1953-circa 1985 (0.2 linear feet; Box 1)

Series 5: Project Files, 1956-1982 (0.6 linear feet; Boxes 1-2)

Series 6: Printed Material, 1953-1978 (0.2 linear feet; Box 2, OV 3)

Series 7: Photographs, circa 1950-circa 1980 (0.3 linear feet; Box 2, OV 3)

Series 8: Unprocessed Born Digital Recordings, 1964-2009 (0.3 linear feet; Box 2)
Biographical / Historical:
Costantino Nivola (1911-1988) was a sculptor and design teacher mostly based in East Hampton, New York, and Sardinia, Italy. Nivola was born in Sardinia and trained at Istituto Superiore per le Industrie Artistiche (ISIA) in Monza, Italy. He immigrated to the U.S. in 1939, and was employed as an art director, editor of architecture and design publications, and design instructor at the college level. He taught design at Columbia University, Harvard University, University of California, Berkeley, and elsewhere.

Nivola developed a sandcasting technique which he used extensively for producing sculptural murals in concrete. His commissions include murals, fountains, sculpture, and monuments for public buildings and corporate headquarters.
Related Materials:
Reproductions of a portion of the collection are available at Costantino Nivola Museum, Sardinia, Italy.
Provenance:
The Costantino Nivola papers were donated to the Archives of American Art in 1979 and 1980 by Costantino Nivola and in 2012 by Claire and Pietro Nivola, Nivola's children.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
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 rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- East Hampton  Search this
Educators -- New York (State)  Search this
Sculptors -- Italy  Search this
Topic:
Art, Municipal  Search this
Sand casting  Search this
Genre/Form:
Drawings
Interviews
Sound recordings
Video recordings
Citation:
Costantino Nivola papers, circa 1938-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nivocost
See more items in:
Costantino Nivola papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nivocost

Cast and Recast - "Techniques of Bronze Casting in America, 1850-1900: Sand Casting/Lost-Wax Casting," by George Gurney

Collection Creator::
National Museum of American Art. Department of Eighteenth and Nineteenth Century Painting and Sculpture  Search this
Container:
Oversize
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 459, National Museum of American Art, Department of Eighteenth and Nineteenth Century Painting and Sculpture, Records
See more items in:
Records
Records / Oversize
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0459-refidd1e5096

Folder 15 Cast and Recast: The Sculpture of Frederic Remington - Catalog published in 1981 for an exhibition at NMAA, 1981-1982; Cast and Recast: The Sculpture of Frederic Remington - "Techniques of Bronze Casting in America, 1850-1900: Sand Casting: L...

Collection Creator::
National Museum of American Art and Portrait Gallery. Library  Search this
Container:
Box 5 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Museum of American Art and Portrait Gallery. Library, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 5
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0333-refidd1e900

Red Cylinder

Artist:
Paula Bartron, born San Mateo, CA 1946  Search this
Medium:
glass and glass powders
Dimensions:
11 x 9 7/8 in. (27.9 x 25.1 cm)
Type:
Decorative Arts-Glass
Crafts
Date:
2004
Credit Line:
Smithsonian American Art Museum, Gift of Colleen and John Kotelly and Gisela and Ben Huberman
Object number:
2007.26.2
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Renwick Gallery
On View:
Smithsonian American Art Museum, Luce Foundation Center, 4th Floor, 53A
Smithsonian American Art Museum, Luce Foundation Center
Smithsonian American Art Museum, Luce Foundation Center, 4th Floor
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk78788500d-40bb-4430-a48e-e546accb890d
EDAN-URL:
edanmdm:saam_2007.26.2

Seated Lion

Artist:
Antoine-Louis Barye, French, born Paris, France 1796-died Paris, France 1875  Search this
Medium:
cast bronze
Dimensions:
7 x 3 x 6 1/4 in. (17.8 x 7.6 x 15.9 cm.)
Type:
Sculpture
Date:
ca. 1830s
Topic:
Animal\lion  Search this
Credit Line:
Smithsonian American Art Museum, Bequest of Olin Dows
Object number:
1983.90.204
Restrictions & Rights:
CC0
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7a8a4189b-1645-4c92-beef-07a3b7441f46
EDAN-URL:
edanmdm:saam_1983.90.204

Alexander Calder

Alternate Title:
Man Cub
Artist:
A. Stirling Calder, 11 Jan 1870 - 7 Jan 1945  Search this
Sitter:
Alexander Calder, 22 Jul 1898 - 11 Nov 1976  Search this
Medium:
Bronze
Dimensions:
123.8 × 38.7 × 34.9 cm (48 3/4 × 15 1/4 × 13 3/4")
Type:
Sculpture
Date:
1901-1902, sand cast in 1905-1906
Topic:
Alexander Calder: Male  Search this
Alexander Calder: Visual Arts\Artist\Sculptor  Search this
Alexander Calder: Visual Arts\Artist\Painter  Search this
Alexander Calder: Presidential Medal of Freedom  Search this
Portrait  Search this
Credit Line:
Owner: Pennsylvania Academy of the Fine Arts
Object number:
190539 PAFA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm46bb925b7-810f-46b1-a4de-fccb9c92d212
EDAN-URL:
edanmdm:npg_190539_PAFA

William Wood

Artist:
William Ordway Partridge, 1861 - 1930  Search this
Sitter:
William Wood, 1808 - 1894  Search this
Medium:
Bronze with green patina; sand cast
Dimensions:
27 1/2 x 27 x 15 1/2 in. (69.85 x 68.58 x 39.37 cm.)
Type:
Sculpture
Date:
1895
Topic:
William Wood: Male  Search this
William Wood: Humanities and Social Sciences\Scholar  Search this
Portrait  Search this
Credit Line:
Owner: Pennsylvania Academy of the Fine Arts
Object number:
1983.25 PAFA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4ad7e08bf-c830-4448-8782-73deae5802c6
EDAN-URL:
edanmdm:npg_1983.25_PAFA

Walter Elmer Schofield

Artist:
Charles Allan Grafly, 3 Dec 1862 - 6 May 1929  Search this
Sitter:
Walter Elmer Schofield, 10 Sep 1867 - 1 Mar 1944  Search this
Medium:
Bronze with brown patina; sand cast in 1905-6
Dimensions:
23 x 10 1/2 x 10 in. (58.42 x 26.67 x 25.4 cm.)
Type:
Sculpture
Date:
1905
Topic:
Walter Elmer Schofield: Male  Search this
Walter Elmer Schofield: Visual Arts\Artist\Painter\Impressionist  Search this
Portrait  Search this
Credit Line:
Owner: Pennsylvania Academy of the Fine Arts
Object number:
1987.1.4 PAFA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm447ce5ce2-07ee-423b-a494-8a24f55a9d27
EDAN-URL:
edanmdm:npg_1987.1.4_PAFA

The Puritan

Artist:
Augustus Saint-Gaudens, 1 Mar 1848 - 3 Aug 1907  Search this
Sitter:
Samuel Chapin, 1598 - 1675  Search this
Medium:
Bronze, brown patina; figure: lost wax cast; base: sand cast
Dimensions:
77.8 x 48.9 x 33 cm (30 5/8 x 19 1/4 x 13 in.)
Type:
Sculpture
Date:
1899
Topic:
Costume\Headgear\Hat  Search this
Costume\Footwear\Shoes  Search this
Costume\Outerwear\Cape  Search this
Equipment\Walking stick  Search this
Samuel Chapin: Male  Search this
Samuel Chapin: Religion and Spirituality\Clergy\Deacon  Search this
Portrait  Search this
Credit Line:
Owner: Museum of Fine Arts, Boston
Object number:
1980.5 MFAB
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4ca8f57d4-8440-43c4-aadd-ef3c0e7612f3
EDAN-URL:
edanmdm:npg_1980.5_MFAB

Abraham Lincoln

Artist:
Leo Friedlander, 1890 - 1966  Search this
Sitter:
Abraham Lincoln, 12 Feb 1809 - 15 Apr 1865  Search this
Medium:
Bronze, dark brown patina, sand cast
Dimensions:
38.1 x 26.03 x 23.49 cm (15 x 10 1/4 x 9 1/4 in.)
Type:
Sculpture
Place:
United States\New York\New York
Date:
c. 1932
Topic:
Abraham Lincoln: Male  Search this
Abraham Lincoln: Law and Law Enforcement\Lawyer  Search this
Abraham Lincoln: Military\Soldier  Search this
Abraham Lincoln: Politics and Government\President of US  Search this
Abraham Lincoln: Society and Social Change\Reformer\Environmentalist  Search this
Abraham Lincoln: Business and Finance\Businessperson\Merchant  Search this
Abraham Lincoln: Politics and Government\US Congressman\Illinois  Search this
Abraham Lincoln: Politics and Government\Government Official\Surveyor  Search this
Abraham Lincoln: Politics and Government\State Senator\Illinois  Search this
Abraham Lincoln: Politics and Government\Government Official\Postmaster  Search this
Abraham Lincoln: Crafts and Trades\Boat builder  Search this
Portrait  Search this
Credit Line:
Owner: Museum of Fine Arts, Boston
Object number:
1984.560 MFAB
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4666e1074-fa79-425a-80eb-206644595aa6
EDAN-URL:
edanmdm:npg_1984.560_MFAB

Francis Davis Millet

Artist:
Augustus Saint-Gaudens, 1 Mar 1848 - 3 Aug 1907  Search this
Sitter:
Francis Davis Millet, 3 Nov 1846 - 15 Apr 1912  Search this
Medium:
Bronze, dark brown patina, sand cast
Dimensions:
26.99 x 17.46 x 1.59 cm (10 5/8 x 6 7/8 x 5/8 in.)
Type:
Sculpture
Date:
1879
Topic:
Personal Attribute\Facial Hair\Mustache  Search this
Sculpture\Relief\Bas-relief  Search this
Francis Davis Millet: Male  Search this
Francis Davis Millet: Visual Arts\Artist\Painter  Search this
Francis Davis Millet: Visual Arts\Artist\Illustrator  Search this
Francis Davis Millet: Communications\Journalist\Reporter\Newspaper  Search this
Francis Davis Millet: Visual Arts\Artist\Painter\Muralist  Search this
Francis Davis Millet: Communications\Publisher\Book  Search this
Francis Davis Millet: Communications\Journalist\Correspondent  Search this
Portrait  Search this
Credit Line:
Owner: Museum of Fine Arts, Boston
Object number:
21.2188 MFAB
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4212290b5-c948-4b17-98d3-aab4e9bffd0c
EDAN-URL:
edanmdm:npg_21.2188_MFAB

John Frazee

Artist:
John Frazee, 18 Jul 1790 - 24 Feb 1852  Search this
Sitter:
John Frazee, 18 Jul 1790 - 24 Feb 1852  Search this
Medium:
Bronze [with black patina]
Dimensions:
58cm x 28cm x 26cm (22 13/16" x 11" x 10 1/4"), Accurate
Type:
Sculpture
Date:
Execution 1827; sand cast in 1905
Topic:
Self-portrait  Search this
John Frazee: Male  Search this
John Frazee: Visual Arts\Artist\Sculptor  Search this
Portrait  Search this
Credit Line:
Owner: Pennsylvania Academy of the Fine Arts
Object number:
1905.4 PAFA
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm41b17a8e1-0e7f-460f-859c-16517a955272
EDAN-URL:
edanmdm:npg_1905.4_PAFA

mortar, iron, cup shape

Physical Description:
iron (overall material)
black (overall color)
sand cast (overall production method/technique)
Measurements:
average spatial: 23.4 cm x 12.6 cm; 9 7/32 in x 4 31/32 in
Object Name:
Mortar, Iron, Cup Shape
Other Terms:
Mortar, Iron, Cup Shape; Trituration; Dispensing; Pharmacy Equipment
Associated place:
United States: New York, Staten Island
Associated dates:
1967 / 1967, 1978 / 1978
ID Number:
MG.M-03456
Accession number:
1890.0435
Catalog number:
m3456
See more items in:
Medicine and Science: Medicine
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a9-1517-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1065701

German Ornamental Stove Plate, c. Mid-sixteenth Century

Physical Description:
metal, iron (overall material)
cast (overall production method/technique)
Measurements:
overall: 40 in x 38 in x 29 in; 101.6 cm x 96.52 cm x 73.66 cm
Object Name:
Stove, Plate
Place made:
United States: Pennsylvania
Location where used:
United States: Pennsylvania
Associated date:
1748
Credit Line:
Union Fork and Hoe Company
ID Number:
CL.59.0027
Catalog number:
59.27
59.0027
59.27
Accession number:
220793
See more items in:
Cultural and Community Life: Community Life
Many Voices, One Nation
Exhibition:
Many Voices, One Nation
Exhibition Location:
National Museum of American History
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-c4f4-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_659514

Twin Bells Cake Mold

Maker:
Nordic Ware  Search this
Physical Description:
aluminum, cast (overall material)
Measurements:
overall: 2 1/2 in x 12 1/2 in x 10 1/2 in; 6.35 cm x 31.75 cm x 26.67 cm
Object Name:
mold
Place Made:
United States: Minnesota, Minneapolis
Subject:
Manufacturing  Search this
Credit Line:
Nordic Ware thru H. David Dalquist, President & CEO
ID Number:
2007.0034.15
Catalog number:
2007.0034.15
Accession number:
2007.0034
See more items in:
Work and Industry: Food Technology
Nordic Ware cookware
Food
Food Technology
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-5217-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1321652
Online Media:

Tyrolean Cake Mold

Maker:
Nordic Ware  Search this
Physical Description:
aluminum, cast (overall material)
Measurements:
overall: 7 3/4 in x 9 1/4 in; 19.685 cm x 23.495 cm
Object Name:
tyrolean cake mold
Place Made:
United States: Minnesota, Minneapolis
Subject:
Manufacturing  Search this
Credit Line:
Nordic Ware thru H. David Dalquist, President & CEO
ID Number:
2007.0034.29
Catalog number:
2007.0034.29
Accession number:
2007.0034
See more items in:
Work and Industry: Food Technology
Nordic Ware cookware
Food
Food Technology
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-5218-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1321659
Online Media:

waffle iron

Physical Description:
iron (overall material)
plated sand cast and hammered (overall production method/technique)
Measurements:
overall: 3.7 cm x 23.2 cm x 74.6 cm; 1 7/16 in x 9 1/8 in x 29 3/8 in
Object Name:
Waffle Iron
Subject:
Pharmacy  Search this
Credit Line:
Gift of American Pharmaceutical Association and Bristol-Myers Squibb Company
ID Number:
1991.0664.0993
Accession number:
1991.0664
Catalog number:
M-06389
Collector/donor number:
SAP 1081
See more items in:
Medicine and Science: Medicine
Art
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746aa-a570-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_994427

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