JAC Q U E S L I P C H I T Z JACQUES LIPCHITZ
SELECTED SCULPTURE AND D R AW I N G F RO M 1911 TO 197 2
Hagar in the Desert, 1969, bronze, ed. of 7, 66 x 70 x 45 in., 167.6 x 177.8 x 114.3 cm
Bather III, 1917, bronze, ed. of 7, 28 1/4 x 10 x 10 in., 71.8 x 25.4 x 25.4 cm 2015
4 0 W E S T 57 T H S T R E E T | N E W YO R K 1 0 0 1 9 | 2 1 2 - 5 4 1 - 4 9 0 0 | M A R L B O R O U G H G A L L E R Y.C O M
The artist in 1970. Photo by F.K. Lloyd, New York.
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B R AV E RY, M Y T H A N D E M O T I O N I N T H E A R T O F J AC Q U E S L I P C H I T Z
Upon being asked when he abandoned Cubism in his work, Lipchitz replied, “Never!, I have continued to use the Cubist point of view, continued to refresh myself at the springs of this fundamental grammar.” Indeed, Lipchitz, more than many artists of the 20th Century continued to engage with the breakthrough movement that eschewed traditional perspective and representation and obliterated distinctions between foreground and background. However he extrapolated his experience of Cubism from early analytical works into a singular form of Expressionistic sculpture in which figures only slowly made themselves apparent. Within his work over the course of 60 years and two World Wars, biblical characters and mythological heroes were among his favored subjects and Lipchitz returned to favored themes of maternity and music throughout his storied life. Certainly a seminal experience for the Lithuanian-born Lipchitz during his Paris days was coming upon Picasso’s Cubist sculpture, Guitar, (1912-13). The impact of this humble sheet metal and wire construction, in which the essence of flatness becomes forceful and fecund was significant. In the words of scholar Catherine Pütz, upon seeing the still-astonishing theory of Cubism translated into this sculpture, Lipchitz understood the “‘solidification’ of space, that is, the incorporation of the space around an object in the artistic construction.”1 Although Picasso and Braque soon moved on from what they saw as a completed undertaking, here began for Lipchitz a lifelong distillation of ideas and extrapolation of theories that included the concerns of Cubism, even as his work became more expressive over the years. Lipchitz intuited that volume was in essence created by the interplay of light and shadow. He imagined a kind of sculpture that was at once the idea and the form itself. The pivotal sculpture by Lipchitz entitled Bather, which evolved in three incarnations from 1915-1917, (the 1917 version pictured on the cover of this catalog) is a masterly representation of an eloquent notion. Though it is a depiction of a figure, its bronze vertically and lack of bodily axis make it appear architectural. Planes become body parts—whether elbow, forearm, breast or knee— and the curves that suggest hips or hair give the piece a sense of perpetual motion. Here, the figure’s “skeleton” is also its skin. In the artist’s own words his first Bather marked the occasion that “the transition to developed cubism is complete. My ideas were clarified; I knew exactly what I wanted to do.” Bather III is as lyrical as it it rigid; it’s a jaunty and jagged but perfectly balanced composition that astonishes from every angle. She-—for the Cubist creature must certainly be female—is posing for us while hugging herself and revealing to the world exactly how she is constructed. Lipchitz shows us something revelatory: that geometry can evoke emotion. In this important survey exhibition of the immensely varied career of Jacques Lipchitz at Marlborough Gallery, viewers bear witness to works created from 1911 up to 1972, the year before the artist’s death on the island of Capri. The compilation includes drawings—some preliminary sketches for yet-to-be-realized bronzes, and others fully formed portraits—in a variety of media from India ink to charcoal, as well as a trove of sculptures in addition to paintings and marble reliefs. (The years 1918-1919 in particular marked a return to drawing due to wartime restrictions on the use of bronze and other metals.) After having been forced to emigrate from his native Lithuania before the First World War, Lipchitz fled Paris for the United States during WWII. He was fearless in his artmaking throughout, and though optimistic about the prospects for mankind overall, a stirring angst was often present in his works.
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Without questions one of the sculptor’s most important innovations was his series of “Transparents” of 1925-1930. Lipchitz had watched a Harpist playing, and was fascinated by the fact that the spaces between the musician’s strings were, in effect, what was making the music. He opened up space in his “Transparents” to create their form. His bronzes of this period, as opposed to gravity-stricken masses, were airy and open. Negative areas were as important as the positive. A torso could be created by means of a void. This time it was Picasso, along with the master sculptor Julio Gonzalez, who went to the studio of Lipchitz to admire these magnificent, groundbreaking “Transparent” figures. The “Transparents” had an impact on the whole of 20th Century sculpture. In the subsequent decades the sculptures became more overtly political, autobiographical and at times addressed biblical subjects. Lipchitz saw in mythological themes especially a far-reaching and fertile ground. He inverted myths and depicted the triumph of good over evil, emphasizing the power of the individual, in several key sculptures of the period. In Theseus and the Minotaur (1942), Theseus is shown straddling the Minotaur, with horns in hand, bringing the beast to its knees. For Lipchitz the hero triumphed over adversity. “Animal” regimes such as the Nazis were vanquished. His famous Prometheus Strangling the Vulture of 1943 upends the story in a meaningful way. Here, instead of having his entrails eaten for eternity by the massive bird, Prometheus is twisting the creature into submission. Bellerophon Taming Pegasus, which was conceived of in 1964 and remains one of the largest bronze sculptures in the U.S., is a monumental permanent installation that resides on the campus of New York’s Columbia University. Never playing it safe, Lipchitz even carved a swastika directly into the chest of Goliath in the sculpture David and Goliath (1933) as David symbolized Democracy and Goliath was Fascism. Lipchitz believed that individuals had control of their own destiny. Mankind was not controlled either by myth or by Fascist dictators. In the world that Lipchitz sculpted and drew, a woman’s fan could evoke a corset that doubled as a ribcage. A dislocated, crystalline wrist can nonetheless play an instrument like a virtuoso. All individuals have power and brutal regimes were meant to be conquered. From his early Woman with Gazelles (1911) to the 1969 Hagar in the Desert, the hand and by extension, inner life of the artist is ever present. Lipchitz made bronze appear rhapsodic, and in so doing, over the sixty years of his artistic practice, told timeless and at times troubling tales, from the synthetic, intellectually rigid early work to his later lyrical heroes writ large and achieving victory over calamity. Within the latest work in the exhibition, Sketch for Our Tree of Life VII (1971-72)—the six-meter high bronze sculpture Tree of Life was unveiled after the artist’s death in 1978 and is presently in Jerusalem--visitors to the exhibition can see a group of Lipchitzian figures meant to represent Noah, Isaac and Abraham as well as Moses in front of the Burning Bush. They are engaged in a struggle over which they triumph together. Art, for Lipchitz, was in a constant state of sprouting, opening up, intertwining and turning back on itself. His devotion to the epiphany that was Cubism and a unique Expressionistic figuration gave rise to influential and profound depictions of the emotions and machinery of mankind. In 1958, Lipchitz stated, “The way I feel it, sculpture is of a cosmic nature. Indeed it is a handmade companion with an immortal human heart inside from which calls are emitted constantly, giving us joy, warming us and teaching us, all at the same time.”
—Douglas McClemont, October 2015
1.
Pütz, Catherine, Jacques Lipchitz, The First Cubist Sculptor, (London, Paul Holberton Publishing, in association with Lund Humphries, 2002), 8.
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Mythological Scene, 1911, bronze, ed. of 7, 17 1/4 x 15 3/4 in., 43.8 x 40 cm 5
Woman and Gazelles, 1911, bronze, ed. of 7, 30 x 46 x 8 1/8 in., 76.2 x 116.8 x 20.6 cm 6
Pregnant Woman, 1912, bronze, ed. of 7, 24 1/4 x 4 3/4 x 5 1/2 in., 61.6 x 12.1 x 14 cm 7
Woman in Profile, c.1910-12 pencil on paper, 16 1/8 x 10 1/4 in., 41 x 26 cm
Woman with Fan, 1913 pencil on paper, 13 3/8 x 10 1/4 in., 34 x 26 cm
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Bather III, 1917, bronze, ed. of 7, 28 1/4 x 10 x 10 in., 71.8 x 25.4 x 25.4 cm 9
Mother and Child (Study for a Standing Woman), 1915 crayon and pencil on paper, 15 x 10 1/4 in., 38.1 x 26 cm
Spanish Woman with Fan, 1914 pencil and colored crayon on paper, 8 x 6 1/4 in., 20.3 x 15.9 cm
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Standing Figure, 1916, bronze, ed. of 7, 41 1/4 x 8 1/2 x 6 1/2 in., 104.8 x 21.6 x 16.5 cm 11
Seated Figure, 1915, bronze, ed. of 7, 34 1/4 x 8 1/2 x 6 1/4 in., 87 x 21.6 x 15.9 cm 12
Sculpture, 1915, bronze, ed. of 7, 36 7/8 x 9 x 7 1/4 in., 93.7 x 22.9 x 18.4 cm 13
Study for a Statue (Cubist Study), 1915, sanguine on paper, 18 7/8 x 12 3/8 in., 47.9 x 31.4 cm 14
Sculpture, 1916, bronze, ed. of 7, 45 1/2 x 13 1/4 x 14 1/4 in., 115.6 x 33.7 x 36.2 cm 15
Bas Relief III, 1918, stone, unique, 23 x 13 x 3 1/2 in., 58.4 x 33 x 8.9 cm 16
Still Life, 1918, bronze, ed. of 7, 21 1/2 x 26 7/8 x 3 in., 54.6 x 68.3 x 7.6 cm
Still Life, 1918, bronze, ed. of 7, 27 1/8 x 21 3/4 x 3 5/8 in., 68.9 x 55.3 x 9.2 cm
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Raymond Radiguet, 1922. Photo by Man Ray.
Š Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2015
As the decade came to a close, Lipchitz returned briefly to a more realistic, if stylized, mode of portraiture with his busts of artistic friends in Paris including Coco Chanel, Jean Cocteau and Gertrude Stein. His sculpture depicting the writer Raymond Radiguet, who died tragically young of typhoid fever at age 20, is one of the most important works from this period. In his own description of this work, Lipchitz writes: One of the first [portrait commissions] is the portrait of Raymond Radiguet, 1920. Radiguet was a young poet at that time, no more than twenty years old, a talented man and extraordinarily mature for his age. I think it was Jean Cocteau who introduced him to me and suggested that I do a portrait of him. The young man had an extremely beautiful skull structure, very crisp and clear-cut features, all of which I accentuated. In order to do so, I subordinated the mass of the hair in the plaster and even eliminated it in the bronze. This may be termed more realistic than the earlier portraits done before the war in its precision and in the fact that I sketched in the pupils of the eyes. To me, however, it is still an extremely classical work, one that has some of the qualities of idealism and repose that you find in ancient Greek sculpture. – from My Life in Sculpture by Jacques Lipchitz with H. H. Aranson
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Portrait of Raymond Radiguet, 1920, bronze, ed. of 7, 12 x 9 1/2 x 8 1/4 in., 30.5 x 24.1 x 21 cm 19
Repentant Magdalene, 1921 bronze, ed. of 7, 5 7/8 x 6 x 3 1/4 in., 14.9 x 15.2 x 8.3 cm
Man Leaning on Elbows, 1925 bronze, ed. of 7, 4 1/2 x 3 3/8 x 4 in., 11.4 x 8.6 x 10.2 cm
Study for Figure: Maquette No. 1, 1926 bronze, ed. of 7, 9 x 3 1/4 x 3 in., 22.9 x 8.3 x 7.6 cm 20
Bas Relief II, 1921, polychromed stone, 23 3/4 x 23 3/4 x 3 3/4 in., 60.3 x 60.3 x 9.5 cm 21
Still Life with Musical Instruments, 1923, pen and black, ink on paper, 10 1/2 x 8 1/8 in., 26.7 x 20.6 cm 22
Musical Instruments with Bunches of Grapes, 1922, bronze, ed. of 7, 32 1/4 x 42 1/4 x 6 in., 81.9 x 107.3 x 15.2 cm
Musical Instruments with Basket of Fruit and Grapes, 1922, bronze, ed. of 7, 31 5/8 x 42 1/8 x 6 1/2 in., 80.3 x 107 x 16.5 cm 23
Study for a Relief (also called Sheet Music), 1918 charcoal on paper, 11 7/8 x 10 1/2 in., 30.3 x 26.7 cm
Study for a Bas Relief (Cubist Study), 1921 pencil on paper, 3 7/8 x 5 1/2 in., 9.8 x 14 cm
Study for a Bas Relief (Study for Musical Instruments), c. 1923 charcoal on paper, 9 7/8 x 14 1/8 in., 25.1 x 35.9 cm
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Harlequin with Mandolin in Oval, 1923, bronze, ed. of 7, 49 1/2 x 41 3/4 x 8 in., 125.7 x 106.1 x 20.3 cm 25
Musical Instruments, 1923, stone, unique, 19 x 35 x 6 in., 48.3 x 88.9 x 15.2 cm 26
Reclining Figure with Guitar, 1923 bronze, ed. of 7 7 3/4 x 9 1/2 x 2 3/8 in., 19.7 x 24.1 x 6 cm
Study for Musical Instruments: Maquette No. 2, 1923 bronze, ed. of 7 8 x 6 7/8 x 2 3/4 in., 20.3 x 17.5 x 7 cm
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Study for a Transparency (Musician), 1926 charcoal on paper 12 1/4 x 8 7/8 in., 31.1 x 22.5 cm
Harlequin with Accordion, 1926 bronze, unique 9 1/2 x 6 x 7 in., 24.1 x 15.2 x 17.8 cm
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Seated Harlequin with Mandolin, 1926 bronze, unique 8 1/2 x 6 3/4 x 5 in., 21.6 x 17.2 x 12.7 cm
Transparent, 1930 bronze, unique 15 3/4 x 8 3/4 x 9 in., 40 x 22.2 x 22.9 cm
Mardi Gras, 1926 gilded bronze with gold patina, unique 11 x 6 x 5 3/4 in., 27.9 x 15.2 x 14.6 cm
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The Harpists, 1930, bronze, ed. of 7, 21 1/4 x 21 x 10 3/4 in., 54 x 53.3 x 27.3 cm 30
The Cry, 1928-29, bronze, ed. of 7, 36 5/8 x 63 3/8 x 37 3/8 in., 93 x 161 x 94.9 cm 31
Head & Hands (Etudes de TĂŞte, vers 32-33), 1930 ink on paper, 12 5/8 x 9 1/2 in., 32 x 24 cm
Study for Head and Hair (Study for Head), 1930 India ink on paper, 16 1/8 x 12 5/8 in., 41 x 32 cm
Study for Hands and Hair (Study for Head around 1932-33), 1932 pencil on paper, 7 7/8 x 6 5/8 in., 20 x 16.8 cm
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Reclining Figure, 1929 bronze, ed. of 7, 6 1/4 x 9 x 4 1/4 in., 15.9 x 22.9 x 10.8 cm
Encounter, 1929 bronze, ed. of 7, 9 3/4 x 4 1/4 x 3 1/2 in., 24.8 x 10.8 x 8.9 cm
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Study for Jacob and the Angel, 1931, charcoal on beige paper, 12 x 16 7/8 in., 30.5 x 42.9 cm 34
Jacob and the Angel, 1931, bronze, ed. of 7, 36 1/2 x 49 x 25 1/4 in., 92.7 x 124.5 x 64.1 cm 35
Head, Maquette No. 1, 1932, bronze, ed. of 7, 8 1/2 x 5 1/2 x 5 1/2 in., 21.6 x 14 x 14 cm 36
Meditation, 1931, bronze, ed. of 7, 8 1/4 x 7 x 6 1/2 in., 21 x 17.8 x 16.5 cm
Leaning on Head and Hands, 1932 bronze, ed. of 7, 5 1/2 x 7 7/8 x 4 1/4 in., 14 x 20 x 10.8 cm
Woman Leaning on Hand, 1932 bronze, ed. of 7, 6 x 7 1/4 x 7 3/4 in.. 15.2 x 18.4 x 19.7 cm
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Study for Woman Leaning on Elbows, c. 1933 charcoal on brown wove paper, 23 1/2 x 18 in., 59.7 x 45.7 cm
GĂŠricault: Maquette No. 4, 1933 bronze, unique, 9 1/2 x 6 3/4 x 7 1/2 in., 24.1 x 17.1 x 19.1 cm
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Woman Leaning on Elbows, 1933, bronze, ed. of 7, 26 1/2 x 23 x 21 in., 67.3 x 58.4 x 53.3 cm 39
Study for the Rape of Europa, 1938 ink wash on paper, 10 5/8 x 14 5/8 in., 27 x 37 cm
Study for the Rape of Europa II, 1938 ink wash and gouache on paper, 18 1/2 x 23 1/4 in., 47 x 59 cm
Sketch for Bull and Condor, 1938 watercolor and pencil on paper, 9 x 11 7/8 in., 22.9 x 30.1 cm 40
Prometheus Strangling the Vulture, 1943, bronze, ed. of 7, 34 1/2 x 31 x 24 in., 87.6 x 78.7 x 61 cm 41
Study for Theseus, 1942, tempera on wood, 26 x 22 in., 66 x 55.9 cm
Study for Theseus, 1942 charcoal on paper, 23 x 17 in., 58.4 x 43.2 cm 42
Study for Theseus and the Minotaur, 1942 pencil and ink on paper, 13 3/4 x 10 1/2 in., 35 x 26.6 cm
Theseus and the Minotaur, 1942, bronze, ed. of 7, 24 1/2 x 28 1/2 x 16 in., 62.2 x 72.4 x 40.6 cm 43
Song of Songs, 1945, bronze, ed. of 7, 24 1/2 x 38 1/8 x 10 1/4 in., 62.2 x 96.8 x 26 cm 44
Return of the Child, 1941, bronze, ed. of 7, 45 x 21 x 15 in., 114.3 x 53.3 x 38.1 cm 45
Study for a Sculpture, 1938 charcoal on paper, 24 3/4 x 19 in., 62.9 x 48.3 cm
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Study for the Dance (Study for a Monument), 1934 ink wash on paper, 14 1/8 x 10 1/4 in., 36 x 26 cm
Hagar I, 1948, bronze, ed. of 7, 31 1/4 x 35 7/8 x 18 in., 79.4 x 91.1 x 45.7 cm 47
Study for Benediction, 1943, oil on board, 39 1/2 x 32 1/2 in., 100.3 x 82.5 cm 48
Mother and Child, 1949, bronze, ed. of 7, 56 x 31 x 31 in., 142.2 x 78.7 x 78.7 cm 49
Mother and Child II, 1949, bronze, ed. of 7, 16 3/8 x 10 3/4 x 9 1/2 in., 41.6 x 27.3 x 24.1 cm 50
Biblical Scene II, 1950, bronze, ed. of 7, 20 1/4 x 7 1/2 x 4 1/2 in., 51.4 x 19.1 x 11.4 cm 51
Variation on a Chisel XX: Dancer, 1951-52 bronze, unique 8 1/2 x 3 x 2 1/2 in., 21.5 x 7.6 x 6.4 cm
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Variation on a Chisel X: Poet on Crutches, 1951-52 bronze, unique 8 3/4 x 4 x 2 in., 22.3 x 10.2 x 5 cm
Variation on a Chisel V: Flower Vendor, 1951-52 bronze, unique 9 1/2 x 4 x 2 3/4 in., 24.1 x 10.2 x 7 cm
Variation on a Chisel VIII: Begging Poet, 1951-52 bronze, unique 8 7/8 x 4 5/8 x 4 1/2 in., 22.5 x 11.8 x 11.4 cm
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Study for the Spirit of Enterprise, 1953, bronze, ed. of 7, 31 1/2 x 28 1/2 x 12 5/8 in., 80 x 72.4 x 32.1 cm 54
From the series Images of Italy: Chapel in the Mountains, 1962 bronze, ed. of 7 9 3/4 x 8 1/2 x 7 3/4 in., 24.8 x 21.6 x 19.7 cm
From the series Images of Italy: The Tower and Its Shadow, 1962 bronze, ed. of 7 11 1/4 x 6 3/4 x 4 1/2 in., 28.6 x 17.2 x 11.4 cm
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From the series Images of Italy: The Beautiful One, 1962 bronze, ed. of 7 12 3/8 x 5 3/8 x 5 5/8 in., 31.4 x 13.7 x 14.3 cm
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From the series Images of Italy: The Geisha, 1963 bronze, ed. of 7 13 1/2 x 7 x 5 1/2 in., 34.3 x 17.9 x 14 cm
The Prophet, 1962 bronze, ed. of 7 14 1/2 x 7 x 8 in., 36.8 x 17.8 x 20.3 cm
Sketch for Bellerophon Taming Pegasus IV, 1964, bronze, ed. of 7, 20 x 15 3/4 x 4 3/8 in., 50.8 x 61.6 x 11.1 cm 57
Study for Benediction, 1941 pastel and gouache paper, 11 3/4 x 8 1/8 in., 30 x 20.5 cm
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Study for Pastorale, 1942 charcoal and gouache on paper, 22 3/4 x 15 3/4 in., 57.8 x 40 cm
Hagar in the Desert, 1969, bronze, ed. of 7, 66 x 70 x 45 in., 167.6 x 177.8 x 114.3 cm 59
Rape of Europa, 1969-70, bronze, ed. of 7, 38 3/8 x 17 x 16 in., 97.5 x 43.2 x 40.6 cm 60
The Last Embrace, 1970-71, bronze, ed. of 7, 30 x 41 x 20 in., 76.2 x 101.1 x 50.8 cm 61
Study for Rape of Europa, c. 1964, red conte crayon, ink and pencil on paper, 22 1/2 x 24 in., 57.2 x 61 cm 62
The Last Embrace (Salvataggio), 1971, marble, unique, 26 x 29 1/2 x 19 in., 66 x 74.9 x 48.3 cm 63
La belle III, 1971 bronze, unique 12 1/8 x 5 x 5 1/2 in., 30.8 x 12.7 x 14 cm
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La belle V, 1971 bronze, unique 11 5/8 x 4 1/2 x 5 in., 29.5 x 11.4 x 12.7 cm
La belle IV, 1971 bronze, unique 11 5/8 x 5 1/2 x 5 1/2 in., 29.5 x 14 x 14 cm
The Grand Uproar, 1971, bronze, unique, 20 3/4 x 8 1/4 x 5 3/8 in., 52.7 x 21 x 13.7 cm 65
Study for Our Tree Of Life, 1962, ink and pastel on paper, 13 1/2 x 9 7/8 in., 34.3 x 25 cm 66
Sketch for Our Tree of Life VII, 1971-72, bronze, ed. of 7, 22 x 11 x 8 1/2 in., 55.9 x 27.9 x 21.6 cm 67
JACQUES LIPC HITZ 1891
Born Chaim Jacob Lipchitz in Druskininkai, Lithuania. 1909
Moved to Paris, France and studied at the École des Beaux-Arts, Académie Julian, and Académie Colarossi (through 1910).
( 1 8 9 1 -1 97 3 )
1948
Jacques Lipchitz: Early Stone Carvings and Recent Bronzes, Buchholz Gallery, New York, New York.
1950
Jacques Lipchitz, Petite Galerie du Séminaire, Brussels, Belgium.
1950 -51
Lipchitz: Works 1914-1950, Portland Art Museum, Portland, Oregon; traveled to The San Francisco Museum of Art, San Francisco, California; The Cincinnati Art Museum, Cincinnati.
1973
Died on the island of Capri and was later buried on Har Hamenuhot in Jerusalem, Israel.
1951
Jacques Lipchitz, Buchholz Gallery, New York, New York.
AWA R D S A N D P R I Z E S
Jacques Lipchitz: Birth of the Muses, The Museum of Modern Art, New York, New York.
1909
First prize-sculpture, Académie Julian, Paris, Paris.
1936-37
Gold Medal-Prometheus Strangling the Vulture, The World’s Fair, Paris, France.
1946
Chevalier de la Légion d’honneur, Paris, France.
1952
George D. Widener Memorial Gold Medal Award-Prometheus Strangling the Vulture, Pennsylvania Academy of Arts, Philadelphia, Pennsylvania.
Jacques Lipchitz, Frank Perls Gallery, Beverly Hills, California, and The Santa Barbara Museum of Art, Santa Barbara, California.
1954-55
The Sculpture of Jacques Lipchitz, The Museum of Modern Art, New York; traveled to Walker Art Center, Minneapolis, Minnesota; the Cleveland Museum of Art, Cleveland, Ohio.
1957
Jacques Lipchitz: Thirty-Three Semi-Automatics, 1955-56 and Earlier Works, 1915-28, Fine Arts Associates, New York, New York.
Jacques Lipchitz, Frank Perls Gallery, Beverly Hills, California.
Lipchitz: Small Sculptures, Cincinnati Art Museum, Cincinnati, Ohio.
1958-59
Jacques Lipchitz, Stedelijk Museum, Amsterdam; traveled to Rijksmuseum Kröller-Müller, Otterlo and elsewhere.
Jacques Lipchitz, École des Beaux-Arts, Montréal, Quebec; traveled in Canada to Norman MacKenzie Art Gallery, Regina, Saskatchewan and elsewhere.
1958
1965
Brandeis Creative Arts Award for Notable Achievement in the Arts, Brandeis University, Waltham, Massachusetts. Award for Cultural Achievement, Boston University, Boston, Massachusetts; Honorary Doctor of Laws, The Jewish Theological Seminary, New York, New York.
1966
Gold Medal, The Academy of Arts and Letters, New York.
1969
Award of Merit, The Einstein Medical Center of Yeshiva University, New York, New York.
Medal of Achievement, The American Institute of Architects (AIA), New York, New York.
1952
Sculptura: Jacques Lipchitz, French Pavilion, XXVIth Biennale, Venice, Italy, June 14October 19.
Lipchitz, Städtische Galerie München, Munich, Germany.
SELECTED EXHIBITIONS 1920
Jacques Lipchitz, Galerie de l’Effort Moderne, Paris.
1959
Jacques Lipchitz, Musée National d’Art Moderne, Paris, France.
1930
Cent Sculptures par Jacques Lipchitz, Galerie de la Renaissance, Paris, France.
1935-36
Jacques Lipchitz, Brummer Gallery, New York, New York, December 2-January 31.
Á La Limite du Possible, Jacques Lipchitz: Fourteen Recent Works, 1958-59, and Earlier Works, 1949-59, Fine Arts Associates, New York, New York.
1937
Jacques Lipchitz, at Les Maîtres de l’art indépendant, Paris World’s Fair, Petit Palais, Paris, France.
1942
Jacques Lipchitz, Buchholz Gallery, New York, New York.
1943
Jacques Lipchitz, Buchholz Gallery, New York, New York.
1944
The Drawings of Jacques Lipchitz, Buchholz Gallery, New York, New York.
1946
Jacques Lipchitz, Buchholz Gallery, New York, New York.
Jacques Lipchitz, Galerie Maeght, Paris, France.
68
1962
Jacques Lipchitz: Recent Sculpture, Otto Gerson Gallery, New York, New York.
1963- 64
Jacques Lipchitz: A Retrospective Selected by the Artist, UCLA Art Galleries, University of California Art Council, Los Angeles, California; traveled to San Francisco Museum of Art, San Francisco, California and elsewhere.
1963- 65
Jacques Lipchitz: 157 Bronze Sketches 19121962, Otto Gerson Gallery, New York, New York; circulated by The Museum of Modern Art; traveled to Currier Gallery of Art, Manchester, New Hampshire and elsewhere in North and South America.
1964
Jacques Lipchitz: Retrospective, Boston University School of Fine and Applied Arts, Boston, Massachusetts.
Jacques Lipchitz, Marlborough-Gerson Gallery, New York, New York.
The Cubist Period of Jacques Lipchitz, The Phillips Collection, Washington, DC.
1964- 65
Between Heaven and Earth, Documenta International, Kassel, June 27-October 5, and Carnegie International, Pittsburgh, Pennsylvania.
1965
Jacques Lipchitz & Marc Chagall, Israel Museum, Jerusalem.
Jacques Lipchitz, Newark Museum of Art, Newark, New Jersey.
1966
Jacques Lipchitz: Images of Italy, MarlboroughGerson Gallery, New York, New York; traveled to Felix Landau Gallery, Los Angeles, California.
1967
Jacques Lipchitz: Sculptures on Biblical Themes, The Jewish Museum, New York, New York.
1968
Lipchitz: The Cubist Period 1913-1930, Marlborough-Gerson Gallery, New York, New York.
Jacques Lipchitz, Slosberg Art Gallery, Brandeis University, Waltham, Massachusetts.
1969
The Sculpture of Jacques Lipchitz, University of Wisconsin Art History Galleries, Milwaukee, Wisconsin; traveled to Herron Museum of Art, Indianapolis, Indiana.
Jacques Lipchitz, Katonah Gallery, Katonah, New York.
1970 -7 1
Jacques Lipchitz: Skulpturen und Zeichnugen 1911-1969, Neue Nationalgalerie, Berlin; traveled to Staatliche Kunsthalle, BadenBaden and elsewhere.
Sculpture by Jacques Lipchitz, The Tate Gallery, London, England.
1960
Juan Gris–Jacques Lipchitz: A Friendship, M. Knoedler & Co., New York, New York.
Jacques Lipchitz: A Retrospective Exhibition of Sculpture and Drawings, The Corcoran Gallery, Washington, DC; traveled to Baltimore Museum of Art, Baltimore, Maryland.
197 1
Jacques Lipchitz: Sculptures and Drawings 19111970, Tel Aviv Museum, Tel Aviv, Israel.
Jacques Lipchitz: Bronze Sketches, Israel Museum, Jerusalem, Israel.
1972
Fifty Years of Lipchitz Sculpture, Otto Gerson Gallery, New York, New York, November 7-December 9, 1961; traveled to Andrew Dickson White Museum of Art, Cornell University, Ithaca, New York.
Jacques Lipchitz: His Life in Sculpture, The Metropolitan Museum of Art, New York, New York.
Jacques Lipchitz: Sculpture, Watercolors, and Drawings, Makler Gallery, Philadelphia, Pennsylvania.
1961- 62
Jacques Lipchitz, Marlborough-Godard, Toronto, Ontario, Canada.
1993
Jacques Lipchitz: Esculturas, 1913-1972, Galería Marlborough, Madrid, Spain.
1973
Jacques Lipchitz: Sculptures and Drawings, Marlborough Fine Art, London; traveled as Jacques Lipchitz: Skulpturen und Zeichnungen to Marlborough Galerie, Zurich.
Jacques Lipchitz (1891-1973), Centro de Arte Palacio Almudi, Murcia..
1996
Jacques Lipchitz: Sculpture 1910-1940, The Paris Years, Marlborough Gallery, New York, New York.
1974
A Tribute to Jacques Lipchitz: Lipchitz in America, 1941-1973, Marlborough Gallery, New York, New York. Sculptures by Jacques Lipchitz, Brooks Memorial Art Gallery, Memphis, Tennessee.
Jacques Lipchitz: Sculptures, Prints, and Drawings, Baltimore Museum of Art, Baltimore, Maryland.
1974-75
Selected Master Drawings of Jacques Lipchitz: 1910-1958, Trisolini Gallery of Ohio University, Athens, Ohio; traveled to The Columbus Gallery of Fine Arts and elsewhere.
1977
1978
Jacques Lipchitz: Sculptures and Drawings from the Cubist Epoch, Marlborough Gallery, New York, New York; traveled to Marlborough Galerie, Zurich and Marlborough Fine Art, London. Oeuvres de Jacques Lipchitz (1891-1973), Musée National d’Art Moderne, Centre National d’Art et de Culture Georges Pompidou, Paris, France.
2010
Jacques Lipchitz: Beyond Bible and Myth, Marlborough Gallery, New York, New York.
Jacques Lipchitz: Obra Gráfica, Marlborough Gallery, Madrid, Spain.
2012
Jacques Lipchitz, Galerie Gmurzynska, Marienburg, Germany.
Jacques Lipchitz: The Israel Museum Collection, Museum Beelden aan Zee Scheveningen, Netherlands.
2013
1997
Jacques Lipchitz, Escultura 1911-1971, Marlborough Gallery, Madrid, Spain.
Jacques Lipchitz: Sculpture and Drawings, Museo di Palazzo Pretorio, Prato, Italy.
2014
Lipchitz, un mundo sorprendido en el espacio, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to Institut Valencià d’Art Modern, Centro Julio Gonzáles, Valencià, Spain.
Jacques Lipchitz: Retrospective, Servizi Culturali, Locarno, Switzerland.
1998
Lipchitz dans les Jardins du Palais Royal, Les Jardins du Palais Royal, Paris, France; traveled to Yorkshire Sculpture Park, Wakefield.
Jacques Lipchitz: Munich and Florence, Drawings for Sculpture 1910-1972, The Staatliche Graphische Sammlung, Munich, Germany; traveled to The Gabinetto Disegni e Stampe degli Uffizi, Florence, Italy.
2001
Lipchitz and the Avant-Garde: From Paris to New York, Krannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana-Champaign.
Raynal, Maurice. Lipchitz. Paris: Action; second edition 1927.
1929
Vitrac, Roger. Jacques Lipchitz. Paris: Gallimard.
Los Dibujos de Lipchitz, Institut Valencià d’Art Modern, Valencià, Spain.
1930
Cent Sculptures par Jacques Lipchitz. Paris: Galerie de la Renaissance.
Jacques Lipchitz: Drawing and Sculpture, Israel Museum, Jerusalem, Israel.
1935
Faure, Elie. Jacques Lipchitz (English translation by Allan Ross MacDougall). New York: Brummer Gallery, New York.
1943
Valentin, Curt. Twelve Bronzes by Jacques Lipchitz. New York: Buchholz Gallery; special edition of 35, numbered and signed, with original etching.
Jacques Lipchitz, Galerie Brusberg, Hannover, Germany.
2003
Jacques Lipchitz, Dibujos y Esculturas, Museo de Bellas Artes de Bilbao, Bilbao, Spain.
1979
Jacques Lipchitz: Small Sculptures, Maquettes and Drawings, 1915-1972, Marlborough Gallery, New York, New York.
2004
Jacques Lipchitz: Sculpture and Drawings 1912 -1972, Marlborough Gallery, New York, New York.
1981-82
Jacques Lipchitz: Selected Sculpture in Large Scale 1927-1971, Marlborough Gallery, New York, New York.
2005
Jacques Lipchitz: Donation, Museo de Bellas Artes de Bilbao, Bilbao, Spain.
1982
Jacques Lipchitz: Sculptures (Biblical Themes) 1930-1972, Aberbach Fine Art, New York, New York.
Lipchitz: Les Années Françaises de 1910 à 1940, Musée de Années 30, Paris, France.
2006
Jacques Lipchitz: Mother and Child, Norman Mackenzie Art Gallery, Univ. of Regina, Saskatchewan, Canada.
Jacques Lipchitz: Interación de Formas, Fundación Bilbao Bizkaia Kutxa, Bilbao, Spain.
2007
Jacques Lipchitz: Sculptor and Collector, Albert and Vera List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, Massachusetts.
1985
1920
2002
1983
SELECTED MONOGR APHS
1947
Jacques Lipchitz. Paris: Jeanne Bucher.
1954
Goldwater, Robert. Lipchitz. Cologne and Berlin: Kiepenheuer & Witsch.
1958
Jacques Lipchitz. Munich, Germany: Stadische Galerie München.
1959
Lipchitz: Sculpture, Drawings, Gouaches. Syracuse: Syracuse University Press.
Jacques Lipchitz: Early Works, Reliefs and Drawings, Marlborough Gallery, New York, New York.
1961
Hammacher, A.M. Jacques Lipchitz: His Sculpture. New York: Abrams; London: Thames & Hudson, n.d.
Jacques Lipchitz – The American Years, Galerie Koch, Hannover, Germany.
Patai, Irene. Encounters: The Life of Jacques Lipchitz. New York: Funk & Wagnalls
2008
Art Videos at the Gallery – Jacques Lipchitz: Portrait of the Artist, Barn Gallery, Ogunquit, Maine.
1965
Jacques Lipchitz: Retrospective Sculpture and Drawing. Boston: Boston Univ. Press.
1966
Jacques Lipchitz. Sculptures – bas-reliefs et dessins, Marlborough Monaco, Monte Carlo, Monaco.
Jacques Lipchitz Images of Italy. Toronto: Dunkelman Gallery.
Van Bork, Bert. Jacques Lipchitz: The Artist at Work. New York: Crown Publishers.
1967
Swope, John. Jacques Lipchitz: Sculptor and Collector. Los Angeles, California: U.C.L.A. Art Council. A photographic study.
Jacques Lipchitz: A Survey 1911-1973, Marlborough Fine Arts, Tokyo, Japan.
Jacques Lipchitz: Selected Sculpture, Reliefs & Drawings 1911-1972, Marlborough Gallery, New York, New York.
1986-87
The Lipchitz Gift: Models for Sculpture, The Tate Gallery, London, England.
Encuentros, Jacques Lipchitz y el arte primitivo, Marlborough Barcelona, Barcelona, Spain.
1987
Jacques Lipchitz: The Cubist Period (19131930), Marlborough Gallery, New York.
2009
Jacques Lipchitz. Dibujos, Bilbao Bizkaia Kutxa, Bilbao, Spain.
1988
Hommage à Lipchitz: œuvres de 1914 à 1963, Galerie Marwan Hoss, Paris, France.
1969
Jacques Lipchitz Rétrospective. Le Bellevue, Biarritz, France.
Arnason, Harvard H. Jacques Lipchitz: Sketches in Bronze. New York: Praeger; London: Pall Mall.
1989-90
Jacques Lipchitz: A Life in Sculpture, Art Gallery of Ontario, Toronto; traveled to Winnipeg Art Gallery, Winnipeg, Manitoba and elsewhere.
1972
The Anatomy of a Sculptor. Ben Uri Gallery, London, England.
Lipchitz, J. and Harvard H. Arnason. My Life in Sculpture, Jacques Lipchitz. New York: Viking Press.
1977
Lipchitz in Otterlo. Otterlo, Netherlands: Rijksmuseum Kröller-Müller.
1978
Jacques Lipchitz and Cubism. New York: Garland Publishing.
1991-92
Jacques Lipchitz: From Sketch to Sculpture, Tel Aviv Museum of Art, Tel Aviv, Israel.
2009-10 Jacques
Lipchitz: De la Joie de Vivre al Árbol de la Vida, Museo de Navarra, Pamplona, Spain.
69
1982 1996
1997
2000
2002
Jacques Lipchitz: Models and Sketches. Phoenix, Arizona: University of Arizona Press.
Hakone Open-Air Museum, Hakone-machi, Japan
Wilkinson, Alan G. The Sculpture of Jacques Lipchitz—A Catalogue Raisonné, Volume One— the Paris Years 1910-1940. London and New York: Thames and Hudson.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, USA
Leal, Paloma Esteban, and Carmen Fernández Aparicio. Donación Lipchitz, Madrid: Museo Nacional Centro de Arte Reina Sofia. Yvars, J.F., and Lucía Ybarra. Cartas a Lipchitz y algunos inéditos del artista. Madrid: Museo Nacional Centro de Arte Reina Sofia. Wilkinson, Alan G. The Sculpture of Jacques Lipchitz—A Catalogue Raisonné, Volume Two— The American Years 1941-1973. London and New York: Thames and Hudson. Pütz, Catherine. Jacques Lipchitz, The First Cubist Sculptor. London: Paul Holberton Publishing.
2005 IVAM
Instituto Valenciano de Arte Moderno. Lipchitz: Los Yesos en el IVAM. Valencia: IVAM Instituto Valenciano de Arte Moderno.
2009
de Barañano, Kosme. Jacques Lipchitz: the plasters, a catalogue raisonné, 1911-1973, Fundación BBK Bilbao 2009.
SELECTED PUBLIC COLLECTIONS Albright-Knox Art Gallery, Buffalo, New York, USA Art Gallery of Ontario, Toronto, Ontario, Canada Art Institute of Chicago, Chicago, Illinois, USA Art Museum, Princeton University, Princeton, New Jersey, USA Baltimore Museum of Art, Baltimore, Maryland, USA Barnes Foundation, Merion, Pennsylvania, USA Birmingham Museum of Art, Birmingham, Alabama, USA Broadgate, Broadgate Square, London, England Bunkamura Museum of Art, Tokyo, Japan Centre National d’Art et de Culture George Pompidou, Paris, France Chrysler Museum, Norfolk, Virginia, USA Cleveland Museum of Art, Cleveland, Ohio, USA
Honolulu Academy of Arts, Honolulu, Hawaii, USA Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, USA Indiana University Art Museum, Bloomington, Indiana, USA Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, California, USA
New Orleans Museum of Art, New Orleans, Louisiana, USA Norton Museum of Art, West Palm Beach, Florida, USA Norton Simon Museum, Pasadena, California, USA Olin Library, Cornell University, Ithaca, New York, USA Openluchtmuseum voor Beeldhouwkunst, Middelheimpark, Antwerp, Belgium Philadelphia Museum of Art, Philadelphia, Pennsylvania, USA Phillips Collection, Washington, DC, USA
Israel Museum and Billy Rose Art Garden, Jerusalem, Israel
Portland Art Museum, Portland, Oregon, USA
Jewish Museum, New York, New York, USA
Saarland Museum, Saarbrücken, Germany
Jewish Museum, San Francisco, California, USA Kröller-Müller Museum, Otterlo, The Netherlands Kunsthaus Zürich, Zurich, Switzerland Kunstmuseum Basel, Basel, Switzerland Kunstmuseum Bern, Bern, Switzerland Los Angeles County Museum of Art, Los Angeles, California, USA M.I.T.-List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, USA Meadows Museum, Southern Methodist University, Dallas, Texas, USA Frederick Meijer Gardens and Sculpture Park, Grand Rapids, Michigan, USA Metropolitan Museum of Art, New York, New York, USA
Queensland Art Gallery, Brisbane, Australia St. Louis Art Museum, Saint Louis, Missouri, USA San Francisco Museum of Modern Art, San Francisco, California, USA Scottish National Gallery of Modern Art, Edinburgh, Scotland Scottsdale Center for the Arts, Scottsdale, Arizona, USA Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, USA Shizuoka Prefectural Museum of Art, Shizuoka, Japan Skirball Museum, Hebrew Union College, Los Angeles, California, USA Smith College Museum of Art, Northhampton, Massachusetts, USA
Milwaukee Art Museum, Milwaukee, Wisconsin, USA
Sprengel Museum, Hannover, Germany
Minneapolis Institute of Arts, Minneapolis, Minnesota, USA
Staatliche Kunsthalle, Karlsruhe, Germany Staatsgalerie Stuttgart, Stuttgart, Germany
Minnesota Museum of American Art, St. Paul, Minnesota, USA
Städtische Kunsthalle Mannheim, Mannheim, Germany
Miriam and Ira D. Wallach Art Gallery, Columbia University, New York, New York, USA
Stanford University Museum of Art, Stanford, California, USA
Montréal Museum of Fine Arts, Montréal, Quebec, Canada
Stedelijk Museum, Amsterdam, The Netherlands
Munson-Williams-Proctor Institute, Museum of Art, Utica, New York, USA Musée des Beaux-Arts, Nancy, France
Stedelijk Van Abbe Museum, Eindhoven, The Netherlands Syracuse University Art Collection, Syracuse, New York, USA
Contemporary Arts Museum, Houston, Texas, USA
Musée des Beaux-Arts et de la Céramique, Rouen, France
Tate Gallery, London, England
Currier Gallery of Art, Manchester, New Hampshire, USA
Musée d’Art et d’Histoire du Judaïsme, Paris, France
Dallas Museum of Art, Dallas, Texas, USA
Musée d’Art Moderne de la Ville de Paris, Paris, France
Tokushima Modern Art Museum, Tokushima, Japan
The David and Alfred Smart Museum of Art, University of Chicago, Illinois, USA
Musee de Bellas Artes de Bilbao, Bilbao, Spain
Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts, USA
Museo Centro de Arte Reina Sofía, Madrid, Spain
Denver Art Museum, Denver, Colorado, USA Des Moines Art Center, Des Moines, Iowa, USA
Museum Boymans-van Beuningen, Rotterdam, The Netherlands
Detroit Institute of Arts, Detroit, Michigan, USA
Museum Folkwang, Essen, Germany
Fogg Art Museum, Harvard University, Cambridge, Massachusetts, USA
Museum of Fine Arts, Boston, Massachusetts, USA
Franklin D. Murphy Sculpture Garden, University of California, Los Angeles, California, USA
Museum of Modern Art, New York, New York, USA
Galleria Nazionale d’Arte Moderna, Rome, Italy Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation (New York), Venice, Italy Solomon R. Guggenheim Museum, New York, New York, USA Haags Gemeentemuseum, The Hague, Netherlands 70
Hamburger Kunsthalle, Hamburg, Germany
Museo de Bellas Artes de Caracas, Caracas, Venezuela
Museum of Fine Arts, Houston, Texas, USA The Music Center of Los Angeles, Los Angeles, California, USA National Gallery of Art, Washington, DC, USA National Gallery of Canada, Ottawa, Ontario, Canada Nelson-Atkins Museum of Art, Kansas City, Missouri, USA
Tel Aviv Museum of Art, Tel Aviv, Israel Tweed Museum of Art, University of Minnesota Duluth, Duluth, Minnesota, USA University of Arizona Museum of Art, Tucson, Arizona, USA University of Iowa Museum of Art, Iowa City, Iowa, USA University of Michigan Museum of Art, Ann Arbor, Michigan, USA Virginia Museum of Fine Arts, Richmond, Virginia, USA Walker Art Center, Minneapolis, Minnesota, USA Washington University Gallery of Art, St. Louis, Missouri, USA Whitney Museum of American Art, New York, New York, USA Wilhelm Lehmbruck Museum, Duisburg, Germany Worcester Art Museum, Worcester, Massachusetts, USA Yale University Art Gallery, New Haven, Connecticut, USA
ADDITIONAL WORKS EXHIBITED
Bas Relief II, 1921, bronze, ed. of 7, 23 1/4 x 23 1/4 x 1 1/4 in., 59.1 x 59.1 x 3.2 cm Bather (Seated Figure), 1913, pencil on paper, 7 x 4 1/2 in., 17.8 x 11.4 cm Bull and Condor, 1963, ink and red pastel on paper, 16 3/4 x 13 3/4 in., 42.5 x 35 cm Corrida, 1914, pencil on paper, 5 1/8 x 4 3/4 in., 13 x 12.1 cm Figure with Guitar: Maquette No. 1, 1923, bronze, ed. of 7, 6 1/4 x 6 3/4 x 2 3/8 in., 15.9 x 17.2 x 6 cm Girl Sitting, 1912, pencil on paper, 8 x 5 in., 20.3 x 12.7 cm Hair and Hands (Study for “Head� around 1932-33), 1930, ink on beige paper, 12 5/8 x 9 3/4 in., 32.1 x 24.8 cm Head of a Woman and Hair and Hand, 1930, bronze, ed. of 7, 6 x 5 1/4 x 3 3/4 in., 15.2 x 13.7 x 9.5 cm Man and Guitar (Musicians), 1926, charcoal on paper, 12 1/4 x 8 1/4 in., 31.1 x 21 cm Musicians, 1928, India ink on paper, 6 1/8 x 9 1/2 in., 15.6 x 24.1 cm Rape of Europa, 1969-70, marble, unique, 20 x 9 1/2 x 8 3/8 in., 50.8 x 24.1 x 21.3 cm Reclining Woman on a Puff, 1929, bronze, ed. of 7, 7 1/2 x 8 1/2 x 4 1/4 in., 19.1 x 21.6 x 10.8 cm Sketch for the Spirit of Enterprise III, 1953, bronze, ed. of 7, 9 1/8 x 9 7/8 x 5 in., 23.2 x 25.1 x 12.7 cm Standing Figure, 1929, bronze, ed. of 7, 8 3/8 x 3 5/8 x 3 1/4 in., 21.3 x 9.2 x 8.3 cm Study for a Bas Relief (Study for a Standing Bas Relief, 1923), 1922, charcoal on paper,7 1/8 x 9 1/2 in., 18.1 x 24.1 cm Study for a Statue (Study for a Monument), 1933, charcoal on paper, 18 3/4 x 12 1/4 in., 47.6 x 31.1 cm Study for Between Heaven and Earth, 1958, India ink on paper, 21 3/8 x 17 in., 54.2 x 43.2 cm Study for the Last Embrace: Maquette No. 1, 1970-72, bronze, ed. of 7, 5 x 5 7/8 x 3 1/4 in., 12.7 x 14.9 x 8.3 cm Study for Towards a New World, 1933, ink wash and gouache on grey paper, 13 x 10 1/8 in., 33 x 25.7 cm Study for Transparent (Harlequin 1926), 1926, charcoal on paper, 10 1/4 x 8 1/4 in., 26 x 21 cm Study for Wrestling the Angel and Jacob (Study for a Sculpture), 1931, charcoal on beige paper, 9 x 12 in., 22.9 x 30.5 cm The Corrida, 1914, crayon on paper, 5 1/8 x 4 in., 13 x 10.2 cm The Couple, 1929, bronze, ed. of 7, 5 x 7 1/2 x 3 3/4 in., 12.7 x 19.1 x 9.5 cm The Couple (Study), 1933, ink on paper, 8 1/4 x 4 3/4 in., 21 x 12 cm The Erotic Dance, 1971, bronze, unique, 17 3/4 x 8 1/2 x 5 1/2 in., 45.1 x 21.6 x 14 cm Variation of the Rape of Europa G, 1969-70, bronze, ed. of 7, 20 x 10 x 9 1/2 in., 50.8 x 25.4 x 24.1 cm Variation on the theme of The Last Embrace (Salvataggio) II, 1970-72, bronze, ed.1/7, 9 1/2 x 10 x 6 in., 24.1 x 25.4 x 15.2 cm Variation on the theme of The Last Embrace (Salvataggio) III, 1970-72, bronze, ed. of 7, 10 x 11 1/2 x 7 1/2 in., 25.4 x 29.2 x 19.1 cm Variation on the theme of The Last Embrace (Salvataggio) IV, 1970-72, bronze, ed. of 7, 11 x 11 1/2 x 7 1/2 inches, 27.9 x 29.2 x 19.1 cm
71
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MARLBOROUGH BROOME STREET 331 Broome Street New York, NY 10002 Telephone 212.219.8926 broomestreet@marlboroughchelsea.com LO N D O N / MARLBOROUGH FINE ART LTD. 6 Albemarle Street London W1S 4BY Telephone 44.20.7629.5161 Fax 44.20.7629.6338 www.marlboroughfineart.com mfa@marlboroughfineart.com MARLBOROUGH GRAPHICS 6 Albemarle Street London W1S 4BY Telephone 44.20.7629.5161 Fax 44.20.7495.0641 graphics@marlboroughfineart.com MARLBOROUGH CONTEMPORARY 6 Albemarle Street, London, W1S4BY Telephone 44.20.7629.5161 info@marlboroughcontemporary.com www.marlboroughcontemporary.com
72
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Important Works available by: Twentieth-Century European Masters; Post-War American Artists D E S I G N / Sydney Smith P R O D U C T I O N / Devon Johnson P H O T O G R A P H Y / Matt Grubb, Devon Johnson, Bill Orcutt P R I N T E D I N N E W YO R K B Y P R O J E C T
© 2015 Marlborough Gallery, Inc. ISBN 978-0-89797-486-8
JAC Q U E S L I P C H I T Z JACQUES LIPCHITZ
SELECTED SCULPTURE AND D R AW I N G F RO M 1911 TO 197 2
Hagar in the Desert, 1969, bronze, ed. of 7, 66 x 70 x 45 in., 167.6 x 177.8 x 114.3 cm
Bather III, 1917, bronze, ed. of 7, 28 1/4 x 10 x 10 in., 71.8 x 25.4 x 25.4 cm 2015
4 0 W E S T 57 T H S T R E E T | N E W YO R K 1 0 0 1 9 | 2 1 2 - 5 4 1 - 4 9 0 0 | M A R L B O R O U G H G A L L E R Y.C O M