Correspondence
name: label: Collection Creator
content: Lipchitz, Jacques, 1891-1973
setName: label: See more items in
content: Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
label: See more items in
content: Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz / Series 1: Jacques Lipchitz papers
physdesc: label: Extent
content: 4.2 Linear feet (Boxes 1-5, OV 11)
unitdate: label: Date
content: 1926-1975
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.lipcjacq2, Subseries 1.2
objectType: label: Type
content: Archival materials
arrangement: label: Arrangement note
content: Additional correspondence is included with the catalogue raisonné documentation (Subseries 5).

All correspondence is arranged alphabetically by correspondent, followed by unidentified, illegible, unsigned letters, and fragments. This series has been scanned in its entirety.
scopecontent: label: Scope and Contents note
content: This series comprises nearly half of the collection. Approximately 20 percent is in foreign languages, primarily French, with a fair amount in Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew and Yiddish represent the remainder. Correspondence consists largely of incoming letters. Surviving copies of Lipchitz's outgoing letters are mainly drafts, and the earliest ones bear corrections by someone with a better command of English. Drafts of replies often appear on the backs of letters or their accompanying envelopes. Some drafts are written on separate sheets of paper, and multiple letters may appear on a single page.

Jacques Lipchitz's correspondence illuminates his professional career and personal life, with the substance of many letters combining both. Professional correspondence with collectors, galleries, and museum personnel concerns commissions, exhibition plans, loans, jury service, etc. Architects also corresponded about commissions, and dealers apprised Lipchitz of new inventory that might be of interest for his collection. Art groups, Jewish organizations, and charities wrote to solicit donations of artwork for fundraising events, and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research requesting information about specific works, items in the Lipchitz Collection, and his opinions about various issues. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement. Personal correspondence with close friends, wife Yulla, and a nephew recounts personal and family news, activities, and sometimes touches on future plans.