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Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001

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2.5: Film Projects Regarding Jacques Lipchitz, 1971-2001
28.2 linear feet
Boxes 22-46, 53-65, OV 69

This subseries contains paper records, artifacts, motion picture film, video, and sound recordings created and used in the production of Bruce Bassett's film projects related to Jacques Lipchitz. Bassett originally shot over 40 hours of motion picture film with synchronized sound recordings in 1971. From this footage he developed the first incarnations of his two main projects: the Jacques Lipcthiz interactive project, also known as "Conversations with Jacques Lipchitz," and a documentary about Lipchitz. Both projects debuted to the public at the 1972 Jacques Lipcthiz retrospective exhibition at the Metropolitan Museum of Art in New York City. After Lipchitz's death in 1974, Bassett shot additional footage documenting the casting of large-scale Lipchitz sculptures in Italy, and the installations of those sculptures in New York, Philadelphia, and Jerusalem, carried out by his widow, Yulla Lipchitz. This material was used in an updated version of the documentary, which was released around 1977. Subsequent releases occurred in the late 1980s and early 1990s. The interactive project was also exhibited in multiple versions, in a variety of formats as video and computer technology evolved, between 1973 and 2001. See the subseries descriptions below for more detail.
The series is arranged as 3 subseries:
2.5.1: Original Footage and Stock Footage, 1971-1981
2.5.2: Jacques Lipchitz Interactive Project, 1972-2001
2.5.3: Jacques Lipchitz Documentary, 1972-1994
2.5.1:Original Footage and Stock Footage, 1971-1981
This subseries contains original footage shot by Bassett and his crew and used as the source material for his two film projects documenting Jacques Lipchitz. Bassett's initial filming took place in Italy in August and September of 1971, and later in Philadelphia, Miami, New York, and Jerusalem between 1976 And 1978. Footage from the shoot in Italy contains several long interviews with Lipchitz and footage shot in his Italian studio and foundry. All numbered camera and sound reels from the Italy filming are described in detail in the script book at the beginning of the series. Film and sound footage from the later shoots contain mainly documentation of the posthumous large-scale sculpture installations overseen by Lipchitz's widow, Yulla Lipchitz, as well as multiple interviews with her.
120 of the 171 original sound reels from the Italy filming survive, but very little of the camera footage remains. In addition to original sound reels, a dubbed copy of all of the sound recorded in Italy is found on a smaller set of reels, so any missing original sound reels can be recovered from the dubbed copy. Four miscellaneous, sound-only reels of original sound recordings are also found. None of the original camera reels remain from the Italy shoot, but workprint copies of 20 of the 193 original camera and sound reels were made at a later stage in Bassett's work, possibly to edit new versions of his film projects. These workprints were named "archival prints" by Bassett and are the only remaining raw footage from the 1971 filming period in Italy. Some of them have splices, indicating portions were removed. Reels are listed by the new reel numbers assigned by Bassett when they were re-printed, but their original reel numbers, indexed and described in the script book at the beginning of the series, are also noted. Two unnumbered reels of original footage of Lipchitz working in his studio on the sculpture
The Last Embrace
are also found in this series.
For later filming in the US and Jerusalem, original camera reels, some with sound on film, and separate original sound reels are found. There is no paper record of these shoots in the collection. Material is arranged by subject and date. Other raw footage found includes four camera reels of sculptures by Lipchitz from the Metropolitan Museum.
Other source material in this series includes stock footage and stock soundtrack, produced by others but used in Bassett's Lipchitz projects, and a couple of short reels of sound effects and titles.
Note that the workprint is silent 16 mm picture unless otherwise indicated, original sound reels are ¼" tape, and soundtrack is 16mm fullcoat magnetic stock. Some of the later foundry and installation footage was shot on reversal positive film with a magnetic stripe soundtrack, identified in the container listing as sound on film.
DescriptionContainer
Italy Filming
Script Book, circa 1971
3 folders
Photocopies
22
11-13
Sound reels #1-14 and 25-49, 1971 August-September
(38 sound tape reels)
23
1-38
Sound reels #50-71, 73-81, 107, 123-128, 1971
(38 sound tape reels)
24
1-38
Sound Reels #129-166, 1971
(38 sound tape reels)
25
1-38
Sound reels # 167-171, 1971
(5 sound tape reels)
26
1-5
Dubbed sound reels #1-13, circa 1971
(13 sound tape reels)
(A key to original reels contained on each dub reel is found with dub reel 1, box 5, item 6.)
26
6-18
Interview of Lipchitz by Bruce Bassett, 1971 June 24
(1 sound tape reel)
(A pre-production interview, about the pending Metropolitan Museum exhibition)
26
19
Lipchitz Interview Re-takes, 1972 April 29
(1 sound tape reel)
26
20
Interview with Jacques Lipchitz, circa 1971
(1 sound tape reel)
(Excerpts)
26
21
Florence Section Narration, undated
(1 sound tape reel)
26
22
Lipchitz Working in Clay, Sync Sound, undated
(1 sound tape reel)
26
23
Archival Reel 31, circa 1971
(1 film reel: workprint picture)
(Original camera reel 137)
27
1
Archival Reel 32, circa 1971
(1 film reel: workprint picture)
(Original camera reels 145-146)
27
2
Archival Reel 33, circa 1971
(1 film reel: workprint picture)
(Original camera reels 148-150)
27
3
Archival Reel 34, circa 1971
(1 film reel: workprint picture)
(Original camera reel 152)
27
4
Archival Reel 35, circa 1971
(1 film reel: workprint picture)
(Original camera reel 163)
27
5
Archival Reel 37, circa 1971
(1 film reel: workprint picture)
(Original camera reels 181-182)
27
6
Archival Reel 38, circa 1971
(1 film reel: workprint picture)
(Original camera reels 184-186)
27
7
Archival Reel 39, circa 1971
(1 film reel: workprint picture)
(Original camera reels 187-188)
27
8
Archival Reel 40, circa 1971
(1 film reel: workprint picture)
(Original camera reels 189-191)
27
9
Archival Reel 41, circa 1971
(1 film reel: workprint picture)
(Original camera reels 192-193)
28
1
Archival Reel 31, circa 1971
(1 film reel: soundtrack)
(original sound reel 131)
28
2
Archival Reel 32, circa 1971
(1 film reel: soundtrack)
(Original sound reel 139-140)
28
3
Archival Reel 33, circa 1971
(1 film reel: soundtrack)
(Original sound reel 142-144)
28
4
Archival Reel 35, circa 1971
(1 film reel: soundtrack)
(Original sound reel 152)
28
5
Archival Reel 37, circa 1971
(1 film reel: soundtrack)
(Original sound reels 158-159)
28
6
Archival Reel 38, circa 1971
(1 film reel: soundtrack)
(Original sound reels 162, 164)
28
7
Archival Reel 39, circa 1971
(1 film reel: soundtrack)
(Original sound reels 166-167)
28
8
Archival Reel 40, circa 1971
(1 film reel: soundtrack)
(Original sound reels 167-169)
28
9
Archival Reel 41, circa 1971
(1 film reel: soundtrack)
(Original sound reels 170-171)
29
1
Lipchitz Working on His Sculpture
The Last Embrace
, circa 1972
(2 film reels: picture)
29
2
Lipchitz Sculpture at the Metropolitan Museum, 1972
4 film reels: picture; 2 oversized reels in box 53)
29
3
Index to Sculptures Filmed at the Metropolitan Museum, undated
Index on paper, 1 folder
29
4
Selected Sculptures, European Shoot, undated
(1 videocassette: U-Matic)
29
5
Philadelphia Installation and Dedication of
Government of the People
, 1976-1977
(16 film reels: picture, 2 film reels: sound on film, and 1 sound tape reel; film housed in 4 film cans, 2 oversized film cans in Box 54)
29
6
New York Installation of
Bellerophon Taming Pegasus
, 1977 April
(8 film reels: sound on film, 1 film reel: picture, 8 sound tape reels, 1 duplicate videocassette: U-Matic; film housed in 2 oversized film cans in Box 55)
30
1
Interview with Yulla Lipchitz, 1977 May
(5 film reels: picture; film housed in 2 film cans, 1 oversized film can in box 44)
Picture only, no sound
30
2
Italian Foundry Filming, 1977 August
(1 film reel: sound on film)
30
3
Miami Interview with Joe Harrison, 1977
(1 film reel, 1 sound tape reel)
(See also series 5.2, Segments)
30
4
Israel Filming, 1977-1978
(8 film reels: picture, 1 film reel: sound on film; film housed in 2 film cans, 1 oversized film can in Box 56)
30
5
Unidentified Aerial Footage, undated
(1 film reel)
30
6
Sound Effects and Titles, undated
(9 film reels: 35mm magnetic sound loop, 1 film reel: 16mm magnetic sound loop, 2 film reels: 35mm picture; film housed in 1 film can)
30
7
Stills and Animation, undated
(5 film reels in 1 film can)
30
8
Stock Footage, undated
(6 film reels in 1 film can)
30
9
Oversized Reels of Original Footage, Lipchitz Sculpture at the Metropolitan Museum (Oversized material from Box 29, item 3)
53
Oversized Film Cans of Original Footage, Philadelphia Installation (Oversized material from Box 29, item 6)
54
Oversized Film Cans of Original Footage, New York Installation (Oversized material from Box 30, item 1)
55
Oversized Film Cans of Original Footage, Yulla Lipchitz Interview and Israel Filming (Oversized material from Box 30, items 2 and 5)
56
2.5.2:Jacques Lipchitz Interactive Project, 1972-2001
This subseries contains the edited film and video created for the Lipchitz interactive project, as well as paper records documenting the production and presentation of its various installations.
Audiovisual materials include multiple versions of "answers" compiled from the Lipchitz interviews filmed in 1971, used in multiple interactive installations between 1972 and 2001. Each version exists in a group of 2 to 4 reels or tapes, in its source format of motion picture film, or its installation format of various video types. Each group and its elements is described using the reel names and numbers assigned by Bassett to maintain their connection to paper documentation, and groups are arranged chronologically. The item headings listed below are direct transcriptions of Bassett's labels. Six miscellaneous reels, which do not appear to belong to any of the main groups of film reels, are arranged after the dated reels. Although they may duplicate some of the dated material, these miscellaneous reels were found to be in better condition than some of their copies, so they were retained.
Also found are 117 small film and soundtrack reels of named segments whose titles correspond to segments listed in the source books. These may be outtakes or workprint of the edited Lipchitz answers.
Paper records in this series include the original questions generated by the public during installations of the interactive project. Questions exist in multiple forms including orignal handwritten cards and printouts in multiple sets, each with a different arrangement of data. Notebooks include mainly technical and shot notes, but also notes on an Andy Goldsworthy interview. Production files contain detailed notes on the assembly of segments and revisions to the reels, including a negative pull list for a recent revision. The Program Guide contains annotated indexes to segments on each reel or disc, and other technical notes.
Source Books, found in the paper documentation, provide a scene-by-scene content inventory and transcript of the audiovisual material in each version presented to the public between 1972 and 2001. They also contain notes related to the operation of the interactive program. Although all of the source books contain redundant and similar content, each version has its own annotations and a variety of interfiled production records specific to its particular installation. The 2001 source book from the Krannert Art Museum installation also includes a disc directory, photographs of sculptures in the Krannert exhibit, and an article on Lipchitz.
Technical drawings show the way the video equipment was set up in the installations, showing a user in relation to the interactive system display. The Transcript folder includes a collection of Lipchitz's comments on Pablo Picasso gathered from the footage, a portion of which appears to have been licensed to another production company in the 1980s.
DescriptionContainer
Audiovisual Materials
Introduction, circa 1972
(2 film reels: workprint and soundtrack; oversized workprint in Box 57, oversized soundtrack in Box 58)
31
1
Birth-Cubism, circa 1972
(2 film reels: workprint and soundtrack; oversized workprint in Box 57, oversized soundtrack in Box 58)
31
2
Transparencies-Jacob and the Angel, circa 1972
(2 film reels: workprint and soundtrack; oversized soundtrack in Box 58, oversized workprint in Box 59)
31
3
Mother-Virgin, circa 1972
(2 film reels: workprint and soundtrack; oversized workprint in Box 59, oversized soundtrack in Box 60)
31
4
Reel A, Part 1, 1972
(2 film reels: A+B roll, 1 sound tape reel)
31
5
Reel A, Part 2, 1972
(2 film reels: A+B roll, 1 sound tape reel)
31
6
Reel B, Part 1, 1972
(2 film reels: A+B roll, 1 sound tape reel)
31
7
Reel B, Part 2, 1972, undated
(2 film reels: A+B roll, 1 sound tape reel)
31
8
Unidentified Reel, 1972
(2 film reels: A+B roll)
32
1
Reel D, 1979
(2 videocassettes: U-Matic, 1 with visible time code)
32
2
Reels A-D, 1979
(4 videocassettes: Betacam SP)
33
1
Discs I-II, circa 1982
(2 videocassettes: U-Matic)
33
2
Discs I-IV, 1999
(4 videocassettes: Digital Betacam)
33
3
Reel A, 1982
(2 film reels: workprint, 2 film reels: soundtrack)
34
1
Reel B, 1982
(2 film reels: workprint, 2 film reels: soundtrack)
34
2
Reel C, 1982
(1 film reel: workprint, 1 film reel: soundtrack; oversized workprint in Box 61, oversized soundtrack reel in Box 60)
34
3
Reel D, 1982
(1 film reel: workrpint, 1 film reel: soundtrack; oversized workrpint in Box 61, oversized soundtrack reel in Box 60)
34
4
Miscellaneous Reels
Monitor Station Segments, undated
(2 film reels: internegative and answer print, 1 sound tape reel)
35
1
Met, undated
(2 film reels: workprint and sountrack)
35
2
Reel C, Part 1, undated
(1 film reel: workprint)
(Note on original can: "does not contain Picasso")
35
3
Q+A Reel C, 1971
(1 film reel: picture, oversized reel in Box 62)
B35B23
4
Reel II, Part 1, undated
(1 film reel: picture, oversized reel in Box 62)
(Leader also labeled "D Reel")
35
5
Unidentified Reel, undated
(1 film reel: workprint)
35
6
Segments
Art Is Eternal, Banker's Economy, Bellerophon, circa 1971-1981
(4 film reels: workprint, in 1 film can)
35
7
Bellerophon, circa 1971-1981
(6 film reels: workprint, in 2 film cans)
35
8
Birth and Unity, circa 1971-1981
(3 film reels: workprint, in 1 film can)
36
1
Columbine, circa 1971-1981
(2 film reels: workprint, in 1 oversized film can in Box 63)
36
2
Cubism, End Section, FF, First Come to America, Florence, Freeze, Government of the People, circa 1971-1981
(7 film reels: workprint, in 1 film can)
36
3
Government of the People, circa 1971-1981
(3 film reels: workprint, in 1 film can)
36
4
Gursenski, James Joyce, circa 1971-1981
(4 film reels: workprint)
36
5
Last Embrace, circa 1971-1981
(4 film reels: workprint, in 1 oversized film can in Box 63)
36
6
Man Getting Better, Miami and Joe Harrison Interview, circa 1971-1981
(4 film reels: workprint, in 1 film can)
36
7
Miami and Joe Harrison Interview, Mother and Child, Notre Dame de Liesse, circa 1971-1981
(5 film reels: workprint, in 1 film can)
36
8
New Segments, Opening, Paracelles, Pollution Affects Art, Storytelling, circa 1971-1981
(7 film reels: workprint, in 1 film can)
36
9
Yulla Lipchitz/Israel, circa 1971-1981
(6 film reels: workprint, in 1 oversized film can in Box 64)
36
10
Unidentified Segments, circa 1971-1981
(7 film reels: workprint, in 1 film can)
36
11
Miscellaneous Trims, circa 1971-1981
workprint and soundtrack in 1 film can
36
12
Segments, continued
Art Is Eternal, Banker's Economy, Bellerophon, circa 1971-1981
(5 film reels: soundtrack, in 1 film can)
37
1
Bellerophon, circa 1971-1981
(4 film reels: soundtrack, in 1 film can)
37
2
Birth and Unity, circa 1971-1981
(4 film reels: soundtrack, in 1 film can)
37
3
Birth and Unity, Cubism, FF, First come to America, circa 1971-1981
(5 film reels: soundtrack, in 1 film can)
37
4
Gursenski, James Joyce, Last Embrace, circa 1971-1981
(6 film reels: soundtrack, in 1 film can)
37
5
Man Getting Better, Miami and Joe Harrison, circa 1971-1981
(3 film reels: soundtrack, in 1 film can)
37
6
New Segments, Notre Dame de Liesse, Pollution Affects Art, Storytelling, circa 1971-1981
(6 film reels: soundtrack, in 1 film can)
37
7
New Segments, Transparencies/Jacob and the Angel, Yulla/Israel, circa 1971-1981
(6 film reels: soundtrack, in 1 oversized film can in Box 64)
37
8
Unidentified Segments, circa 1971-1981
(13 film reels: soundtrack, in 2 film cans)
37
9
Demonstrations
Metropolitan Museum, 1972 June 11
(1 sound tape reel)
38
1
City University of New York, 1973
38
2
Exxon Education Foundation, 1979
(2 folders, script and 1 videocassette: U-Matic)
38
3-4
Exhibition Materials
Magnetic Strips, circa 1971-2001
in shoebox
38
5
Segment Boards, circa 1972-2001
Oversized item in OV 69
38
6
Signs, circa 1972-2001
Oversized item in OV 69
38
7
Topic Cards, circa 1972-2001
38
8
Production Notebooks, circa 1999
38
9
Production Files, circa 1972-2001
4 folders
38
10-13
Program Code, circa 1999
2 folders
38
14-15
Program Guide, 1998-1999
38
16
Questions and Answers
Handwritten Question Cards, circa 1972
6 folders
39
1-6
Printouts of All Questions, 1973
2 folders
39
7-8
Printouts of Questions with Answers, 1973
4 folders
39
9-12
Printed Questions on Sorting Cards, circa 1973
3 folders
39
13-15
Annotated Questions, circa 1972-2001
2 folders
40
1-2
Coded Questions, circa 1972-2001
2 folders
40
3-4
Source Book, 1973
40
5
Source Book, circa 1973
40
6
Source Book, 1982
40
7
Source Book, 1990
40
8
Source Book, circa 1998
40
9-11
Source Book, circa 2000
40
12-14
Source Book, Krannert Art Museum, 2001
40
15-16
Source Book, Reels A-D and Parts I and II Revised Script, undated
40
17
Technical Drawings of Interactive System, circa 1972-2001
40
18
Transcript of Picasso Segment, circa 1972-2001
40
19
Oversized Audiovisual Materials, Introduction (workprint from Box 31, item 1)
57
Oversized Audiovisual Materials, Birth-Cubism (workprint from Box 31, item 2)
57
Oversized Audiovisual Materials, Introduction (soundtrack from Box 31, item 1)
58
Oversized Audiovisual Materials, Birth-Cubism (soundtrack from Box 31, item 2)
58
Oversized Audiovisual Materials, Transparencies-Jacob and the Angel (soundtrack from Box 31, item 3)
58
Oversized Audiovisual Materials, Transparencies-Jacob and the Angel (workprint from Box 31, item 3)
59
Oversized Audiovisual Materials, Mother-Virgin (workprint from Box 31, item 4)
59
Oversized Audiovisual Materials, Mother-Virgin (circa 1972) (soundtrack from Box 31, item 4)
60
Oversized Audiovisual Materials, Reel C (1982) (soundtrack from Box 34, item 3)
60
Oversized Audiovisual Materials, Reel D (1982) (soundtrack from Box 34, item 4)
60
Oversized Audiovisual Materials, Reel C (1982) (workprint from Box 34, item 3)
61
Oversized Audiovisual Materials, Reel D (1982) (workprint from Box 34, items 4)
61
Oversized Audiovisual Materials, Miscellaneous Reels, Q+A Reel C (from Box 35, items 4)
62
Oversized Audiovisual Materials, Miscellaneous Reels, Reel II, Part 1 (from Box 35, item 5)
62
Oversized Audiovisual Materials, Segments, Columbine (workprint, from Box 36, item 2)
63
Oversized Audiovisual Materials, Segments, Last Embrace (workprint, from Box 36, item 6)
63
Oversized Audiovisual Materials, Segments, Transparencies-Jacob-Yulla (workprint, from Box 36, item 10)
64
Oversized Audiovisual Materials, Segments, New Segments, Transparencies-Jacob, Yulla (soundtrack, Box 37, item 8)
64
Oversized Exhibition Materials, Segment Board and Signs (from Box 38, items 6-7)
69
2.5.3:Jacques Lipchitz Documentary, 1972-1994
This subseries contains audiovisual and a few paper records related to the documentary Bassett produced about Jacques Lipchitz. The first version was created in 1972 in tandem with the Metropolitan Museum of Art's Lipcthiz retrospective exhibition. The documentary was updated in 1977 with footage added from the posthumous large-scale sculpture installations, and then revised again in 1991.
The subseries includes multiple finished versions of the documentary in their presentation and distribution formats (film and video), and pre-print master elements of the finished versions (A+B roll and internegative; master from which distribution copies are made). Also found are production elements made at different stages of production and revision, excerpts of the finished film compiled for publicity, and two pieces of television coverage of the installation of
Bellerophon Taming Pegasus
that use Bassett's footage.
Some of the film cans contain paper lab records for prints and edits created over the years.
Additional records related to the documentary are found in Subseries 2.2.1 Business Records, Jacques Lipchitz Art Foundation, and Subseries 2.3, Printed Materials.
DescriptionContainer
Finished Versions
Presentation Copy, circa 1972
(2 videocassettes: U-Matic)
41
1
Presentation Copy, 1977
(2 film reels)
41
2
Presentation Copy, 1977, undated
(2 duplicate videocassettes: U-Matic)
42
1
Presentation Copy, Short Version, 1989, undated
(1 film reel and 2 duplicate videocassettes: U-Matic and VHS; oversized film reel housed in Box 65)
42
2
Presentation Copy, 1991
(1 film reel and 2 duplicate videocassettes: U-Matic and VHS; oversized film reel housed in Box 65)
42
3
Pre-Print Master Elements
Reel 1, 1972, undated
(4 film reels: A+B Roll picture and 2 soundtrack reels)
(Can with A Roll contains film lab records)
43
1
Reel 2, 1972, 1974, 1976
(4 film reels: sound effects tracks A-D)
43
2
Reel 2, 1972, 1974, 1976
(8 film reels: A+B Roll picture and 6 unmixed soundtrack reels)
(Can with A Roll contains film lab records)
44
1
Reels 1 and 2, 1976, 1978-1980
(4 film reels: internegative picture and soundtrack)
45
1
Reel 1, 1991
(2 film reels: internegative picture and soundtrack)
45
2
Production Elements
Original Ending, circa 1972
(9 film reels: A+B Roll picture, internegative picture and soundtrack, and answer print, housed in 2 film cans)
45
3
Revised Ending, 1977
(2 sound tape reels)
45
4
Parts I, II, and III, circa 1977
(3 sound tape reels)
45
5
Titles, 1977
(1 film reel)
45
6
Pre-print with Visible Time Code, 1991
(3 videocassettes: U-Matic)
46
1
Excerpts
Two Segments: Bellerophon Taming Pegasus, Freedom of Expression, circa 1977
(1 videocassette: U-Matic)
46
2
Stills and Segments for Random House Presentation, 1994
(1 videocassette: Betacam SP)
46
3
Television Coverage
Today Show
, 1977 June 16
(1 film reel, 1 duplicate videocassette: U-Matic, film reel housed in Box 65)
46
4
News Story on
Bellerophon Taming Pegasus
Installation, 1977
(1 film reel, 1 duplicate videocassette: U-Matic, film reel housed in Box 65)
(Film can contains film lab records)
46
5
Finished Versions, Presentation Copies, 1989 and 1991 (2 film reels from Box 42, items 2-3)
65
Television Coverage,
Today Show
(from Box 46, item 4)
65
Television Coverage, News Story on
Bellerophon Taming Pegasus
Installation (from Box 46, item 5)
65

Make a Request

  • To request an appointment to view materials, make your selections using the checkboxes and click the "Reading Room" button. Please note, you will receive the full box.
  • To request reproductions, make your selections using the checkboxes and click the "Reproduction" button.