Richard Lippold (1915-2002) was a sculptor and educator in New York, NY. Born in Milwaukee, Wisconsin, he studied at the University of Chicago and received training in industrial design at the Art Institute of Chicago. He also studied dance and piano. After graduating, Lippold started his own industrial design studio, but soon ended this endeavor to teach design and engineer drawing and mechanics at the University of Michigan in 1941. After moving to New York in 1944, Lippold began his career as a professional artist, exhibiting his work and creating public art installations. His art was known for metal, gold, and silver wire, rods, and bars used to create geometric sculptures that often incorporated a component of suspension. His installations can be found in museums, building lobbies, and universities across America including
This collection is arranged as five series.
The papers of sculptor and educator Richard Lippold measure 1.3 linear feet and date from 1940s to 1977. The collection documents Lippold's career through correspondence, writing files, project files, printed materials, and several motion picture films.
Correspondence includes letters to and from museums and galleries, architects, clients, friends, teaching colleagues, and other artists discussing various professional and non-professional topics. Writing files include drafts and transcripts of speeches on art, society, and sculpture given by Lippold; personal writings and notes; statements on his own art and the art of other artists; and teaching materials such as drafts of syllabi, course schedules, and lectures. Project files mostly relate to public commissions and contain correspondence, status reports, work schedules, financial information, sketches and preliminary drawings, agreements, as well as some writings. Printed materials include newspaper clippings; seven issues of the publication, "Dance Observer," for which Lippold served among its editors and contributors; and some exhibition material. Film footage includes the dedication of Lippold's "Orpheus and Apollo" at the Lincoln Center in 1962; a documentary made about Lippold's sculpture, "The Sun," at the Metropolitan Museum of Art; and scenes of Lippold's "World Tree" at Harvard University.
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This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
The collection was donated in several installments by Richard Lippold between 1968-1977. Materials found on reel N69-24 were lent for microfilming 1968-1969.
Portions of the collection and material lent for microfilming are available on 35mm microfilm reel D342 and N69-24 at the Archives of American Art offices and through interlibrary loan. Researchers should note that the arrangement of material described in the container inventory does not reflect the arrangement of the collection on microfilm.
Richard Lippold papers, 1940s-1977. Archives of American Art, Smithsonian Institution.
The collection was processed and a finding aid prepared by Christopher DeMairo in 2021.
The Archives of American Art also holds microfilm (reel N69-24) of material loaned for microfilming including correspondence; catalogs; clippings; writings; and papers relating to the Conference on Government Participation in the Arts and Humanities. Loaned materials were returned to the donor after microfilming and are not described in the collection container inventory.
Files consist of business and general correspondence with museums and galleries, architects, clients, and others involved with Lippold's artwork and public commissions. Personal correspondence is with friends and other artists discussing various professional and non-professional topics. Notable correspondents include: Josef Albers, William Baziotes, Naum Gabo, Morris Graves, Walter Gropius, Mark Rothko, Eero Saarinen, and Mark Tobey. Also present is one folder that contains correspondence, salary information, and certificates from Lippold's time as professor at Hunter College.
Drafts and transcripts of speeches on art, society, and sculpture given by Lippold; personal writings and notes; statements on his own art and the art of other artists including Mark Rothko, Ray Johnson, and Clyfford Still; and teaching materials such as drafts of syllabi, course schedules, and lectures. Some folders include some correspondence and printed material as well.
Files related to public commissions may contain correspondence, status reports, work schedules, financial information, sketches and preliminary drawings, agreements, as well as some writings about the project. Also present are publicity releases, correspondence, addresses, invitations, and itineraries related to Lippold's participation in a cultural exchange program to Germany in 1954; and project correspondence regarding Gyorgy Kepes'
Materials include articles written by Lippold for newspapers and journals; seven issues of the publication, "Dance Observer," for which Lippold served among its editors and contributors; exhibition catalogs and announcements for several of Lippold's solo shows; an exhibition brochure for Maude Gatewood at the Willard Gallery and includes text written by Lippold; and one folder containing published material that featured images of Lippold's work.
Footage includes the dedication of Lippold's "Orpheus and Apollo" at the Lincoln Center in 1962; a documentary made about Lippold's sculpture, "The Sun," at the Metropolitan Museum of Art; and scenes of Lippold's "World Tree" at Harvard University.
Dedication of "Orpheus and Apollo"
"World Tree" at Harvard