Robert Murray with Athabasca, 1965-67
Installed in the Fifth Avenue entrance of the Jewish Museum in New York City for Sculpture in Environment in October 1967
Marisol with Mi Mama y Yo, 1968
Marisol made this sculpture with found and cast objects combined with elements fabricated at Lippincott, Inc.
Ellsworth Kelly with Yellow Blue, 1968
This sculpture was commissioned for the Empire State Plaza Art Collection in Albany, NY
Louise Nevelson, Atmosphere and Environment X, 1969–70
during installation at Princeton University in 1971
Claes Oldenburg, Lipstick (Ascending) on Caterpillar Tracks, 1969 during the installation at Yale University
Forrest Myers with Four Corners, 1969–70, the first time the piece was set up at Lippincott. The sculpture is part of the permanent collection of the Storm King Art Center in Mountainville, NY.
Clement Meadmore, Upstart I, 1967, installed in Detroit for Sculpture Downtown in 1969
Barnett Newman’s Broken Obelisk, 1963–67, during installation in Detroit for Sculpture Downtown
Clement Meadmore, Split Ring, 1969, with curator William Leonard, Don Lippincott, and Roxanne Everett
Robert Indiana and the Lippincott crew stand in front of the finished LOVE, 1970. Front row, left to right: Indiana, Roxanne, Toad, Bob Sanford, Peter Versteeg. Back row, left to right: Bill Rascoe, Don, Frank Viglione, Eddie Giza, Joe Lesco, Bobby Giza. This piece was shown for the first time at the Indianapolis Museum of Art as a part of Seven Outside in 1970, when it became part of the permanent collection.
George Sugarman during an interview beneath Saint Paul Sculptural Complex, 1968, at the First National Bank of Saint Paul
Ronald Bladen, Cathedral Evening, 1971, shown here at the shop; this sculpture was commissioned for the Empire State Collection in Albany, NY
Robert Morris with Untitled, 1972, during the installation at the Wadsworth Atheneum Museum of Art in Hartford, CT
David von Schlegell, Untitled, 1969, during installation at Storm King Art Center in Mountainville, New York. The three elements of the sculpture are precisely placed in a line, with all the frames on a level plane in space.
Don and Louise Nevelson with Atmosphere and Environment XIII (Windows to the West), 1972. This sculpture was commissioned by the Scottsdale Fine Arts Commission, with assistance from the National Endowment for the Arts, and installed in Scottsdale, Arizona, in 1973
Louise Nevelson’s Sky Covenant, 1973, at Temple Israel in Boston
Ellsworth Kelly and Don looking at Curve II, 1973, at the shop. The sculpture is suspended from an overhead crane so that Kelly can examine it and decide on the size of the base.
Jean Dubuffet’s Milord la Chamarre, 1974, during installation at the Seagram Building in New York City. As always with public installations, a large crowd has gathered to watch the process unfold.
George Sugarman, Kite Castle, 1974
Robert Murray (second from right) with the crew at Lippincott, Inc., under his Quinnipiac, 1974. This sculpture is part of the collection at the University of Massachusetts, Amherst.
Claes Oldenburg comparing his model to the large-scale Clothespin, 1976. The ladder allowed him to examine the shapes of the forty-five-foot Clothespin in the way it would appear when vertical, to a viewer standing nearby. Sugarman’s Yellow Ascending, 1977, is in progress at the left.
Claes Oldenburg and Coosje van Bruggen, Batcolumn, 1977, during installation at the Harold Washington Social Security Center in Chicago
Claes Oldenburg and Coosje van Bruggen, Crusoe Umbrella, 1979, installed in Des Moines, IA
Nancy Graves, Trace, 1981, in the field at Lippincott, Inc.
Donald Judd, 100 untitled works in mill aluminum, 1982–86, detail. Interior of one of the modified artillery sheds at the Chinati Foundation showing a portion of the one hundred boxes in place. Each box has the same overall dimensions of 41 x 51 x 72 inches, but the division of the space within that envelope is different in each case
Ellsworth Kelly, Untitled, 1982–83, at the Dallas Museum of Art
William T. Wiley, Boo Dada Bar BQ
1982
Ellsworth Kelly, Untitled
1983
Ellsworth Kelly, Untitled, 1983
Robert Murray, Hillary, 1983, at Grounds for Sculpture in Hamilton, NJ
Claes Oldenburg, Tube Supported by its Contents
1983
Painted bronze and steel
36" x 22" x 27"
Edition of 3
Keith Haring, Untitled
1985
William T. Wiley, Gong
1986
Jonathan Borofsky, Man with Briefcase, 1987
Claes Oldenburg and Coosje van Bruggen, Spoonbridge and Cherry, 1988, in the Minneapolis Sculpture Garden, Walker Art Center, MN.
Roy Lichtenstein, Modern Head, 1974/1989 in the field at the shop
William T. Wiley, Tower of the No Bull Salvage
1990
Jonathan Borofsky, Hammering Man, 1991. One of six versions of this sculpture made by Lippincott, this piece is part of the collection at the Seattle Art Museum.
Red Grooms, Henry Moore in a Sheep Meadow, 1992
Tony Smith, Moondog, 1964/1996–97
Tony Smith, Smog, 1969–70/1999–2000, part of the collection at Middlebury College in Middlebury, VT
Tom Wesselmann, Bedroom Brunette with Irises, 1988/2004
Tony Smith, Generation, 1965/2005
Tony Smith, Smoke, 1967/2005 at the Los Angeles County Museum of Art
Tony Smith, Smug, 1973/2005. Alfred stands with Smug after the installation at Glenstone in Potomac, MD
Tony Smith, Smug, 1973/2005. Aerial view from the crane at the completion of the assembly at Glenstone in Potomac, MD