Showing Records: 91 - 100 of 4705
American Naïve Paintings from the National Gallery of Art, 1985-09-10 - 1985-12-01
Exhibition
Scope and Contents
From the Record Group:
The records include material related to the exhibitions that were on display between 1966 and 1977. Material comes from both curatorial and registration departments, as well as from all departments that contribute to creating an exhibition. Material includes checklists in both final and draft form, object and installation photography, printed matter including catalogs and invitations, publicity and press releases, correspondence, and more. The majority of the exhibitions were presented at...
Dates:
Event: 1985-09-10 - 1985-12-01
American Needlework, 1967-2-07 - 1967-04-23
Exhibition
Scope and Contents
From the Record Group:
The records include material related to the exhibitions that were on display between 1966 and 1977. Material comes from both curatorial and registration departments, as well as from all departments that contribute to creating an exhibition. Material includes checklists in both final and draft form, object and installation photography, printed matter including catalogs and invitations, publicity and press releases, correspondence, and more. The majority of the exhibitions were presented at...
Dates:
Other: 1967-2-07 - 1967-04-23
American Primitive Paintings Today, Bianchini Gallery, March 27-April 20, 1963
File — Box: 8, Folder: 4
Identifier: B
Scope and Contents
From the Series:
Material in this series is related to Fasanella’s solo and group exhibitions, including traveling exhibitions. Material contains correspondence, printed matter, news clippings, and press releases. This series does not represent Fasanella’s complete exhibition history—only the exhibitions for which the collection contains related material.
Dates:
Other: March 27-April 20, 1963
American Soldiers’ Gear / Placements of Early American Tools (double exhibition), 1966-06-14 - 1966-09-11
Exhibition
Scope and Contents
From the Record Group:
The records include material related to the exhibitions between 1962 and 1966, when the Museum of Early American Folk Art (MEAFA) received its permanent charter and changed names to the Museum of American Folk Art. Material comes from both curatorial and registration departments, as well as from all departments that contribute to creating an exhibition. Material includes checklists in both final and draft form, object and installation photography, printed matter including catalogs and...
Dates:
Other: 1966-06-14 - 1966-09-11
Americana Magazine essay drafts, c. 1975, undated
File — Box: 3, Folder: 5
Scope and Contents
From the Series:
Series 1 of the Burton and Helaine Fendelman Papers includes research, images, correspondence, contracts, drafts, proofs, and other materials related to Helaine Fendelman’s 1975 publication Tramp Art: An Itinerant's Folk Art and the tramp art exhibition she guest-curated at the American Folk Art Museum. Reviews and publicity about the book and the exhibition are included, as well as related articles written by Helaine Fendelman. An exhibition proposal, research, images, correspondence, and...
Dates:
Other: c. 1975, undated
Americans at Work and Play: Folk Sculpture from the Collection of Dorothy and Leo Rabkin, 1982-10-24 - 1983-01-09
Exhibition
Scope and Contents
From the Record Group:
The records include material related to the exhibitions that were on display between 1966 and 1977. Material comes from both curatorial and registration departments, as well as from all departments that contribute to creating an exhibition. Material includes checklists in both final and draft form, object and installation photography, printed matter including catalogs and invitations, publicity and press releases, correspondence, and more. The majority of the exhibitions were presented at...
Dates:
Event: 1982-10-24 - 1983-01-09
"Ammi Phillips" exhibition at Connecticut Historical Society, 1965
File — Box: 3, Folder: 7
Identifier: II
Scope and Contents
From the Series:
The Holdridges published their premise that Phillips was the Kent Limner and the Border Limner, as well as the artist of additional groups of nineteenth-century portraits, in “Ammi Phillips,” Art in America 48, no. 2 (summer 1960): 98–103. Here they established that the inscription and artist’s signature on the 1840 portrait of George Sunderland was in the style of the Kent Limner, and that the same name was found on early nineteenth-century portraits in the...
Dates:
Other: 1965
"Ammi Phillips" exhibition at Connecticut Historical Society, correspondence, 1965
File — Box: 3, Folder: 5
Identifier: II
Scope and Contents
From the Series:
The Holdridges published their premise that Phillips was the Kent Limner and the Border Limner, as well as the artist of additional groups of nineteenth-century portraits, in “Ammi Phillips,” Art in America 48, no. 2 (summer 1960): 98–103. Here they established that the inscription and artist’s signature on the 1840 portrait of George Sunderland was in the style of the Kent Limner, and that the same name was found on early nineteenth-century portraits in the...
Dates:
Other: 1965
"Ammi Phillips" from Art in America 48 no. 2, Summer 1960
File — Box: 3, Folder: 1
Identifier: II
Scope and Contents
From the Series:
The Holdridges published their premise that Phillips was the Kent Limner and the Border Limner, as well as the artist of additional groups of nineteenth-century portraits, in “Ammi Phillips,” Art in America 48, no. 2 (summer 1960): 98–103. Here they established that the inscription and artist’s signature on the 1840 portrait of George Sunderland was in the style of the Kent Limner, and that the same name was found on early nineteenth-century portraits in the...
Dates:
Other: Summer 1960
"Ammi Phillips, limner extraordinary" in Antiques, December 1961
File — Box: 3, Folder: 2
Identifier: II
Scope and Contents
From the Series:
The Holdridges published their premise that Phillips was the Kent Limner and the Border Limner, as well as the artist of additional groups of nineteenth-century portraits, in “Ammi Phillips,” Art in America 48, no. 2 (summer 1960): 98–103. Here they established that the inscription and artist’s signature on the 1840 portrait of George Sunderland was in the style of the Kent Limner, and that the same name was found on early nineteenth-century portraits in the...
Dates:
Other: December 1961
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