Showing Records: 81 - 90 of 3569
"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
"Ammi Phillips: Portrait Painter, 1788- 1865" book (with inscription from Mary Black), 1968
File — Box: 3, Folder: 12
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: 1968
"Ammi Phillips: Portrait Painter, 1788- 1865" exhibition at American Folk Art Museum, 1968
File — Box: 3, Folder: 10
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: 1968
Ammi Phillips: Portrait Painter, 1788–1865, 1968-10-16 - 1968-12-02
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: 1968-10-16 - 1968-12-02
"Ammi Phillips: Portrait Painter" catalog, letters of praise, 1969
File — Box: 3, Folder: 11
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: 1969
Amon Carter Museum, Fort Worth, Texas (January 4–February 14, 1970)
File — Box: 4, Folder: 9
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: 1968 - 1972
An Art of Deception: American Wildfowl Decoys, 1985-12-10 - 1986-02-16
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: 1985-12-10 - 1986-02-16
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