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Box 3

 Container

Contains 16 Results:

"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

Drafts of "Ammi Phillips, Limner Extraordinary", 1961

 File — Box: 3, Folder: 3
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: 1961

Connecticut Historical Society Bulletin, 1965

 File — Box: 3, Folder: 4
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

Drafts of checklist of paintings for "Ammi Phillips", 1965

 File — Box: 3, Folder: 6
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, 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

Drafts of "Ammi Phillips, 1788-1865", 1965

 File — Box: 3, Folder: 8
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

Slides of Connecticut Historical Society exhibition, 1965

 File — Box: 3, Folder: 9
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: 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