Box 3
Container
Contains 16 Results:
"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
"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
"Revisiting Ammi Phillips" catalog and exhibition, 1993 - 1996
File — Box: 3, Folder: 13
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: 1993 - 1996
"Revisiting Ammi Phillips" loan forms, 1993 - 1995
File — Box: 3, Folder: 14
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: 1993 - 1995
Drafts of aticles by Holdridges, 1959, undated
File — Box: 3, Folder: 15
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: Majority of material found in 1959, undated
Printed matter for various Ammi Phillips exhibitions, 1959 - 1990
File — Box: 3, Folder: 16
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: 1959 - 1990