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Box 87

 Container

Contains 27 Results:

Loans. Birmingham Museum of Art (Birmingham, Alabama), 1955-1956

 File — Box: 87, Folder: 1
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1955-1956

Loans. Busch-Reisinger Museum, 1936

 File — Box: 87, Folder: 2
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1936

Loans. California Palace of the Legion of Honor, 1961-March 1962

 File — Box: 87, Folder: 3
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1961-March 1962

Loans. California Palace of the Legion of Honor, April 1962-1963, undated

 File — Box: 87, Folder: 4
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: April 1962-1963, undated

Loans. Carnegie Institute. Museum of Art. Exhibition of HPM collection (May-June 1979), 1977-1979

 File — Box: 87, Folder: 5
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1977-1979

Loans. D'Arcy Galleries (New York, N.Y.). Re: International Surrealist Exhibition, 1960

 File — Box: 87, Folder: 6
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1960

Loans. Detroit Institute of Arts, 1967

 File — Box: 87, Folder: 7
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1967

Loans. Durlacher Bros, 1956

 File — Box: 87, Folder: 8
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1956

Loans. Everson Museum of Art, 1983

 File — Box: 87, Folder: 9
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1983

Loans. Fogg Art Museum, 1933-1936, 1958, 1970

 File — Box: 87, Folder: 10
Scope and Contents From the Sub-Series: Although McIlhenny maintained most of the papers pertaining to his art collection and other acquisitions by the name of the relevant individual or institution, he also kept a portion filed by relevant topic. Thus "Subjects" represents yet another way McIlhenny intellectually divided material similar in format and content to the other subseries described above. Most of the "Subject" files document what could only be considered a family tradition of lending their valued paintings, sculpture...
Dates: 1933-1936, 1958, 1970