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Box 89

 Container

Contains 36 Results:

Loans. Portraits, Inc. (Gallery : New York, N.Y.), 1967, 1968

 File — Box: 89, 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: 1967, 1968

Loans. Rosenberg and Stiebel, 1986

 File — Box: 89, 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: 1986

Loans. Royal Academy of Arts (Great Britain), 1960-1961

 File — Box: 89, 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: 1960-1961

Loans. Smith College. Museum of Art. Including return of 1925 indefinite loan, 1924-1925, 1934-1936, 1959

 File — Box: 89, 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: 1924-1925, 1934-1936, 1959

Loans. Societe des amis du Louvre, 1936

 File — Box: 89, 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: 1936

Loans. Tate Gallery. Salvadore Dali exhibition, 1980

 File — Box: 89, 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: 1980

Loans. Texas Centennial Exposition (at Dallas Museum of Fine Arts), 1935-1936

 File — Box: 89, 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: 1935-1936

Loans. Toledo Museum of Art, 1936-1937

 File — Box: 89, 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: 1936-1937

Loans. University of Pennsylvania. Hospital [Board of Women Visitors], 1964

 File — Box: 89, 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: 1964

Loans. University of Pennsylvania. University Museum, 1958-1959

 File — Box: 89, 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: 1958-1959