Clifford Holmead Phillips

Holmead , born as Clifford Holmead Phillips (born October 2, 1889 in Shippensburg, Pennsylvania , USA; † February 22, 1975 in Brussels , Belgium) was a painter .

Life

Youth and education

The only son of the furniture manufacturer John Clifford Phillips and his wife Anna Margaret b. Even as a child, Kelso preferred nature, which stimulated his imagination, to the company of other children. At an early age he showed an aversion to the numerous technical developments of his time and initially completed a technical training course in his father's furniture factory between 1908 and 1912. He gave him a car for his 21st birthday, which he sold because of his aversion to automobiles, the associated destruction of nature and their danger to others, and exchanged for a ship passage. In April 1912 he traveled to Europe on the " SS Olympic " . During his crossing, the " Titanic " , the sister ship, sank on her maiden voyage to New York. Although a decisive event in his life, he apparently did not regard this disaster as a frightening result of the rapid technical progress, because around 24 more Atlantic crossings were to follow in the course of his life.

On his first trip to Europe, he spent several months in France, mainly in Paris, Italy, Germany and England. There he visited the museums and dealt intensively with European art and especially with the Old Masters. When he returned home, he had made up his mind to become a painter himself. While his father was appalled by this, his mother supported him as best she could. Clifford Holmead Phillips wanted to train himself to be a painter; he found schools and academies too restrictive. In his autodidactic advanced training, however, he initially followed their guidelines exactly. Between 1913 and 1924 he traveled to numerous American museums - including natural history museums -, visited galleries and exhibitions, studied, sketched and drew, which particularly impressed him and later brought his own ideas onto the canvas.

From around 1920 he joined various artist colonies in New England. First stations were Mystic and Old Lyme in Connecticut and Gloucester . In 1922 he stayed longer in Provincetown (Cape Cod), where in 1923 some of his pictures were shown for the first time as part of an exhibition by the Art Association . They were tender, airy idylls, traditional landscapes in a brittle, silvery light, lonely farm houses and trees. But he increasingly found the painting practiced there too beautiful and looked for new ideas.

In 1924 he traveled to Europe again, where he had planned to stay for many years and lived mainly in Bruges (Belgium) until 1931. From there he made numerous trips to other countries, and particularly often he visited Paris. He spent most of the winter months in New York. In Paris, the sight of a work by the French expressionist and Fauvist Maurice de Vlaminck caused a fundamental change in his conception of art. Vlaminck's dynamic lines and strong colors impressed Clifford Holmead Phillips so much that he increasingly joined the expressive direction, but later referred to his style himself as "Crude Expressionism" , a raw, no-frills version. He mainly painted landscapes and cityscapes. In 1925 he met his future friend and patron François Monod, who was then assistant curator at the Musée du Luxembourg in Paris . In 1926, Clifford Holmead Phillips' pictures were shown at the "121st Annual Exhibition of Paintings and Sculpture" at the Pennsylvania Academy of the Fine Arts , Philadelphia.

Artistic breakthrough

In 1927 the first European solo exhibition took place in the famous Parisian gallery Bernheim-Jeune . François Monod gave the introductory lecture, and not only the French Interior Minister Albert Sarraut , the American Consul General in Paris, Alphonse Gaulin, and Charles Masson, Director of the Musée du Luxembourg with his deputy Monod had come, but also “tout Paris” was present to see the work of the American, who was lively discussed in advance. The pictures showed the Europeans present his country as the artist saw it. They were mainly painted in the style of American Realism and New Objectivity : A New York suburb, tugs with their black plumes of smoke on the Harlem River , a red tram, old houses made of painted wood with balconies, streets with dark brick houses and the same cornices and windows, but also poor potato fields on Cape Cod , a lonely, deeply snowed farm or a desolate autumn field. This exhibition was the breakthrough for Clifford Holmead Phillips, and in the same year the New York Montross Gallery showed his work for the first time. A second exhibition followed in 1928, as well as exhibitions at the Brooklyn Museum , New York, and the Detroit Institute of Arts . They were all so successful that Bernheim-Jeune held another exhibition in Paris in 1929, and the equally famous Durand-Ruel Gallery presented Holmead's work in its Paris and New York offices in 1930 and 1931.

Life and Medium Work

In 1933 Clifford Holmead Phillips lived in Munich, where the Heinemann Gallery exhibited his pictures. The proceeds from the sale went entirely to young modern artists from Munich. He had already started to build up his own collection and to promote hopeful painters from Germany, Austria and Switzerland. In Munich he met his future wife, the Bremen photographer Elisabeth Fritze, and worked in Berlin a. a. the acquaintance of George Grosz , whom he only met again in the USA. In 1934 the Montross Gallery exhibited Holmead's art collection under the title “Austro-German Modern” . This gallery, which represented the painter in America for several years, showed his latest works in solo exhibitions in 1934 and 1935.

In 1936, Clifford Holmead Phillips made friends in New York with Katherine S. Dreier , an American painter, art patron and art collector. On April 29, 1920, together with Marcel Duchamp and Man Ray , she founded the “ Société Anonyme Inc. ” in their New York apartment to promote modern art in the USA with the aim of later building a museum in their country house in Redding (Connecticut) to open up modern art. In 1936 Dreier had included a first work by Phillips, "The Wise and the Foolish Virgins" , in the collection, which she gave to the Yale University Art Gallery in 1941 as a result of the founding of the New York Museum of Modern Art .

In 1936 and 1937, Clifford Holmead Phillips traveled to Europe again and settled first in Stockholm , then in Amsterdam and The Hague , before moving to Brussels in 1938 . The Palais des Beaux Arts presented his works almost simultaneously with a solo exhibition by Constant Permeke a year later. He then moved to Oslo , where an exhibition of 36 of his paintings under the title “Paintings on Human Drama” was to take place in the city's large artist house, the Kunstforeningen . But when German troops marched into Norway on the opening day, April 9, 1940, it was immediately closed and he left Europe in a roundabout way. His belongings, which he had stored in Oslo, did not arrive at his house in Riverdale (New York) until 6 years later. Holmead, as he now called himself, was able to travel with his family via France, Italy and Spain on July 18, 1941 from Lisbon back to New York.

After the break with Europe and the entry of the USA into the war, Holmead found himself in a creative crisis and went through a period of self-discovery. He was even more restless, so otherwise, he soon moved to St. Louis (Missouri) , then on to Milwaukee, Rockport, Cape Anne (Massachusetts) and during these years hardly got to paint. After rejecting two exhibitions at museums in Massachusetts, he moved to Old Lyme (Connecticut) in the summer of 1945, where he had lived in the artist colony as a young artist after the First World War . Finally he wanted to reconnect with the art world in New York and bought the house in Riverdale (New York). He had already started painting again in the familiar surroundings of New England , but now the landscape around him no longer mattered. Sometimes he no longer painted from nature in a new spatula technique , which was already indicative of his later work , but drew from gloomy memories in his few landscapes and houses. Above all, however, he was now fascinated by topics that dealt with the tragedies of humanity: motifs from the Bible, classical mythology and poetry, the horror of technical progress in war and that of the atomic bomb , but also humorous, mocking, sometimes bitter satire .

In 1948, he now lived in Rye (New York), Katherine S. Dreier took another of his paintings, "St. George and the Dragon" into the collection of the "Société Anonyme" . In 1949 he presented his work over the last few years to the public for the first time after the war in the Babcock Gallery in New York . The title was taken from the exhibition in Oslo , which the public was no longer allowed to see: "The Human Drama" . There were exhibitions again. a. in the New York galleries Wellons and Charles Barzansky . Holmead began to devote himself more than before to the representation of imaginary portraits, painting musicians, poets, actors and family portraits between 1950 and 1953. With a wide spatula and brighter colors, he also took up rural themes again. In 1955 the family - he now had two daughters - moved to Pelham and thus even closer to New York, but Holmead was already planning a trip through post-war Europe and especially to Paris . He hoped to be able to build on his earlier connections there. But almost all of his friends had died or perished, many galleries no longer existed, and he traveled on to Brussels, Holland, Germany and England. Despite the profound, shocking changes in conditions, the destruction of many cities and an uncertain future, he returned to America with the decision to relocate to Brussels. In March 1956 he got the provisional residence permit for Belgium and a little later traveled with his family, all his possessions and his pictures on the "Queen Mary" to Cherbourg. Holmead was 67 years old when he broke all bridges again and dared a new life. He did not return to America.

The late work

Holmead now painted much more than in the last few years, and he initially revisited some of the themes that had preoccupied him in recent years in a sculpturally differentiated physicality of his artistic expression formed with smaller spatulas: variations of his biblical motifs and the classic legends. More and more, however, they faded into the background and were replaced by images from their own daily experience. Portraits of the daughters, his wife or the family cats, but also still lifes and landscapes were created. In his new works he replaced human tragedy with the elemental and timeless drama of nature with its skies, clouds, trees, water, paths and mountains. Holmead strove to artistically represent their transcendence by means of different lighting and different color tones in ever new attempts. With the spatula he dared bold and impulsive simplifications of a few representational elements from nature. Interconnected patches of color were created, and in doing so he went to the limit of the abstraction possible for his art.

In 1962 Holmead suffered a stroke , after which he had to learn to move normally again. Three years later he was as productive as before and painted with even greater intensity than before, occasionally from a bird's eye view , dramatic landscapes, cityscapes, entire panoramas or individual houses, churches, cathedrals, bridges and harbors. But the relationship to these earlier groups of motifs had changed. He came to previously unimaginable abstractions, which he applied to the canvas with a fast, wide spatula. Only a small step separated him from his own certainty that he had found the breakthrough to the painterly realization that he had striven for all his life. He dared to take this step in 1969 and invented “Shorthand Painting” , a stenographic painting that was carried out spontaneously and quickly in just a few minutes in order to make the essentials transparent in the pictures he was now painting. He discovered that no motif made such high demands on artistic realization as the human face. He was able to fall back on his lifelong experience, which he had gained by closely observing humanity and dealing with painterly means. On his countless walks and trams through the cities, he noticed people who had something about them that spontaneously interested him. He quickly sketched them in pencil, found the best ones at home and destroyed the rest before turning fleeting sketches into oil paintings in his studio. His mostly imaginary “heads” became vivid, sometimes frightening revelations of human nature, for Holmead hated nothing more than to gloss over. Revelations of the deeply human were created with exclusively painterly means, the sum of an attentive painter's life of more than 50 years in extremely turbulent times.

Appreciations - Voices from the press and contemporaries

New York Times , 1927:
“In the exhibition of his paintings, watercolors and woodcuts in the Montross Gallery, Holmead Phillips proves to be an extraordinarily conscientious artist with an extremely fine perception of the interplay of light, color and movement. His work, although conventional in design, is not conventional in quality. He has an excellent sense for drawing and a strong talent for visual construction. These strengths are particularly evident in his painting “Bronx” and in the sweep and movement of his streets, which - like Vlaminck and Utrillo - mercilessly cut through the French cities. Phillips is one of our good painters. "

Monitor, 1931:
“Mr. Phillips has developed a personal design in color and drawing that makes his creative idea appear so clear that he cannot be adequately characterized by reference to this or that contemporary artist. With a picture like “In der Straßenbahn” one rather feels a kinship with the first modernist, Daumier , in his feeling for figures as forms in space, seen as a whole, not in parts. Mr. Phillips looks picturesque, even with this ungrateful subject, because the people on a tram are not exactly an inspiring company. Finely coordinated with the general sepia tone, the blue of the sky appears under the shell of the car roof. The “cyclists” are another example of the artist's ability to understand a composition as a whole, the parts so precisely related to each other and serving the whole so effectively that the viewer participates in the unity of the painterly vision. In this picture one can see the repetition of rhythms which, with modifications, pervade the entire composition. These rhythms are essential for the pictorial organism and go into the rows of trees and the arrangement of clouds. "

Annot Jacobi, painter, 1949:
“A spirited painter of abundant matter - Holmead - is deeply troubled by the disease of our time; his work can be seen again - after many years - at Babcock . He is a loner, and it is very difficult to give an idea of ​​this picturesque sign in words . It is a relentless explorer of ours in the desire for pleasure and profit of individuals, in the thoughtlessness and unscrupulous desire for destruction of many suffering civilizations, who warns of his bitter knowledge. In this work, social responsibility is mixed in the strangest way with philosophical-religious exaltation and cynical-dissecting cruelty. The admonishing question is asked uncompromisingly in the most disturbing way: What to do? "

Lovis Weynants, “Les sept arts” , BRTRadio-Emissions de langue néederlandaise, 1971:
“We saw the most interesting exhibition of the week at the Pierre Vanderborght Gallery in Brussels. Holmead takes a single topic and tries to explore it within the limits that he has set himself. This theme is the human face, which he designs in a very elementary way - with the help of a spatula (which has a certain influence) and in a color that is never lacking in gray. Strange, in front of a picture of Holmead you feel cornered and held by the throat: you are afraid. The people created by Holmead freeze, so to speak, in this attitude full of fear; he does not allow them to escape into a dream of light and colors, and he denies that dream to himself as well. He does not move away from this gray toned beauty, and the light begins to vibrate and literally horrifies his dejected people. "

Stephane Rey, art critic for the Brussels “Times”, 1972:
“Holmead's art cannot be classified at all. One discovers in her a peculiar need to knock down the human figure, to humiliate it, to bring it back to its most tragic and pitiful state. Is it an unconscious need to stand by humanity to cope with a number of disappointments the memory of which has not been scarred over the years? Or is it a will for power to identify with the Creator, the divine desire to knead the clay of the origin anew? Those noses that have disappeared, have they been mended, or should they grow first?

Holmead, the secret artist, didn't go to great lengths to fight for his place in the sun. He lived in modest seclusion, among the memorabilia of his past life ... But a strange people of men and women - full of restlessness - have sneaked in here from their imaginations. A Holmeadian universe has been created that is continued in landscapes and crosses the boundaries of Expressionism ; in which one encounters a harsh nature, a sudden, tragic, with signs of the end of the world. "

Emile Kestemann, 1974:
“It is not surprising that the works of the last few years bring a lively discussion with society and with the individuals who make them up. But Holmead's figures never completely petrify. Either something very alive shines in their gaze, or they evoke a violent movement in us that grips us deeply and that takes us to the shores of human freedom and a transcendent hope. He is inspired by an unusual belief in fate in creativity. When you look at his entire work, you are impressed by its wealth and diversity, its power and its human content. It is basically connected with the pessimistic philosophical currents that have occasionally heralded the downfall of civilization in this century ”.

Paul Mersmann, Brussels 1982:
“Truly, one cannot do Holmead justice without taking into account the traces of the brush or spatula left on the canvases. The images exist through these enormous traces, in them the passion lingers, which the profession does not reveal and leaves. Everything Holmead knew and wanted has been captured in this layer of furrowed paint. Here, true to the deeper laws of painting, the transformation of matter takes place. Here is your ancestral and legitimate place. "

Rainer Zimmermann, “Die Kunst” , November 1984:
“Holmead's artistic legacy deserves attention for several reasons. It is one of the timeless examples of great painting. Through a creative transformation of Expressionism, it has expanded the province of that art that corresponds to the skeptical and realistic spirit of the epoch. And finally, in a very personal way, his life's work combines essential tendencies in American and European painting in the middle of the century. "

Alfred Wais, painter, 1986:
"What fascinates me about these heads is the fact that everyone has a kind of biography that cannot be put into words."

Daniel J. Schreiber , Director of the Museum of Imagination (Buchheim Museum), Bernried, 2016:
“Unexpectedly and largely unnoticed, Holmead has now developed into a kind of trendsetter. Especially in his late work he paints as spontaneously and virtuoso as Jackson Pollock , and yet he creates striking portraits of great expressiveness. The appreciation that is shown to him here would of course have been suspect. He was a moralist, he was a cynic, but he also had mercy on the creature. This warmth for all people, regardless of where they are on the social scale, is ultimately what has carried Holmead's heads through the ages. "

literature

• Birgit Voller: "Painter in Suit - The Transatlantic Holmead" (novel) , 2017
• "Holmead - A painter between the worlds" , Von der Heydt-Kunsthalle, Wuppertal-Barmen, 2017, ISBN 978-3-89202-096-7
• "Holmead 1889-1975. A painter between the worlds ” , Kunsthalle Schweinfurt, 2016, ISBN 978-3-945255-04-9 .
• Alexia Pooth: “Art, Space Authorship” - The estate of the US painter CH Phillips from an autographical perspective, transcript Verlag, Bielefeld 2014, ISBN 978-3-8376-2465-6
• Alfred Moeke: "A collection without Picasso" , Digital Image K. Scheidl, 2013, ISBN 978-3-00-042456-4
• Rainer Zimmermann: “Holmead. Life and work of the painter “ Klett-Cotta, Stuttgart 1987, ISBN 3-608-76237-X
• Rainer Zimmermann: "On the late work of the painter Holmead" , in the art , 11/1984
• "Holmead" . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 3 : K-P . EA Seemann, Leipzig 1956, p. 583 .
• Holmead Phillips / Durand-Ruel Galleries; Art News 1930

Museum holdings of the works

United States

• Metropolitan Museum of Art - New York
• Museum of Fine Arts - Boston, Massachusetts
• Yale University Art Gallery - New Haven, Connecticut; Collection "Société Anonyme"
• Shippensburg University, Historical Society - Shippensburg, Pennsylvania

Europe

• Musée National d'Art Moderne / Center Pompidou - Paris
• Musées Royaux des Beaux Arts de Belgique - Brussels
• Kunsthalle Bremen
• Kunsthalle Schweinfurt , Joseph Hierling Collection
• Museums Böttcherstraße , Bremen
• Museum for Art and Cultural History of the University of Marburg
• Buchheim Museum / Buchheim Foundation - Bernried am Starnberger See

Exhibitions (selection)

Exhibitions after Holmead's death

• 2019/20 Buchheim Museum, Bernried am Starnberger See, “Welcome Holmead” , May 18, 2019 - June 14, 2020
• 2019 - Galerie Torres Nieto, Türkenstrasse 96, Munich, “Holmead Heads” , April 5th - 27th, 2019
• 2017 - Buchheim Museum, Bernried am Starnberger See, "HOLMEAD: Krude Köpf" , July 16 - October 3, 2017
• 2017 - Von der Heydt-Museum / Kunsthalle Barmen, February 19 - May 7, 2017
• 2016 - Kunsthalle Schweinfurt, "HOLMEAD - A painter between the worlds" , July - September 2016
• 2016 - Galerie Petra Lange, Berlin
• 2016 - Galerie Bassenge, Berlin
• 2014 - Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt / Main
• 2013 - Ahrensburg Castle, "Biblical Pictures" ; on the occasion of the 34th Dt. Evangelical Church Congress
• 2009 - Overbeck Museum, "Suchbilder des Glaubens" ; on the occasion of the 32nd German Evangelical Church Congress
• 2009 - House of Science, Bremen; for Holmead's 120th birthday
• 2009 - Ketterer Kunst, Berlin
• 2008 - Overbeck Foundation (Museum), Bremen
• 2007 - House of Science, Bremen
• 2007 - Establishment of the "Kulturstiftung der Universität Bremen - Holmead Foundation"
• 2006 - Galerie d'Alquen, Schnoor, Bremen
• 2006 - Hellhof Gallery, Ars Vivendi, Kronberg im Taunus
• 2005 - Galerie Garanin, Essen
• 2004 - Marterburg 53, University of the Arts Bremen
• 2004 - Susquehanna Art Museum, Harrisburg, Pennsylvania, USA
• 2003 - Art in the Seidemann area, Bremen
• 2003 - Shippensburg University, PA, USA, birthplace of the artist
• 2002 - Galerie Petra Lange, Berlin
• 2002 - Museum Streitkirche, Ars Vivendi, Kronberg im Taunus
• 2001 - Berlin Cathedral, "Biblical Topics in Art"
• 2001 - Frankfurter Kunstkabinett Hanna Bekker vom Rath, Frankfurt
• 2001 - Galerie Petra Lange - in the house of the Association of Berlin Artists, Berlin
• 2001 - Villa Ichon, Bremen
• 1999 - Ars Vivendi Gallery, Kronberg im Taunus
• 1998 - Böttcherstraße art collections, Paula Modersohn-Becker-Haus, Bremen
• 1992 - Municipal Gallery, House Coburg, Delmenhorst
• 1992 - Galerie Joseph Hierling, Munich
• 1991 - Klostermühle Hude, Eitorf
• 1990 - University Museum Marburg
• 1990 - Art Forum Oslo
• 1990 - Art Office Wedding, Berlin
• 1988 - Hilger Gallery, Vienna
• 1986 - Döbele Gallery, Ravensburg
• 1983 - Galerie Schildergasse, Cologne
• 1982 - Galerie Rolf Ohse, Bremen (as well as in 1984 and 1987)
• 1982 - Galerie Ebel, Frankfurt am Main
• 1978 - Kunsthalle Bremen
• 1976 - Horizons Modern Art Gallery, Brussels (then also in 1978, 1980, 1981, 1982, 1984, 1987 and 2002)

Exhibitions during Holmead's lifetime

• 1974 - Albert 1er Gallery, Brussels
• 1973 - Montjoie Gallery, Brussels
• 1972 - Galerie du Bateau Ivre, Brussels
• 1972 - Montjoie Gallery, Brussels
• 1972 - Galerie Entremonde, Paris (then also in 1974, 1975 and 1977)
• 1971 - Pierre Vanderborght Gallery, Brussels
• 1969 - Reflets, Galerie d'Art, Brussels
• 1957 - Galerie Breughel, Brussels (then also in 1958 and 1960)
• 1955 - Charles Barzansky Galleries, New York
• 1954 - Wellons Gallery, New York
• 1949 - Babcock Galleries, New York
• 1944 - Art Association, Rockport / Mass
• 1940 - Kunstforeningen in Oslo (closed on April 9th ​​after the German troops marched in)
• 1940 - Société Anonyme, Hartford, Connecticut, USA
• 1939 - Palais des Beaux Arts, Brussels
• 1939 - Société Anonyme, Springfield, Massachusetts, USA
• 1937 - Art dealer GJ Nieuwenhuizen Seegar, The Hague
• 1936 - Montross Gallery, New York
• 1934 - Montross Gallery, New York, two exhibitions
• 1933 - Galerie Heinemann, Munich
• 1933 - Montross Gallery, New York
• 1932 - Galleries of an American Group Barbizon Plaza, New York
• 1931 - Durand-Ruel Gallery, New York
• 1931 - Galleries of an American Group Barbizon Plaza, New York
• 1930 - Durand-Ruel Gallery, New York
• 1929 - Bernheim-Jeune, Paris
• 1928 - Montross Gallery, New York
• 1928 - Pennsylvania Academy of Fine Arts, Philadelphia
• 1928 - Detroit Institute of Arts, Detroit
• 1928 - Brooklyn Museum, New York
• 1928 - The Art Institute of Chicago, Chicago
• 1927 - Montross Gallery, New York
• 1927 - Bernheim-Jeune, Paris
• 1926 - Montross Gallery, New York
• 1926 - Pennsylvania Academy of Fine Arts, Philadelphia
• 1923 - Provincetown Art Association, Massachusetts, USA

Web links

• Holmead website
• www.kunstmarkt.com: "Clifford Holmead Phillips in the Kunsthalle Schweinfurt"
• www.kunstmarkt.com: "Self-portrait with Witches' Sabbath" ( preliminary auction report by the Kunsthaus Winterberg, Heidelberg; mentioned in the third paragraph of the article)
• www.kunstmarkt.com: " Ohnmächtig " ( preliminary auction report by the Kunsthaus Winterberg, Heidelberg; mentioned in the section "Art of the 20th Century" )
• Institute for observation: Anna M. Storm: “Antagonistic avant-garde. The 'heads' of the American painter Holmead ”

Individual evidence

1. ^ "Les Faubourgs de New York", Peintures de Holmead Phillips, exposées du 7 to 18 November 1927; Exhibition Flyer MM Bernheim-Jeune, Editeurs d'Art, Paris
2. ^ Préface de François Monod; Exhibition Flyer MM Bernheim-Jeune, Editeurs d'Art, Paris
3. ^ The New York Herald, Paris, November 2, 1927
4. ^ "Paintings of 'Main Street' and other Subjects" by Holmead Phillips; February 13th - 25th 1928; Exhibition Flyer Montross Gallery, New York
5. ^ "Peintures de Holmead Phillips" exposées du 2 on December 13, 1929 by MM Bernheim-Jeune, Editeurs d'Art, Paris
6. ^ "Paintings by Holmead Phillips, February 15th to 28th 1930 and January 15th to 31st 1931; Exhibition Flyer Durand-Ruel Gallery, New York
7. ↑ “Holmead Phillips, New York” March 11 to April 1, 1933; Exhibition flyer Galerie Heinemann, Munich
8. ^ "Austro-German Modern", January 15th to 27th 1934; Exhibition Flyer Montross Gallery, New York
9. ^ "Collection of the Sociéte Anonyme: Museum of Modern Art 1920", Yale University Art Gallery, New Haven; published for the Association in Fine Art 1950
10. ↑ Exhibiton Flyer, Palais des Beaux-Arts, Bruxelles, du 4 au 15 Mars 1939
11. ^ "Menneskelige Drama" av Holmead Phillips, Amerikansk Maler, April 1940; Exhibiton Flyer, Kunstforeningen i Oslo
12. ^ "Paintings from the Human Drama" by Holmead, March 28th to April 16th 1949; Exhibition Flyer Babcock Galleries, New York
13. ^ "Paintings by Holmead", January 4th to 16th 1954; Exhibition Flyer, Wellons Gallery, New York
14. ^ "Holmead", March 14th to 26th 1955; Exhibition Flyer Charles Barzansky, New York