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Credit Line Yale Center for British Art, Paul Mellon Collection

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Date 1739

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Image Use Free to Use

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John Vanderbank John Dodd, of Swallowfield, Berkshire
John Vanderbank, 1694–1739
John Dodd, of Swallowfield, Berkshire
1739
Not on view
Jacobus Houbraken Henry Bennet, 1st Earl of Arlington
Jacobus Houbraken, 1698–1780
Henry Bennet, 1st Earl of Arlington
1739
William Henry Toms The Southeast Prospect of the King Henry the VII's Chapel at Westminster
William Henry Toms, ca. 1700–ca. 1750
The Southeast Prospect of the King Henry the VII's Chapel at Westminster
1739
William Henry Toms St. Brigit alias St. Brides Church
William Henry Toms, ca. 1700–ca. 1750
St. Brigit alias St. Brides Church
1739
William Henry Toms Guild Hall
William Henry Toms, ca. 1700–ca. 1750
Guild Hall
1739
John Faber the Younger Her Most Excellent Majesty, Queen Caroline
John Faber the Younger, ca. 1695–1756
Her Most Excellent Majesty, Queen Caroline
1739
Thomas Chambars Richard Boyle, Earl of Burlington
Print made by Thomas Chambars, ca. 1724–1789
Richard Boyle, Earl of Burlington
undated
Nathaniel Parr A Prospect of the Palace of Chantilli
Print made by Nathaniel Parr, active 1742–1751
A Prospect of the Palace of Chantilli
1739
Giles King A View of the Black Rocks, and of the Mountains on the South Side of the Harbour of Dublin
Print made by Giles King, active 1732–1746
A View of the Black Rocks, and of the Mountains on the South Side of the Harbour of Dublin
ca. 1744
J. Carwitham A South-West View of the City of New York in North America
Print made by J. Carwitham, active 1720–1740
A South-West View of the City of New York in North America
1739
Thomas Bowles III The Church of Santa Maria della Rotonda at Rome; It was the famous Pantheon of the Antients erected 30 years before the birth of our Saviour
Print made by Thomas Bowles III, ca. 1712–1767
The Church of Santa Maria della Rotonda at Rome; It was the famous Pantheon of the Antients erected 30 years before the birth of our Saviour
undated
Carington Bowles The Aelian Bridge and Castle of St. Angelo, with part of the City of Rome
Print made by Carington Bowles, 1724–1793
The Aelian Bridge and Castle of St. Angelo, with part of the City of Rome
undated
unknown artist Areley Hall
unknown artist
Areley Hall
1739
Thomas Chambars George Vertue, Engraver
Print made by Thomas Chambars, ca. 1724–1789
George Vertue, Engraver
undated
Thomas Chambars George Vertue, Engraver
Print made by Thomas Chambars, ca. 1724–1789
George Vertue, Engraver
undated
Thomas Chambars Henry Cornelius Vroom
Print made by Thomas Chambars, ca. 1724–1789
Henry Cornelius Vroom
undated
Thomas Chambars Robert Walker
Print made by Thomas Chambars, ca. 1724–1789
Robert Walker
undated
Thomas Chambars John Baptiste Monnoyer
Print made by Thomas Chambars, ca. 1724–1789
John Baptiste Monnoyer
undated
Thomas Chambars Peter Oliver
Print made by Thomas Chambars, ca. 1724–1789
Peter Oliver
undated
Thomas Chambars John Sybrecht
Print made by Thomas Chambars, ca. 1724–1789
John Sybrecht
undated
Thomas Chambars Abraham Vanderdort
Print made by Thomas Chambars, ca. 1724–1789
Abraham Vanderdort
undated
Thomas Chambars William van der Velde, Junior
Print made by Thomas Chambars, ca. 1724–1789
William van der Velde, Junior
undated
Thomas Chambars Paul Van Somer
Print made by Thomas Chambars, ca. 1724–1789
Paul Van Somer
undated
Thomas Chambars Nicholas Laniere
Print made by Thomas Chambars, ca. 1724–1789
Nicholas Laniere
undated
Thomas Chambars Sir Godfrey Kneller and John Zackary Kneller
Print made by Thomas Chambars, ca. 1724–1789
Sir Godfrey Kneller and John Zackary Kneller
undated
Thomas Chambars Sir John Medina
Print made by Thomas Chambars, ca. 1724–1789
Sir John Medina
undated
Thomas Chambars Sir John Medina
Print made by Thomas Chambars, ca. 1724–1789
Sir John Medina
undated
Thomas Chambars Horatio Gentileschi and Edward Mascall
Print made by Thomas Chambars, ca. 1724–1789
Horatio Gentileschi and Edward Mascall
undated
Thomas Chambars Sir Antonio More
Print made by Thomas Chambars, ca. 1724–1789
Sir Antonio More
undated
Thomas Chambars John Baptiste Monnoyer
Print made by Thomas Chambars, ca. 1724–1789
John Baptiste Monnoyer
undated
Thomas Chambars Sir Antonio More
Print made by Thomas Chambars, ca. 1724–1789
Sir Antonio More
undated
Thomas Chambars Claude la Fevre and Mr. John Hayls
Print made by Thomas Chambars, ca. 1724–1789
Claude la Fevre and Mr. John Hayls
undated
Thomas Chambars Nicholas Hilliard
Print made by Thomas Chambars, ca. 1724–1789
Nicholas Hilliard
undated
Thomas Chambars William Hogarth
Print made by Thomas Chambars, ca. 1724–1789
William Hogarth
undated
Thomas Chambars Gerard Honthorst
Print made by Thomas Chambars, ca. 1724–1789
Gerard Honthorst
undated
Thomas Chambars Cornelius Ketel
Print made by Thomas Chambars, ca. 1724–1789
Cornelius Ketel
undated
Jacobus Houbraken Frederick Duke of Schomberg
Jacobus Houbraken, 1698–1780
Frederick Duke of Schomberg
1739
Jacobus Houbraken Frederick, Duke of Schonberg
Jacobus Houbraken, 1698–1780
Frederick, Duke of Schonberg
1739
Jacobus Houbraken Thomas Cromwell, Earl of Essex
Jacobus Houbraken, 1698–1780
Thomas Cromwell, Earl of Essex
1739
George Vertue View of the Interior Court of the Royal Exchange
George Vertue, 1684–1756
View of the Interior Court of the Royal Exchange
1739
Nathaniel Buck The North West Prospect of Greenwich in the County of Kent
Nathaniel Buck, active 1727–1753
The North West Prospect of Greenwich in the County of Kent
1739
Nathaniel Buck The North Prospect of Woolwich in the County of Kent
Nathaniel Buck, active 1727–1753
The North Prospect of Woolwich in the County of Kent
1739
John Maurer The Rotunda and Gardens, Ranelagh
John Maurer, active 1713–1761
The Rotunda and Gardens, Ranelagh
ca. 1744
Theodore Wilkens Figures by a Ruined Temple on a Rocky Promontory
Theodore Wilkens, c. 1690–1748
Figures by a Ruined Temple on a Rocky Promontory
1739
Peter Paul Lens Bernard Lens III (1682-1740)
Peter Paul Lens, 1714–1750
Bernard Lens III (1682-1740)
1739
Joseph Sympson A Dark Grey Hunter upon full Chace
Joseph Sympson, active 1725–died 1736
A Dark Grey Hunter upon full Chace
1739
Arthur Pond Caricature of Baron Stosch and Marcantonio Sabbatini
Print made by Arthur Pond, ca. 1705–1758
Caricature of Baron Stosch and Marcantonio Sabbatini
1739
Thomas Chambars Sir Balthazar Gerbier
Print made by Thomas Chambars, ca. 1724–1789
Sir Balthazar Gerbier
undated
Thomas Chambars Cornelius Polenburg
Print made by Thomas Chambars, ca. 1724–1789
Cornelius Polenburg
undated
Thomas Chambars Sebastian Ricci
Print made by Thomas Chambars, ca. 1724–1789
Sebastian Ricci
undated
Thomas Chambars Lewis Francis Roubiliac
Print made by Thomas Chambars, ca. 1724–1789
Lewis Francis Roubiliac
undated
Thomas Chambars Michael Rysbrack
Print made by Thomas Chambars, ca. 1724–1789
Michael Rysbrack
undated
Thomas Chambars Lewis Francis Roubiliac
Print made by Thomas Chambars, ca. 1724–1789
Lewis Francis Roubiliac
undated
Thomas Chambars Sir Peter Paul Rubens
Print made by Thomas Chambars, ca. 1724–1789
Sir Peter Paul Rubens
undated
Thomas Chambars Enoch Seeman
Print made by Thomas Chambars, ca. 1724–1789
Enoch Seeman
undated
Thomas Chambars Enoch Seeman
Print made by Thomas Chambars, ca. 1724–1789
Enoch Seeman
undated
Thomas Chambars Nicholas Stone Sr. and Nicholas Stone Jr.
Print made by Thomas Chambars, ca. 1724–1789
Nicholas Stone Sr. and Nicholas Stone Jr
undated
Thomas Chambars Peter Tillemans
Print made by Thomas Chambars, ca. 1724–1789
Peter Tillemans
undated
Thomas Chambars Sir John Vanbrugh
Print made by Thomas Chambars, ca. 1724–1789
Sir John Vanbrugh
undated
William Henry Toms The South-East Prospect of King Henry The VII's Chapel at Westminster
Print made by William Henry Toms, ca. 1700–ca. 1750
The South-East Prospect of King Henry The VII's Chapel at Westminster
1739
Thomas Chambars Francesco Cleyn
Print made by Thomas Chambars, ca. 1724–1789
Francesco Cleyn
undated
Thomas Chambars Horatio Gentileschi and Edward Mascall
Print made by Thomas Chambars, ca. 1724–1789
Horatio Gentileschi and Edward Mascall
undated
Thomas Chambars Samuel Cooper
Print made by Thomas Chambars, ca. 1724–1789
Samuel Cooper
undated
Thomas Chambars Sir Balthazar Gerbier
Print made by Thomas Chambars, ca. 1724–1789
Sir Balthazar Gerbier
undated
Thomas Chambars Grinling Gibbons
Print made by Thomas Chambars, ca. 1724–1789
Grinling Gibbons
undated
Thomas Chambars Edward Courtney, Earl of Devonshire
Print made by Thomas Chambars, ca. 1724–1789
Edward Courtney, Earl of Devonshire
undated
Rev. William Gilpin Mountainous landscape with winding river and castle
Rev. William Gilpin, 1724–1804
Mountainous landscape with winding river and castle
undated
Rev. William Gilpin Fir Trees in a Mountain Landscape
Rev. William Gilpin, 1724–1804
Fir Trees in a Mountain Landscape
undated
Rev. William Gilpin Landscape with Lake and Mountains
Rev. William Gilpin, 1724–1804
Landscape with Lake and Mountains
undated
Rev. William Gilpin Knaresborough Castle, Yorkshire
Rev. William Gilpin, 1724–1804
Knaresborough Castle, Yorkshire
undated
Rev. William Gilpin Bridge on the Malton Road from York
Rev. William Gilpin, 1724–1804
Bridge on the Malton Road from York
undated
Rev. William Gilpin River view with Ruins
Rev. William Gilpin, 1724–1804
River view with Ruins
undated
Rev. William Gilpin View in Barnscliff, near Scarborough, when Overflowed by the Derwent
Rev. William Gilpin, 1724–1804
View in Barnscliff, near Scarborough, when Overflowed by the Derwent
undated
Rev. William Gilpin Mountain Landscape with Two Figures on a Winding Road
Rev. William Gilpin, 1724–1804
Mountain Landscape with Two Figures on a Winding Road
undated
Rev. William Gilpin Snowdon
Rev. William Gilpin, 1724–1804
Snowdon
undated
Rev. William Gilpin Castle above a Lake with Distant Mountain under Stormy Sky
Rev. William Gilpin, 1724–1804
Castle above a Lake with Distant Mountain under Stormy Sky
undated
Rev. William Gilpin Mountainous Landscape with Trees - High Crags to the Right
Rev. William Gilpin, 1724–1804
Mountainous Landscape with Trees - High Crags to the Right
undated
unknown artist Cumberland Landscape
unknown artist
Cumberland Landscape
undated
Rev. William Gilpin Wooded Landscape Overlooking an Estuary
Rev. William Gilpin, 1724–1804
Wooded Landscape Overlooking an Estuary
undated
Rev. William Gilpin The effect here intended, is that of reflection of a bright sky on the water, when the Sun itself is obscured (Design for Plate 11)
Rev. William Gilpin, 1724–1804
The effect here intended, is that of reflection of a bright sky on the water, when the Sun itself is obscured (Design for Plate 11)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 16)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 16)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 19)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 19)
undated
Rev. William Gilpin Evening, the picturesque time of the Day, is now coming on; the Sun, varying from its meridian, is beginning to descend, and the light is more contracted (Design for Plate 20)
Rev. William Gilpin, 1724–1804
Evening, the picturesque time of the Day, is now coming on; the Sun, varying from its meridian, is beginning to descend, and the light is more contracted (Design for Plate 20)
undated
Rev. William Gilpin The same idea is continued; but the sky is still more tinged with its warm evening hue (Design for Plate 21)
Rev. William Gilpin, 1724–1804
The same idea is continued; but the sky is still more tinged with its warm evening hue (Design for Plate 21)
undated
Rev. William Gilpin The evening glow now pervades the Landscape strongly (Design for Plate 24)
Rev. William Gilpin, 1724–1804
The evening glow now pervades the Landscape strongly (Design for Plate 24)
undated
Rev. William Gilpin The evening glow now pervades the Landscape strongly (Design for Plate 25)
Rev. William Gilpin, 1724–1804
The evening glow now pervades the Landscape strongly (Design for Plate 25)
undated
Rev. William Gilpin A calm Sun-set; the Sun is supposed to be setting behind the rising ground on which the ruin stands (Design for Plate 27)
Rev. William Gilpin, 1724–1804
A calm Sun-set; the Sun is supposed to be setting behind the rising ground on which the ruin stands (Design for Plate 27)
undated
Rev. William Gilpin The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)
Rev. William Gilpin, 1724–1804
The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)
undated
Rev. William Gilpin The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)
Rev. William Gilpin, 1724–1804
The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)
undated
Rev. William Gilpin The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)
Rev. William Gilpin, 1724–1804
The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)
undated
Rev. William Gilpin Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)
Rev. William Gilpin, 1724–1804
Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 17)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 17)
undated
Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 15)
Rev. William Gilpin, 1724–1804
These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 15)
undated
Rev. William Gilpin The Sun here gets more force, and beams along the surface of the ground; but the Day is setting in cloudy, and obscure (Design for Plate 3)
Rev. William Gilpin, 1724–1804
The Sun here gets more force, and beams along the surface of the ground; but the Day is setting in cloudy, and obscure (Design for Plate 3)
undated
Rev. William Gilpin The Sun still gets more power, and objects begin to appear more distinctly (Design for Plate 4)
Rev. William Gilpin, 1724–1804
The Sun still gets more power, and objects begin to appear more distinctly (Design for Plate 4)
undated
Rev. William Gilpin The same idea is continued; only here the Sun rises with a fainter and more wan lustre (Design for Plate 2)
Rev. William Gilpin, 1724–1804
The same idea is continued; only here the Sun rises with a fainter and more wan lustre (Design for Plate 2)
undated
Rev. William Gilpin The same idea is continued, only the atmosphere is somewhat more hazy (Design for Plate 6)
Rev. William Gilpin, 1724–1804
The same idea is continued, only the atmosphere is somewhat more hazy (Design for Plate 6)
undated
Rev. William Gilpin The Sun is clouded; but as there is not much haziness in the atmosphere, the several parts of the country appear very distinctly (Design for Plate 7)
Rev. William Gilpin, 1724–1804
The Sun is clouded; but as there is not much haziness in the atmosphere, the several parts of the country appear very distinctly (Design for Plate 7)
undated
Rev. William Gilpin As the Day advances, the Morning gets clearer. The Sun shines out; but without much strength (Design for Plate 9)
Rev. William Gilpin, 1724–1804
As the Day advances, the Morning gets clearer. The Sun shines out; but without much strength (Design for Plate 9)
undated
Rev. William Gilpin The Sun is obscured, and the atmosphere inclines to rain (Design for Plate 10)
Rev. William Gilpin, 1724–1804
The Sun is obscured, and the atmosphere inclines to rain (Design for Plate 10)
undated