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Credit Line Yale Center for British Art, Paul Mellon Collection

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Period 18th century

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unknown artist A Gardener
unknown artist
A Gardener
ca. 1750
Not on view
William Hogarth Simon, Lord Lovat
after William Hogarth, 1697–1764
Simon, Lord Lovat
1746
William Hogarth Album Collection of Sixty-six Engravings after William Hogarth
after William Hogarth, 1697–1764
Album Collection of Sixty-six Engravings after William Hogarth
William Blake Psyche Disobeys
Print made by William Blake, 1757–1827
Psyche Disobeys
1794
William Blake Psyche Repents
Print made by William Blake, 1757–1827
Psyche Repents
1794
William Blake Venus Councels Cupid
Print made by William Blake, 1757–1827
Venus Councels Cupid
1794
William Blake The Conjugal Union of Cupid
Print made by William Blake, 1757–1827
The Conjugal Union of Cupid
1794
William Blake Cupid & Psyche
Print made by William Blake, 1757–1827
Cupid & Psyche
1794
William Blake Iron Age
Print made by William Blake, 1757–1827
Iron Age
1794
William Blake Aristophanes Clouds. Scene I
Print made by William Blake, 1757–1827
Aristophanes Clouds. Scene I
1795
William Blake Anacreon Ode LII
Print made by William Blake, 1757–1827
Anacreon Ode LII
1795
William Blake Psyche Disobeys
Print made by William Blake, 1757–1827
Psyche Disobeys
1794
William Blake Psyche Repents
Print made by William Blake, 1757–1827
Psyche Repents
1794
William Blake Venus Counsels Cupid
Print made by William Blake, 1757–1827
Venus Counsels Cupid
1794
William Blake The Conjugal Union of Cupid
Print made by William Blake, 1757–1827
The Conjugal Union of Cupid
1794
William Blake Cupid & Psyche
Print made by William Blake, 1757–1827
Cupid & Psyche
1794
William Blake Aristophanes Clouds. Scene I
Print made by William Blake, 1757–1827
Aristophanes Clouds. Scene I
1795
William Blake Anacreon Ode LII
Print made by William Blake, 1757–1827
Anacreon Ode LII
1794
William Blake Thoughts on Outline, Sculpture, and the System that Guided the Ancient Artists in Composing their Figures and Groupes
Prints made by William Blake, 1757–1827
Thoughts on Outline, Sculpture, and the System that Guided the Ancient Artists in Composing their Figures and Groupes
1796
William Blake The Book of Thel
Prints made by William Blake, 1757–1827
The Book of Thel
1789
William Blake Love Songs, Class I. Tailpiece
Print made by William Blake, 1757–1827
Love Songs, Class I. Tailpiece
1783
William Blake Love Songs, Class I. Headpiece
Print made by William Blake, 1757–1827
Love Songs, Class I. Headpiece
1783
William Blake Love Songs, Class II. Headpiece
Print made by William Blake, 1757–1827
Love Songs, Class II. Headpiece
1783
William Blake Love Songs, Class II. Tailpiece
Print made by William Blake, 1757–1827
Love Songs, Class II. Tailpiece
1783
William Blake Love Songs, Class III. Headpiece
Print made by William Blake, 1757–1827
Love Songs, Class III. Headpiece
1783
William Blake Love Songs, Class III. Tailpiece
Print made by William Blake, 1757–1827
Love Songs, Class III. Tailpiece
1783
William Blake Love Songs, Class IV. Headpiece
Print made by William Blake, 1757–1827
Love Songs, Class IV. Headpiece
1783
William Blake Love Songs, Class IV. Tailpiece
Print made by William Blake, 1757–1827
Love Songs, Class IV. Tailpiece
1783
William Blake Love Songs, Class V. Headpiece
Print made by William Blake, 1757–1827
Love Songs, Class V. Headpiece
1783
William Blake Drinking Songs, Headpiece
Print made by William Blake, 1757–1827
Drinking Songs, Headpiece
1783
William Blake Drinking Songs, Tailpiece
Print made by William Blake, 1757–1827
Drinking Songs, Tailpiece
1783
William Blake Miscellaneous Songs, Headpiece
Print made by William Blake, 1757–1827
Miscellaneous Songs, Headpiece
1783
William Blake Miscellaneous Songs, Tailpiece
Print made by William Blake, 1757–1827
Miscellaneous Songs, Tailpiece
1783
William Blake Ancient Ballads, Headpiece
Print made by William Blake, 1757–1827
Ancient Ballads, Headpiece
1783
William Blake Ancient Ballads, Tailpiece
Print made by William Blake, 1757–1827
Ancient Ballads, Tailpiece
1783
James Caldwall Inside view of the Ball-room in a Pavilion erected for a Fete Champetre in the Garden of the Earl of Derby
Print made by James Caldwall, 1739–1819
Inside view of the Ball-room in a Pavilion erected for a Fete Champetre in the Garden of the Earl of Derby
1780
Richard Bernard Godfrey The Neptune East Indiaman in a Storm
Richard Bernard Godfrey, 1728–op.1794
The Neptune East Indiaman in a Storm
ca. 1768
Anthony Walker Prior Park, the Seat of Ralph Allen, Esq. near Bath [Drawn from Mr. Allens Road in the year 1750]
Anthony Walker, 1726–1765
Prior Park, the Seat of Ralph Allen, Esq. near Bath [Drawn from Mr. Allens Road in the year 1750]
ca. 1750
unknown artist Slight of Hand by a Monkey, or the Lady's Head Unloaded
unknown artist
Slight of Hand by a Monkey, or the Lady's Head Unloaded
ca. 1770
unknown artist A View of the Court Yard and Part of St. James's Palace, London, with the Relief of the Guard
unknown artist
A View of the Court Yard and Part of St. James's Palace, London, with the Relief of the Guard
ca. 1792
William Dickinson Charlotte at the Tomb of Werther
William Dickinson, 1746–1823
Charlotte at the Tomb of Werther
1785
William Dickinson Rosamund and the Fair Annett
William Dickinson, 1746–1823
Rosamund and the Fair Annett
1784
James Heath Portrait of John Philip Kemble, Actor
James Heath, 1757–1834
Portrait of John Philip Kemble, Actor
1799
James Watson John Campbell, 4th Duke of Argyll
James Watson, 1740–1790
John Campbell, 4th Duke of Argyll
1769
Francesco Bartolozzi John Ash M.D.
Francesco Bartolozzi, 1728–1815
John Ash M.D
ca.1791
James Barry The Fall of Satan
James Barry, 1741–1806
The Fall of Satan
1777
Paul Sandby Miletus
Paul Sandby, 1731–1809
Miletus
1780
Paul Sandby Views in the Levant: The Port of Aegina
Paul Sandby, 1731–1809
Views in the Levant: The Port of Aegina
ca. 1780
Paul Sandby Views in the Levant: Entrance of the Acropolis at Athens
Paul Sandby, 1731–1809
Views in the Levant: Entrance of the Acropolis at Athens
ca. 1780
Luigi Balugani Crab
Luigi Balugani, 1737–1770
Crab
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
William Nutter Saturday Evening, the Husbandman's Return From Labour
William Nutter, 1754–1802
Saturday Evening, the Husbandman's Return From Labour
1795
James Bretherton Dancing Bear with Its Keeper, Piper, and Audience of One
James Bretherton, ca. 1730–1806
Dancing Bear with Its Keeper, Piper, and Audience of One
1774
William Dickinson The Deserter
William Dickinson, 1746–1823
The Deserter
1784
Simon Watts The little Hunchback dining with the Taylor, is choak'd with a Fish Bone
Simon Watts, active 1812
The little Hunchback dining with the Taylor, is choak'd with a Fish Bone
1787
Richard Cooper the Elder View of the Ruins of the Temple of Peace
Richard Cooper the Elder, 1701–1764
View of the Ruins of the Temple of Peace
Valentine Green Joseph and John Gulston
Valentine Green, 1739–1813
Joseph and John Gulston
1771
Thomas Gaugain An Airing in Hyde Park
Thomas Gaugain, 1748–1812
An Airing in Hyde Park
1796
Francesco Bartolozzi Omai, a Native of Utaietea, Brought into England in the Year 1774 by Tobias Funeaux Esqr., Commander of His Majesty's Sloop Adventure...
Francesco Bartolozzi, 1728–1815
Omai, a Native of Utaietea, Brought into England in the Year 1774 by Tobias Funeaux Esqr., Commander of His Majesty's Sloop Adventure..
1774
Robert Laurie Lion and Horse
Robert Laurie, 1755?–1836
Lion and Horse
1791
Benjamin Green The Lion and Horse
Benjamin Green, ca. 1736–ca. 1800
The Lion and Horse
1769
George Townly Stubbs The Horse and Lion
George Townly Stubbs, 1748–1815
The Horse and Lion
1770
John Murphy A Tiger
John Murphy, ca. 1748–1820
A Tiger
1798
John Faber the Younger Mrs Anastasia Robinson
John Faber the Younger, ca. 1695–1756
Mrs Anastasia Robinson
George White Madam Smith Wife of Erasmus Smith Esquire
George White, ca.1684–1732
Madam Smith Wife of Erasmus Smith Esquire
John Faber the Younger Hannah Snell
John Faber the Younger, ca. 1695–1756
Hannah Snell
1750
Monro School Hedingham Castle Essex
Monro School
Hedingham Castle Essex
ca. 1795
Monro School Holy Ghost Chapel, Basingstoke
Monro School
Holy Ghost Chapel, Basingstoke
ca. 1795
Monro School Margam Abbey, Glamorgan
Monro School
Margam Abbey, Glamorgan
ca. 1795
Monro School Rowborough Priory
Monro School
Rowborough Priory
ca. 1795
Monro School Rowborough Priory, Suffolk
Monro School
Rowborough Priory, Suffolk
ca. 1795
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
Thomas Sandby The Horse Race at Rome During the Carnival
Thomas Sandby, 1721–1798
The Horse Race at Rome During the Carnival
ca. 1781
unknown artist Hey Day, is this My Daughter Ann
unknown artist
Hey Day, is this My Daughter Ann
ca. 1774
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
Rev. William Gilpin As it is now high noon, which always affords an unfavourable light to the painter ... It here shines wanly and hazily upon the cliffs (Design for Plate 12)
Rev. William Gilpin, 1724–1804
As it is now high noon, which always affords an unfavourable light to the painter ... It here shines wanly and hazily upon the cliffs (Design for Plate 12)
undated
Rev. William Gilpin As it is now high noon, which always affords an unfavourable light to the painter, he avoids, as much as he can, the vertical rays of the Sun... The same effect is here exhibited in a lake scene (Design for Plate 14)
Rev. William Gilpin, 1724–1804
As it is now high noon, which always affords an unfavourable light to the painter, he avoids, as much as he can, the vertical rays of the Sun... The same effect is here exhibited in a lake scene (Design for Plate 14)
undated
Valentine Green Portrait of David Garrick
Valentine Green, 1739–1813
Portrait of David Garrick
Joseph Goupy Romanus sum Civis
Joseph Goupy, 1689–1769
Romanus sum Civis
1726
Charles Grignion History of England, Subscription Receipt
Print made by Charles Grignion, 1717–1810
History of England, Subscription Receipt
1750
Simon François Ravenet The Landing of Julius Caesar
Print made by Simon François Ravenet, 1706–1774
The Landing of Julius Caesar
1751
Gérard Jean-Baptiste Scotin II Alfred in the Isle of Athelny
Print made by Gérard Jean-Baptiste Scotin II, 1698–after 1755
Alfred in the Isle of Athelny
1751