Credit Line: Yale Center for British Art, Paul Mellon Collection

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)

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Rev. William Gilpin, 1724–1804

The evening glow now pervades the Landscape strongly (Design for Plate 24)

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Rev. William Gilpin, 1724–1804

The evening glow now pervades the Landscape strongly (Design for Plate 25)

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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)

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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)

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Rev. William Gilpin, 1724–1804

The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)

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William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

Rev. William Gilpin, 1724–1804

The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)

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William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

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)

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William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

unknown artist

No.3, The Windmill, Parker's Warehouse, etc., Taken from Mr. Russell's

1815-1816

unknown artist

No.4, The Parson of Clerk Rock, Part of the Warren, Babbacombe and Hills Towards Torquay, Taken from the Beacon

1815-1816

unknown artist

No.6, The Lime Kilns and Country towards Littleham, Taken near Exmouth

1815-1816

unknown artist

No.5, The Rocks, Towards Salterton, Taken from the Fields Beyond the Beacon

1815-1816

unknown artist

No.8, The Milk House, Part of the Warren of Haldon in the Distance, Taken from the Lime Kilns

1815-1816

unknown artist

No.10, The Milk House, Lime Kilns, Webber's Farm, etc., Going from Exmouth

1815-1816

unknown artist

No.7, The Lime Kilns and Mr. Williamson's House, Returning from the Rocks

1815-1816

unknown artist

No.9, The Milk House, Warren, etc. Returning to Exmouth

1815-1816

unknown artist

No.12, Part of the Warren, Dr. Drury's, etc

1815-1816

unknown artist

No.15, The Windmill, Parker's Warehouse with Powderham in the Distance

1815-1816

unknown artist

No.11, The Rocks Going towards Salterton

1815-1816

unknown artist

No.14, The Beacon, Taken from the Windmill

1815-1816

unknown artist

No.13, The Beacon, General Legder's, Star Cross, etc., Taken from the Beacon Fields

1815-1816

unknown artist

No.16, Lympstone Rock and Topsham Taken from the Windmill, Exmouth

1815-1816

unknown artist

No.17, The Rocks, towards Salterton, Taken near the Windmill, Exmouth

1815-1816

unknown artist

No.18, Berry Head, etc., Taken at Dawlish

1815-1816

unknown artist

No.20, Berry Head, Parson of Clerk Rock etc., Taken from Dawlish

1815-1816

unknown artist

No.21, The Signal Station and Rocks towards Salterton, Taken from Dawlish Beach

1815-1816

unknown artist

No.19, Parson of Clerk Rock, Taken between Dawlish and Teignmouth

1815-1816

unknown artist

No.22, The Beacon, Exmouth, Taken from Wills's Green near Teignmouth

1815-1816

unknown artist

No.23, Babbacombe and Entrance to Torquay, Taken near Shaldon

1815-1816

unknown artist

No.24, Shaldon and Hills towards Torquay, Taken from the Passage at Teignmouth

1815-1816

unknown artist

Eastern Side of Torquay, Taken from Tor Abbey

1815-1816

unknown artist

Western Side of Torquay, Tor Abbey Lies behind this Hill

1815-1816

unknown artist

Mamhead, Starcross, etc

1815-1816

unknown artist

Chapel, Library, Fishmarket, Beacon

1815-1816

unknown artist

Lympstone, Mr. Hornell's House and Farm, The Embankment

1815-1816

unknown artist

Panoramic View from Berry Head to Powderham

1815-1816

William Nutter, 1754–1802

Saturday Evening, the Husbandman's Return From Labour

1795

James Bretherton, ca. 1730–1806

Dancing Bear with Its Keeper, Piper, and Audience of One

1774

William Dickinson, 1746–1823

The Deserter

1784

Simon Watts, active 1812

The little Hunchback dining with the Taylor, is choak'd with a Fish Bone

1787

Print made by John Crome, 1768–1821

Composition: Sandy Road through Woodland

1813

Print made by John Crome, 1768–1821

Three Landscape Studies

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George Cruikshank, 1792–1878

The Great Harry. The First Ship of War that Carried Guns

1834

Henry Salt, 1780–1827