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Date 1791

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George Stubbs A Sleeping Leopard
Print made by George Stubbs, 1724–1806
A Sleeping Leopard
1791
George Stubbs Hay-Makers
George Stubbs, 1724–1806
Hay-Makers
1791
unknown artist Memorial to Theodore King of Corsica in St. Ann, Westminster
unknown artist
Memorial to Theodore King of Corsica in St. Ann, Westminster
1791
unknown artist Stowe's Monument in St. Andrew, Undershaft
unknown artist
Stowe's Monument in St. Andrew, Undershaft
1791
unknown artist Newgate
unknown artist
Newgate
1791
unknown artist Pye Corner, Smithfield
unknown artist
Pye Corner, Smithfield
1791
unknown artist Samuel Cooper's Monument in St. Pancras Church
unknown artist
Samuel Cooper's Monument in St. Pancras Church
1791
unknown artist In St. Mary Overie's or St. Saviour's, Southwark
unknown artist
In St. Mary Overie's or St. Saviour's, Southwark
1791
William Ellis Hackney
William Ellis, 1747–1810
Hackney
1791
Jacob C. Schnebbelie Painting on the South Side Severts Tomb
Jacob C. Schnebbelie, 1760–1792
Painting on the South Side Severts Tomb
1791
unknown artist Speed's Monument in the Chancel of St. Giles, Cripplegate
unknown artist
Speed's Monument in the Chancel of St. Giles, Cripplegate
1791
John Raphael Smith A Wife - Une Femme Mariee
John Raphael Smith, 1752–1812
A Wife - Une Femme Mariee
1791
John Raphael Smith What You Will - Ce Qui Vous Plaira
John Raphael Smith, 1752–1812
What You Will - Ce Qui Vous Plaira
1791
John Raphael Smith A Maid - Une Pucelle
John Raphael Smith, 1752–1812
A Maid - Une Pucelle
1791
John Raphael Smith A Widow - Une Veuve
John Raphael Smith, 1752–1812
A Widow - Une Veuve
1791
William Hincks Plate II: View taken near Hillsborough in the County of Downe, Representing Pulling the Flax when grown, Stooking or putting it up to Dry, Ripling or saving the Seed, and Boging or burying it in Water.
William Hincks, 1752–1797
Plate II: View taken near Hillsborough in the County of Downe, Representing Pulling the Flax when grown, Stooking or putting it up to Dry, Ripling or saving the Seed, and Boging or burying it in Water
1791
William Hincks Plate V: A Perspective View of a Scutch Mill, with the Method of Breakng the Flax with groved Rollers, and Scutching it with Blades first on a Shaft, both turn'd by the Main Wheel, Great Improvements in the Method of Braking and Scutching of Flax
William Hincks, 1752–1797
Plate V: A Perspective View of a Scutch Mill, with the Method of Breakng the Flax with groved Rollers, and Scutching it with Blades first on a Shaft, both turn'd by the Main Wheel, Great Improvements in the Method of Braking and Scutching of Flax
1791
William Hincks Plate IX: Perspective View of all the Machinery of a Bleach Mill, upon the Newest and Most approved Constructions, Consisting of the Wash Mill, Rubbing Boards moved by a Crank, and Beetling Engine for Glazing the Cloth, with a View of the Boiling House
William Hincks, 1752–1797
Plate IX: Perspective View of all the Machinery of a Bleach Mill, upon the Newest and Most approved Constructions, Consisting of the Wash Mill, Rubbing Boards moved by a Crank, and Beetling Engine for Glazing the Cloth, with a View of the Boiling House
1791
William Hincks Plate VII: representing Winding, Warping with a new improved Warping Mill, and Weaving
William Hincks, 1752–1797
Plate VII: representing Winding, Warping with a new improved Warping Mill, and Weaving
1791
William Hincks Plate VI: Taken on the Spot in the County of Downe, Representing Spinning, Reeling with the Clock Reel, and Boiling the Yarn
William Hincks, 1752–1797
Plate VI: Taken on the Spot in the County of Downe, Representing Spinning, Reeling with the Clock Reel, and Boiling the Yarn
1791
William Hincks Plate VIII: representing the Brown Linen Market at Banbridge, in the County of Downe, The Weavers holding up their Pieces of Linen to View, the Bleachers elevated on Forms examining its Quality
William Hincks, 1752–1797
Plate VIII: representing the Brown Linen Market at Banbridge, in the County of Downe, The Weavers holding up their Pieces of Linen to View, the Bleachers elevated on Forms examining its Quality
1791
William Hincks Plate XI: A Perspective View of a Lapping Room, with the Measuring, Crisping or Folding the Cloth in Lengths, Picking the Laps or Lengths, Tying the Clips, acting by the Mechanic power of the Laver to press the Cloth round & firm, and Sealing it ...
William Hincks, 1752–1797
Plate XI: A Perspective View of a Lapping Room, with the Measuring, Crisping or Folding the Cloth in Lengths, Picking the Laps or Lengths, Tying the Clips, acting by the Mechanic power of the Laver to press the Cloth round & firm, and Sealing it ..
1791
William Hincks Plate XII: Perspective View of the Linen Hall in Dublin, with the Boxes and Bales of Linen ready for Exportation, the Emblems of their Industry
William Hincks, 1752–1797
Plate XII: Perspective View of the Linen Hall in Dublin, with the Boxes and Bales of Linen ready for Exportation, the Emblems of their Industry
1791
William Hincks Plate IV: representing the common Method of Beetling, Scutching and Hackling the Flax
William Hincks, 1752–1797
Plate IV: representing the common Method of Beetling, Scutching and Hackling the Flax
1791
William Hincks Plate III: View taken in the County of Louth Representing taking the Flax out of the Bog when it has lain a sufficient time to seperate the Rind, which is the Flax from the Stem, & strengthen it, spreading it to dry, stoving, beetling, and breaking it.
William Hincks, 1752–1797
Plate III: View taken in the County of Louth Representing taking the Flax out of the Bog when it has lain a sufficient time to seperate the Rind, which is the Flax from the Stem, & strengthen it, spreading it to dry, stoving, beetling, and breaking it
1791
William Hincks Plate X: Perspective View of a Bleach Green taken in the County of Downe, Shewing the methods of Wet & Dry Bleaching, and the outside View of a Bleach Mill, on the most approved construction
William Hincks, 1752–1797
Plate X: Perspective View of a Bleach Green taken in the County of Downe, Shewing the methods of Wet & Dry Bleaching, and the outside View of a Bleach Mill, on the most approved construction
1791
George Siegmund Facius George III
George Siegmund Facius, 1750–1804
George III
1791
John Condé T. Banks, Sculptor, R. A.
Print made by John Condé, 1765–1794
T. Banks, Sculptor, R. A
1791
Charles Rosenberg Mr. H. Angelo's Fencing Academy
Charles Rosenberg, active 1790–1820
Mr. H. Angelo's Fencing Academy
1791
unknown artist Lollard's Prison
unknown artist
Lollard's Prison
1791
unknown artist Memorial in St. Mary's, Lambeth
unknown artist
Memorial in St. Mary's, Lambeth
1791
unknown artist Pedlar and his Dog, St. Mary's, Lambeth
unknown artist
Pedlar and his Dog, St. Mary's, Lambeth
1791
Isaac Cruikshank Resist Unto Blood, the True Christian Warfare, The Spirit Against the Flesh (A Clerical Boxing Match)
Isaac Cruikshank, 1764–1811
Resist Unto Blood, the True Christian Warfare, The Spirit Against the Flesh (A Clerical Boxing Match)
1791
Isaac Cruikshank A Stroke at the Plenipo or Mary's Mistake
Isaac Cruikshank, 1764–1811
A Stroke at the Plenipo or Mary's Mistake
1791
Isaac Cruikshank A Disunion or the Family Compact Disturbed
Isaac Cruikshank, 1764–1811
A Disunion or the Family Compact Disturbed
1791
Isaac Cruikshank Rights of Man Alias French Liberty Alias Entering Volunteers for the Republic (from: Caricature, vol. 3) ( from: Caricature, vol. 3)
Isaac Cruikshank, 1764–1811
Rights of Man Alias French Liberty Alias Entering Volunteers for the Republic (from: Caricature, vol. 3) ( from: Caricature, vol. 3)
1791
James Gillray Patience on a Monument
James Gillray, 1756–1815
Patience on a Monument
1791
James Gillray The Coming-on of the Monsoons; - or - The Retreat from Seringapatam
James Gillray, 1756–1815
The Coming-on of the Monsoons; - or - The Retreat from Seringapatam
1791
James Gillray Lubber's Hole - alias - The Crack'd Jordan
James Gillray, 1756–1815
Lubber's Hole - alias - The Crack'd Jordan
1791
James Gillray The Siege of Blenheim - or - The New System of Gunning Discoverd -
James Gillray, 1756–1815
The Siege of Blenheim - or - The New System of Gunning Discoverd -
1791
James Gillray The Devil to Pay; The Wife Metamorphos'd or Neptune reposing after Fording the Jordan
James Gillray, 1756–1815
The Devil to Pay; The Wife Metamorphos'd or Neptune reposing after Fording the Jordan
1791
John Carter Plate XCIV: South View of Westminster Abbey, Taken from Deans Yard
Print made by John Carter, 1748–1817
Plate XCIV: South View of Westminster Abbey, Taken from Deans Yard
1791
James Gillray Les Trois Magots
James Gillray, 1756–1815
Les Trois Magots
1791
James Gillray French Democrats surprizing the Royal Runaways
James Gillray, 1756–1815
French Democrats surprizing the Royal Runaways
1791
James Gillray The Balance of Power. - OR - "The Posterity of the Immortal Chatham, Turn'd Posture Master." - Vide Sheridan's Speech -
James Gillray, 1756–1815
The Balance of Power. - OR - "The Posterity of the Immortal Chatham, Turn'd Posture Master." - Vide Sheridan's Speech -
1791
Peter Simon Romeo and Juliet: Act IV, Scene III (A Monument Belonging to the Capulets)
Print made by Peter Simon, 1750–1810
Romeo and Juliet: Act IV, Scene III (A Monument Belonging to the Capulets)
1791
Jean B. Michel King Henry VI, Part III: Act V, Scene VII (Queen Bess Presenting King Edward . . . with Their Infant Son)
Print made by Jean B. Michel, active 1803
King Henry VI, Part III: Act V, Scene VII (Queen Bess Presenting King Edward . . . with Their Infant Son)
1791
Robert Strange Sir Robert Strange
Robert Strange, 1721–1792
Sir Robert Strange
1791
A. M. Ireland Ex Libris of George Lambert
Print made by A. M. Ireland, active before 1801
Ex Libris of George Lambert
1791
Francesco Bartolozzi Trade Card for Thomas Sandby, Jr.
Print made by Francesco Bartolozzi, 1728–1815
Trade Card for Thomas Sandby, Jr
1791
Jacob C. Schnebbelie An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: Painting on the South Side Seberts Tomb
Jacob C. Schnebbelie, 1760–1792
An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: Painting on the South Side Seberts Tomb
1791
Samuel Ireland Somerset Place
Print made by Samuel Ireland, active 1760–died 1800
Somerset Place
1791
William Thomas The House of the Cevaliere D'eon at Tonnerrel
Print made by William Thomas, active 1783– died 1800
The House of the Cevaliere D'eon at Tonnerrel
1791
Samuel Ireland Somerset Place
Print made by Samuel Ireland, active 1760–died 1800
Somerset Place
1791
J. Barlow Analysis of Beauty, Plate I
Print made by J. Barlow, active 1791
Analysis of Beauty, Plate I
1791
J. Barlow Analysis of Beauty, Plate II
Print made by J. Barlow, active 1791
Analysis of Beauty, Plate II
1791
J. Barlow Analysis of Beauty, Plate I
Print made by J. Barlow, active 1791
Analysis of Beauty, Plate I
1791
J. Barlow Analysis of Beauty, Plate I
Print made by J. Barlow, active 1791
Analysis of Beauty, Plate I
1791
unknown artist Collection of Prints by Notable Dilettanti
Print made by unknown artist
Collection of Prints by Notable Dilettanti
1791
unknown artist Guy, Earl of Warwick, From a Basso Relievio in Warwick Lane
unknown artist
Guy, Earl of Warwick, From a Basso Relievio in Warwick Lane
1791
John Thomas Smith Domestic Architecture - N. E. View of an Old House lately Standing in Sweedon's Passage, Grub Street
John Thomas Smith, 1766–1833
Domestic Architecture - N. E. View of an Old House lately Standing in Sweedon's Passage, Grub Street
1791
John William Edy A View of Albion Mill on Fire
John William Edy, 1760–1820
A View of Albion Mill on Fire
1791
unknown artist London Stone in Cannon Street
unknown artist
London Stone in Cannon Street
1791
unknown artist A Basso Relievo of a Gardiner. Against Mr. Holylands stables Gardiners Lane, the corner of High Timber Street, is this Sculpture: but why put up, cannot learn. Tradition says the site was once Gardens.
unknown artist
A Basso Relievo of a Gardiner. Against Mr. Holylands stables Gardiners Lane, the corner of High Timber Street, is this Sculpture: but why put up, cannot learn. Tradition says the site was once Gardens
1791
unknown artist London Stone in Cannon Street
unknown artist
London Stone in Cannon Street
1791
Francesco Bartolozzi Vignette: Four Putti, Two Holding Hands
Francesco Bartolozzi, 1728–1815
Vignette: Four Putti, Two Holding Hands
1791
Francesco Bartolozzi Vignette: Four Putti, Two Holding Hands
Francesco Bartolozzi, 1728–1815
Vignette: Four Putti, Two Holding Hands
1791
Bastiaen Stopendael Stad en Revier Van Rochester. Chatham (The Dutch Fleet in Medway) 12-23 June 1667
Bastiaen Stopendael, 1636/7–c.1708
Stad en Revier Van Rochester. Chatham (The Dutch Fleet in Medway) 12-23 June 1667
Published 1791
unknown artist A Curious Pump
unknown artist
A Curious Pump
1791
Francis Jukes North End, Hampstead
Francis Jukes, 1747–1812
North End, Hampstead
1791
William Ellis Hornsey
William Ellis, 1747–1810
Hornsey
1791
unknown artist Monmouth House, Soho Square
unknown artist
Monmouth House, Soho Square
1791
unknown artist A Specimen of Ancient Building (Old houses in King Street)
unknown artist
A Specimen of Ancient Building (Old houses in King Street)
1791
George Isham Parkyns Gateway of the Old Palace at Richmond
George Isham Parkyns, 1749/50–c.1820
Gateway of the Old Palace at Richmond
1791
unknown artist Rosamond's Pond
unknown artist
Rosamond's Pond
1791
Francesco Bartolozzi Contemplation
Francesco Bartolozzi, 1728–1815
Contemplation
1791
Joseph Grozer William Augustus Bowles, Chief of the Embassy from the Creeke & Cherokee Nations
Joseph Grozer, ca. 1755–1798
William Augustus Bowles, Chief of the Embassy from the Creeke & Cherokee Nations
1791
Francesco Bartolozzi St. Paul
Francesco Bartolozzi, 1728–1815
St. Paul
1791
Francesco Bartolozzi The Departure of Hagar
Francesco Bartolozzi, 1728–1815
The Departure of Hagar
1791
Francesco Bartolozzi A Sacrifice To Diana The Goddess Of Hunting
Francesco Bartolozzi, 1728–1815
A Sacrifice To Diana The Goddess Of Hunting
1791
unknown artist Pye Corner, Smithfield
unknown artist
Pye Corner, Smithfield
1791
John William Edy A View of Westminster Bridge, the Abbey and Church
John William Edy, 1760–1820
A View of Westminster Bridge, the Abbey and Church
1791
Francesco Bartolozzi Portrait of Joseph Haydn
Print made by Francesco Bartolozzi, 1728–1815
Portrait of Joseph Haydn
1791
Francesco Bartolozzi George, Prince of Wales
Francesco Bartolozzi, 1728–1815
George, Prince of Wales
1791
John Keyse Sherwin Mary Isabella, Duchess of Rutland
Print made by John Keyse Sherwin, c.1751–1790
Mary Isabella, Duchess of Rutland
1791
John Raphael Smith Madona col Bambino
Print made by John Raphael Smith, 1752–1812
Madona col Bambino
1791
John Jones Caroline, Duchess of Marlborough
Print made by John Jones, ca. 1745–1797
Caroline, Duchess of Marlborough
1791
John Young Mrs. Bunbury
Print made by John Young, 1755–1825
Mrs. Bunbury
1791
Charles Knight Miss Farren
Print made by Charles Knight, 1743–c.1826
Miss Farren
1791
Charles Knight Miss Farren
Print made by Charles Knight, 1743–c.1826
Miss Farren
1791
Charles Knight Miss Farren
Print made by Charles Knight, 1743–c.1826
Miss Farren
1791
Richard Earlom A Brewhouse Yard
Print made by Richard Earlom, 1743–1822
A Brewhouse Yard
1791
John Jones Rear Admiral Sir Charles Douglas
John Jones, ca. 1745–1797
Rear Admiral Sir Charles Douglas
1791
John Jones Admiral Edward Vernon
John Jones, ca. 1745–1797
Admiral Edward Vernon
1791
unknown artist A Memorial to Shakespeare
unknown artist
A Memorial to Shakespeare
1791
John Jones Sylvia
John Jones, ca. 1745–1797
Sylvia
1791
John Keyse Sherwin Mrs. Frances Abington (née Barton) as Roxalana in "The Sultan"
John Keyse Sherwin, c.1751–1790
Mrs. Frances Abington (née Barton) as Roxalana in "The Sultan"
1791
John Keyse Sherwin Mary Isabella Manners (née Somerset), Duchess of Rutland
John Keyse Sherwin, c.1751–1790
Mary Isabella Manners (née Somerset), Duchess of Rutland
1791
John Jones Beatrice Listening to Hero and Ursula - "Much Ado About Nothing", Act III, Scene I
John Jones, ca. 1745–1797
Beatrice Listening to Hero and Ursula - "Much Ado About Nothing", Act III, Scene I
1791
W. Taylor All's Well... Act III, Sc. V
W. Taylor, active 1790–1810
All's Well... Act III, Sc. V
1791