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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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William Hackwood Queen Charlotte
Modeled by William Hackwood, died 1836
Queen Charlotte
ca. 1776
Not on view
unknown artist Hunting Scenes: five oval plaques in one frame, perhaps Staffordshire or Liverpool and possibly enamel transfer-printed in black
unknown artist
Hunting Scenes: five oval plaques in one frame, perhaps Staffordshire or Liverpool and possibly enamel transfer-printed in black
18th century
Not on view
William Hogarth Fair Scene
William Hogarth, 1697–1764
Fair Scene
1733
William Hogarth Painting of Pharoah's Daughter and Moses in the Foundling Hospital
William Hogarth, 1697–1764
Painting of Pharoah's Daughter and Moses in the Foundling Hospital
1752
William Hogarth William Hogarth
William Hogarth, 1697–1764
William Hogarth
1764
William Hogarth The Four Stages of Cruelty: Cruelty in Perfection (The Murderer)
William Hogarth, 1697–1764
The Four Stages of Cruelty: Cruelty in Perfection (The Murderer)
1751
William Hogarth Prospectus print "Crown & Mitre"
William Hogarth, 1697–1764
Prospectus print "Crown & Mitre"
1754
William Blake Plate 12 (page 19): 'Emblem of that which shall awake the dead'
William Blake, 1757–1827
Plate 12 (page 19): 'Emblem of that which shall awake the dead'
1797
William Blake Plate 15 (page 25): 'Behold him, when past by; what then is seen'
William Blake, 1757–1827
Plate 15 (page 25): 'Behold him, when past by; what then is seen'
1797
William Blake Plate 17 (page 27): 'O treacherous conscience! while she seems to sleep"
William Blake, 1757–1827
Plate 17 (page 27): 'O treacherous conscience! while she seems to sleep"
1797
William Blake Plate 18 (page 31): ''Tis greatly wise to talk with our past hours'
William Blake, 1757–1827
Plate 18 (page 31): ''Tis greatly wise to talk with our past hours'
1797
William Blake Plate 19 (page 33): 'Like that, the dial speaks; and points to thee'
William Blake, 1757–1827
Plate 19 (page 33): 'Like that, the dial speaks; and points to thee'
1797
William Blake Plate 20 (page 35): 'Teaching, we learn; and giving, we retain'
William Blake, 1757–1827
Plate 20 (page 35): 'Teaching, we learn; and giving, we retain'
1797
William Blake Plate 21 (page 37): 'Love, and love only, is the loan for love'
William Blake, 1757–1827
Plate 21 (page 37): 'Love, and love only, is the loan for love'
1797
William Blake Plate 24 (page 43): 'NIGHT/ THE/ THIRD,/ NARCISSA'
William Blake, 1757–1827
Plate 24 (page 43): 'NIGHT/ THE/ THIRD,/ NARCISSA'
1797
William Blake Plate 26 (page 49): 'As if the sun could envy, check'd his beam'
William Blake, 1757–1827
Plate 26 (page 49): 'As if the sun could envy, check'd his beam'
1797
William Blake Plate 27 (page 54): 'The vale of death! that hush'd cimmerian vale'
William Blake, 1757–1827
Plate 27 (page 54): 'The vale of death! that hush'd cimmerian vale'
1797
William Blake Plate 28 (page 55): 'Ungrateful, shall we grieve their hovering shades'
William Blake, 1757–1827
Plate 28 (page 55): 'Ungrateful, shall we grieve their hovering shades'
1797
William Blake Plate 29 (page 57): 'Trembling each gulp, lest death should snatch the bowl'
William Blake, 1757–1827
Plate 29 (page 57): 'Trembling each gulp, lest death should snatch the bowl'
1797
William Blake Plate 34 (page 73): 'Draw the dire steel? -- ah no!-- the dreadful blessing'
William Blake, 1757–1827
Plate 34 (page 73): 'Draw the dire steel? -- ah no!-- the dreadful blessing'
1797
William Blake Plate 35 (page 75): 'The Sun beheld it -- No, the shocking Scene Drove back his chariot'
William Blake, 1757–1827
Plate 35 (page 75): 'The Sun beheld it -- No, the shocking Scene Drove back his chariot'
1797
William Blake Plate 36 (page 80): 'The thunder if in that the ALMIGHTY dwells'
William Blake, 1757–1827
Plate 36 (page 80): 'The thunder if in that the ALMIGHTY dwells'
1797
William Blake Plate 37 (page 86): 'His hand the good man fastens on the skies'
William Blake, 1757–1827
Plate 37 (page 86): 'His hand the good man fastens on the skies'
1797
William Blake Plate 38 (page 87): 'Is lost in love! thou great PHILANTHROPIST'
William Blake, 1757–1827
Plate 38 (page 87): 'Is lost in love! thou great PHILANTHROPIST'
1797
William Blake Plate 40 (page 90): 'That touch, with charm celestial heals the soul'
William Blake, 1757–1827
Plate 40 (page 90): 'That touch, with charm celestial heals the soul'
1797
William Blake Plate 41 (page 92): 'When faith is virtue, reason makes it so'
William Blake, 1757–1827
Plate 41 (page 92): 'When faith is virtue, reason makes it so'
1797
William Blake Plate 3 (page 4): 'What, though my soul fantastick measures trod'
William Blake, 1757–1827
Plate 3 (page 4): 'What, though my soul fantastick measures trod'
1797
William Blake Plate 4 (page 7): 'Till at Death's toll, whose restless iron tounge'
William Blake, 1757–1827
Plate 4 (page 7): 'Till at Death's toll, whose restless iron tounge'
1797
William Blake Plate 7 (page 12): 'Its favours here are trials, not rewards'
William Blake, 1757–1827
Plate 7 (page 12): 'Its favours here are trials, not rewards'
1797
William Blake Plate 11 (page 17): 'NIGHT the SECOND/ ON/ TIME,/DEATH/ AND FRIENDSHIP'
William Blake, 1757–1827
Plate 11 (page 17): 'NIGHT the SECOND/ ON/ TIME,/DEATH/ AND FRIENDSHIP'
1797
William Blake Plate 13 (page 23): 'We censure nature for a span too short'
Engravings by William Blake, 1757–1827
Plate 13 (page 23): 'We censure nature for a span too short'
1797
William Blake Plate 22 (page 40): ' Angels should paint it, angels ever there'
William Blake, 1757–1827
Plate 22 (page 40): ' Angels should paint it, angels ever there'
1797
William Blake Plate 23 (page 41): 'One radiant MARK; the Death bed of the Just'
William Blake, 1757–1827
Plate 23 (page 41): 'One radiant MARK; the Death bed of the Just'
1797
William Blake Plate 32 (page 70): 'Till death, that mighty hunter, earths them all'
William Blake, 1757–1827
Plate 32 (page 70): 'Till death, that mighty hunter, earths them all'
1797
William Blake Plate 42 (page 93): 'If angels tremble, 'tis at such a sight'
William Blake, 1757–1827
Plate 42 (page 93): 'If angels tremble, 'tis at such a sight'
1797
William Blake Plate 30 (page 63): 'This KING OF TERRORS is the PRINCE OF PEACE'
William Blake, 1757–1827
Plate 30 (page 63): 'This KING OF TERRORS is the PRINCE OF PEACE'
1797
William Blake Plate 43 (page 95): 'The goddess bursts in thunder and in flame'
William Blake, 1757–1827
Plate 43 (page 95): 'The goddess bursts in thunder and in flame'
1797
William Blake Plate 31 (page 65): [Night the Fourth] 'THE/ CHRISTIAN/ TRIUMPH'
William Blake, 1757–1827
Plate 31 (page 65): [Night the Fourth] 'THE/ CHRISTIAN/ TRIUMPH'
1797
William Blake Plate 2 (page 1): 'Swift on his downy pinion flies from woe'
William Blake, 1757–1827
Plate 2 (page 1): 'Swift on his downy pinion flies from woe'
1797
William Blake Plate 6 (page 10): 'Disease invades the chastest temperence'
William Blake, 1757–1827
Plate 6 (page 10): 'Disease invades the chastest temperence'
1797
William Blake Plate 8 (page 13): 'The present moment terminates our sight'
William Blake, 1757–1827
Plate 8 (page 13): 'The present moment terminates our sight'
1797
William Blake Plate 9 (page 15):' The longest night though longer far, would fail'
Engravings by William Blake, 1757–1827
Plate 9 (page 15):' The longest night though longer far, would fail'
1797
William Blake Plate 25 (page 46): 'Where sense runs savage broke from reason's chain'
William Blake, 1757–1827
Plate 25 (page 46): 'Where sense runs savage broke from reason's chain'
1797
William Blake May-Day in London
William Blake, 1757–1827
May-Day in London
1784
William Blake Plate 33 (page 72): 'And vapid; sense and reason shew the door'
William Blake, 1757–1827
Plate 33 (page 72): 'And vapid; sense and reason shew the door'
1797
William Blake "The Book of Thel William Blake Original Wrappers 1789"
William Blake, 1757–1827
"The Book of Thel William Blake Original Wrappers 1789"
1789
William Blake "Edward Young's 'The Complaint and The Consolation' or 'Night Thoughts'" London, by William Blake and Edward Young
William Blake, 1757–1827
"Edward Young's 'The Complaint and The Consolation' or 'Night Thoughts'" London, by William Blake and Edward Young
1797
Thomas Milton Lucan-House
Thomas Milton, 1742/1743–1827
Lucan-House
1783
Isaac Johnson Earlham House, Norfolk (Album of 22 designs and surveys of Edward Bacon's seat at Earlham)
Isaac Johnson, 1754–1835
Earlham House, Norfolk (Album of 22 designs and surveys of Edward Bacon's seat at Earlham)
undated
James Lewis Drawings of Classical Ornament (A Volume)
James Lewis, 1751–1820
Drawings of Classical Ornament (A Volume)
1771-1772
John Maurer The Mansion House
John Maurer, active 1713–1761
The Mansion House
William Watts Heveningham Hall, in Suffolk, the Seat of Sir Gerard William Vanneck Bartholomew
William Watts, 1752–1851
Heveningham Hall, in Suffolk, the Seat of Sir Gerard William Vanneck Bartholomew
1782
John Maurer The Mansion House
John Maurer, active 1713–1761
The Mansion House
1750
James Barry King Lear
James Barry, 1741–1806
King Lear
1776
unknown artist Miss Elizabeth Appleton
unknown artist
Miss Elizabeth Appleton
1777
Robert Laurie Mrs. Frederick
Robert Laurie, 1755?–1836
Mrs. Frederick
1777
James McArdell Lady Fortescue
James McArdell, ca. 1729–1765
Lady Fortescue
James McArdell Lady Helena Forman
James McArdell, ca. 1729–1765
Lady Helena Forman
William Pether Helena Forman
William Pether, ca. 1738–1821
Helena Forman
1775
John Jones Contentment (Miss Gibbons)
John Jones, ca. 1745–1797
Contentment (Miss Gibbons)
William Dickinson Jane Duchess of Gordon
William Dickinson, 1746–1823
Jane Duchess of Gordon
1775
unknown artist Mrs. J. Gomeldon
unknown artist
Mrs. J. Gomeldon
undated
Richard Purcell Mrs. Hale
Richard Purcell, active 1746–1766
Mrs. Hale
Richard Houston Elizabeth Duchess of Hamilton Brandon
Richard Houston, ca. 1721–1775
Elizabeth Duchess of Hamilton Brandon
John Faber the Younger Miss Hoare
John Faber the Younger, ca. 1695–1756
Miss Hoare
unknown artist Miss Harriote
Print made by unknown artist
Miss Harriote
1750s
James McArdell Miss Horneck
James McArdell, ca. 1729–1765
Miss Horneck
John Faber the Younger The Lady Howard Abbess of the English Nuns at Antwerp
John Faber the Younger, ca. 1695–1756
The Lady Howard Abbess of the English Nuns at Antwerp
Richard Purcell Jewess
Richard Purcell, active 1746–1766
Jewess
Thomas Watson Frances Countess of Jersey
Thomas Watson, 1743–1781
Frances Countess of Jersey
James Watson Miss Jones
James Watson, 1740–1790
Miss Jones
James Watson Miss Jones
Print made by James Watson, 1740–1790
Miss Jones
James Watson Miss Polly Jones
Print made by James Watson, 1740–1790
Miss Polly Jones
Richard Purcell The Right Honorable Lady Charlotte Johnston
Richard Purcell, active 1746–1766
The Right Honorable Lady Charlotte Johnston
Valentine Green Mrs Lemaistre
Valentine Green, 1739–1813
Mrs Lemaistre
1771
James McArdell Lady taking tea
Print made by James McArdell, ca. 1729–1765
Lady taking tea
undated
James McArdell Katharine Countess of Lincoln
James McArdell, ca. 1729–1765
Katharine Countess of Lincoln
Richard Purcell Lady George Lenox
Richard Purcell, active 1746–1766
Lady George Lenox
William Angus Chester Castle; page 63 (Volume One)
William Angus, 1752–1821
Chester Castle; page 63 (Volume One)
1777
Peter Mazell Rows in Bridge Street, Chester; page 64 (Volume One)
Peter Mazell, active 1761–1797
Rows in Bridge Street, Chester; page 64 (Volume One)
George Barret Christ Church-College, Oxford; page 68 (Volume One)
George Barret, ca. 1728/32–1784
Christ Church-College, Oxford; page 68 (Volume One)
unknown artist Craig Hall, Perthshire; page 78 (Volume One)
unknown artist
Craig Hall, Perthshire; page 78 (Volume One)
unknown artist Downing; page 88 (Volume One)
unknown artist
Downing; page 88 (Volume One)
unknown artist The Globe on Bank Side where Shakespeare Acted (published b J. Serrell); page 10 (Volume Two)
unknown artist
The Globe on Bank Side where Shakespeare Acted (published b J. Serrell); page 10 (Volume Two)
1789
unknown artist Residence of Dr. Goldsmith, Green Arbour Court, Old Bailey (with text); page 11 (Volume Two)
unknown artist
Residence of Dr. Goldsmith, Green Arbour Court, Old Bailey (with text); page 11 (Volume Two)
Peter Mazell The Duke of Gordon's Hunting Seat in Glen-Eiodich Banff-Shire (published by Peter Mazell); page 12 (Volume Two)
Peter Mazell, active 1761–1797
The Duke of Gordon's Hunting Seat in Glen-Eiodich Banff-Shire (published by Peter Mazell); page 12 (Volume Two)
1789
Michael "Angelo" Rooker Hackwood Park, the Seat of his Grace the Duke of Bolton near Basingstoke, Hampshire (published by G. Kearsly); page 19 (Volume Two)
Michael "Angelo" Rooker, 1746–1801
Hackwood Park, the Seat of his Grace the Duke of Bolton near Basingstoke, Hampshire (published by G. Kearsly); page 19 (Volume Two)
1775
unknown artist Halston; page 22 (Volume Two)
unknown artist
Halston; page 22 (Volume Two)
Richard Gough Roman Tower in Hound's Ditch, 28 April 1763
Richard Gough, 1735–1809
Roman Tower in Hound's Ditch, 28 April 1763
1763
Thomas Watson Eloisa
Thomas Watson, 1743–1781
Eloisa
1775
unknown artist Fancy subject; Miss G.
unknown artist
Fancy subject; Miss G
undated
John Faber the Younger Her Grace the Duchess of Grafton
John Faber the Younger, ca. 1695–1756
Her Grace the Duchess of Grafton
John Faber the Younger Mrs Mary Ann Granville
John Faber the Younger, ca. 1695–1756
Mrs Mary Ann Granville
James McArdell Lady Grammont
James McArdell, ca. 1729–1765
Lady Grammont
William Dickinson Lady Harriot Grosvenor
Print made by William Dickinson, 1746–1823
Lady Harriot Grosvenor
1774
James McArdell Miss Gravile (Frances Anne Greville and her brother as "Hebe and Cupid"
James McArdell, ca. 1729–1765
Miss Gravile (Frances Anne Greville and her brother as "Hebe and Cupid"
Richard Purcell Miss Greenway
Richard Purcell, active 1746–1766
Miss Greenway
unknown artist Mrs Grosvenor Laundry Woman to the Queen
unknown artist
Mrs Grosvenor Laundry Woman to the Queen
undated
Richard Purcell Miss Gravile
Richard Purcell, active 1746–1766
Miss Gravile
Charles Spooner Miss Catharine Gunning
Charles Spooner, c.1720–1767
Miss Catharine Gunning