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Joseph Mallord William Turner Cockermouth Castle
after Joseph Mallord William Turner, 1775–1851
Cockermouth Castle
Joseph Mallord William Turner Old Houses at Chester
after Joseph Mallord William Turner, 1775–1851
Old Houses at Chester
Joseph Mallord William Turner The Ponte Rotto, Looking Upstream, with the Tower of the Capitol on the Right
after Joseph Mallord William Turner, 1775–1851
The Ponte Rotto, Looking Upstream, with the Tower of the Capitol on the Right
Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.
after Joseph Mallord William Turner, 1775–1851
[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc
Joseph Mallord William Turner Tantallon Castle
after Joseph Mallord William Turner, 1775–1851
Tantallon Castle
Joseph Mallord William Turner Arch of Septimius Severus
after Joseph Mallord William Turner, 1775–1851
Arch of Septimius Severus
Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.
after Joseph Mallord William Turner, 1775–1851
[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc
Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.
after Joseph Mallord William Turner, 1775–1851
[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc
Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.
after Joseph Mallord William Turner, 1775–1851
[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc
Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.
after Joseph Mallord William Turner, 1775–1851
[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc
Joseph Mallord William Turner Vesuvius in Repose
after Joseph Mallord William Turner, 1775–1851
Vesuvius in Repose
Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.
after Joseph Mallord William Turner, 1775–1851
[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc
George Romney Figure Composition Study 20
George Romney, 1734–1802
Figure Composition Study 20
undated
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 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 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 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 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 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 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 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 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 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 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 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 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 24 (page 43): 'NIGHT/ THE/ THIRD,/ NARCISSA'
William Blake, 1757–1827
Plate 24 (page 43): 'NIGHT/ THE/ THIRD,/ NARCISSA'
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 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 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 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 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 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 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 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 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 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 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 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 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 "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
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 May-Day in London
William Blake, 1757–1827
May-Day in London
1784
William Blake Beggar's Opera, Act III
William Blake, 1757–1827
Beggar's Opera, Act III
1790
Frederick Christian Lewis the Elder View of Belle Vue and Pont de Seve taken from the Terrace near Pont de St. Cloud 1802; Plate 13 Views in Paris, the Emanuel Volume tracing of the plate B1981.25.2622
View of Belle Vue and Pont de Seve taken from the Terrace near Pont de St. Cloud 1802; Plate 13 Views in Paris, the Emanuel Volume tracing of the plate B1981.25.2622
1802
W. R. Smith Tynemouth, Northumberland
Print made by W. R. Smith, active 1819–1851
Tynemouth, Northumberland
1827-1838
William John Cooke Plymouth, Devonshire
Print made by William John Cooke, 1797–1865
Plymouth, Devonshire
1832
William Radclyffe Salisbury, Wiltshire
Print made by William Radclyffe, 1780–1855
Salisbury, Wiltshire
1830
James H. Kernot St. Catherine's Hill, near Guildford, Surrey
Print made by James H. Kernot, active early 19th century
St. Catherine's Hill, near Guildford, Surrey
1832
James H. Kernot St. Catherine's Hill, near Guildford, Surrey
Print made by James H. Kernot, active early 19th century
St. Catherine's Hill, near Guildford, Surrey
1832
James H. Kernot St. Catherine's Hill, near Guildford, Surrey
Print made by James H. Kernot, active early 19th century
St. Catherine's Hill, near Guildford, Surrey
1832
Robert Wallis Scene on the Loire
Print made by Robert Wallis, 1794–1878
Scene on the Loire
1833
Robert Brandard Graville
Print made by Robert Brandard, 1805–1862
Graville
1834
Edward Francis Finden Bridge of St. Cloud from Sevres
Print made by Edward Francis Finden, 1791–1857
Bridge of St. Cloud from Sevres
1835
James T. Willmore Paris from the Barriere de Passy
Print made by James T. Willmore, 1800–1863
Paris from the Barriere de Passy
1835
William Miller Pont-Neuf, Paris
Print made by William Miller, 1796–1882
Pont-Neuf, Paris
1835
William Radclyffe Marche aux Fleurs and Pont-au-Change
Print made by William Radclyffe, 1780–1855
Marche aux Fleurs and Pont-au-Change
1835
Thomas Jeavons Hotel de Ville and Pont d'Arcole
Print made by Thomas Jeavons, ca. 1800–1867
Hotel de Ville and Pont d'Arcole
1835
William Miller Melun
Print made by William Miller, 1796–1882
Melun
1835
William Finden Mannering, Hazlewood and Smugglers
Print made by William Finden, 1787–1852
Mannering, Hazlewood and Smugglers
1836
William Miller Abbotsford from the Northern Bank of the Tweed
Print made by William Miller, 1796–1882
Abbotsford from the Northern Bank of the Tweed
1839
William Miller Abbotsford, Large Vignette
Print made by William Miller, 1796–1882
Abbotsford, Large Vignette
1841
Joseph C. Bentley Rievaulx Abbey
Print made by Joseph C. Bentley, 1809–1851
Rievaulx Abbey
1834-1856
James Baylis Allen The Valley in Which the Children of Israel, Were Encamped, Mount Sinai in the Distance
Print made by James Baylis Allen, 1803–1876
The Valley in Which the Children of Israel, Were Encamped, Mount Sinai in the Distance
1834
Edward Francis Finden The Red Sea and Suez
Print made by Edward Francis Finden, 1791–1857
The Red Sea and Suez
1835
Charles Heath Ingleborough, from Hornby Castle Terrace
Print made by Charles Heath, 1785–1848
Ingleborough, from Hornby Castle Terrace
1822
Samuel Middiman Weathercote Cave when Half Filled with Water
Print made by Samuel Middiman, ca. 1750–1831
Weathercote Cave when Half Filled with Water
1821
Robert Brandard Gasport, Entrance to Portsmouth Harbor
Print made by Robert Brandard, 1805–1862
Gasport, Entrance to Portsmouth Harbor
1831
William Radclyffe Salisbury, Wiltshire
Print made by William Radclyffe, 1780–1855
Salisbury, Wiltshire
1830
James H. Kernot St. Caterine's Hill, near Guildford, Surrey
Print made by James H. Kernot, active early 19th century
St. Caterine's Hill, near Guildford, Surrey
1832
Thomas Jeavons Boston, Lincolnshire
Print made by Thomas Jeavons, ca. 1800–1867
Boston, Lincolnshire
1835
James H. Kernot Flint Castle, North Wales
Print made by James H. Kernot, active early 19th century
Flint Castle, North Wales
1836
W. R. Smith Lowestoffe, Suffolk
Print made by W. R. Smith, active 1819–1851
Lowestoffe, Suffolk
1837
William Miller Durham Cathedral
Print made by William Miller, 1796–1882
Durham Cathedral
1836
James T. Willmore Llangollen, North Wales
Print made by James T. Willmore, 1800–1863
Llangollen, North Wales
1837
W. R. Smith Chain Bridge over the River Tees
Print made by W. R. Smith, active 1819–1851
Chain Bridge over the River Tees
1838
William Miller Between Clairmont and Mauves
Print made by William Miller, 1796–1882
Between Clairmont and Mauves
1833
Robert Brandard St. Florent
Print made by Robert Brandard, 1805–1862
St. Florent
1833
Robert Wallis Coteaux de Mauves
Print made by Robert Wallis, 1794–1878
Coteaux de Mauves
1831
James T. Willmore Paris from the Barriere de Passy
Print made by James T. Willmore, 1800–1863
Paris from the Barriere de Passy
1835
James Charles Armytage Troyes
Print made by James Charles Armytage, 1802–1897
Troyes
1835
W. R. Smith Roslin Castle
Print made by W. R. Smith, active 1819–1851
Roslin Castle
1834
Thomas Higham Edinburgh - March of the Highlanders
Print made by Thomas Higham, 1796–1844
Edinburgh - March of the Highlanders
1836-1837
William Finden Mannering, Hazlewood and Smugglers
Print made by William Finden, 1787–1852
Mannering, Hazlewood and Smugglers
1836
Edward Francis Finden Bally-Burgh Ness
Print made by Edward Francis Finden, 1791–1857
Bally-Burgh Ness
1836
Thomas Higham Edinburgh - March of the Highlanders
Print made by Thomas Higham, 1796–1844
Edinburgh - March of the Highlanders
1833
William Bernard Cooke Crichton Castle
Print made by William Bernard Cooke, 1778–1855
Crichton Castle
1834
William Bernard Cooke Tantallon Castle
Print made by William Bernard Cooke, 1778–1855
Tantallon Castle
1833
James Charles Armytage "It's Auld Ailie Hersell"
Print made by James Charles Armytage, 1802–1897
"It's Auld Ailie Hersell"
1836
James H. Kernot Wolf's Hope
Print made by James H. Kernot, active early 19th century
Wolf's Hope
1836