<< YCBA Home Yale Center for British Art Yale Center for British Art << YCBA Home

YCBA Collections Search

Search Constraints

You searched for:

Creator Gender male

Remove constraint Creator Gender: male

Credit Line Yale Center for British Art, Paul Mellon Collection

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

Period 18th century

Remove constraint Period: 18th century

Height [cm] Unknown

Remove constraint Height [cm]: Unknown

Search Results

William Hackwood Queen Charlotte
Modeled by William Hackwood, died 1836
Queen Charlotte
ca. 1776
Not on view
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 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 Fair Scene
William Hogarth, 1697–1764
Fair Scene
1733
William Hogarth Prospectus print "Crown & Mitre"
William Hogarth, 1697–1764
Prospectus print "Crown & Mitre"
1754
William Hogarth William Hogarth
William Hogarth, 1697–1764
William Hogarth
1764
William Blake May-Day in London
William Blake, 1757–1827
May-Day in London
1784
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 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 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 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 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 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 24 (page 43): 'NIGHT/ THE/ THIRD,/ NARCISSA'
William Blake, 1757–1827
Plate 24 (page 43): 'NIGHT/ THE/ THIRD,/ NARCISSA'
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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 "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 Worlidge Self Portrait
Thomas Worlidge, 1700–1766
Self Portrait
1752
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
Henry Kingsbury The Beggar and his Dog
Henry Kingsbury, active 1750–1780
The Beggar and his Dog
Pierre Charles Canot Near Plymouth with the Ordinance Wharfe...
Pierre Charles Canot, ca. 1710–1777
Near Plymouth with the Ordinance Wharfe..
1756
Isaac Basire Cherokee Delegation to England
Print made by Isaac Basire, 1704–1768
Cherokee Delegation to England
1730, printed ca. 1748
Samuel Buck The Southwest view of Hertsmonceux Castle in the County of Sussex
Samuel Buck, 1696–1779
The Southwest view of Hertsmonceux Castle in the County of Sussex
Amos Green Views in England, Scotland and Wales: Prebend's Bridge at Durham
Amos Green, 1735–1807
Views in England, Scotland and Wales: Prebend's Bridge at Durham
1799
Amos Green Views in England, Scotland and Wales: View on the Brathay near Clappensgate
Amos Green, 1735–1807
Views in England, Scotland and Wales: View on the Brathay near Clappensgate
1799
James Barry King Lear
James Barry, 1741–1806
King Lear
1776
unknown artist Lyn Regis
unknown artist
Lyn Regis
1731-1748
William Byrne Fonthill as it was before Mr. Beckford's alterations
William Byrne, 1743–1805
Fonthill as it was before Mr. Beckford's alterations
1793
James Bretherton Pot Fair, Cambridge
James Bretherton, ca. 1730–1806
Pot Fair, Cambridge
1777
Sutton Nicholls Views of ten gates of London on one sheet.
Sutton Nicholls, active 1725
Views of ten gates of London on one sheet
1731-1748
John Bowles Oxford
John Bowles, 1701–1779
Oxford
1731-1748
James Mason The Happy Peasants
James Mason, 1710–1783
The Happy Peasants
1775
Samuel Buck S.W. Prospect of Birmingham
Samuel Buck, 1696–1779
S.W. Prospect of Birmingham
1731-1748
Thomas Milton Lucan-House
Thomas Milton, 1742/1743–1827
Lucan-House
1783
James Lewis Drawings of Classical Ornament (A Volume)
James Lewis, 1751–1820
Drawings of Classical Ornament (A Volume)
1771-1772
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
Samuel Buck Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames
Samuel Buck, 1696–1779
Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames
1749
Samuel Buck Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames
Samuel Buck, 1696–1779
Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames
1749
Samuel Buck Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames
Samuel Buck, 1696–1779
Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames
1749
William Angus Twickenham Park House in Middlesex
William Angus, 1752–1821
Twickenham Park House in Middlesex
1795
James Hulett A View of the Celebrated Mr. Pope's House at Twickenham
James Hulett, fl.1740–m.1771
A View of the Celebrated Mr. Pope's House at Twickenham
undated
William Watts Seat of the Rt. Hon. Welbore Ellis, at Twickenham in Middlesex
William Watts, 1752–1851
Seat of the Rt. Hon. Welbore Ellis, at Twickenham in Middlesex
1782
unknown artist The Trinity House
unknown artist
The Trinity House
1798
Benjamin Cole Langborn Ward and Candlewick Ward
Benjamin Cole, 1697–1783
Langborn Ward and Candlewick Ward
1755
George Vertue A Plan of the Ground and Buildings in the Strand, called the Savoy, taken in the Year 1736
George Vertue, 1684–1756
A Plan of the Ground and Buildings in the Strand, called the Savoy, taken in the Year 1736
1754
unknown artist Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
unknown artist
Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
1737
unknown artist Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
unknown artist
Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
1737
unknown artist Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
unknown artist
Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
1737
unknown artist Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
unknown artist
Londinum Antique, this plan shows the ancient extent of the famous cities of London and Westminster as it was near the begining of the Reign of Queen Elizabeth (8 sheets) Vertue, Soc. Antiq., Lond. Exxudit 1737
1737
Francesco Bartolozzi The Triumph of Beauty and Love
Francesco Bartolozzi, 1728–1815
The Triumph of Beauty and Love
1783
Francesco Bartolozzi The Resurrection, St. Mary Magdalene; And Mary, Mother Of James
Francesco Bartolozzi, 1728–1815
The Resurrection, St. Mary Magdalene; And Mary, Mother Of James
1782
Francesco Bartolozzi Contemplation
Francesco Bartolozzi, 1728–1815
Contemplation
1791
Francesco Bartolozzi Pulto Carrying Apples, Bride Leading Eros
Francesco Bartolozzi, 1728–1815
Pulto Carrying Apples, Bride Leading Eros
c.1785
Francesco Bartolozzi Il Mezzo Giorno - The Mid Day
Francesco Bartolozzi, 1728–1815
Il Mezzo Giorno - The Mid Day
1760
Francesco Bartolozzi Mother And Child
Francesco Bartolozzi, 1728–1815
Mother And Child
1795
Francesco Bartolozzi Hebe
Francesco Bartolozzi, 1728–1815
Hebe
1791
Francesco Bartolozzi The Meeting Of Edward V And His Brother, The Duke Of York
Francesco Bartolozzi, 1728–1815
The Meeting Of Edward V And His Brother, The Duke Of York
1789
Francesco Bartolozzi Innocence In The Arms Of Justice
Francesco Bartolozzi, 1728–1815
Innocence In The Arms Of Justice
1782-1783
Francesco Bartolozzi Faith
Francesco Bartolozzi, 1728–1815
Faith
1787
Francesco Bartolozzi February
Francesco Bartolozzi, 1728–1815
February
1793
Francesco Bartolozzi March
Francesco Bartolozzi, 1728–1815
March
1793
Francesco Bartolozzi April
Francesco Bartolozzi, 1728–1815
April
1790
Francesco Bartolozzi July
Francesco Bartolozzi, 1728–1815
July
1789
Francesco Bartolozzi May
Francesco Bartolozzi, 1728–1815
May
1793
Francesco Bartolozzi June
Francesco Bartolozzi, 1728–1815
June
1789
Francesco Bartolozzi La Passione
Francesco Bartolozzi, 1728–1815
La Passione
1779
Francesco Bartolozzi October
Francesco Bartolozzi, 1728–1815
October
1793
Francesco Bartolozzi January
Francesco Bartolozzi, 1728–1815
January
1788
Francesco Bartolozzi September
Francesco Bartolozzi, 1728–1815
September
1793
Francesco Bartolozzi August
Francesco Bartolozzi, 1728–1815
August
1793
Francesco Bartolozzi Palamon and Arcite
Francesco Bartolozzi, 1728–1815
Palamon and Arcite
1790