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Credit Line Yale Center for British Art, Paul Mellon Collection
Remove constraint Credit Line: Yale Center for British Art, Paul Mellon CollectionSubject Terms wings
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1
- Jacob's Dream
- 1705
- Not on view
2
- A Sketch of Gratitude Crowned by Peace, with Other Allegorical Figures of Industry, Fame and Plenty
- between 1712 and 1713
- Not on view
3
- The Mandrake: A Charm
- exhibited RA 1785
- Not on view
4
- The Angel Binding Satan
- ca. 1797
- Not on view
5
- The Angel of Mercy
- ca. 1746
- Not on view
6
- St. George
- 1891 to 1896
- Not on view
7
- Owl Standing, Anterior View
- 1795 to 1806
8
- Owl Standing, Anterior View
- 1795 to 1806
9
- The Poems of Thomas Gray, Design 45, "The Progress of Poesy."
- between 1797 and 1798
10
- The Poems of Thomas Gray, Design 47, "The Progress of Poesy."
- between 1797 and 1798
11
- The Poems of Thomas Gray, Design 63, "The Bard."
- between 1797 and 1798
12
- Young's Night Thoughts, Page 23, "We Censure Nature for a Span Too Short"
- 1797
13
- Young's Night Thoughts, Page 25, "Behold Him, When Past by; What Then Is Seen"
- 1797
14
- Young's Night Thoughts, Page 26, "Measuring His Motions by Revolving Spheres"
- 1797
15
- Young's Night Thoughts, Page 27, "O Treacherous Conscience!"
- 1797
16
- Young's Night Thoughts, Page 1, "Swift on His Downy Pinion Flies from Woe"
- 1797
17
- Young's Night Thoughts, Page 41, "One Radiant Mark; the Deathbed of the Just"
- 1797
18
- Young's Night Thoughts, Page 54, "The Vale of Death! That Hush'd Cimmerian Vale"
- 1797
19
- Young's Night Thoughts, Page 65, Night the Fourth, "The Christian Triumph."
- 1797
20
- The Poems of Thomas Gray, Design 101, "Ode for Music."
- between 1797 and 1798
21
- The Poems of Thomas Gray, Design 17, "Ode on a Distant Prospect of Eton College."
- between 1797 and 1798
22
- Jerusalem, Plate 3, "To the Public...."
- 1804 to 1820
23
- Jerusalem, Plate 4, "Jerusalem / Chap. 1...."
- 1804 to 1820
24
- Jerusalem, Plate 44, "With one accord...."
- 1804 to 1820
25
- Jerusalem, Plate 46, "Bath, mild Physician...."
- 1804 to 1820
26
- Europe. A Prophecy, Frontispiece Proof Impression
- ca. 1820
27
- Jerusalem, Plate 14, "One hair nor particle of dust...."
- 1804 to 1820
28
- Jerusalem, Plate 2, Title Page
- 1804 to 1820
29
- Jerusalem, Plate 22, "Albion thy Fear has made me tremble...."
- 1804 to 1820
30
- Jerusalem, Plate 37, "And One stood forth...."
- 1804 to 1820
31
- Jerusalem, Plate 39, "By Satans Watch-fiends...."
- 1804 to 1820
32
- Songs of Innocence, Plate 16, "Night" (Bentley 20)
- 1789
33
- Songs of Innocence, Plate 20, "The Little Boy Lost" (Bentley 13)
- 1789
34
- Songs of Innocence, Plate 8, "The Lamb" (Bentley 8)
- 1789
35
- There Is No Natural Religion, Plate 5, "III From a perception . . . . " (Bentley a6)
- ca. 1788
36
- Europe. A Prophecy, Plate 3, "Preludium"
- 1794
37
- For the Sexes: The Gates of Paradise, Plate 8, "At length for hatching ripe he breaks the shell"
- 1826
38
- The Poems of Thomas Gray, Design 93, "Ode for Music."
- between 1797 and 1798
39
- Songs of Innocence, Plate 14, "Infant Joy" (Bentley 25)
- 1789
40
- Songs of Innocence, Plate 26, "Spring" (Bentley 23)
- 1789
41
- Europe. A Prophecy, Plate 7, "Now comes the night . . . . " (Bentley 8)
- 1794
42
- Europe. A Prophecy, Plate 5, "A | Prophecy | The deep of winter came . . . . " (Bentley 6)
- 1794
43
- Europe. A Prophecy, Plate 12, "Albions Angel rose . . . . " (Bentley 14)
- 1794
44
- For the Sexes: The Gates of Paradise, Plate 1, Title Page
- 1826
45
- For the Sexes: The Gates of Paradise, Plate 13, "Aged Ignorance"
- 1826
46
- For the Sexes: The Gates of Paradise, Plate 19, "To The Accuser . . . ." (Bentley 21)
- 1826
47
- At Length for Hatching Ripe He Breaks the Shell; Plate 8
- 1793
48
- Aged Ignorance; Plate 13
- 1793
49
- Songs of Innocence and of Experience, Plate 12, "Spring" (Bentley 23)
- 1789
50
- Songs of Innocence and of Experience, Plate 30, "Night" (Bentley 20)
- 1789
51
- Songs of Innocence and of Experience, Plate 28, "Infant Joy" (Bentley 25)
- 1789
52
- Songs of Innocence and of Experience, Plate 32, Experience Frontispiece (Bentley 28)
- 1794
53
- Songs of Innocence and of Experience, Plate 16, "The Little Boy Lost" (Bentley 13)
- 1789
54
- Jerusalem, Plate 11, "To labours mighty...."
- 1804 to 1820
55
- Jerusalem, Plate 23, "Jerusalem! Jerusalem!...."
- 1804 to 1820
56
- Jerusalem, Plate 30, "And the Two that escaped...."
- 1804 to 1820
57
- Jerusalem, Plate 48, "These were his last words...."
- 1804 to 1820
58
- Jerusalem, Plate 58, "In beauty the Daughters of Albion...."
- 1804 to 1820
59
- Jerusalem, Plate 6, "His Spectre driv'n...."
- 1804 to 1820
60
- The Poems of Thomas Gray, Design 67, "The Fatal Sisters."
- between 1797 and 1798
61
- Jerusalem, Plate 72, "And the Thirty-two Counties...."
- 1804 to 1820
62
- Jerusalem, Plate 75, "And Rahab Babylon the Great...."
- 1804 to 1820
63
- Jerusalem, Plate 74, "The Four Zoa's clouded rage...."
- 1804 to 1820
64
- Jerusalem, Plate 71, "And above Albions Land...."
- 1804 to 1820
65
- The Poems of Thomas Gray, Design 5, "Ode on the Spring."
- between 1797 and 1798
66
- The Poems of Thomas Gray, Design 77, "The Descent of Odin."
- between 1797 and 1798
67
- Songs of Innocence and of Experience, Plate 40, "The Angel" (Bentley 41)
- 1794
68
- Young's Night Thoughts, Page 54, "The vale of death! that hush'd cimmerian vale"
- ca. 1797
69
- Young's Night Thoughts, Page 65, Night the Fourth, "The Christian Triumph."
- ca. 1797
70
- Young's Night Thoughts, Page 27, "O treacherous conscience!"
- ca. 1797
71
- Young's Night Thoughts, Page 41, "One radiant Mark, the Deathbed of the Just"
- ca. 1797
72
- Young's Night Thoughts, Page 1, "Swift on His Downy Pinion Flies from Woe"
- ca. 1797
73
- Mary Magdalen at the Sepulchre
- ca. 1805
74
- The Man Sweeping the Interpreter's Parlour
- ca. 1822
75
- Young's Night Thoughts, Page 23, "We censure nature for a span too short"
- ca. 1797
76
- Young's Night Thoughts, Page 25, "Behold him, when past by; what then is seen"
- ca. 1797
77
- A Project for the Monument of the Apotheosis of Nelson
- 1806
78
- Illustration to Tonson's Ovid Metamorphosis (two of four)
- ca. 1710
79
- The Birth of Venus
- undated
80
- West Window of the Chapel, New College Oxford, Angel Contemplating the Mystery of the Cross
- 1785
81
- Venus Childing Cupid
- 1784
82
- The Ceiling of the Banqueting House at Whitehall: The Union of the Crowns of England and Scotland
- 1720
83
- Intemperance
- undated
84
- Iris
- 1808
85
- Pandemonium
- 1831
86
- The Paphian Bower
- 1826
87
- James Beattie, LL.D
- 1805
88
- Pan, Spying, From Behind a Tree, at Putti, Shooting Arrows
- undated
89
- Cupid and Cephisa: "Cephisa says, we ought to cut the Wings of Love..."
- 1789
90
- From the Painting of the Ceiling in the Banqueting House at White-Hall in the Year 1720
- ca. 1720
91
- Ornamental Ticket for Society of Painters
- 1690
92
- Where the Bee Sucks. The Tempest, Act V, Scene I, Ariel on a Hammock of Convolvulus
- 1853
93
- Hope Nursing Love
- 1771
94
- The Ceiling in the Banqueting House at Whitehall
- ca. 1720
95
- Figure Study of a Bacchanalia Celebration in a Wooded Landscape
- undated
96
- Study of a Woman, being Taken Away by a Winged Being
- undated
97
- Five Vignettes of Scenes from Antiquity
- undated
98
- Lovelace in Prison
- 1788
99
- Cupid Disarmed by Venus
- 1804
100
- Ticket: For the Benefit of Mr. Salpietro
- 1799