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YA L E

C E N T E R

F O R

B R I T I S H

A R T

may–august 2017

Contemporary British Art from the Collection of Samuel and Gabrielle Lurie. The legacy of Mr. Lurie’s dedication to the Center will endure, as the couple’s splendid collection lives on in our galleries. With great pride, we announce that Kraig Binkowski, our Chief Librarian, was awarded the Distinguished Alumnus Award by the School of Library and Information Science at Wayne State University. We congratulate Sarah Welcome, who has assumed the position of Assistant Curator of Rare Books and Manuscripts after serving for nearly ten years as a curatorial assistant. We welcome with pleasure Abbie Kundishora, Conservation Assistant, and Bayla Laks, Curatorial Assistant in the Department of Prints and Drawings. While we will miss our colleague Gillian Forrester, Senior Curator of Prints and Drawings, tremendously, we extend our very best wishes to her in her new role as Senior Curator of Historic Fine Art at the Whitworth Art Gallery at the University of Manchester, United Kingdom. We bid farewell to Robin Hoffman, Assistant Curator and Assistant Head of Publications, who will be moving to Chicago with her family after four years of superb contributions to the Center. We also say goodbye to Tyler Griffith, Postdoctoral Research Associate, thanking him for his excellent work on Enlightened Princesses, and wishing him success in his future endeavors. We thank Associate Dean Susan Cahan, Yale College Dean for the Arts, for her for her many years of dedicated partnership with the Center. She has been a wonderful collaborator and an important link to under-

graduates. We wish her well in her new role as Dean, Tyler School of Art. This summer, we welcome to the Center seven New Haven Promise Scholars. This is the third year in which the Center is participating in this important initiative, which offers internships that allow graduates of New Haven public schools to gain experience in various museum departments. In June, the Center will again participate in New Haven’s annual International Festival of Arts & Ideas, hosting several public lectures including talks by Yale history professors Tim Snyder and Paul Freedman, as well as our twelfth annual Children’s Film Festival. We thank you for your continued loyalty to the Center, and we hope to see you throughout the summer!

Warm regards,Amy Meyers, Director

From the Director

Dear Friends,

I hope that you had the opportunity to enjoy our tremendously successful spring exhibition, Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World. The result of a splendid collaboration between the Center and Historic Royal Palaces, the display assembled objects from over forty institutions and private collections from around the globe, including more than eighty works from the Royal Collection, generously lent by Her Majesty the Queen. Both the exhibition and spectacular publication received magnificent reviews on both sides of the Atlantic, and we were thrilled to welcome over twenty-six thousand visitors to the Center while it was on view. On June 22, Enlightened Princesses will open at Kensington Palace, London, exploring the lives and influence of these three royal women on the very grounds they once occupied. I am delighted to announce the acquisition of the magnificent work by Yinka Shonibare MBE (RA), entitled Mrs Pinkney and the Emancipated Birds of South Carolina, which was created specially for the exhibition. Inspired by a meeting, in 1753, between Princess Augusta and Mrs. Eliza Lucas Pinckney, owner of a slave plantation in the then-British colony, the work will be on view at Kensington Palace before returning to the Center. In April, we commemorated the fortieth anniversary of the Center with a public celebration.

A special display of rarely seen archival materials provided an intimate glimpse into the highly anticipated opening of the institution in 1977, as well as the remarkable vision of our founder, Paul Mellon (Yale College, Class of 1929). Continuing the celebration of this important anniversary throughout the summer, our special exhibition, A Decade of Gifts and Acquisitions, will feature works given to or purchased by the Center in recent years, including selections from the last of Mr. Mellon’s gifts to the institution. At this historic moment, we are delighted to announce that the American Institute of Architects has conferred on Knight Architecture LLC this year’s AIA Institute Honor Award for Architecture in recognition of the firm’s work on the Center’s recent building conservation project. We consider our building, an iconic modern structure designed by Louis Kahn, to be the largest and most complex object in our collection, and we are extraordinarily proud of the work of Knight Architecture in preserving the building’s distinctive architectural character. We are pleased to note that several academic projects undertaken by Center staff and fellows recently have received awards. Painting in Britain, 1500–1630: Production, Influences, and Patronage, edited by Edward Town, Head of Collections Information and Access, and Assistant Curator of Early Modern Art at the Center, with Tarnya Cooper, Aviva Burnstock, and Maurice Howard, was honored with the Book Award for Multi-Author Publications for 2015 by the Historians of

British Art. The publication is the result of a partnership among the Center, Yale’s Institute for the Preservation of Cultural Heritage, and the National Portrait Gallery, London, which combines the technical examination of early modern panel paintings with new research into the attribution of the pictures, identity of the sitters, and provenance of the paintings, allowing their stories to be told anew with an unprecedented richness and complexity. British Art Studies, the online, open-access, peer-reviewed journal published three times a year in collaboration with our colleagues at the Paul Mellon Center for Studies in British Art, London, was selected to receive this year’s gold-level Media & Technology MUSE Award by the American Alliance of Museums. We are delighted that Dame Gillian Beer, former Andrew W. Mellon Foundation Senior Visiting Scholar, was awarded the Truman Capote Award for Literary Criticism for her recent publication, Alice in Space: The Sideways Victorian World of Lewis Carroll, much of which was written during her time at the Center. In this issue of the calendar we acknowledge with gratitude those benefactors who presented gifts to the Center in 2016, and we list acquisitions made with the endowment established for the institution by Paul Mellon as well as funds donated to us by our Friends. Earlier this year, we were saddened by the passing of Samuel Lurie, a long-time friend and benefactor of the Center. He and his wife Gabrielle have given over fifty works of art to the Center, and their collection was featured in the an exhibition in 2010, The Independent Eye:

w Amy Meyers, Director, Yale Center for British Art, photo by Michael Marsland

w Yinka Shonibare MBE (RA), Mrs Pinckney and the Eman- cipated Birds of South Carolina (detail), 2017, fiberglass mannequin, Dutch wax-printed cotton textile, birdcage, birds, leather, and globe, Yale Center for British Art, Acquired with funds from the Bequest of Daniel S. Kalk, the Director’s Discretionary Fund, and the Friends of British Art Fund © Yinka Shonibare MBE (RA)

w The Center’s Long Gallery, photo by Richard Caspole

w Samuel and Gabrielle Lurie at the 2010 opening of The Independent Eye at the Center, photo by Harold Shapiro

w Shaykh Zayn-al-Din, Asian Openbill Stork (Anastomus oscitans), 1781, graphite and watercolor, Yale Center for British Art, Paul Mellon Fund

w Augustus Edwin John, Dorelia in the Garden at Alderney Manor, Dorset, ca. 1911, oil on panel, Yale Center for British Art, Paul Mellon Collection

contents

4 Opening Exhibition

5 Continuing Exhibition

6 Film Screenings

7 International Festival of Arts and Ideas

8 Education

9 Visitors with Special Needs

10 British Art Studies | Visiting Scholars

11 Student Guides | Docents Information Volunteers

12 Conservation | Study Room

13 Reference Library and Archives Museum Shop | Free Membership

14 Friends of British Art | 2016 donors

16 2016 Gifts and Acquisitions

34 Traveling Exhibition | Future Exhibition

35 Selected Works on Loan | Paul Mellon Centre for Studies in British Art

A removable Calendar of Events is stapled into the center of this issue.

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opening exhibition

A Decade of Gifts and Acquisitions

June 1–August 13, 2017Forty years ago this past April, the Yale Center for British Art first opened to the public. In celebration of this anniversary, a suite of exhibitions will showcase the most recent additions to the Center’s exceptional collection of British art. Offering visitors a behind-the-scenes look at the growth and evolution of the collection, the displays will feature several groupings of newly acquired works—some organized thematically, others focused on specific artists, such as the abstract painter John Golding, and some highlighting individual gifts to the Center, including from the institution’s founder, Paul Mellon (Yale College, Class of 1929).

Mr. Mellon’s final gifts to the Center are largely intimate, personal objects with which he and his wife Rachel Lambert Mellon enjoyed living, and many of which she possessed until her death in 2014. They range from James Seymour’s The Chaise Match Run on Newmarket Heath on Wednesday the 29th of August 1750 (1750) to a group of eight paintings by the pre-eminent British modernist Ben Nicholson, which augments the Center’s existing collection of eight works by the

artist originally assembled by Mr. Mellon. Gifts from other significant donors, such as Joseph McCrindle and Brian Sewell, will also be featured. Highlights from McCrindle’s bequest include groups of watercolors and pastels by Hercules Brabazon, drawings by Robert Polhill Bevan, and a large charcoal and graphite study by John Singer Sargent, drawn in preparation for his masterpiece Gassed (1919), which is owned by the Imperial War Museum, London.

Other exhibitions will be thematic, focusing on childhood and education, war and conflict, and the natural world. The works have been chosen primarily from recent additions to the Center’s collection of rare books and manuscripts. Among the objects on display will be an early map sampler (1806) by a nine-year-old girl; a manuscript by a French naval officer who took part in the Battle of Trafalgar (1805); a Second World War silk escape map; a rare early sciagraph (X-ray) of a lizard from a series of images of British reptiles (1897); and a number of works by contemporary artists, including Barbara Ciurej and Lindsay Lochman, whose portfolio of cyanotype prints (Natural History, 2014) was inspired by the work of the nineteenth-century naturalist Anna Atkins.

Modern and contemporary prints will be featured, including the career-spanning series of prints by Richard Hamilton that illustrate James Joyce’s

Ulysses. This extraordinary portfolio contains the response of one of the most respected printmakers of the twentieth century to his greatest literary influence. It is also a testament to the evolution of printmaking by virtue of its groundbreaking inclusion of digital methods. The portfolio was purchased by the Center though the Friends of British Art fund and a special gift from Mr. and Mrs. James Duncan, Yale BA 1975. Another gift, from Dr. J. Patrick and Patricia Kennedy, features nearly four hundred prints by the iconic artist Lewis Morley, who photographed actors, artists, models, rock musicians, writers, and other public figures in London in the 1960s. Finally, works by the painter John Golding, from the artist’s estate, will trace his development as an abstract painter.

A Decade of Gifts and Acquisitions has been curated by Elisabeth Fairman, Chief Curator of Rare Books and Manuscripts; Matthew Hargraves, Chief Curator of Art Collections; Lars Kokkonen, Assistant Curator of Paintings and Sculpture; and Sarah Welcome, Assistant Curator of Rare Books and Manuscripts; under the direction of Scott Wilcox, Deputy Director for Collections.

exhibition opening programTuesday, June 6, 5:30 pm

Viewing of exhibition and reception, with remarks by Director Amy Meyers

continuing exhibition

Art in Focus: The British Castle—A Symbol in Stone

April 7–August 6, 2017The roughly two thousand castles that mark the British landscape were all built with a similar purpose during the middle ages—to serve as the fortified residence of feudal lords. This year’s Art in Focus exhibition picks up the story of these structures in the modern era, using art to explore the roles played by castles in culture, literature, and history. As their military purpose faded, castles remained an important presence, becoming political symbols, settings of fairy tales, country houses, institutional buildings, emblems of towns, and inspiration for artists. Solid and ancient, they have been a dominant presence in their communities for a millennium, their evolving bulk paradoxically both a sign of continuity and evidence of change.

This exhibition, located in the Long Gallery, brings together over thirty paintings from the Center’s collection that feature castles, both real and imagined. Portraits of castle residents, scenes from Shakespeare, modern cityscapes, and tranquil landscapes are all included. The exhibition also contains several seldom-seen

paintings from the Center’s collection, including a small oil sketch of Hadleigh Castle created by Constable as preparation for the full-sized masterpiece (on display in the fourth-floor galleries). Other highlights include John Martin’s The Bard and romantic portrayals of castle ruins by Richard Wilson and Joseph Wright of Derby. Among the specific castles portrayed are Windsor, the largest and oldest inhabited castle in the world and home to the monarch; Corfe Castle, whose ruins stood as a warning that in modern democracy power must bow to the will of the people; and Dover, whose mass kept watch against invasion from France from before the Norman Conquest through to the Second World War.

Now in its tenth year, Art in Focus is an annual initiative for the Center’s Student Guide Program, providing curatorial experience and an introduction to all aspects of exhibition practice. Student curators select objects for exhibition, write text panels and object labels, and make decisions about installation under the supervision of Center curators and staff. In researching and presenting this exhibition, the students were guided by David Frazer Lewis, Postdoctoral Research Associate; Linda Friedlaender, Senior Curator of Education; and Jaime Ursic, Assistant Curator of Education. The student curators are Claire Goldsmith, ES ’18 (head guide); Irene Chung, BR ’17; Zoe Dobuler, TC ’17;

Julia Fleming-Dresser, TD ’19; Caroline Kanner, JE ’18; Daniel Leibovic, TC ’17; Catherine Liu, ES ’18; and Nicholas Stewart, JE ’18.

This exhibition and the accompanying brochure (available in the gallery and online) have been generously supported by the Marlene Burston Fund and the Dr. Carolyn M. Kaelin Memorial Fund.

w Ben Nicholson, 1940 (Composition), between 1940 and 1947, gouache and graphite on board, Yale Center for British Art, Paul Mellon Collection, © Angela Verren Taunt 2017 / All rights reserved / ARS, NY / DACS, London

w Richard Hamilton, In Horne’s House (detail), 1982, etching, Yale Center for British Art, Friends of British Art Fund and Gift of Mr. and Mrs. James Duncan, Yale BA 1975 © R. Hamilton. All Rights Reserved, DACS and ARS 2017

w Barbara Ciurej and Lindsay Lochman, “Betty” from Natu-ral History, Milwaukee, 2014, cyanotype over digital print, Yale Center for British Art, acquired with funds from the Bequest of Daniel S. Kalk

w unknown artist, eighteenth century, Shrewsbury and the River Severn (detail), ca. 1720, oil on canvas, Yale Center for British Art, Paul Mellon Collection

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international festival of arts & ideas

Saturday, June 10–Saturday, June 24

The twenty-second annual International Festival of Arts & Ideas brings to New Haven artists and thinkers from around the world. Once again, the Center will partner with the festival on lectures and a Children’s Film Festival. Two exhibitions will be on view at the Center at that time: Art in Focus: The British Castle—A Symbol in Stone and A Decade of Gifts and Acquisitions. The following programs will be presented jointly by the Yale Center for British Art and the International Festival of Arts & Ideas, and will take place in the Center’s newly refurbished Lecture Hall, unless otherwise noted. Seating is limited.

Tuesday, June 13, 5:30 pm

On Tyranny: Twenty Lessons from the Twentieth CenturyTimothy Snyder, Bird White Housum Professor of History, Yale University

A Facebook post by author and professor Timothy Snyder in November 2016 outlined twenty lessons on preserving our democratic freedoms. The post went viral, and his book On Tyranny is set for global publication. Join

Snyder as he talks about his guide to identifying and understanding the frightening parallels between our current reality and that of twentieth-century Europeans.

Wednesday, June 14, 5:30 pm

We Thought It Was About the Economy?John Dankosky, host of NEXT, on WNPRIn association with WNPR and New England News Collaborative

John Dankosky argues that the first few months of the Trump administration have brought us executive orders on immigration, controversies surrounding Russia, and a series of baseless claims, ranging from crowd size to wire-tapping. But, he asks, wasn’t the state of the economy supposed to be the reason he won? In fact, 84 percent of voters in the 2016 election claimed the economy was their number one issue heading to the polls. Join John Dankosky, host of NEXT on WNPR, in a lively discussion recorded for broadcast, that looks at whether Trump’s plan to

“Make America Great Again” will work to make the nation’s economy stronger.

Saturday, June 17, 10 am–2:30 pm

Children’s Film Festival

The Center’s annual Children’s Film Festival will feature inspiring and award-winning shorts for a young audience and the opportunity to make and debut your own short. Filmmaking and digital animation activities for multiple ages will take place with the help of graduate fellows from Yale’s Digital Media Center for the Arts. Audience members may come and go as they please, admission is free, and no registration is required.

Sunday, June 18, 3 pm

American Cuisine, New England Cuisine, New Haven CuisinePaul Freedman, Chester D. Tripp Professor of History; Chair, History of Science, History of Medicine, Yale University

Paul Freedman, author of Ten Restaurants That Changed America, shares a history of American eating preferences and how we got to where we are. From New England’s culinary identity created by the myth-making of Thanksgiving to New Haven’s famous culinary specialty, pizza, the topic leads to passionate debates among people who do not otherwise consider themselves gourmets.

exhibition-related programs

film screening Fridays, June 9, 16; July 7, 21; August 11 11:30 am–12:15 pm

John Golding Painter: A Path to the Absolute (2016)Directed by Bruno Wollheim (44 minutes)

John Golding (1929–2012) was an abstract painter, though today he is better known as an eminent art historian, teacher, curator, and critic. This documentary presents a life and art in precarious balance, exploring through Golding’s friends, ex-students, and colleagues the turbulent evolution of his painting and the creative tensions that drove him. His pictures move from violent Mexican-influenced figuration to large-scale, hard-edge abstraction and then to increasing painterliness, reflecting a cultural moment when the stakes in painting were never higher. They mirror, too, his search for an artistic form to express, contain, and sometimes veil a troubled nature. Shown to complement a display of Golding’s works in the Center’s exhibition A Decade of Gifts and Acquisitions, this film will be screened in the Lecture Hall. Seating is limited.

film screeningSelect Thursdays, 11 am–noon

Hadleigh Castle, 1829 (2015)Created by Damien Taylor (12 minutes)

In conjunction with the exhibition Art in Focus: The British Castle—A Symbol in Stone, the Center will screen the short video Hadleigh Castle, 1829 (2015). Employing an immersive process that moved between drawings, oil sketches, and the exhibition work, Constable developed radical new ways of depicting the world. Hadleigh Castle, 1829 presents a parallel hands-on engagement with process, using idiosyncratic physical means to bring new life to digital images. Through this dialogue between digital technologies and early nineteenth-century landscape painting, Hadleigh Castle, 1829 meditates on the relationship between how one conceives and how one represents the world.

more film screenings

Friday, June 23, 3 pmSaturday, July 8, 2 pm

David Bowie is happening now (2013)Directed by Hamish Hamilton(rated PG; 95 minutes)

Described by the Times as “stylish & outrageous” and by the Guardian as “a triumph,” the David Bowie is exhibition was the fastest-selling in the Victoria & Albert Museum’s history, featuring a remarkable collection from the David Bowie Archive, including handwritten lyrics, original costumes, music videos, Bowie’s own instruments, and album artwork. First released in 2013, this film takes the audience on a fascinating journey through the exhibition with special guests and expert insights revealing the creativity and evolution of Bowie’s ideas. Screenings are free and will take place in the Lecture Hall.

w John Golding, H.20 (Veronese Blue) (detail), 1983–84, acrylic on canvas, Yale Center for British Art, Gift of the John Golding Artistic Trust, 2017

w John Constable, Hadleigh Castle, The Mouth of the Thames—Morning after a Stormy Night (detail), 1829, oil on canvas, Yale Center for British Art, Paul Mellon Collection

w David Bowie, photo courtesy of Duffy © Duffy Archive & The David Bowie Archive

w Photo courtesy of Timothy Snyder

w Photo courtesy of John Dankosky

w Photo courtesy of Paul Freedman

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Online registration for youth summer programs begins May 22 at britishart.yale.edu/education. Space is limited and preregistration is required.

Wednesday, July 5–Friday, July 7,10 am–noonPaint like Hockney: a mess-free iPad painting experienceAges twelve and up

Recently, British artist David Hockney has been recognized for his iPad paintings. Taking inspiration from Hockney’s digital creations and looking at works in the Center’s collection, participants will learn to paint, sketch, and draw on an iPad. Resources, ideas, and insights for digital creating will be shared by the artist Beth Lovell. iPads will be provided.

Tuesday, July 25–Friday, July 28, 10 am–noonNot Your Parent’s Sketchbook: making art with iPadsAges nine to eleven

Learn to express your artistic self in a new medium! Using the iPad, enjoy a combination of in-depth technical and artist training. With artist Beth Lovell’s personalized instruction, you will gain practical, hands-on experience while creating a “painting” of your own on an iPad. iPads will be provided.

visitors with special needs

The Center welcomes visitors of all abilities to participate in education programming. Visitors may explore the Center on their own, take a guided tour, or arrange a personalized tour.

Saturday, May 20, 10:30–noon Exploring Artism: A Program for Families This is a free program for families with children who are five to twelve years of age and on the autism spectrum. Participants look at an artwork in the museum’s galleries and take part in a follow-up activity in a museum classroom. A quiet room is available through the session with blankets and sensory toys. While the needs of individuals with autism are taken into account for the design of this program, it is intended to be fun for parents, siblings, caregivers, and other relatives too! The program is free, but preregistration is required. Please e-mail ycba.education@yale.edu or call 203 432 2858 with your name, number, and a good time to reach you. A museum educator will contact you by phone to complete and confirm your registration.

Artworxx: A Museum Collaboration for Teen Girls with Autism Spectrum DisordersThe Education staff has been teaching studio art classes to teen girls with Autism Spectrum Disorders (ASDs) as part of the Initiative

for Girls and Women with ASDs at the Yale Child Study Center. The initiative is designed to address communication and socialization differences through recreational and social activities, allowing participants to pursue their particular art interests in a safe and supportive environment at the Center. For more information, or if you or your daughter with ASD is interested in participating, contact Education at ycba.education@yale.edu or 203 432 2858.

Out to ArtSince 2009, the Center’s Education staff has devel-oped art museum educational programming with Tina Menchetti, Art Director at Residential Educa-tion at Chapel Haven (rEach) in New Haven. Chapel Haven is committed to providing a lifelong program of individualized support services for adults with developmental and social disabilities, enabling them to live independent and productive lives. Out to Art provides rEach students, ages eighteen and older, with a wide range of museum activities and opportunities for sensory learning. Theme-based classes include visits to museum departments; behind-the-scenes tours; close look-ing at art objects; and studio activities to promote communication skills, theory of mind, memory, and interpersonal connections. Participants build life skills through art making and appreciation.

education

For additional information about any of the following Education programs, or for programs that require preregistration, please e-mail ycba.education@yale.edu or call 203 432 2858.

academic programEnhancing Observation SkillsInitially designed for medical and nursing students and other healthcare professionals, this program uses original works of art in a museum setting to slow down the looking process and strengthen observation and communication skills. No art or art history background is needed. Learning the difference between objective and subjective looking is a skill applicable to both the scientific and humanistic disciplines. Moving outside of the workplace environment allows for fresh thinking that animates the conversations, as visiting the Center sets the stage for a new kind of experiential learning.

programs for adults and teachers

Monday, June 26–Thursday, June 29Summer Teacher Institute: Expanding Literacies, Extending Classrooms

This program offers teachers an enriched under-standing of how visual art can support reading, writing, and thinking. Workshops, discussions, and lectures by university faculty, museum cura-tors, and educators will demonstrate how “visual text” can be used to enhance literacy instruction.

Institute sessions include hands-on experience with works of art, exploring ways to make the museum an extension of the classroom through gallery experiences. Participants will be given the tools they need to lead dynamic museum visits and to incorporate visual arts into classroom instruction. Sessions run from 10 am to 3:30 pm, Monday through Thursday. Lunch and parking is provided. This program is free of charge. Register online. For more information, go to britishart.yale.edu/education/k-12-and-teachers. Please note that space is limited to active teachers. Admission is rolling, and applicants will receive notification from museum staff as their applica-tion is processed.

This project is generously supported by the William Randolph Hearst Endowment.

In-Service and Professional Development OpportunitiesThe Center’s Education department offers customized in-service sessions at the museum for teachers of all subjects and grade levels.

Thursdays, May 11, 18, 25; June 1, 8, 15, 22; July 6, 13, 20, 27; 12:30 PmArt Circles

Join a museum educator for a thirty-minute discussion in the Center’s galleries to explore one highlight of the collection. The work of art changes every session, making each visit a new experience. Meet at the Information Desk.

Wednesdays, June 21; July 5, 19; noonSketching in the Galleries

Enjoy the tradition of sketching from original works of art in the Center’s collection and special exhibitions. Jaime Ursic, artist and Assistant Curator of Education, will offer insights on drawing techniques and observational skills. Drawing materials are provided, and all skill levels are welcome. The program is free, but preregistration is requested for each session.

programs for families and children

Saturday, June 17Children’s Film FestivalSee page 7 for details.

w Senior Curator of Education Linda Friedlaender leads an in-service teacher session in the Collections Seminar Room, photo by Jaime Ursic

w Docent-led tour in the galleries, photo by Jaime Ursic

w Young participant in High Seas & High Tea family program, photo by Harold Shapiro.

w A student at work in the Exploring Artism family program, photo by Jaime Ursic

w Artworxx workshop participants, photo by Jaime Ursic

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student guides

The Student Guide Program, now in its fourteenth year, offers undergraduates from all disciplines the opportunity to work closely with works of art and museum staff. Student guides meet weekly to learn about the Center’s collections, special exhibitions, and operation. Guides create tours on topics of their choosing, which are open to all visitors and take place on Saturdays and Sundays during the academic year. In addition, student guides help to curate an annual Art in Focus exhibition examining thematic works of art from the Center’s collections. Guides also have the opportunity to participate in the John F. O’Brien Acquisition Program, which annually funds a new object for the Center’s collections. For more information about the Student Guide Program, e-mail ycba.education@yale.edu or find the guides on facebook.com/YCBAStudentGuides.

The current student guides are Stephanie Barker, JE ’19; Irene Chung, BR ’17; Rose Davis, BR ’18; Zoe Dobuler, TC ’17; Julia Fleming-Dresser, TD ’19; Kelly Fu, DC ’19; Sonia Gadre, SY ’20; Claire Goldsmith, ES ’18 (Head Guide); Sergio Infante, CC ’18; Caroline Kanner, JE ’17; Jane Kim, SM ’18; Matthew Klineman, BK ’19; Daniel Leibovic, TC ’17; Catie Liu, ES ’18; Brent Mertz, MC ’19; Laura Plata, BK ’19; Jordan Schmolka, BK ’20; Theodore Sokoloff, TC ’19; Nicholas Stewart, JE ’18; Kathleen Voight, JE ’19; Katherine Watson, MC ’18; and Jackson Willis, BK ’19.

docents

The Yale Center for British Art docents offer tours of the Center’s collections, architecture, and special exhibitions. Docents also lead interactive tours for visiting school children of all ages and abilities. The docents include Leah Begg, Anne Bolin, Robert Boltax, Judy Brennan, Ewa Buttolph, Berclee Cameron (Head Docent), Susan Cayer Stout, Louise Ciulla, Catherine Crawford, Susan Dardik, Serena Guerrette, Jane Harvey, Anneke Hathaway, Amy Hudnall, Louise La Montagne, Boots Landwirth, Kathleen Leitao, Margaret Mann, Joya Marks, Mona Pierpaoli, Bob Potter, Mary Sagarin, and James Wilson.

This past April, the docents visited the Frick Collection for a special tour of Turner’s Modern and Ancient Ports: Passages through Time. The exhibition explored Turner’s art from the 1810s through the late 1830s in oil, watercolor, and graphite. Many of these works depict cities in England, France, and Germany from Turner’s own time, as well as imagined scenes set in the ancient world.

information volunteers

The Center is sincerely grateful to its information volunteers, who generously donate their time to staff the Center’s information desk, welcoming visitors and providing them with information about exhibitions, collections, programs, and

resources. Stop by the desk to say hello, ask a question, learn about the free membership program, or share your experience.

Visitors can expect to be greeted and assisted by the following volunteers: Toby Armour, Lauren Campbell, Arnold “Chad” Chadderdon, Athena Condos, Mackenzie Cook, Carolyn Dallas, Molly Dineen, Dolores Gilbert, Bruce Graham, Richard Hasbany, Elisa Nascimento, Geoffrey Palmer, Maria Parr, Amy Jean Peters, Erin Pinsky, Joyce Pittman, Sofia Pombrik, Patricia Resio, Kristine Sauter, Meghan Shah, Linda Silva, Mary Webber, and Brittany Whiteman. These individuals share a deep interest in art and a dedication to the Center’s collections.

call for new volunteersThe Center welcomes applications for information volunteers. Volunteers make an invaluable contribution by helping to inform and educate the public about the Center’s collections. Joining the program requires a commitment of one year. Training is required, and there are quarterly volunteer meetings. If you would like to be part of a committed corps of individuals, possess a love and appreciation of art, and a fondness for interacting with the public, please e-mail ycba.volunteer@yale.edu or call 203 432 9491 for more information.

british art studies

British Art Studies (BAS) is a peer-reviewed, open-access, online journal jointly published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art (PMC). Since its launch in November 2015, the journal has attracted more than thirty-thousand unique users from around the world. Published three times a year, the journal provides an innovative space for new research on all aspects of British art, architecture, and visual culture, and may be accessed at britishartstudies.ac.uk. Its open-access policy requires no subscription, fee, or password to access the journal.

Issue 5, published in March 2017, includes a broad range of multimedia content designed to take full advantage of the digital platform. Contributors continue to challenge assumptions, as evolving technology allows the real-time collaboration

among a diversity of voices from around the world. The One Object feature, the third iteration in the BAS series, takes the Hereford Screen, an exemplar of Victorian Gothic Revival metalwork, as its point of departure. Incorporating digital models, films, and high-resolution imagery, the project brings together scholars from the fields of musicology, the digital humanities, archeology, conservation, and theology in a discussion about the history of the screen. Other features include a focused reading by Martin Hammer of David Hockney’s 1965 painting Rocky Mountains and Tired Indians, which explores the artist’s singular experience as a Brit abroad in the United States.

The summer edition of the journal is reserved for special issues devoted to a single topic. Due to be published in June 2017, Issue 6 is being developed out of a two-day conference, entitled “Invention and Imagination in British Art and Architecture, 600–1500,” which was convened by the PMC at the British Museum in 2014.

British Art Studies was recently selected by the American Alliance of Museums (AAM) to receive a 2017 Gold level Media & Technology MUSE Award in the Open Culture category. The MUSE awards honor galleries, libraries, archives, or museums that use digital media in innovative and outstanding ways to engage audiences and enhance experiences.

visiting scholars

may Freya Gowrley, Tutor in the History of Art & Architecture, Edinburgh College of Art, will work on a project entitled “Assembling the Self: Collage and Identity, 1770–1900,” which will provide an account of “collage” prior to its use in modernist artistic practices. She will study commonplace books, albums, and scrapbooks in the Center’s collection.

may–juneBrett Culbert, PhD Student in American Studies, Harvard University, is writing his dissertation on the development of Anglo-American landscape aesthetics in the mid-eighteenth century. His research at the Center will explore the emergence of the English landscape tradition in a colonial North American context using plates from English landscape treatises and gardening manuals in the Center’s collection.

june Tico Seifert, Senior Curator, Scottish National Gallery, will be curating the first comprehensive British exhibition of Rembrandt’s art, to be held at the Scottish National Gallery in summer 2018. The exhibition will encompass almost four hundred years of the collecting of Rembrandt’s art in Britain and its reception by British artists and writers. His research at the Center will focus on the British response to Rembrandt in the eighteenth century.

w Francis Alexander Skidmore and Sir George Gilbert Scott, The Hereford Screen (detail), 1862, painted wrought and cast iron, brass, copper, timber, mosaics, and hardstones. Collection of the Victoria & Albert Museum, London, Given by Herbert Art Gallery and Museum, Coventry. Digital image courtesy of Justin Underhill

w David Hockney, Rocky Mountains and Tired Indians, 1965, acrylic on canvas, © David Hockney, Collection National Galleries of Scotland, Edinburgh, photo courtesy of Pru-dence Cuming Associates

w 2017 Yale Student Guides visit Guilford, Connecticut, photo by Jaime Ursic

w Special Events and Advancement Coordinator Kristin Dwyer and docent Berclee Cameron at the High Seas & High Tea family program, February 2017, photo by Harold Shapiro

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The conservation work undertaken at the Center rendered the letter more legible, allowing scholars and exhibition visitors a heightened appreciation of the both the actual artifact and its content. Treatment also prepared the fragile letter, an integral component of the exhibition narrative, to travel safely to London, where Enlightened Princesses will be on display at Kensington Palace from June through November. The meeting between Princess Augusta and Mrs. Pinckney, who was the owner of a slave plantation in South Carolina, which was then a British colony, underscores the princesses’ involvement with Britain’s imperial ambition. The encounter also inspired a new work, shown on page 2, by British Nigerian artist Yinka Shonibare MBE (RA), which was made specifically for the exhibition and recently purchased by the Center. The sculpture will be on display at Kensington Palace alongside the letter. Following the close of the exhibition, the pages will be returned to the Colonial Dames in new, state-of-the-art, acid-free archival storage enclosures designed to preserve safely the letter for future generations.

study room

The Study room provides access to works in the Center’s Prints & Drawings and Rare Books & Manuscripts collections, and is open to the public, Tuesday through Friday, 10 am–4:30 pm. Appointments are not required but are recommended for patrons traveling from outside the area. The Study Room is also used for teaching, and staff members are available for advice on planning classes.

The new Collections Seminar Room allows classes to view objects that are not currently on display in the galleries, from all three curatorial departments: Paintings & Sculpture, Prints & Drawings, and Rare Books & Manuscripts. Located on the fourth floor of the Center, adjacent to the Long Gallery, this intimate teaching space facilitates self-directed study and close looking at collections, and provides audiovisual equipment.

The Department of Prints and Drawings has more than twenty thousand drawings and watercolors and thirty thousand prints, and the Department of Rare Books and Manuscripts holds approximately thirty-five thousand objects. Together, the two collections contain a rich range of materials relating to the visual arts and cultural life in the United Kingdom and the former British Empire, dating from the fifteenth century

to the present. Records of both collections can be searched on the Center’s website, britishart.yale.edu. The online catalogue of the Yale Libraries, Orbis (library.yale.edu), also provides access to the materials from Rare Books and Manuscripts, and the Yale Finding Aids Database offers detailed descriptions of the department’s archival collections. To request individual appointments, to schedule a class in the Study Room or Collections Seminar Room, or for further information, please call 203 432 2840 or e-mail ycba.studyroom@yale.edu.

reference library and archives

The Reference Library and Photograph Archive is open to researchers of all types—students, scholars, and the general public are all welcome to peruse the nearly forty thousand titles and eighty current periodicals devoted to British art, artists, architecture, and culture from the fifteenth century to the present day. The Library’s open stacks include essential reference works on British artists but also contain rich resources on British architecture, print and book culture, performing arts, and town and county histories, as well as travel books. The Library maintains a growing and vital collection of art conservation materials and offers stations for viewing an electronic collection of the Center’s

past lectures and programs. The Center’s cross-collections search function, available from its website, allows users to retrieve Reference Library materials alongside works of art from the collection (britishart.yale.edu/collections/search). Additionally, the Library’s complete holdings are represented in Orbis, Yale’s online library catalog (www.library.yale.edu). Please contact a librarian at 203 432 2818 with reference questions or to schedule an instruction session.

museum shop

The Museum Shop is open Monday through Saturday, 10 am–5 pm, and Sunday, noon–5 pm;it is accessible via High Street and from the Chapel Street entrance of the museum. A popular downtown New Haven shopping destination, the Shop offers a wide variety of books on British art and culture, including scholarly and exhibition related publications, Center-branded tote bags and t-shirts, postcards of objects in the Center’s collection, boxed notecards, and exquisite statio-nery. Browse the stylish array of fine china, ties and scarves, pottery, designer and custom jewelry, watches, perfume, and many other unique and British-themed items. The children’s section offers books as well as craft kits, toys, and games. Acquire something for yourself and share British art with your friends and family. Gift wrapping is free, and shipping is available worldwide.

free membership

Benefits of the Center’s free membership program include a membership card; calendar of events; invitations to openings, programs, and special events; a 20-percent discount on Center publications and members-only discounts in the Museum Shop; discounted parking at the Chapel-York Garage; and access to the University Arts Museums Reciprocal Program (which includes forty-five museums across the country). For more information, or to become a member, visit britishart.yale.edu/membership, call 203 432 8559, or email ycba.advancement@yale.edu.

members’ tour

Thursday, June 8, 3 pm

A Decade of Gifts and AcquisitionsThe curators will lead a tour of this special exhibition that celebrates the fortieth anniversary of the Center.

conservation

Paintings and paper conservators work on artworks from the Center’s collections as well as those featured in special exhibitions, including new acquisitions and gifts, and occasionally even objects on loan. In anticipation of Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World, the Center’s conservators assessed and treated a letter written by Eliza Lucas Pinckney, generously loaned to the exhibition by the National Society of the Colonial Dames of American in the State of South Carolina. The letter, which recounts Mrs. Pinckney’s remarkable and candid discussion with Princess Augusta during her visit to the White House at Kew in the summer of 1753, was written with iron gall ink on Dutch antique laid paper. Both paper and ink had become exceedingly frail over the centuries, and the delicate, cockled pages of the letter were stained yellow with old water damage and marked with brown lines by earlier intractable tape repairs. To ready the letter for display in a museum setting, Soyeon Choi, Head Conservator, Works on Paper, carefully removed the tape, realigned disjointed paper fragments, re-mended the tears with modern treatment techniques, and reduced cockling.

w Mary Regan-Yttre, Senior Museum Preparator, prepares a work by Howard Hodgkin for exhibition in A Decade of Gifts and Acquisitions, photo by Beth Miller

w Study Room, photo by Richard Caspole

w Reference Library, photo by Richard Caspole

w Children’s t-shirts, featuring the Center’s iconic zebra, available for purchase in the Museum Shop

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friends of british art

Friends of British Art include collectors, scholars, and others who maintain a strong interest in the arts of Britain from the fifteenth century to the present. Their contributions provide vital support for the Center’s acquisitions and exhibitions programs. Friends enjoy direct access to the Center’s collections, special tours, and visits to other museums and private collections in the United States and abroad. They receive invitations to social events, complimentary copies of exhibition catalogues, and a special discount on purchases from the Museum Shop. Individual and dual Friends membership levels begin at $1,100. For more information, please e-mail ycba.advancement@yale.edu. To join or renew online, visit britishart.yale.edu/friends.

2016 donors

friends of british artMrs. Henry E. BartelsDr. Robert S. Boltax Mr. Alexander F. Cohen, Yale BA 1982, MA 1985, JD 1988, and Ms. Kim AllenMr. and Mrs. James A. Duncan, Yale BA 1975Mrs. Sandra ElgeeDr. and Mrs. Robert Fisher, Yale BS 1956, MD 1959Linda and Gary Friedlaender, Yale MAH 1984Mr. Henry S. Hacker, Yale BA 1965 Col. and Mrs. G. F. Robert Hanke, Yale BA 1960Ms. Katherine HaskinsMr. and Mrs. George Hecksher Mr. and Mrs. Brian HopkinsonMr. and Mrs. Tom Israel, Yale BA 1966Mr. and Mrs. Robert A. Martin, Yale BA 1954Mr. Arvid Nelson, Yale MFS 1987, MS 1989, MPhil 1991, PhD 1998Mr. John F. O’BrienMs. Mona Pierpaoli and Dr. David AdlerMr. Jules D. Prown, Yale MAH 1971Pam and Scott SchaflerMr. Stephen Scher, Yale BA 1956, PhD 1966, and Mrs. Janie Woo Scher

Robert A. S. Silberman, Esq., Yale BA 1967, and Dr. Nancy NetzerMs. Linda R. SilvaDr. Aaron & Mrs. Betty Lee SternMr. and Mrs. Bart T. Tiernan, Yale LLB 1968Rev. Ellen Tillotson, Yale STM 2014Mrs. Mary-Jo WarrenMs. Vera Wells, Yale BA 1971Jane and Anthony WorcesterMr. Jay Maitland Young, Yale MS 1967, MPhil 1968, PhD 1971

corporations, foundations, and government supportBonhamsChristie’sThe Chipstone FoundationAlice Giffuni FoundationDr. Lee MacCormick Edwards Charitable Foundation The Foundation of the American Institute for ConservationThe Franke Family Charitable FoundationInstitute of Museum and Library ServicesJANA FoundationAndrew W. Mellon FoundationSamuel H. Kress Foundation

Smith Richardson FoundationAaron and Betty Lee Stern FoundationRichard C. von Hess FoundationThe Wendy’s Company

donors for special projectsAnonymous Donor in honor of Mr. and Mrs. Frederick Scheetz Ms. Christina AlbertMr. Neale Albert, Yale JD1961Mr. W. Graham Arader, Yale BA 1973Mr. and Mrs. Arthur BaerMs. Anne BolinMr. and Mrs. Jay Bright, Yale MArch 1971Mr. and Mrs. Richard Burston, Yale BA 1982Congregation B’nai JacobMs. Celeste Cole, Yale BA 1995Ms. Margaret CooleyMr. Frank DeCaroMs. Mary DineenMr. Donald Edwards, Yale BA 1964Mr. Lew Haber and Ms. Carmen DubrocMr. Kenneth HansonMr. Howard HubertyDr. Carolyn M. Kaelin Memorial FundEstate of Mr. Daniel S. Kalk Ms. Riva Krut and Mr. Harris Gleckman

Mr. Stewart Landefeld, Yale BA 1976Mr. John Levis, Yale BA 1983Mr. Benjamin MayerMs. Martha McHutchisonMr. Shawn NowickiMs. Lindamae PeckMr. J. PryorMrs. Susan C. StoutUniversity of WestminsterValiant Martial Arts LLC

reference library donorsDr. Graham BealMr. Bert BoysonMs. Grace BradyMr. Martin Filler and Ms. Rosemarie Haag Bletter Dr. Gillian GregoryMs. Eileen HoganMr. Dale LaurinMs. Ellen LimanMs. Amanda MeansDr. Jules Prown, Yale MAH 1971Ms. Anne-Katrin PurkissMr. David Alan Richards, Yale BA 1967, JD 1972Dr. Duncan RobinsonMr. David RossDr. Samuel ShawMs. Catherine Turner

w Friends of British Art, with Gillian Forrester, former Senior Curator of Prints and Drawings at the Center, are given a special tour by Jennifer Tonkovich, Eugene and Clare Thaw Curator, Morgan Library & Museum

w Theodore M. von Holst, The Wish (detail), 1840, oil on canvas, Yale Center for British Art, Estate of Brian Sewell

w Cornelia Parker, polymer photogravure from Thirty Pieces of Silver (Exposed) Portfolio, 2015, Yale Center for British Art, Friends of British Art Fund

w Friend of British Art J. Maitland Young, Yale PhD 1971, and Sarah Welcome, Assistant Curator of Rare Books and Manuscripts, examine works in the Center’s paper conservation studio

w David Nash, Ash Dome (detail), 2001, charcoal, Yale Center for British Art, Gift of Lillian Heidenberg, © 2017 Artists Rights Society (ARS), New York / DACS, London

w Roger Fenton, photograph of the Crimean War (detail), 1855, printed 1856, salted paper print, Gift of Dr. J. Patrick

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2016 gifts and acquisitions

paintings and sculpture

Thomas Banks (1735–1805), Dr. Anthony Addington, 1790, marble, Paul Mellon Fund, B2016.16

Mary Beale (1633–1699), Charles Beale the Younger, 1663 to 1664, oil on paper laid to canvas, Paul Mellon Fund, B2016.24

Edward Burch (1730–1814), Ecorché Figure, ca. 1767, bronze, Paul Mellon Fund, B2016.1

Roger Furse (1903–1972), Untitled Abstract, 1962, oil on canvas, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell, B2016.12.2

Eliot Hodgkin (1905–1987), Painswick Churchyard No. 1, 1947, tempera on board, Estate of Brian Sewell, B2016.36.3

John Linnell (1792–1882), Miss Jane Puxley and Miss Puxley, 1826, oil on canvas, Paul Mellon Fund, B2016.23.1–2

Sir William Rothenstein (1872–1945), A Scene in the Spitalfields Synagogue, ca. 1904, oil on canvas, Joseph F. McCrindle, Yale LLB 1948, Fund, B2016.9

Jack Simcock (1929–2012), Farm, Mt. Pleasant, 1959, oil on board, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell, B2016.12.3

Daniel Stringer (1754–1806), Self-portrait, mid-1770s, oil on panel, Estate of Brian Sewell, B2016.36.2

Eight paintings of dogs after George Stubbs (1724–1806), undated, oil on glass, Paul Mellon Fund, B2016.15.1–8

Theodore M. von Holst (1810–1844), The Wish, 1840, oil on canvas, Estate of Brian Sewell, B2016.36.1

prints and drawings

Charles Reginald Aston (1832–1908), Nine Landscapes, undated, watercolor, gouache and graphite, Gift of Robert and Pauline Knoll, B2016.31.1-9

Francis Bedford (1816–1894), Gibeon, El Jib, Palestine, 1862, albumen print, Transfer from the Yale University Art Gallery, B2016.11.17

Henry Bone (1755–1834), Young Woman, ca. 1790, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.32.2

Bill Brandt (1904–1983), St. Paul’s Cathedral in the Moonlight, 1944, printed between 1955 and 1960, gelatin silver print, Paul Mellon Fund, B2016.4

Adam Buck (1759–1833), A Lady with Light Brown Hair Worn in Ringlets, undated, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.1

Frederick Buck (1771–ca. 1840), English Officer in a Scarlet Jacket, undated, watercolor and gouache on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.2

Frederick Buck (1771–ca. 1840), Young officer in a Red Tunic, undated, watercolor and white gouache on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.3

Julia Margaret Cameron (1815–1879), Irish Mary, 1866, albumen print, Gift of Mr. and Mrs. Melville Chapin, Transfer from the Yale University Art Gallery, B2016.10.2

Julia Margaret Cameron (1815–1879), After the Manner of Raphael, undated, albumen print, Gift of Mr. and Mrs. Melville Chapin, Transfer from the Yale University Art Gallery, B2016.10.3

Anthony Cardon (1772–1813), The Assault and Taking of Seringapatam, 1801, stipple engraving and etching with hand coloring in watercolor, Paul Mellon Fund, B2016.25.3

Anthony Cardon (1772–1813), The Surrender of the Sons of Tippoo Sultaun, 1802, stipple engraving and etching with hand coloring in watercolor, Paul Mellon Fund, B2016.25.4

Patrick Caulfield (1936–2005), Vase on Display, 1970, screen print, Gift of Barbara Sunderman Hoerner, B2016.22.1

Gordon Cheung (born 1975), Jan Davidsz. De Heem I (Small New Order), 2015, ink-jet print, John F. O’Brien Fund, with additional support from Francis O’Brien, B2016.3.1

Gordon Cheung (born 1975), Jan Davidsz. De Heem II (Small New Order), 2015, ink-jet print, John F. O’Brien Fund, with additional support from Francis O’Brien, B2016.3.2

Michael Childers (born 1944), Forty-six photographs of David Hockney, 1972–2002, gelatin silver prints, chromogenic prints, ink-jet prints and iris prints, Gift of Michael Childers, B2016.38.1-46

George Chinnery (1774–1852), A Gentleman with Auburn Hair, undated, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.32.8

Richard Crosse (1742–1810), Three miniatures, 1790s watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.32 1-3

Reverend with Powdered Hair and Black Coat, ca. 1790, watercolor on ivory, B2016.21.9

Young Man in a Brown Jacket, ca. 1795, watercolor on ivory, B2016.32.1

A Gentleman in a Blue Coat, ca. 1790, watercolor on ivory, B2016.32.3

Charles Lutwidge Dodgson (1832–1989), Marion “Polly” Terry as Fitz-James, 1875, printed ca. 1980, contact print on gold toned printing-out-paper (printed posthumously by Richard Benson from original collodion wet plate negative), Gift of Sondra S. and Gary L. Haller, Yale MAH 1980, B2016.19.1

Charles Lutwidge Dodgson (1832–1989), Florence “Flo” Maude Terry, 1865, printed ca. 1980, contact print on gold toned printing-out-paper (printed posthumously by Richard Benson from original collodion wet plate negative), Gift of Sondra S. and Gary L. Haller, Yale MAH 1980, B2016.19.2

Samuel Arlent Edwards (1861–1938), Portrait of Izaak Walton, 1898, mezzotint with hand coloring in watercolor, Gift of Susan Boyd-Bowman, Yale BA 1971, B2016.14.2

Ken Ersser (born 1940), Figure Drawing, 1969, graphite, and Mani, 1974, four etchings, Gift of Stuart Bennett, B2016.18.2-6

Roger Fenton (1819–1869), Five photographs of the Crimean War, 1855, printed 1856, salted paper prints, Gift of Dr. J. Patrick and Patricia Ann Kennedy, B2016.30.1-5

Roger Furse (1903–1972), Sketch for Costume Design of Portia in Merchant of Venice, ca. 1952, graphite and pastel, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell, B2016.12.1

George Percival Gaskell (1868–1934), The Noiseless Music of the Night, 1905, watercolor, gum arabic, and white gouache, Joseph F. McCrindle, Yale LLB 1948, Fund, B2016.8

Duncan Grant (1885–1978), The Cheese Dish, undated, graphite, Gift of Kathleen Hart in memory of her brother, Kevin C. Patterson, B2016.5

Joseph Grozer (ca. 1755–1798), Charles Marquis Cornwallis Receiving the two Sons of Tippoo Sultaun as Hostages from the Vakeel, 1793, color-printed mezzotint with hand coloring in watercolor, Paul Mellon Fund, B2016.25.2

Richard Hamilton (1922–2011), Interior with Monochromes, 1979, lithograph and screen print, Gift of Barbara Sunderman Hoerner, B2016.22.2Richard Hamilton (1922–2011), Kent State, 1970, screen print, Gift of Barbara Sunderman Hoerner, B2016.22.3

Marie Harnett (born 1983), Costume Party, 2015, linocut, John F. O’Brien Fund, with additional support from Francis O’Brien, B2016.3.3

Eliot Hodgkin (1905–1987), Studies, designs and photographs, graphite, washes, watercolor, and gouache, and gelation silver prints, Estate of Brian Sewell, B2016.36.1-33

w John Linnell, Miss Jane Puxley (detail), 1826, oil on canvas, Yale Center for British Art, Paul Mellon Fund

w Edward Burch, Ecorché Figure, ca. 1767, bronze, Yale Center for British Art, Paul Mellon Fund

w After George Stubbs, King Charles Spaniel, undated, oil on glass, Yale Center for British Art, Paul Mellon Fund

w Eliot Hodgkin, Painswick Churchyard No. 1 (detail), 1947, tempera on board, Yale Center for British Art, Estate of Brian Sewell

w Frederick Buck, Young officer in a Red Tunic, undated, watercolor and white gouache on ivory, Yale Center for British Art, Gift of Ann and Kenneth Rapoport

w Gordon Cheung Jan Davidsz. De Heem I (Small New Order) (detail), 2015, ink-jet print, Yale Center for British Art, John F. O’Brien Fund, with additional support from Francis O’Brien

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Peter Phillips (born 1939), Custom Print No. III, 1965, screen print, Gift of Barbara Sunderman Hoerner, B2016.22.14

George Richmond (1809–1896), A Gathering at Fulham Palace, between 1843 and 1845, iron gall ink, Gift of Richard J. Mammana Jr., Yale MAR 2012, in memory of Cynthia McFarland, B2016.6

Thomas Rowlandson (1756–1827), Dr. Syntax Returned from His Tour, 1813, etching and aquatint, with hand coloring in watercolor, Gift of Lisa Thornell-Gargiulo, B2016.17

John Russell (1745–1806), Lunar Planisphere, Flat Light, 1805, and Lunar Planisphee, Hypothetical Oblique Light, 1806, stipple engravings, Paul Mellon Fund, B2016.38.1-2

William Wynne Ryland (1732–1783), A Hawking Party, 1765, etching, Gift of Susan Boyd-Bowman, Yale BA 1971, B2016.14.1

Luigi Schiavonetti (1765–1810), The Body of Tippoo Sultaun Recognised by his Family, 1801, stipple engraving and etching with hand coloring in watercolor, Paul Mellon Fund, B2016.25.5

Niccoló Schiavonetti (1771–1813), The Last Effort and Fall of Tippoo Sultaun, 1802, stipple engraving and etching with hand coloring in watercolor, Paul Mellon Fund, B2016.25.1

James Scouler (1741–1812), Cleric in Powdered Wig and Black Robes, 1777, watercolor and gouache on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.8

Yinka Shonibare MBE (RA) (born 1962), Party Boy, 2014, digital pigment print with collaged fabric and hand-gilded with gold leaf, Friends of British Art Fund, B2016.2

Yinka Shonibare MBE (RA) (born 1962), Fake Death Picture (Death of Chatterton—Henry Wallis), 2011, digital chromogenic print, Lee MacCormick Edwards Foundation and Friends of British Art, B2016.13

Archibald Skirving (1749–1819), Study of Elizabeth Forbes, 1792, graphite, Gift of Lowell Libson Ltd., B2016.20.2

Archibald Skirving (1749–1819), An Elderly Woman, 1803, pastel, Paul Mellon Fund, B2016.27

Joe Tilson (born 1928), Let a Thousand Parks Bloom, 1971, screen print and collage, Gift of Barbara Sunderman Hoerner, B2016.22.15

John Turmeau (1777–1846), Gentleman with Short Red Hair, 1814, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.6

Unknown artist, Photo album: Barmoor Castle weekend, May 1949, 1949, photo album, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell, B2016.12.4

Unknown artist, Brigadier-General William H. Sitwell’s photo album of India, compiled 1917, photo album, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell, B2016.12.5

Unknown artist, Torquay from the North Hill, ca. 1880, albumen print, Gift of Mr. and Mrs. Melville Chapin, Transfer from the Yale University Art Gallery, B2016.10.1

Unknown artist, Mrs. George Black Holding her Son, ca. 1800, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.7

Unknown artist, Young Woman, ca. 1835, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.32.7

Unknown artist, after Joseph Mallord William Turner (1775–1851), Four prints, 1814–ca. 1821, etchings, Paul Mellon Fund, B2016.33.1–3 and B2016.33.5

Pierre N. Violet (1749–1819), Young Woman with a Yellow Hair Ribbon, ca. 1800, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.32.6

Thomas A. Woolnoth (1785–1857), Walter Fawkes Esqr., 1825, stipple engraving, Paul Mellon Fund, B2016.33.4

Shaykh Zayn-al-Din (active 1777–1782), Asian Openbill Stork (Anastomus oscitans), 1781, graphite and watercolor, Paul Mellon Fund, B2016.26

Eileen Hogan (born 1946), Hymettos, 1972, lithograph, Gift of Stuart Bennett, B2016.18.1

Philip Jean (1755–1802), Young Lady with Brown Hair in a Mauve Dress, ca. 1795, watercolor and white gouache on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.4

Augustus Edwin John (1878–1961), A portfolio of 26 life studies and other preparatory drawings, undated, black chalk, graphite, black wash, and pen and black ink, Estate of Brian Sewell, B2016.36.35–.59

Allen Jones (born 1937), Three in One, 1971, screen print, Gift of Barbara Sunderman Hoerner, B2016.22.4

J. Kennedy (active 1823 to 1832), Young Actor, 1832, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.32.4

R. B. Kitaj (1932–2007), Four prints, 1966-1980, screen prints, Gift of Barbara Sunderman Hoerner, B2016.22.5-8

Gerald Laing (1936–2011), Two Tunnels, 1968, screen print and collage, Gift of Barbara Sunderman Hoerner, B2016.22.9

Sir Peter Lely (1618–1680), A Group of Thirteen Sheets of Drawings of Hands: Eleven Autograph Drawings by Lely and Two by Members of Lely’s Workshop, 1650s to 1660s, black chalk, white chalk, and red chalk, Paul Mellon Fund, B2016.28.1–.13 Niels Moller Lund (1863–1916), The Heart of the Empire, 1905, photogravure (artist’s proof ), Friends of British Art Fund, B2016.29

Robert MacPherson (1811–1872), Four photographs, 1860s, albumen prints, Gift of Mr. and Mrs. Melville Chapin, Transfer from the Yale University Art Gallery, B2016.10.4-7

Robert MacPherson (1811–1872), Sixteen photographs, 1860s, albumen prints,Transfer from the Yale University Art Gallery, B2016.11.1-16

Lady Mary Lowther (1740–1824), Self-portrait, ca. 1765, pastel, Gift of Lowell Libson Ltd., B2016.20.1

Anne Mee (ca. 1760–1851), Young Woman with Coral Necklace and Crucifix, ca. 1825, watercolor on ivory, Gift of Ann and Kenneth Rapoport, B2016.21.5

Nicholas Monro (born 1936), Three prints, 1970–72, screen prints, Gift of Barbara Sunderman Hoerner, B2016.22.10-12

David Nash (born 1945), Ash Dome, 2001, pastel, Gift of Lillian Heidenberg, B2016.37.1

David Nash (born 1945), Ash Dome, 2001, charcoal, Gift of Lillian Heidenberg, B2016.37.2

Hugh Owen (1808–1897), Harvest Scene with Stooks, taken before 1855, printed 1860s to 1870s, albumen print from a paper negative, Gift of Hans P. Kraus, B2016.35

Peter Paillou the Younger (active 1757–1831), Gentleman with short Brown Hair and a Blue Jacket, ca. 1815, watercolor, Gift of Ann and Kenneth Rapoport, B2016.32.5

Eduardo Paolozzi (1924–2005), Bash, 1971, screen print and collage, Gift of Barbara Sunderman Hoerner, B2016.22.13

Cornelia Parker (born 1956), Thirty Pieces of Silver (Exposed) Portfolio, 2015, twenty-one polymer photogravures and book in a portfolio box, Friends of British Art Fund, B2016.7.1-21

Cornelia Parker (born 1956), A Little Drop of Gin, 2016, polymer photogravure etching, Friends of British Art Fund, B2016.34

w R. B. Kitaj, For Fear, 1967, screen print, Yale Center for British Art, Gift of Barbara Sunderman Hoerner

w Philip Jean, Young Lady with Brown Hair in a Mauve Dress (detail), ca. 1795, watercolor and white gouache on ivory, Yale Center for British Art, Gift of Ann and Kenneth Rapoport

w Sir Peter Lely, detail from A Group of Thirteen Sheets of Drawings of Hands, 1650s to 1660s, black chalk, white chalk, and red chalk, Yale Center for British Art, Paul Mellon Fund

w Hugh Owen, Harvest Scene with Stooks, taken before 1855, printed 1860s to 1870s, albumen print from a paper negative, Yale Center for British Art, Gift of Hans P. Kraus

w Archibald Skirving, An Elderly Woman (detail), 1803, pastel, Yale Center for British Art, Paul Mellon Fund

w Yinka Shonibare MBE (RA) , Fake Death Picture (Death of Chatterton—Henry Wallis), 2011, digital chromogenic print, Yale Center for British Art, Lee MacCormick Edwards Foundation and Friends of British Art, © Yinka Shonibare MBE (RA)

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Mary Anne Ball, A Selection of Maps, England, 1818, manuscript, pen and ink with watercolor, Paul Mellon Fund

James Richard Barfoot and David Ogilvy, L’Orient, Or, The Indian Travellers: A Geographical and Historical Game, London: David Ogilvy, 1846, hand-colored lithograph, Gift of Ellen and Arthur Liman, Yale JD 1957

Francis Barlow, Aesop’s Fables: With His Life, in English, French and Latin: Newly Translated: Illustrated with One Hundred and Twelve Sculp-tures: To This Edition Are Likewise Added, Thirty One New Figures Representing His Life, London: Printed by H. Hills Jr. for Francis Barlow, and are to be sold by Chr. Wilkinson, 1687, Paul Mellon Fund

Barmoor Castle, Berwick-on-Tweed, Great Britain, ca. 1950, photographic postcard, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell

Sir Wyke Bayliss, The Art Decorator: Designs in Colours for the Amateur and Art Worker, London: The Electrotype Co., 1890, Paul Mellon Fund

F. Beales, Portrait of a deceased girl, Boston, Lincolnshire, ca. 1875–92, carte de visite, Paul Mellon Fund

Beauties of Poetry and Gems of Art: Poems, Songs, & Ballads, London: Cassell, Petter, and Galpin, 1864, Gift of Stephen Parks, Yale BA, 1961

R. & J. Beck, Achromatic stereoscope, London, 1865, mahogany, brass, and glass, Paul Mellon Fund

Sir Max Beerbohm, Rossetti and his Circle, London: William Heinemann, 1922, no. 94 of 380 copies, signed by the artist, Gift of Rosemarie Haag Bletter and Martin Filler

The Beggar’s opera, written by Mr. Gay; to which is prefixed the musick to each song, New York: Double-day, Page & Company, 1927, Gift of Bert Boyson

Bible Quotations, London: Charles Reynolds and Co., ca. 1890, game of rolled paper slips, in hinged-lid gilt paper box, topped with silk bow, with pair of metal tweezers to extract quotations, Paul Mellon Fund

Emma Kate Bleeck, Juvenile stories, Somerset, England, 1861–63, four volumes, illustrated manuscript, pen and ink with watercolor, Paul Mellon Fund

Blewcoat School in the Parish of St. Margaret, Indenture placing John Dikes into the service of John Morris, joiner, England, October 6, 1740, Paul Mellon Fund

Blue Coat Hospital. Draft of an announcement stating that “the winding of cotton will be the most easy and most suitable work for children of ten to fourteen years,” Salford, Greater Manchester, nineteenth century, Paul Mellon Fund

The Book of Common Prayer, Clarendon Press: Oxford, 1826, embossed leather binding, Gift of Stephen Parks, Yale BA, 1961

C. Brandauer & Co., pen nibs, Birmingham, early twentieth century, Paul Mellon Fund

Alice Rivington Brewster, Alice Mary Brewster, and Arthur Brewster, Four sketchbooks, with additional loose drawings, of West Country subjects and various other locations in Britain and abroad, 1862–1921, pen and ink, with watercolor and graphite, Paul Mellon Fund

Paul Briggs, The Punch and Judy Show, Nottingham, 2000, diorama in glass box, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

Britains Ltd., Britains Soldiers: Regiments of All Nations: Pipes and Drums of the Scots Guards, no. 1722, England, ca. 1956, twenty-seven toy soldiers: hand-painted, die-cast lead, in original box, Gift of Alec Van Sinderen

Elizabeth Barrett Browning, The Poetical Works of Elizabeth Barrett Browning, London: Henry Frowde, 1906, Gift of Rosemarie Haag Bletter and Martin Filler

Lillian Browse, William Nicholson, London: Rupert Hart-Davis, 1956, Gift of David Alan Richards, Yale BA 1967, JD 1972

Building of the Great Exhibition of 1851, Great Britain, 1851, painted porcelain and brass, Gift of Rosemarie Haag Bletter and Martin Filler

Alexandre Buquet, Mouchoir des connaissances utiles: résumé des meilleures recettes indispensables à tous les ménages, Rouen: Manufacture de E. Renault, ca. 1850–70, printed cotton handkerchief, Paul Mellon Fund

rare books and manuscripts

Achromatic binocular lorgnette style magnifier, Great Britain, nineteenth century, brass and glass, in leather case, Paul Mellon Fund

Norman Ackroyd, Skellig Revisited, Yorkshire: N. Ackroyd, 2015, no. 8 of 50 copies, boxed set of ten aquatints, signed and dated by the artist, Gift of Jason Bacon, Yale BA 1956

Joseph Addison, Days with Sir Roger de Coverley, illustrations by Hugh Thomson, London: Macmillan and Co., 1892, Gift of Bert Boyson

Album of British ferns and mosses, England, ca. 1850, natural specimens, Paul Mellon Fund

Album of fifty cartes de visite depicting royalty of Britain and Europe and other contemporary notables, Great Britain, 1860–1862, Paul Mellon Fund

Album of photographs compiled by an Officer in the third Battalion of the Royal Welsh Fusiliers, ca. 1914–1916, Friends of British Art Fund

Album of photographs of Kinmel Park Military Camp, including reminiscences of a nurse from the First World War, Abergele, Conwy, Wales, 1917, Friends of British Art Fund

Album of photographs of “Our Holiday,” Liverpool, July 1890, with extra illustrations in graphite, Paul Mellon Fund

Album of photographs of unknown family, Halifax, West Yorkshire, ca. 1930s, Friends of British Art Fund

Album of seaweed, mounted in scallop shell binding, England, mid-nineteenth century, natural specimens, Paul Mellon Fund

Album of seventy-six cartes de visite and cabinet photographs depicting the British Royal Family, Great Britain, ca. 1860–1905, Paul Mellon Fund

Allen & Moore, The building at London, for the International Exhibition, 1851, Birmingham, 1851, Crystal Palace commemorative medal, white metal in original pasteboard box, Gift of Rosemarie Haag Bletter and Martin Filler

___. Exposition internationale de l’industrie, London, 1851, Birmingham, 1851, Crystal Palace commemorative medal, white metal, Gift of Rosemarie Haag Bletter and Martin Filler

Gemma Anderson, Isomorphology, Penryn, Cornwall: Atlantic Press, 2015, Friends of British Art Fund

Catherine Andras, Rose Bruce, of Dublin, Bristol, England, 1799, painted and tinted wax, set in original shadow box, Paul Mellon Fund

Sir Walter Armstrong, The Art of Velazquez and The life of Velazquez, London: Seeley and Co., 1896, Gift of Rosemarie Haag Bletter and Martin Filler

Art Union of London, Catalogue of the Pictures, etc., Selected by the Prizeholders in the Art-Union of London, London: G. Gilbert, 1845, Gift of Stephen Parks, Yale BA, 1961

Jane Austen, Pride and Prejudice, illustrations by C. E. and H. M. Brock, Philadelphia: George W. Jacobs & Company, 1920?, Gift of David and Judith Ross

Autograph letter, written on Great Exhibition engraved stationary, dated November 23, 1850,Gift of Rosemarie Haag Bletter and Martin Filler

B. B. B., Manuscript of Keble’s Morning Hymn, England, 1860, illuminated manuscript, pen and ink and watercolor, with added gold leaf, Paul Mellon Fund

w Norman Ackroyd, “Blasket from Skellig” from Skellig Revisited, Yorkshire, 2015, aquatint, Yale Center for British Art, Gift of Jason Bacon, Yale BA 1956

w Stobwasser Workshop, “The Cherry Seller” by William Collins (1788-1847), front cover, Album of cartes de visite and cabinet photographs of the British Royal family, Great Britain, ca. 1860–1905, painted and lacquered papier-mâché board, Yale Center for British Art, Paul Mellon Fund

w Abd al-Qādir ibn Muhyī al-Dīn, Amir of Mascara, from Album of cartes de visite depicting royalty of Britain and Europe and other contemporary notables, Great Britain, 1860–62, albumen prints, Yale Center for British Art, Paul Mellon Fund

w Catherine Andras, Rose Bruce, of Dublin, Bristol, England, 1799, painted and tinted wax, set in original shadow box, Yale Center for British Art, Paul Mellon Fund

w B.B.B., Manuscript of Keble’s Morning Hymn, England, 1860, pen and ink and watercolor, with added gold leaf, Yale Center for British Art, Paul Mellon Fund

w Mary Anne Ball, “France” from A Selection of Maps, England, 1818, pen and ink with watercolor, Yale Center for British Art, Paul Mellon Fund

22 23

Michael Craig-Martin, Drawing, London: Enitharmon Editions, 2015, no. 40 of 50 of the deluxe edition, signed by the artist. In solander box, with the print “Book,” signed and numbered by the artist, in graphite, accompanied by pub-lisher’s prospectus for the work, Friends of British Art Fund

Crimean War. Woven silk ribbon in commemoration of the Crimean War, Great Britain, ca. 1855, silk, Paul Mellon Fund

Crochet sample book, Great Britain, nineteenth century, mounted in album, Paul Mellon Fund

Crumpsall Biscuit Works, Biscuit tin, containing packets of gold leaf from Geo. M. Whiley Ltd., London, with correspondence, Gift of Celia Hopkinson in memory of Harry Dawson

The Crystal Palace and Park in 1853: What Has Been Done, What Will be Done, Addressed to the Intending Exhibitors, London: William S. Orr and Co., 1852, Paul Mellon Fund

J. H. Dallmeyer, Stereoscope, London, ca. 1870, column mounted, walnut, brass, and glass, Paul Mellon Fund

Matthias Darly, Sundry Landscapes for Learners, London: M. Darly, 1775, Paul Mellon Fund

William Darton, The Majestic Game of the Asiatic Ostrich, London, ca. 1825, board game with booklet, hand-colored engraving, mounted on linen, Gift of Ellen and Arthur Liman, Yale JD 1957

David of Cambridge: Some Appreciations, Cambridge: Cambridge University Press, 1937, Gift of David Alan Richards, Yale BA 1967, JD 1972

Bruce Davidson to Henry Hacker, autograph letter signed, New York, March 29, 2003, Gift of Henry S. Hacker, BA 1965

Ellis A. Davidson, Drawing for Elementary Schools: Being a Manual of Method of Teaching Drawing, Specially Adapted for the Use of Masters of National and Parochial Schools, London: Chapman and Hall, 1857, Paul Mellon Fund

Nicola Davies and Mark Hearld, Outside your Window: A First Book of Nature, Somerville, MA: Candlewick Press, 2012, Gift of Robert and Nancy Lindemeyer

William Henry Davies, The Hour of Magic, and Other Poems, illustrations by William Nicholson, London: Jonathan Cape, 1922, no. 35 of 110 copies, signed by the author and artist, Gift of David Alan Richards, Yale BA 1967, JD 1972

___. Moss and Feather, London: Faber & Gwyer, 1928, Gift of David Alan Richards, Yale BA 1967, JD 1972

___. True Travellers: A Tramp’s Opera in Three Acts, illustrations by William Nicholson, London: Jonathan Cape, 1923, limited edition of 100 copies, Gift of David Alan Richards, Yale BA 1967, JD 1972

Freeman Gage Delamotte, Examples of Modern Alphabets, Plain and Ornamental, London: E. & F. N. Spon, 1859, Gift of Stephen Parks, Yale BA 1961

Description and Illustration of a Picture in East India House Showing the Great Mogul Presenting the Grant of the Dewannee to Lord Clive, London: Cox and Son, 1820, with folded lithographed plate. Key to the painting Lord Clive Receiving from the Mogol the Grant of the Duanney, by Benjamin West, Paul Mellon Fund

Designs of Marble Memorials: No. 5, England, 1914, trade catalogue, Friends of British Art Fund

John Dilnot, The Book of Flies, Eastbourne, East Sussex, 2016, Friends of British Art Fund

___. Landscape, Brighton, 1994, Gift of the artist

___. Out of the Trees and Into the Wood, London: Fifty Fingers, 1985, Gift of the artist

___. View, Liverpool, 1995, Gift of the artist

Humphrey J. Dingley, For Pen and Pencil Jottings, Glasgow: David Bryce & Son, 1888, Paul Mellon Fund

Austin Dobson, The Story of Rosina, and Other Verses, illustrations by Hugh Thomson, New York: Dodd, Mead and Company, 1895, Gift of Bert Boyson

Dollond and Co., Camera lucida, London, ca. 1800, brass instrument with prism, in velvet-lined shagreen case, Paul Mellon Fund

Drawings of rooms at Grafton Lodge, with perspective studies, Great Britain, 1844, pen and black ink, Paul Mellon Fund

Lord Byron, Hebrew Melodies, New York: D. Longworth, 1815, Gift of Bert Boyson

Ken Campbell, You All Know the Words, 2015, London, no. 3 of a limited edition of 17 copies, numbered and signed by the artist, Friends of British Art Fund

D. T. Carlisle and Elizabeth Dunn, Wining and Dining with Rhyme and Reason, New York: Minton, Balch & Company, 1933, Gift of Stephen Parks, Yale BA 1961

Carpenter & Westley, Camera lucida, London, late nineteenth century, Paul Mellon Fund

John Carroll, Freehand Drawing Lessons for the Black Board, London: Jarrold & Sons, 1878, Paul Mellon Fund

Lewis Carroll, Alice’s Adventures in Wonderland, illustrated by Arthur Rackham; with an added proem by Austin Dobson in pen and ink, London: William Heinemann, 1907, Gift of Sylvia Van Sinderen in honor of Elisabeth Fairman

Henry Cholmondeley-Pennell, Puck on Pegasus, London: John Camden Hotten, 1868, Gift of Bert Boyson

Barbara Ciurej and Lindsay Lochman, Field Notes, Chicago: B. Ciurej and L. Lochman, 2015, Acquired with funds from the Bequest of Daniel S. Kalk

Claude glass, ca. 1900, glass mounted in beech box with sliding lid, Paul Mellon Fund

Collection of ephemera, comprising correspon-dence and greetings cards, nineteenth–century memorial cards and funeral ephemera; Steven-graphs; menus; ticket to Crystal Palace, cabinet cards and cartes de visite of ladies in hats; advertisements, invoices, leaflets and trade cards for merchants including drapers, corset makers, and fashion, coffin, funeral and monument suppliers, 1786–1899, Paul Mellon Fund

Collection of ephemera relating to the First and Second World Wars, including government and political documents; R.A.F. cards; air raid and emergency precautions; animal show cards; trade catalogues of shoes, clothing, and hair accessories; memorial cards; writing implements; various London bus and underground maps; and Festival of Britain postcards, 1901–78, Friends of British Art Fund

Collection of magazines related to British Royalty, England, 1935–53, Gift of the Estate of Mrs. Eleanor B. Collins

Collection of twenty-eight books on designer bookbinding and printing, including Sydney Morris Cockerell and Joan Rix Tebbutt, Thirty Recent Bindings, Frenich, Pitlochry, Scotland: K. D. Duval, 1981; Martin Ould, editor, Printing at the University Press, Oxford, Seaton, U.K.: The Old School Press, 2015, de luxe edition, No. IX, signed, limited edition of 250 copies; and Michael Wilcox and Richard Landon, In Retrospect: Designer Bookbindings by Michael Wilcox, Toronto: Thomas Fisher Rare Book Library, 1998, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

Joseph Conrad, A Letter to William Nicholson, London: The Eighteen Nineties Society, 1985, no. 117 of 550 copies, Gift of David Alan Richards, Yale BA 1967, JD 1972

George Cooper, Framemaker’s receipt for frames, signed by James Ward, London, 1810,Paul Mellon Fund

The Coronation of Her Majesty Queen Elizabeth II, 2 June 1953, London: Odhams Press, 1953, Gift of Thomas Strong, Yale MFA, 1967

Cox & Sons, Cox & Sons’ Illustrated Catalogue of Monuments, Crosses and Headstones, Tomb Rails, Mural Tablets, Brasses, Bronzes, &c.: from Original Designs by Architects and Others, London: Cox & Sons, 1875, new edition, Paul Mellon Fund

w Francis Barlow, “The Tortoise and Hare” from Aesop’s Fables, with his Life, in English, French and Latin, Newly Translated, London, 1687, engraving, Yale Center for British Art, Paul Mellon Fund

w Arthur Rackham, “At this the whole pack rose up into the air, and came flying down upon her,” from Alice’s Adventures in Wonderland by Lewis Carroll, London, William Heinemann, 1907, Yale Center for British Art, Gift of Sylvia Van Sinderen in honor of Elisabeth Fairman

w The “Eagle” Cage Bird Club. Special Prize, from the collection of ephemera relating to the First and Second World Wars, 1901–78, Yale Center for British Art, Friends of British Art

w The Majestic Game of the Asiatic Ostrich, London, William Darton, ca. 1825, hand-colored engraving, Yale Center for British Art, Gift of Ellen and Arthur Liman, Yale JD 1957

w Woven silk ribbon in commemoration of the Crimean War, Great Britain, ca. 1855, silk, Yale Center for British Art, Paul Mellon Fund

w John Dilnot, The Book of Flies (detail), Eastbourne, East Sussex, 2016, screen print, Yale Center for British Art, Friends of British Art Fund

24 25

First Day Cover Commemorating the Visit of King George VI and Queen Elizabeth to Newfoundland, June 17, 1939, with Newfoundland Resource set of fourteen postage stamps, Gift of Thomas Strong, Yale MFA 1967

John Fisher, editor, An Illustrated Record of National Gold, Silver and Bronze Medal Designs, Models, Drawings, etc., London: Chapman and Hall, Ltd., 1899, Paul Mellon Fund

James Forbes, A Leaf from Wellington’s Tree, and a Wreath of Wild Flowers, Gathered in the Interesting Field of Waterloo, on the 24 September 1817, for the Honorable Mrs. Wellesley Pole, Paris, 10 Dec. 1817, with drawing of farm at Waterloo, 1817, pen and ink and watercolor, with natural specimens, Paul Mellon Fund

Tony Foster, Exploring Beauty: Watercolour Diaries from the Wild, Palo Alto, California: Foster Art and Wilderness Foundation, 2016, Gift of Duncan and Lisa Robinson

___. Rainforest Diaries: Watercolours from Costa Rica, San Francisco: Tony Foster, in association with Montgomery Gallery, ca. 1992, Gift of Duncan and Lisa Robinson

___. Rainforest: Souvenirs from Five Months in the Rainforests of Costa Rica, 1998, signed and dated by the artist, Gift of Duncan and Lisa Robinson

___. Thoreau’s Country: Souvenirs from a Series of Walks and Canoe Journeys in New England, 1984,

signed by the artist, Gift of Duncan and Lisa Robinson

Francis Frith, Frith’s Photo-Pictures, Reigate, Surrey, 1860–70, albumen prints, still-life studies of wild birds, animals, and fish, Paul Mellon Fund

J.S. Fry & Sons, Chocolate box with portrait of actress Lily Elsie (1886–1962), Great Britain, ca. 1900, hand-tinted gelatin silver print framed in peach cloth edged with gold cord, Yale Center for British Art, Paul Mellon Fund

Funeral Supplies, England, 1861, trade catalogue, with annotations, Paul Mellon Fund

Funerary tombstones, from British funeral home, ca. 1880s, five samples, in varieties of stone and cast material, approximately 1:12 scale, Paul Mellon Fund

Helen G., Album of juvenile watercolors, England ca. 1920s, watercolor with graphite, Friends of British Art Fund

John Gay, Polly, illustrated by William Nicholson, London: Heinemann, 1923, no. 52 of 350 copies, Gift of David Alan Richards, Yale BA 1967, JD 1972

A General Map of England & Wales Divided Into Its Counties, unfinished sampler, England, mid-nineteenth century, embroidered linen, Paul Mellon Fund

Robert Gibbings, Coming Down the Seine, London: J. M. Dent & Sons, 1955, Gift of David and Judith Ross

___. Coming Down the Wye, London: J. M. Dent & Sons Ltd., 1943, Gift of David and Judith Ross

___. Lovely is the Lee, London: J. M. Dent & Sons Ltd., 1945, Gift of David and Judith Ross

Joseph Gillott & Sons, Ladies No. 170: 10 Pens, Birmingham, early twentieth century, steel pen nibs, in original printed packaging, Friends of British Art Fund

___. The Ladies Pen, Birmingham, early twentieth century, twelve pen nibs attached by string to a printed card, Friends of British Art Fund

Gilman & Co., Woman looking at a photograph album, Great Britain, ca. 1890, albumen print, Paul Mellon Fund

Francis Carruthers Gould, ABC for the SE, Great Britain, ca. 1870, Paul Mellon Fund

Kenneth Grahame, Dream Days, illustrations by Maxfield Parrish, New York: Dodd Mead & Company, 1898, Gift of Bert Boyson

Sybil Myra Caroline Primrose Grant and Clive Milner-Coates, Food for Thought, Or, Songs of Sainsbury, London: J. Sainsbury, Ltd., 1935, Gift of Stephen Parks, Yale BA 1961

The Graphic: An Illustrated Weekly Newspaper, London: Edward Joseph Mansfield, 1914–15, various issues, including Special War Summer Issue, Gift of Ellen and Arthur Liman, Yale JD 1957

Dugdale Bros. & Co., Ltd., Tailors and Costumiers’ Linings and Trimmings, Huddersfield, England, 1938, trade catalogue, Paul Mellon Fund

The Easion Veil: Fits Perfectly, the Largest and Easiest Fitting Elastic Veil Made, England, ca. 1900, Friends of British Art Fund

Andy English, Peak Post, Ely, Cambridgeshire: The Isle Handpress, 2013, no. 16 of 100 copies, signed by the artist, Friends of British Art Fund

___. Some Engraved Stamps from the Island of Vent Du Sud, Ely, Cambridgeshire: Isle Handpress, 2011, no. 28 of 60 copies, signed by the artist, Friends of British Art Fund

___. A View of Avebury, Ely, Cambridgeshire: Isle Handpress, 2015, no. 14 of 100 copies, accordion-folded sheet with wood engraving, signed by the artist, Friends of British Art Fund

David Esslemont, Taxi Driver Curry - 1: Heathrow, 4.30 a.m., Terminal 4 to 3, April 2014, Decorah, IA: Solmentes Press, 2015, no. 14 of 45 copies, bound in printed cloth, Friends of British Art Fund

Henry Smith Evans and John Anthony L’Enfant, The Crystal Palace Game: A Voyage Round the World, an Entertaining Excursion in Search of Knowledge, Whereby Geography Is Made Easy, London: Alfred Davis & Co., 1854, board game, in color, mounted on linen, Gift of Ellen and Arthur Liman, Yale JD 1957

Jessa Fairbrother, Conversations with My Mother, Bristol, 2016, no. 11 of 16, signed and numbered by the artist, Acquired with funds from the Bequest of Daniel S. Kalk

Father Tuck’s Kindergarten Paper Modelling. Series 2. Toyland: Models of Doll’s House, Toy Soldiers, Sentry Box & Numerous Other Objects, London: Raphael Tuck & Sons, ca. 1910–25, Friends of British Art Fund

Ken Ferguson, Day at the Races, East Cramlington, Northumberland, 1996, no. 24 of 60 copies, signed by the artist, Friends of British Art Fund

___. Market Visitors, East Cramlington, Northumberland, 2011, no. 9 of 60 copies, signed by the artist, Friends of British Art Fund

___. Market Visitors: Two, East Cramlington, 2013, no. 12 of 60 copies, signed by the artist, Friends of British Art Fund

___. Market Visitors: Three, East Cramlington, 2015, no. 8 of 65 copies, signed by the artist, Friends of British Art Fund

Ken Ferguson and Anne Jones, Trip to the Seaside, East Cramlington, Northumberland, 1996, no. 34 of 60 copies, signed by the artist, Friends of British Art Fund

Ken Ferguson, Anne Jones, and Winifred Brassington, Fair View Farm, East Cramlington, Northumberland, 1994, no. 52 of 110 copies, signed by the artist, Friends of British Art Fund

Festival of Britain, Tea caddy spoon and coin in original box, Great Britain, 1951, Friends of British Art Fund

Fifty Foreign Bookbindings from the Collection of Thomas G. Boss, Boston: Club of Odd Volumes, 2003, Gift of Stephen Parks, Yale BA 1961

Ian Hamilton Finlay, Shenval Christmas Poem/Print, 1971, Hertford, England: Shenval Press, folding print, lithograph on paper, Gift of Duncan and Lisa Robinson

w Andy English, p. 1 from Peak Post (detail), The Isle Handpress, 2013, wood engraving, Yale Center for British Art, Friends of British Art

w David Esslemont, cover detail from Taxi Driver Curry, Decorah, IA, Solmentes Press, 2015, printed cloth, Yale Center for British Art, Friends of British Art

w Ken Ferguson, “Testing the Water” from Trip to the Seaside, Northumberland, 1996, hand-colored relief print, Yale Center for British Art, Friends of British Art

w Father Tuck’s Kindergarten Paper Modelling, London, Raphael Tuck & Sons, ca. 1910–25, chromolithograph, Yale Center for British Art, Friends of British Art

w Francis Frith, one of twenty-four photographs from Frith’s Photo-Pictures, Reigate, Surrrey, 1860–70, albumen print, Yale Center for British Art, Paul Mellon Fund

w J. S. Fry & Sons, Chocolate box with portrait of actress Lily Elsie (1886–1962), Great Britain, ca. 1900, hand-tinted gelatin silver print framed in peach cloth edged with gold cord, Yale Center for British Art, Paul Mellon Fund

26 27

___. Holbein’s Dance of Death: with an Historical and Literary Introduction, London: John Russell Smith, 1849, Gift of David Alan Richards, Yale BA 1967, JD 1972

Holmfirth Reservoir Disaster, Sheffield: J. Ford, 1852, Paul Mellon Fund

Westley Horton, Illustrations to the Rime of the Ancient Mariner, Great Britain, 1891, pen and ink and watercolor, Paul Mellon Fund

Henry Noel Humphreys, Parables of Our Lord, London: Longman & Co., 1847, Gift of Stephen Parks, Yale BA, 1961

Thomas Ingoldsby, The Ingoldsby Legends, or, Mirth & Marvels, illustrations by Arthur Rackham, London: J. M. Dent & Co., 1898, Gift of David and Judith Ross

Arthur Seymour Jennings, Paint & Colour Mixing: A Practical Handbook for Painters, Decorators, Paint Manufacturers, Artists, London: Trade Papers Publishing Co., 1926, Friends of British Art Fund

Samuel Johnson, Lives of the English Poets and a Criticism on their Works, Dublin: Whitestone, Williams, Colles, Wilson, 1779–81, 3 vols., Gift of Barbara R. and Richard C. Glowacki, Yale BA 1954

Johnson & Sons, Manufacturing Chemists Ltd. Johnson’s Photo Tints: For Colouring Postcards, Prints, and Lantern Slides, London, 1930, nine glass vials of tints, with cork stoppers and

original labels, some with residue of the original colors, in original cardboard box, Friends of British Art Fund

Journal of a young woman, recording travels with her husband George, in Wales, Cumberland, Edinburgh, and manufacturing towns in England, 1808, illustrated manuscript, pen and ink, watercolor, and graphite, Paul Mellon Fund

Jubilee of Queen Victoria, Great Britain, 1887, printed cotton handkerchief, Paul Mellon Fund

Richard Keene, Permanent Platinotypes, Derby: R. Keene, Ltd., 1880s, architectural views in England and Wales, platinotype photographs, Paul Mellon Fund

Ernest Kees, Trade card on silk, with two lace samples, Brighton, ca. 1880, Paul Mellon Fund

Rudyard Kipling, The Seven Seas, New York: D. Appleton and Company, 1900, Gift of Rosemarie Haag Bletter and Martin Filler

Monique Lallier, Guest book (blank), hand-bound by Lallier in quarter goat skin, with front cover in silver, doublures in etching and aquatint, Summerfield, North Carolina,1995. Laid in: Card, signed by Monique Lallier and Don Etherington, with etching by Louis-Pierre Bougie, Gift of Stephen Parks, Yale BA 1961

Osbert Lancaster, Drayneflete Revealed, London: J. Murray, 1949, Gift of Stephen Parks, Yale BA 1961

___. Here, of All Places, Boston: Houghton Mifflin, 1958, Gift of Stephen Parks, Yale BA 1961

Batty Langley, The city and country builder’s, and workman’s treasury of designs, or, The art of drawing, and working the ornamental parts of architecture, London: Printed by J. Ilive for Thomas Langley, 1740, Sir Edwin Lutyens’s personal copy, inscribed with his name and London address, Gift of Rosemarie Haag Bletter and Martin Filler

D. H. Lawrence, Snake, mezzotint engravings by Judith Rothchild, Octon, France: Verdigris, 2014, no. 4 of 50 copies, with pen and ink drawing by Rothchild, and one of the original copper plates engraved by her, Acquired with funds from the Bequest of Daniel S. Kalk

Mary Linwood, Miss Linwood’s Gallery of Pictures in Worsted: Leicester Square, London: Rider and Weed, 1813, Paul Mellon Fund

James Lukin, Picture Frame Making for Amateurs: Being Practical Instructions in the Making of Various Kinds of Frames for Paintings, Drawings, Photographs, and Engravings, London: L. Upcott Gill, ca. 1882, Paul Mellon Fund

Vincenzo Lunardi, Ticket for viewing of balloon ascent at Artillery Ground, 1784, accompanied by stipple engraving of Lunardi and invitation for another ascent in pen and ink, Paul Mellon Fund

Thomas Gray, An Elegy Written in a Country Churchyard, London: Sampson Low, Son, and Marston, 1869, Gift of Rosemarie Haag Bletter and Martin Filler

Great Britain Patent Office, Patent No. 2861, Issued to Josiah Turner, for Improvements in Velocipedes, London, 1877, on vellum, with manuscript text completed in black ink, original blue paper revenue stamp. Attached to the foot of the document by red plaited cords is a double-sided yellow wax seal, housed in a black tin canister. Seal recto depicts Queen Victoria on horseback. Document and seal are enclosed in leather-covered wooden box, gilt-stamped. Paul Mellon Fund

Kate Greenaway, Coloring Book, Great Britain, 1882, Paul Mellon Fund

___. Kate Greenaway’s Painting Book with Outlines From Her Various Works for Boys and Girls to Paint, London and New York: Frederick Warne & Co. Ltd., ca. 1900, Paul Mellon Fund

William Hackwood, Fob seal, with motto “Am I Not a Woman and a Sister?,” England, 1825, gilding over copper or copper alloy, amethyst-colored glass, image and motto engraved in intaglio, Paul Mellon Fund

Halfer Company, Specimens of Marbling Produced by Using Halfer’s Marbling Inks, ca. 1920, samples of marbled paper, Friends of British Art Fund

Frederick Hanham, Natural Illustrations of the British Grasses, Bath: Binns & Goodwin, 1846, with natural specimens, Paul Mellon Fund

L. & C. Hardtmuth, Koh-I-Noor Refill Pencils: Adjusted to S. Mordan & Co.’s Gold and Silver Cedar Pencil Cases, Vienna, ca. 1935, six pencils in original printed packaging, Friends of British Art Fund

Thomas Hardy, Selected Poems of Thomas Hardy, illustrations by William Nicholson, London: Philip Lee Warner, 1921, no. 734 of 1025 copies, Gift of David Alan Richards, Yale BA 1967, JD 1972

William H. Hay, Architectural drawings of corbels and pendants, Great Britain, 1843, manuscript, pen and ink, Paul Mellon Fund

Mark Hearld and Martin Sutton, Mark Hearld’s Work Book, 2012, London: Merrell, Gift of Robert and Nancy Lindemeyer

John Henniker, A Letter to George, Earl of Leicester, President of the Society of Antiquaries, 1788, London: Printed by John Bell, with autograph letter from Henniker bound in, dated May 11, 1796, Gift of Stephen Parks, Yale BA 1961

Anne Marie Heynsen, Album of photographs belonging to a German Red Cross Nurse, Leipzig, ca. 1914–17, with arm-band, neck scarf, Red Cross pin, and postcards, Friends of British Art Fund

Highlights of the Royal Tour: Westward through Canada on the Line of the Canadian Pacific Railway, Montreal: Canadian Pacific Railway Company, 1939, Gift of Rosemarie Haag Bletter and Martin Filler

Percy Hobart, Coronation Durbar, Delhi, 1911, Surveyed by Lieut. P.C.S. Hobart, R.E., Roorkee, India: Photo.-Mechl. and Litho. Dept., Thomason College, 1911, map printed on cotton, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell

Jabez Hogg after Sir George Hayter, The Coronation of Queen Victoria, 28 June 1838, England, ca. 1841, quarter-plate daguerreotype, copy of the steel engraving by Hogg after Hayter’s painting, with gilt-metal mounts, in velvet-lined morocco case, Paul Mellon Fund

Hans Holbein, Drawings by Holbein from the Royal Library Windsor Castle, London: Johnson Reprint Co., 1983, no. 446 of 520 copies, Gift of David Alan Richards, Yale BA 1967, JD 1972

w pp. 34–35 from Kate Greenaway’s Painting Book with Outlines from Her Various Works for Boys and Girls to Paint, London, Frederick Warne & Co. Ltd., ca. 1900, wood engraving and chromoxylograph, Yale Center for British Art, Paul Mellon Fund

w Halfer Company, Specimens of Marbling Produced by Using Halfer’s Marbling Inks (detail), ca. 1920, marbled paper, Yale Center for British Art, Friends of British Art Fund

w Vincenzo Lunardi, Ticket for viewing of balloon ascent at Artillery Ground, 1784, engraving, Yale Center for British Art, Paul Mellon Fund

w Judith Rothchild, Snake by D.H. Lawrence (1885–1930), France, 2014, mezzotint and copper plate, Yale Center for British Art, Acquired with funds from the Bequest of Daniel S. Kalk

28 29

___. An Alphabet, Andoversford: Whittington Press, 1978, no. 88 of 150 copies, Gift of David Alan Richards, Yale BA 1967, JD 1972

___. The Book of Blokes, London: Faber & Faber, Ltd., 1929, Gift of David Alan Richards, Yale BA 1967, JD 1972

___. London Types, New York: R. H. Russell, 1898, Gift of David Alan Richards, Yale BA 1967, JD 1972

___. The Square Book of Animals, with rhymes by Arthur Waugh, London: W. Heinemann, 1900, Gift of David Alan Richards, Yale BA 1967, JD 1972

Oldfield family, Rhymes Ancient and Modern, England, 1900, manuscript, pen and ink and watercolor, Paul Mellon Fund

One Hundred and Thirty Years of Royal Photographs, Rugby: A. H. Jolly, 1977, Gift of Thomas Strong, Yale MFA 1967

John Palmer, Mail coach token, 1797, copper, Paul Mellon Fund Frank R. Panichelli, Sketchbook of designs for garden ornaments and architectural plasterwork, in pencil and watercolor, London, ca. 1925, Friends of British Art Fund

Panorama, Leicester Square: Explanation of a Magnificent View of Grand Cairo: Painted upon 10,000 Square Feet of Canvas, by H. A. Barker, from Drawings Taken by Mr. Salt, for Lord Valentia, from a Tower in the Old Citadel, Now Exhibiting in the Great Rotunda of the Panorama, Leicester Square: The Upper Circle Contains in Interesting View of Flushing, London: James Adlard and Henry Aston Barker, 1808 or 1809, broadside, woodcut and letterpress, Paul Mellon Fund

Panorama, Leicester Square: Explanation of the Beautiful View of Messina, in Sicily: Taken from the Light House, and Painted upon 10,000 Square Feet of Canvas by Henry Aston Barker, Now Exhibiting in the Great Rotunda of the Panorama, Leicester Square: The Upper Circle Contains an Interesting View of the Siege of Flushing, the Town in Flames, London: James Adlard and Henry Aston Barker, 1811, broadside, woodcut and letterpress, Paul Mellon Fund

Panorama, Leicester Square: Explanation of the View of Gibraltar and Bay, Taken from the Battery, Called the Devil’s Tongue: In the Upper Circle, Is a View of Edinburgh, London: James Adlard, Robert Barker, and Henry Aston Barker, 1805, broadside, woodcut and letterpress, Paul Mellon Fund

Panorama, Leicester Square: Now Exhibiting, in the First Circle, Paris: And in the Second Circle Is Exhibiting a Painting of Edinburgh and the Surrounding Country, London: James Adlard, and Robert Barker, 1805, broadside, woodcut and letterpress, Paul Mellon Fund

Panorama, Leicester Square: In the Lower Circle, Is Represented a Most Magnificent View of Paris, London: James Adlard, and Robert Barker, 1803, broadside, woodcut and letterpress, Paul Mellon Fund

Panorama, Leicester Square: Now Exhibiting in the Lower Circle, the Splendid View of Paris Taken by Mr. H. A. Barker in 1802: The Approbation This View Has Met With, Both for Accuracy and Grandeur, Has Induced Him to Re-Open It for a Few Months Previous to Exhibiting a View of Grand Cairo, Taken by Mr. Salt, Who Travelled with Lord Valentia, and Is Now Painting by Mr. H. A. Barker, London: James Adlard and Henry Aston Barker, 1808, broadside, woodcut and letterpress, with another copy, different state, Paul Mellon Fund

Papeterie for All Nations, boxed stationery, produced to commemorate the Great Exhibition of 1851, Great Britain, 1851, Paul Mellon Fund

Pattern book for lace and needlework, England, ca. 1822, ink with gray wash, Paul Mellon Fund

Paxton’s Magazine of Botany, and Register of Flowering Plants, London: Orr and Smith, 1834, Gift of Rosemarie Haag Bletter and Martin Filler

A. & F. Pears, Advertisement for Pears’ transparent soap, London, ca. 1879, letterpress on fine tissue paper, Paul Mellon Fund

Maggie Mackenzie, Botany notebook, Great Britain, ca. 1850, manuscript, pen and ink, watercolor, and graphite, Gift of Rosemarie Haag Bletter and Martin Filler

Douglas Macleane, Imago Regia: The Churchman’s Remembrance of the Two Hundred and Fiftieth Anniversary of the Decollation of King Charles the First, January the Thirtieth, 1649–1899, London: Chiswick Press, Charles Whittingham and Co., 1899, Gift of Stephen Parks, Yale BA 1961

E. J. Major, Marie Claire RIP: Jezebel, Paris: l’Heure dite, 2013, Friends of British Art Fund

Map of Cambridgeshire, London: Thomas Bowles, 1720, Gift of David Alan Richards, Yale BA 1967, JD 1972

Menu for wedding breakfast of future King George V and Queen Mary, July 6, 1893, Gift of Rosemarie Haag Bletter and Martin Filler

Andy Moore, Brush Up Your Shakespeare, Nuneaton, Warwickshire, 2016, broadside, pen and ink, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

Elizabeth Susanna Moore, Designs for embroidery and white work, nineteenth century, pen and ink, Paul Mellon Fund

Thomas Moore, Paradise and the Peri, London: Day & Son, 1860, Gift of Stephen Parks, Yale BA, 1961

Katharine Morling, Butterfly Cabinet, London, 2016, porcelain with black stain, in antique wood box, Acquired with funds from the Bequest of Daniel S. Kalk

___. Nature Boy, London, 2016, porcelain with black stain, in antique wood box, Acquired with funds from the Bequest of Daniel S. Kalk

___. Rummage and Gather, London, 2016, porcelain with black stain, earthstone, and glass, Acquired with funds from the Bequest of Daniel S. Kalk

Thomas Morris, A House for the Suburbs, Socially and Architecturally Sketched, London: Simpkin, Marshall, & Co., 1870, Paul Mellon Fund

Robert James Moser, Drawings of London street life, England, 1888, pen and black ink, Paul Mellon Fund

Henry Murray, The Art of Painting and Drawing in Coloured Crayons: Being a Course of Instruction for the Execution of Portraiture and Landscape, London: Winsor & Newton, 1906–16, Friends of British Art Fund

J. F. Nash, The Boat Race and Who Went to It, London: H. G. Clarke & Co., 1868, Paul Mellon Fund

Negretti & Zambra, Stereographoscope, accompanied by wooden box of stereoscopic glass slides of European cities, London, ca. 1875, wood, brass, and glass, Paul Mellon Fund

Edward Newton, Nothing at the Moment, Great Britain: Highchair Editions, 2014, Friends of British Art Fund

A New Version of the Psalms of David, Fitted to the Tunes Used in Churches, Oxford: Printed at the Clarendon Press, by Samuel Collingwood and Co, 1825, Gift of Stephen Parks, Yale BA, 1961

New York Times Co., The War of the Nations, 1914–19: Portfolio in Rotogravure Etchings, New York City, NY: Published by the New York Times Co., 1919, Gift of Ellen and Arthur Liman, Yale JD 1957

William Nicholson, An Almanac of Twelve Sports & London Types, Andoversford: Whittington Press, 1980, no. 93 of 150 copies, Gift of David Alan Richards, Yale BA 1967, JD 1972

___. An Alphabet, London: William Heinemann, 1898, Gift of David Alan Richards, Yale BA 1967, JD 1972

w Negretti & Zambra, Stereographoscope with glass slide of Paris, London, ca. 1875, wood, brass, glass, Yale Center for British Art, Paul Mellon Fund

w Robert James Moser, Punch and Judy show, from Drawings of London Street Life, England, 1888, pen and black ink, Yale Center for British Art, Paul Mellon Fund

w William Nicholson, “F is for Flower Girl” from An Alphabet, London, 1898, chromolithograph, Yale Center for British Art, Gift of David Alan Richards, Yale BA 1967, 1972 L

w Panorama, Leicester Square: Explanation of a Magnificent View of Grand Cairo, London, James Adlard and Henry Aston Barker, 1808 or 1809, woodcut and letterpress, Yale Center for British Art, Paul Mellon Fund

w A. & F. Pears, Advertisement for Pears’ transparent soap (detail), London, ca. 1879, letterpress, on fine tissue paper,

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Recipes for Inks and Colours, Great Britain, ca. 1820, manuscript, pen and ink, Paul Mellon Fund

J. Reynolds, A New Set of Round Hand Copies, London: G. Berger, 1836, Paul Mellon Fund

Katya Robin, Thinking about Duckrabbits, England: Katya Robin Studio, 2015, Friends of British Art Fund

Duncan Robinson, World Views: The Watercolor Diaries of Tony Foster, Seattle, Wash.: Frye Art Museum, in association with the University of Washington Press, 2000, signed by author, Gift of Duncan and Lisa Robinson

Royal Air Force, Special Air Service, Escape compass, Survival pack issue, London: Blunt, ca. 1945, brass case, acrylic dome, magnetic dial, Friends of British Art Fund

Royal Mail, The Honeybee: Royal Mail First Day Cover, stamp designed by Andy English, Edinburgh: Royal Mail, 2015, mint stamps and first day cover, signed by artist, Gift of the Artist and Friends of British Art Fund

The Royal Wedding: Prince Charles and Lady Diana: official pictures, Schaan: Drei Sterne Verlag, 1981, Gift of Thomas Strong, Yale MFA 1967

Gilbert Rumbold, The Wayside Book, London: Methuen & Co. Ltd., 1934, Gift of Stephen Parks, Yale BA 1961

Michael Russem, A Brief Survey of Postage Stamps by AIGA Medalists, Cambridge, Mass.: Kat Ran Press, 2013, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

Dolores de Sade, Super, Great Britain, 2015, Friends of British Art Fund

St. John Ambulance Association, Triangular bandage, printed with illustrations of bandage use, Great Britain, ca. 1920, printed linen, Friends of British Art Fund

Barbara Salvadori, 40 Ft. Containers, London: Shipping Press, 2015, Friends of British Art Fund

Charles H. Savory, The Practical Carver and Gilder’s Guide, and Picture Frame Makers Companion, London: Kent & Co., ca. 1877, Paul Mellon Fund

The Savoy (no. 1, Jan 1896–no.8, Dec 1896), London: Leonard Smithers, 1896, Gift of Rosemarie Haag Bletter and Martin Filler

Marie Schild, One Thousand Characters Suitable for Fancy Costume Balls, London: Samuel Miller, ca. 1884, Paul Mellon Fund

The Scholar’s Slate Pencils for Clever Boys and Girls. Very Best. Velvet Finish, Noiseless, Warranted Not to Scratch, printed envelope with seven slate pencils, ca. 1890, Paul Mellon Fund

Sea-Side Home at Broadstairs: Freely Ye Have Received, Freely Give, Broadstairs, Kent, ca. 1880, request for donations, photograph with letterpress, Paul Mellon Fund

William Shakespeare, based on the life-size white marble statue by Peter Scheemakers, Derby, England, ca. 1790–1805, soft-paste porcelain, painted in enamels, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

William Shakespeare, The Complete Works of William Shakespeare, London: Anthony Terherne and Co., Ltd., 1903–07, 40 vols., with wood bookshelf , Gift of Neale Albert, Yale JD 1961, and Margaret Albert

___. Shakespeare’s A Midsummer Night’s Dream, retold by Samuel Davis: and illustrated by Alice B. Woodward, London: G. Bell & Sons, 1930, Gift of Bert Boyson

___. Sonnet 11, Seaton, England: Old School Press, 2016, broadside, letterpress, one of 30 copies, on handmade paper, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

Sharpe’s Classic British Manufacture, Trade catalogue of memorial cards, ca. 1936, Friends of British Art Fund

Henry D. Smith, Ladies Running Hand: School Copies No. 15, Snow Hill: C. Chabot, ca. 1854, penmanship manual, Paul Mellon Fund

Robert McCracken Peck, The Natural History of Edward Lear (1812–1888), Jaffrey, New Hampshire: David R. Godine, 2016, Gift of Robert McCracken Peck

John Perkins, Floral Designs for the Table: Being Directions for Its Ornamentation with Leaves, Flowers & Fruit, with Classified Lists of Suitable Plants, Berries, and Leaves, and Twenty-Four Original Coloured Designs, London: Wyman & Sons, 1877, Paul Mellon Fund

Petty’s Standard Drawing Book, Leeds: J. W. Bean & Son, ca. 1891, Paul Mellon Fund

Peyton & Iles, Exhibition Pins for All Nations, produced to commemorate the Great Exhibition of 1851, Great Britain, 1851, straight pins in cardboard holder, with image of Crystal Palace, Paul Mellon Fund

Sir Claude Phillips, Antoine Watteau, London: Seeley and Co., 1895, bound with The Picture Gallery of Charles I, London: Seeley and Co., 1896, Gift of Rosemarie Haag Bletter and Martin Filler

___. The Later Work of Titian, London: Seeley and Co., 1898, bound with The Earlier Work of Titian, London: Seeley and Co., 1897, Gift of Rosemarie Haag Bletter and Martin Filler

Photograph of Brigadier-General William H. Sitwell, Gift of Gregory F. W. Todd, Yale BA 1976, in memory of Joan Castle Sitwell

Plastic Gold: The Story of Rubber in the Service of Mankind, London: Reliance Rubber Company, Limited, 1889, with pamphlet entitled War. Sept. 3rd, 1939 laid in, Gift of Stephen Parks, Yale BA 1961

Poems of the Great War, London: Chatto & Windus, 1914, Gift of David Alan Richards, Yale BA 1967, JD 1972

Portrait of a man holding a carte de visite, England, ca. 1891, gelatin or collodion printing-out-paper print, mounted on card, Paul Mellon Fund

Portrait of David Miller, Scotland, ca. 1850, daguerreotype within brooch of gold and glass, engraved inscription on verso, Paul Mellon Fund

Postcards (ca. 1,000) depicting the British Royal family, 1897–2013, Gift of Rosemarie Haag Bletter and Martin Filler

Jana Pribíková, Works of William Shakespeare, London: Allied Newspapers, 1904, bound in goatskin and decorated using a variety of techniques and materials, including gold and silver tooling; snakeskin and goatskin onlays and marbled paper, 2005, 40 vols., Gift of Neale Albert, Yale JD 1961, and Margaret Albert

Printer’s sample book, London, ca. 1850, twelve tinted or embossed sample leaves, most set with in elaborate printed borders, Paul Mellon Fund

A. W. N. Pugin, Contrasts, or, A Parallel Between the Noble Edifices of the Middle Ages, and Corresponding Buildings of the Present Day: Shewing the Present Decay of Taste, London: Charles Dolman, 1841, Gift of Rosemarie Haag Bletter and Martin Filler

___. Floriated Ornament: A Series of Thirty-one Designs, London: Henry G. Bohn, 1849, Gift of Rosemarie Haag Bletter and Martin Filler

Pumphrey & Day, Photographs of Wye Scenery, Birmingham: Pumphrey & Day, ca. 1880, twenty-five collotypes, Paul Mellon Fund

François Rabelais, The Works of Mr. Francis Rabelais, illustrations by W. Heath Robinson, London: Grant Richards, 1904, Gift of Bert Boyson

Peter Rapp, The White Men of Leicester: Archaeology for Segregationists, Leicester, England, 2015, Friends of British Art Fund

w Portrait of a man holding a carte de visite (detail), England, ca. 1891, Yale Center for British Art, Paul Mellon Fund

w John Perkins, one of twenty-four designs from Floral Designs for the Table, Being Directions for its Ornamentation with Leaves, Flowers & Fruit, London, 1877, chromolithograph, Yale Center for British Art, Paul Mellon Fund

w St. John Ambulance Association, Triangular bandage, printed with illustrations of bandage use, Great Britain, ca. 1920, printed linen, Yale Center for British Art, Friends of British Art

w Harriet Wickham, “Drosera rotundifolia” (detail), from Album of Watercolors of Flowering Plants in Yorkshire and Cumbria, England, 1796–1803, watercolor and gouache over graphite, Yale Center for British Art, Paul Mellon Fund

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Cornelius Varley, A Treatise on Optical Drawing Instruments, London: Horne, Thornthwaite & Wood, 1845, Paul Mellon Fund

Veronica Vassey, The Practical Paper Fruit Maker: A New and Original Kindergarten Occupation for Girls and Infants, London: A. Brown & Sons, Limited, 1900, Paul Mellon Fund

Vernon & Co., The Vernaid Bandage, England, 1925, printed linen, Friends of British Art Fund

Victoria, Queen of Great Britain, Leaves from the Journal of Our Life in the Highlands from 1848 to 1861, London: Smith, Elder & Co., 1868, Gift of Rosemarie Haag Bletter and Martin Filler

Voyage Boxed: Sea Journeys, Island Hopping & Trans-Oceanic Concepts, Dortmund: Künstlerhaus Dortmund, 2014, no. 45 of 50 copies, Friends of British Art Fund

R. W., Album of Landscapes, Figures, and Copies, England, 1850, watercolors, Paul Mellon Fund

Watercolor box, owned by Eliza Briscoe, Great Britain, nineteenth century, Paul Mellon Fund

Waterlow and Sons, The Centograph: The Most Simple, Rapid and Effective Copying Apparatus, London: Waterlow & Sons Limited, ca. 1870, Paul Mellon Fund

Kaye Webb, The St. Trinian’s Story, illustrations by Ronald Searle, London: Perpetua Books, 1959, Gift of Stephen Parks, Yale BA 1961

Elizabeth Wellesley, Duchess of Wellington, Spicilegium Florae Hantoniensis, Ewhurst Park, Hampshire, ca. 1855, natural specimens, Paul Mellon Fund

David Dwight Wells, Her Ladyship’s Elephant, London: William Heinemann, 1898, Gift of David Alan Richards, Yale BA 1967, JD 1972

Albert Francis Wenger, Photograph album of pottery manufactured by Albert Wenger, Hanley, Staffordshire, England, 1888, albumen prints with manuscript annotations, Paul Mellon Fund

Whitehead & Hoag, Queen Victoria’s Diamond Jubilee souvenir badge, Newark, NJ: 1897, silk, Paul Mellon Fund

Harriet Wickham, Album of Watercolors of Flowering Plants in Yorkshire and Cumbria, England, 1796–1803, manuscript, watercolor and gouache over graphite, Paul Mellon Fund

Emma S. Windsor, Babies’ Crawling Rugs and How to Make Them, With a Few Hints to Mothers and Nurses about Kindergarten Toys and How to Use Them, London: Griffith, Farran, Okeden & Welsh, 1887, Paul Mellon Fund

Winsor & Newton, Ever Pointed Tubular Drawing Pencils, ebony with silver-plated fittings in morocco case, London: Winsor & Newton, 1858, Paul Mellon Fund

Joseph Woods, Fob seal, with motto “Am I Not a Man and a Brother?,” England, 1787, gilding over copper or copper alloy, cornelian-colored glass, Paul Mellon Fund

Sir James Wright, Valuation of Pictures at the Northington Grainge, England, 1786, manuscript, pen and ink. Accompanied by Particulars and Conditions of Sale of Several Very Valuable Manors . . . which will be Sold by Auction, by Mr. W. Young, on 11 April 1787 . . . , printed auction catalogue, with some price annotations in ink; and John Thomas Batt, State of Sales of Lord Northington’s Estates April 14, 1787, manuscript, England, 1787, Paul Mellon Fund

Samuel Wyld, The Practical Surveyor, or, The art of Land-Measuring Made Easy, London: Printed for H. Lintot, ca. 1737, Paul Mellon Fund

Young woman holding dead child, ca. 1850s, hand-colored and gold-tinted ambrotype in gilt oval mount, in folding leather case with clasp, Paul Mellon Fund

Jan and Jarmila Jelena Sobota and Dalibor Nesnídal, Shakespeare’s Sonnets in Cabinet, 2014, set of Shakespeare’s Sonnets printed and bound by Jan and Jarmila Sobota, 2002, in wood cabinet designed and executed by Dalibor Nesnídal, housing books and other objects, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

Specimens of Articles in Common Use, Great Britain, ca. 1840–60, wooden box containing 141 small specimens of natural specimens and other objects, with booklet, Paul Mellon Fund

F. Maurice Speed, Movie Cavalcade: The Story of the Cinema, Its Stars, Studios, and Producers, London: Raven Books Ltd., 1944, Gift of Stephen Parks, Yale BA 1961

Kathryn Spink, Invitation to a Royal Wedding, London: Crescent Books, 1981, Gift of Thomas Strong, Yale MFA 1967

Frank Steeley, Bacon’s Excelsior Drawing Cards, London: G.W. Bacon & Co., 1893, Paul Mellon Fund

V. L. Strickland, Album of Regimental emblems and crests, sketches, brief verses, autographs, and notes of endearment, compiled at the Birmingham War Hospital, ca. 1916, pen and ink, watercolor, and graphite, Friends of British Art Fund

Emily Sutton, Three birds, England, ca. 2008, painted and embroidered cotton fabric, wrapped wire, glass, and wood, Gift of Robert and Nancy Lindemeyer

___. Transferware Treasures, Yorkshire: Fleece Press, in slipcase, signed by artist, 2014, Gift of Robert and Nancy Lindemeyer

K. M. T., Flowers of Skye, 1899–1901, manuscript, album of watercolors over graphite, Paul Mellon Fund

William Henry Fox Talbot, Calotype View of Queen’s College, Oxford, England, early 1840s, salted paper print from two calotype negatives, one for image and another for caption, with ink, reworked by H. W. Smith, 1940s, Paul Mellon Fund

Chisato Tamabayashi, Follow, London, 2015, Acquired with funds from the Bequest of Daniel S. Kalk

___. Rainbook, London, 2015, no. 12 of 37 copies, signed by the artist, Acquired with funds from the Bequest of Daniel S. Kalk

Edward Lance Tarbuck, editor, The Encyclopaedia of Practical Carpentry and Joinery, London: J. Hagger, 1859, Paul Mellon Fund

Nahum Tate, A New Version of the Psalms of David, Fitted to the Tunes Used in Churches, Oxford: Printed at the Clarendon Press, by Samuel Collingwood and Co., 1825, Gift of Stephen Parks, Yale BA 1961

Alwyne Geoffrey Thompson, The Royal Thames: A Pageant in Pictures of London’s Gateway to the Sea, London: Eagle & Queen Line Steamers, 1937, Gift of Thomas Strong, Yale MFA 1967

W. Outram Tristram, Coaching Days and Coaching Ways, London: Macmillan and Co., 1893, Gift of Bert Boyson

John Tyrer, Taxidermy Made Easy, London: James Gardner, 1858, Paul Mellon Fund

United Church of England and Ireland, The Book of Common Prayer, and Administration of the Sacraments, and Other Rites and Ceremonies of the Churchs, Oxford: Clarendon Press, 1826, Gift of Stephen Parks, Yale BA 1961

w Jan and Jarmila Jelena Sobota and Dalibor Nesnídal. Shakespeare’s Sonnets in Cabinet, 2014. Set of Shakespeare’s Sonnets (Loket, Czech Republic: Jan and Jarmila Sobota, 2002), bound by Jan and Jarmila Jelena Sobota. Wood cabinet designed and executed by Dalibor Nesnídal, Yale Center for British Art, Gift of Neale Albert, Yale JD 1961, and Margaret Albert

w Specimens of Articles in Common Use, Great Britain, ca. 1830, one tray from wooden box containing 141 specimens, Yale Center for British Art, Paul Mellon Fund

w Diamond Jubilee souvenir badge, Newark, N.J., Whitehead & Hoag Company, 1897, badge and silk ribbon, Yale Center for British Art, Paul Mellon Fund

w Albert Francis Wenger, from Photograph album of pottery manufactured by Albert Wenger, England, 1888, albumen prints with manuscript annotations, Yale Center for British Art, Paul Mellon Fund

w Winsor & Newton, Ever Pointed Tubular Drawing Pencils, London, 1858, ebony with silver-plated fittings, Yale Center for British Art, Paul Mellon Fund

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selected works on loan

Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern WorldKensington Palace, June 22–November 12, 2017Richard Wilson’s painting Prince George and Prince Edward Augustus, Sons of Frederick, Prince of Wales, with Their Tutor Dr. Francis Ayscough (1748–49), will be on loan to the exhibition.

Casanova: The Seduction of EuropeKimbell Art Museum, August 27–December 21, 2017This exhibition will include four works from the Center’s Paul Mellon Collection.

The Angel of MercyThe Foundling Museum, September 2017– January 2018. John Highmore’s The Angel of Mercy (ca. 1746), along with three other works from the Center’s Paul Mellon Collection, will be on display.

paul mellon centre for studies in british art

The sister of the Yale Center for British Art and a part of Yale University, the Paul Mellon Centre for Studies in British Art (PMC) was founded in 1970 through a generous gift from Paul Mellon. Located in central London, it provides scholars with resources and facilities to study British art and culture. The PMC also awards fellowships and grants, organizes conferences, publishes scholarly books, and is home to Yale in London, a credit-

granting course of study that introduces Yale College students to British art, architecture, history, literature, and drama.

academic activitiesThe PMC will offer a series of research seminars and lunches throughout May and June 2017. Research seminars will be given by distinguished scholars and will showcase original research in all areas of British art and architectural history. Research lunches will be geared to doctoral stu-dents and junior scholars to help foster a sense of community among junior colleagues working in the field. In May, the PMC will partner with Tate Britain to host a panel discussion and conference, A Bigger Picture: New Approaches to David Hockney, which will bring together current research and scholarship to open new art historical, literary, and intellectual connections to the iconic artist.

publicationsThe PMC’s summer publications include The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain, by Ben Highmore, and Modern Painters, Old Masters: The Art of Imitation from the Pre-Raphaelites to the First World War, by Elizabeth Prettejohn.

yale in londonThis year the Center and the PMC mark the fortieth anniversary of the Yale in London (YIL) study abroad program. This summer’s term carries on the YIL tradition of offering British-focused courses, taught at the PMC by Yale and British professors. YIL offers students a unique opportunity to learn

about a subject through immersing themselves in the sites, archives, and objects that the course focuses on, while experiencing life in one of the world’s great cities.

Summer courses in 2017 include Queenship and Female Power from the Tudors to the Modern Age (BRST 188), taught by Lisa Ford, Assistant Director of Research, Yale Center for British Art; Modern British Drama (BRST 478), taught by Sheila Fox, freelance critic and BBC producer; Photography in Victorian and Edwardian Britain: Aesthetics, Ethics, and Politics (BRST 150), taught by Sean Willcock, Postdoctoral Fellow, Paul Mellon Centre for Studies in British Art; and The British Empire and its Imperial Hub (BRST 151), taught by Jonathan Wyrtzen, Associate Professor of Sociology, History, and International Affairs at Yale.

traveling exhibition

Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World

Kensington Palace, London, United KingdomJune 22–November 12, 2017

This groundbreaking exhibition, the first to explore the role of royal women in the promotion of the arts and sciences in Britain over the course of the long eighteenth century, will be on view at Kensington Palace, on the very grounds once occupied and developed by the exhibition’s prin-cipal subjects: Caroline of Ansbach (1683–1737), Augusta of Saxe-Gotha (1719–1772), and Charlotte of Mecklenberg-Strelitz (1744–1818). Each held the position of senior woman at court and helped shape the evolution of myriad fields of British en-deavor ranging from manufacturing to gardening, architecture to obstetric medicine, music to botany, optics to royal genealogy, and literature to political economy. Their innovations and interests, both as representatives of an emerging dynasty and as individuals, continue to resonate today. The display of objects associated with the princesses’ lives and projects in their palaces and gardens will feature key loans from major institutions and

private collections in Britain, the United States, and Europe, as well as a new work by Yinka Shonibare MBE (RA) entitled Mrs Pinkney and the Emancipated Birds of South Carolina, which was created specially for the exhibition and recently acquired by the Center. Curated by Dr. Joanna Marschner, Senior Curator at Historic Royal Palaces, the exhibition was previously on view at the Center from February 2 to April 30, 2017.

future exhibition

“Things of Beauty Growing” British Studio Pottery

September 14–December 3, 2017

This exhibition will tell the story of studio pottery in Britain, from the 1920s to the present, through the evolution of the vessel form. Jar, bowl, charger, monumental urn: this family of forms ties ceramics to its functional origins. A vessel exists to hold or contain—a purpose it may fulfill literally, metaphorically, or both. The antiquity of the vessel, the familiarity of its shapes and forms, provides a ready-made language, which ceramic artists have for decades invoked and emulated but also distanced, transformed, and renewed. The exhibition will trace the major typologies that have defined studio ceramics since the early twentieth

century, such as the mysterious form of the moon jar, originally developed in Korea during the Joseon dynasty and reinterpreted in twentieth-century Britain as an emblem of transcendence. A series of archetypal forms will be presented that mark out a loose chronology, as well as a trajectory of thinking: from the tea bowls that Bernard Leach brought from Japan and shaped into the foundations of British pottery to recent monumental works by Julian Stair, Felicity Aylieff, and Edmund de Waal, which have pushed the medium beyond limits previously imagined.

“Things of Beauty Growing”: British Studio Pottery is being organized by the Yale Center for British Art in partnership with The Fitzwilliam Museum, University of Cambridge, and co-curated by Martina Droth, Deputy Director of Research and Curator of Sculpture at the Center; Glenn Adamson, Senior Research Scholar at the Center; and Simon Olding, Director, Crafts Study Centre, University for the Creative Arts, UK. The organizing curators at The Fitzwilliam Museum are Victoria Avery, Keeper, and Helen Ritchie, Research Assistant, Department of Applied Arts. The exhibition will be accompanied by a publication of the same title, an elegantly assembled catalogue co-edited by Droth, Olding, and Adamson. Co-published with The Fitzwilliam Museum in association with Yale University Press, this book will feature contributions by an international team of scholars and the biographies and portraits of artists presented in the exhibition.

w Johan Joseph Zoffany, Queen Charlotte (detail), 1771, oil on canvas, Royal Collection Trust, UK, © Her Majesty Queen Elizabeth II 2017

w Jennifer Lee, Dark, amber flashing, emerging rim, 1993, hand-built stoneware; Dark olive, umber haloed bands, flashing, tilted shelf, 2016, hand-built stoneware; Pale, frac-tured speckled spiral and traces, 2008, hand-built stone-ware, Collection of Jennifer Lee, London, © Jennifer Lee

w Alison Britton, Leaning Blue and White Pot, 1987, hand-built, high-fired earthenware, painted with slip and un-derglaze pigment under a clear matt glaze, Victoria and Albert Museum, London, gift of Ed Wolf, © Alison Britton

w Joseph Highmore, The Angel of Mercy (detail), ca. 1746, oil on canvas, Yale Center for British Art, Paul Mellon Collection

w Summer 2016 Yale in London students visit Blenheim Palace with Professor Brian Fuermann.

museum hoursTuesday–Saturday, 10 am–5 pmSunday, noon–5 pmClosed Mondays and July 4

shop hours Monday–Saturday, 10 am–5 pm; Sunday, noon–5 pm

reference library hoursTuesday –Friday, 10 am–4:30 pm

pre-sorted

first class mail

u.s. postage paid

new haven, ct

permit no. 526

ycba.info@yale.edubritishart.yale.edu

1080 Chapel StreetP.O. Box 208280 New Haven, CT 06520-8280

203 432 2800 | 877 brit art

YA L E

C E N T E R

F O R

B R I T I S H

A R T

cover: Gwen John, Still Life with a Prayer Book, Shawl, Vase of Flowers and Inkwell (detail), late 1920s, oil on canvas, Yale Center for British Art, Paul Mellon Collection

below:John Golding, Untitled (detail), 1982, pastel and mixed media on paper, Yale Center for British Art, Gift of the John Golding Artistic Trust, 2017