Collections : [Yale University -Yale Center for British Art]

The album was compiled by Henry Sanford Bicknell. It includes letters to David Roberts from William Allan, Samuel Austin, Edward Hodges Baily, William Boxall, John Britton, John Burnet, Robert William Buss, Augustus Wall Callcott, George Cattermole, Alfred Edward Chalon, Henry Barnard Chalon, William Collins, Edward William Cooke, George Cooke, Charles West Cope, John Doyle, Thomas Duncan, Charles Lock Eastlake, James Elmes, William Etty, Myles Birket Foster, Andrew Geddes, Frederick Goodall, Francis Grant, Thomas Grieve, Joseph Gwilt, James Duffield Harding, Philip Hardwick, George Hayter, Solomon Alexander Hart, George Harvey, John Henning, John Rogers Herbert, Henry Howard, William John Huggins, Alexander Johnston, Samuel Joseph, William Kidd, John Prescott Knight, George Lance, Richard James Lane, John Leech, Charles Lees, Charles Robert Leslie, John Frederick Lewis, William Linton, Henry Liverseege, Samuel Lover, Horatio Macculloch, Patrick MacDowell, Robert McInnes, Daniel Maclise, Daniel Macnee, William Calder Marshall, John Martin, William Mulready, Frederick Newenham, William John Newton, John Buonarotti Papworth, Thomas Phillips, Henry William Pickersgill, William Henry Playfair, Samuel Prout, Richard Redgrave, Ramsay Richard Reinagle, Edward Villiers Rippingille, Richard Rothwell, John Christian Schetky, George Gilbert Scott, Martin Arthur Shee, William Simpson, Clarkson Stanfield, Robert Thorburn, William Tite, Charles Turner, J.M.W. Turner, Thomas Uwins, Edward Matthew Ward, Henry Weekes, Richard Westmacott, David Wilkie, James Francis Williams, Chares Heath Wilson, and William Wyon.

The collection comprises material relating to the theatrical manager and producer, Alfred Wareing, and his family. Incudes photographs, correspondence and clippings.

This collection consists of audio and video material about the Yale Center for British Art that has been created by other entities. Highlights of the collection include media about the opening of the Center, documentaries from television and public radio related to the Center and its exhibitions, and the film "Something to Brighten up the Morning" about Paul Mellon's horse Mill Reef.

Clutterbuck's work was published as: The history and antiquities of the county of Hertford, compiled from the best printed authorities and original records, by Robert Clutterbuck (London: Nichols, Son, and Bentley, 1815-1827).

This collection contains publications related to the Yale Center for British Art and its directors, the Paul Mellon Centre, Paul Mellon, Rachel Lambert Mellon, the Mellon family, and Louis I. Kahn.

This collection of recordings by Zack Bjork consists of the interviews, footage, music, and final twelve-minute film he created in conjunction with museum staff in 2016 about the conservation of the Yale Center for British Art. The documentary provides insight into the architecture of the Center's iconic building designed by Louis I. Kahn, the recently completed building conservation project, and the relationship of the building to the Center's permanent collections.

This collection consists of photographs and negatives created between 1970 and 1998 that relate to the formation, use, and renovation of the Yale Center for British Art. It includes photographs of the building's construction and public use, original building plans and elevations, and images of architect Louis I. Kahn on site. It also includes photographs of programs, events, and staff.

The collection comprises designs, notes & miscellaneous papers relating to buildings and agricultural improvements for Edgeworthstown, Richard Lovell Edgeworth's model village in Ireland, 1796-1815. Most of the designs and notes are by Daniel Augustus Beaufort, father in law of R.L. Edgeworth.

This collection consists of a scrapbook compiled by Jack Brown, the first Librarian at the Yale Center for British Art. It includes chronologically arranged newspaper articles, press releases, and correspondence from 1964-1969. Also included are articles about the exhibition of Paul Mellon's British art collection at the Yale University Art Gallery (1965), his gift of artwork to Yale (1966), the appointment of Jules Prown as Director of the Yale Center for British Art (1968), and the selection of Louis Kahn as the Center's architect (1969).

The collection comprises thirteen manuscript volumes, each of which contains numerous illustrations as well as transcriptions of letters originally composed while Forbes was in India, with a particular concentration on the natural history of India. The manuscript was finished in 1800, although most of the drawings are those done at the time of the voyage, circa 1765-1776. Volume 1 includes a presentation page, dated 11 April 1800, in which Forbes gives the set to his daughter, Elizabeth Rosée Forbes. Elizabeth would later edit and revise the second edition of Forbes's Oriental memoirs (1834).

This collection consists of verbatim transcripts from the interviews of Louis I. Kahn conducted by John W. Cook and Heinrich Klotz between July 15, 1969 and April 5, 1970. It also includes the hardcover book produced from these interviews: "Louis I. Kahn in Conversation: Interviews with John W Cook and Heinrich Klotz, 1969-1970" edited by Jules David Prown and Karen E. Denavit, published in 2014, and signed by both editors on April 15, 2015.

This collection comprises two audio cassette tape recordings, as well as their digitized versions, of an interview of Jules David Prown by Alessandra Latour, held in New Haven, Connecticut on June 23, 1982. In the interview, Prown discusses architect Louis I. Kahn and his work.

This collection consists of the transcript of an interview with Jules Prown by Karen E. Denavit and accompanying color photographs. The interview was conducted at the Yale Center for British art between March 1 and June 26, 2013. In it, Prown discusses his family, education, and time as Director of the Center. Prown edited the interview and wrote a brief introduction, which is included in this manuscript.

This collection consists of three interviews with Jules David Prown conducted on separate days in September 2004 by Jack Meyers when he worked in the Office of the Provost. The interviews cover the establishment of the Yale Center for British Art, as recollected by Jules Prown.

The project includes a paper transcript and recordings of the Jules David Prown Oral History Project. For the project, information analyst Karen E. Denavit interviewed Prown about his family, professional life, and travels. Particular attention is paid to Prown's interactions with Paul Mellon in the years 1968-1977, while the Yale Center for British Art's building and design were being decided.

The collection spans the years 1975-2003 and reveals Ken Campbell's creative process throughout his career as a book artist. The bulk of the collection contains Ken Campbell's artist book materials and separate prints which relate to several of his books. Proofs, extra sheets, letterpress forms, zinc etching plates, photographs, negatives and dummies document Campbell's creative process.

This collection consists of thirteen watercolors showing different scenes at the Yale Center for British Art, including views of the building's exterior and of sculptures inside it.