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.

This collection consists of a special edition reprint of National Geographic magazine from March 1967 with the headline "The National Gallery after a Quarter Century by John Walker, Director, National Gallery of Art." It is 38 pages in length and includes color photographs. Paul Mellon and the Mellon family feature prominently within the magazine's articles.

The Paul and Rachel Mellon Dealer Files contain records relating to the purchase of rare books and artwork, including prints, etchings, engravings, drawings, sculpture, and paintings, by the Paul Mellon family. The records comprise correspondence, records, images, and invoices between various dealers, Paul Mellon, and his assistants and art advisors. Many files include detailed provenance, biographical, and conservation information for the artworks, as well as photocopied exhibition catalogs. There are records pertaining to artwork found at the Yale Center for British Art, the National Gallery of Art, and the Virginia Museum of Fine Arts, among other institutions. The John Baskett invoices are records related to artworks purchased through John Baskett, Ltd., a dealership run by Paul Mellon's close friend and advisor, John Baskett from 1964-1990, from whom the Mellon's purchased many works of British art currently on display at the Yale Center for British Art.

This collection consists of 126 8x10 color photographs taken of the Brick House, Paul Mellon's personal gallery on his property in Virginia. The photographs detail both the collection of work amassed within the gallery and the exterior of the house. The photos are attributed to Steven Tucker. They are believed to have been taken in the 1980's and sent to the Yale Center for British Art in 2001 for use in the exhibition catalogue "The Paul Mellon Bequest: Treasures of a Lifetime."

This collection consists of the biannual newsletters for the Paul Mellon Centre for Studies in British Art from the charity's inaugural issue in December 1995 to May 2017.

This collection consists of a run of publications by the Paul Mellon Centre for Studies in British Art from 1966 to 2014.

This collection consists primarily of correspondence between Basil Taylor, Paul Mellon, and Mellon's advisors, including Mellon's first curator, the art dealer John Baskett, regarding the development of Mellon's British art collection. These papers cover the years 1959 through 1975, the year of Taylor's death, with the bulk spanning 1960-1969, the years of Mellon, Baskett, and Taylor's most active collaboration and collection building. The correspondence includes telegrams, letters, lists of artworks from auction houses, and internal memoranda recorded by Mellon's primary secretaries, such as Ethel Orendorff and Beverley Carter. Other significant correspondents represented in the collection are Willis Van Devanter, Mellon's librarian; Leslie Cheek, curator at the Virginia Museum of Fine Art; various associates at the National Gallery of Art, Agnew's, and Colnaghi; and Dudley Snelgrove, another advisor and curator of British prints and drawings. The correspondence provides insight into Mellon's collecting habits, and it documents the friendship and working relationship between Taylor and Mellon.

This collection consists of correspondence between Paul Mellon (1907-1999) and E. Bartlett Barnes (1908-1994). Mellon often included in his correspondence information about accomplishments and news notes for the Yale '29 alumni column, which was written by Barnes. There is correspondence about "The Mountain Club," of which Mellon was a member at Yale, and newspaper clippings about Mellon's donation of art to the National Gallery (September 30, 1995). There are also significant materials related to Mellon's racing career including pamphlets from Rokeby Stables, a photograph of Sea Hero at the Kentucky Derby, and newspaper articles about Rokeby Stables.

This collection consists of three notebooks created by Paul Mellon for a "Pictorial Art" class at Yale University during his undergraduate studies (1925-1929). The notebooks include Mellon's professor's course material on pictorial art, pictures of artwork, and Mellon's handwritten notes. The notes include Mellon's critiques and analyses of the artworks, which span from ancient to contemporary.

The collection comprises 16 cabinet photographs and 11 carte-de-visite photographs, dated between 1862 and 1892, relating to the Wake and Bellhouse families of Sheffield. With a small oval portrait in a contemporary frame, and a mid-19th century original manuscript story written by a young girl, entitled "The History of a Dog, True Story."

This collection consists of the Advancement and External Affairs department records from 1966 to 2015. A major component is related to exhibitions held at the Center; this includes flyer designs, invitations, videos, brochures, press clippings, bookmarks, rack cards, visitor reports, and photographs. There are also records related to Friends of British Art. Public relations documentation accounts for much of the collection.

This collection consists of the Yale Center for British Art annual reports from 1972-2016.

This collection consists of material related to the construction and maintenance of the Yale Center for British Art. It includes correspondence, publications, architectural sketches, mechanical specification notebooks, photographs, and slides.

This collection consists of materials related to the history of the Yale Center for British Art building that have been collected by the Institutional Archives department and span from 1966 to 1990. It includes various publications and media, such as CD-ROMS, VHS cassette tapes, catalogs, and newspaper clippings.

This collection contains collection condition surveys that have been entered into TMS.

This collection consists of administrative files, promotional materials, press releases, and records of Yale Center for British Art exhibitions. This collection also contains media, mostly videos and photographs, created by the Communications Department from 1995 to the present.

The Conservation department records include general administrative records, such as information for annual reports, priority surveys, surveys of the permanent collection, and documentation of exhibitions and incoming and outgoing loans. Additonally, there are materials used for conservation research, which include samples of carpet and foam.

This model represents a cross-section of the Yale Center for British Art. It was created and donated to the Center by Lindsay Falck's architecture students at the University of Pennsylvania School of Design.

This collection consists of Education department records from 1975-2018. There are general administrative records, records that relate to tours held at the Yale Center for British Art, and records that pertain to specific education programs created and run by the Center. There are planning materials, correspondence, and docent records, which include training materials and documentation of docent events.

The Exhibitions and Publications department records consist of general administrative records, correspondence within the Center and with other institutions, publication proofs and records, and documentation of exhibitions held both at the Center and at other institutions to which the Center contributed objects.

This collection contains administrative files and transparencies and photographs of artwork belonging to the Yale Center for British Art.

This collection consists of general Information Technology department records as well as those created by Lec Maj, former Head of Information Technology at the Yale Center for British Art. The materials in this collection were created from 1998 to 2013. Many represent Maj's work with the Center creating webpages and databases for virtual exhibitions as well as multimedia objects that promoted the Center's website.

This collection includes documentation of museum shop activities and products, as well as promotional items produced by the Center and associated project documentation.

The Operations department records consist of administrative documents, correspondence, drawings, and material samples. The bulk of the collection relates to the original construction and furnishing and subsequent renovation and refurbishment projects at the Yale Center for British Art.

The Paintings and Sculpture department records consist of curatorial records dating from 1977 to 2013.

This collection consists of various materials produced by the Yale Center for British Art from 1965 to the present. The materials include calendars, event materials, exhibition booklets, educational pamphlets, and visitor guides, as well as documentation of YCBA publications and programs. "Calendars" documents the history of the Center through its regularly-printed calendar of events and exhibitions. "Events" contains invitations and programs for lectures, symposia, dinners, and other events. "Exhibitions" contains material published in relation to exhibitions, including brochures, informational booklets, and programs for events held in connection with exhibitions. Through these materials, the collection provides a record of the Center's activities and development from its conception to the present.

The Prints and Drawings department records document the department's curatorial activities from 1975 to 2018. The collection includes administrative documents, correspondence, acquisition records, exhibition records, and documentation of curators' scholarship and research.

This collection comprises a run of publications by the Yale Center for British Art from 1965 to 2018.

The Rare Books and Manuscripts department records comprise general administrative records, correspondence, and exhibition records. Additionally, there are rare book dealer files that document the acquisition of books by the department.

This collection consists of Reference Library and Archives department administrative records, documentation of the Reference Library's book collection, and documents pertaining to the development of its Photograph Archive.

This collection consists of loan files, special exhibition files, accession files, and black and white photographic prints and their accompanying negatives. The photographs depict objects from Paul Mellon's bequest.

The Research department records consist of administrative records, correspondence, and newsletters. The collection contains many records related to programs, fellowships, and internships headed by the department, such as Yale in London, the Visiting Fellows program, and the Bartels Internship program. Other documents pertain to the concerts, lectures, and film screenings organized by the department.