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.

The collection comprises etchings, lithographs, and drawings by Edward Backhouse, Edward Backhouse Mounsey, and other members of the Backhouse and Mounsey families of Darlington (County Durham) in the early 19th century. The collection demonstrates that a number of family members practiced etching as a hobby. They were also early adopters of lithography, although the quality of the lithographic work is frequently less refined.

The collection includes correspondence and other manuscript material concerning the management of deer parks at Newburgh Priory, Yorkshire; Cassiobury Park, Hertfordshire; and Paultons, Hampshire. The letters are written to and from various members of the Bainbridge family who provided a succession of park keepers for the three residences.

The collection comprises 139 hand-cut paper collages on paper prepared with watercolor, created by Booth Grey (1740-1802) or those in his circle of acquaintances, in the manner of the well-known "paper mosaics" made by Mrs. Delany. Each collage is now mounted in a mat. Some were previously inserted in a leather album with title leaf: "98 plants done by the Honble. Booth Grey" (see box 15, item 138).

The collection comprises travel sketches, scrapbooks, and genealogical material concerning the Carr family of Northumberland, England. The Reverend Thomas William Carr (1830-1912) appears to have played a key role in compiling the material, especially genealogical items.

The collection comprises printed and manuscript material concerning contemporary British artists' books, compiled by Cathy Courtney. It includes exhibition invitations and announcements; press releases; prospectuses; catalogs; curricula vitae; correspondence; newsletters; interviews; artist's statements; brochures; and news articles.

The collection comprises sketchbooks, writings, and correspondence by Charles Robert Leslie (1794-1859) and his family. Leslie was known best for his paintings of literary subjects, although his oeuvre included portraiture, history paintings, and selected literary works. The collection was compiled by Leslie's son, George Dunlop Leslie, also a celebrated genre painter, and represents the years, 1812 to 1900. The collection includes documents related to Leslie's wife, Harriet, as well as some of his children, Mary, Harriet, George, and Robert Charles. Additional materials include correspondence from Tom Taylor and Peter Powell, representing some of Leslie's most important professional and personal relationships.

The collection comprises original artwork and manuscript material by Clare Leighton for a series of 12 Queen's ware plates representing New England industries, produced by Josiah Wedgwood & Sons in 1952. Each plate reproduces a circular, wood-engraved design depicting one of 12 traditional industries: Whaling, Cranberrying, Grist Milling, Ice Cutting, Codfishing, Lobstering, Logging, Marble Quarrying, Shipbuilding, Sugaring, Tobacco Growing, and Farming. The collection includes all 12 of the Wedgwood plates, plus extensive preparatory material, including Leighton's preliminary studies, compositional studies, wood-engraved states, and final prints (signed and unsigned). The collection also includes photographs of Clare Leighton working on the woodblocks. Written material in the collection includes numerous drafts of texts by Leighton describing her process in designing the plates, and over 40 letters from Leighton's acquaintances responding to her announcement on June 6, 1952 of priority sales for the plates (Leighton's original letter is also present).

The original collector of the papers was William Clayton Clayton, Dorothea Clayton's adoptive nephew. He was the executor of her will and the heir to her London house. He kept many papers related to her estate, including inventories, legal documents and household receipts. He sold most of her assets soon after her death in 1849, but the house remained in his hands until after 1870. The bulk of the papers date from the period soon after Dorothea's death, 1849-1850.

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.

The collection comprises 11 items of printed ephemera concerning the Cabaret Theatre Club and the Cave of the Golden Calf. The items include: a preliminary prospectus (April, 1912); a general program (May, 1912); a prospectus for the second season (September, 1912); a preliminary announcement of the performance season of the Intimate Theatre Society (late 1912?); a program for June 17, 1913, featuring a performance of Bastien und Bastienne; membership application forms for the Cabaret Theatre Club and the Intimate Theatre Society, along with a form for requesting the membership application form (1912 or 1913); and three printed envelopes, addressed to Robert Bevan, the last of which may be from the Rebel Art Centre.

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 57 letters from Dante Gabriel Rossetti to Ellen Heaton written from 1855 to 1875 (the bulk from 1855 to 1864). The letters primarily pertain to works by Rossetti, including a number of his works commissioned by Heaton. Works referenced include: Beata Beatrix, Beloved, Bethlehem Gate, Dante's dream at the time of the death of Beatrice, Dante's vision of Rachel and Leah, How Sir Galahad, Sir Bors and Sir Percival were fed with the Sanct Grael; but Sir Percival's sister died by the way, Joan of Arc, Mary in the house of St. John, Salutation of Beatrice, and St. George and the Princess Sabra. The letters reflect Heaton's reputation as an important collector and patron. Rossetti recommends (and, in some instances, requests) that she acquire work by many other artists associated with the Pre-Raphaelites, including Arthur Hughes, William Holman Hunt and Ford Maddox Brown.

The collection comprises 11 letters from Dante Gabriel Rossetti to William H. Clabburn written from 1863 to 1865. The last of these is addressed to Clabburn's wife, Hannah Louisa. The letters are accompanied by 8 envelopes addressed to Clabburn by Rossetti. Rossetti's letters primarily relate to Clabburn's commission of an oil replica of Rossetti's Mary Magdalen at the door of Simon the Pharisee. The correspondence records in detail Rossetti's artistic process pertaining to this work. In his letter on 6 July 1865, Rossetti provides an extensive interpretation of the work.

The collection consists of about 270 sheets containing approximately 1,000 costume and set design drawings by Edgar Hockley from late-Victorian London stage productions, many of which are believed to have been commissioned by Henry Irving. Also present are theatre programs and clippings from the same period. Drawings in the collection are unsigned; attribution to Hockley is based on a similar collection of drawings in the archives of the Victoria & Albert Museum. Hockley's name also appears on one envelope in the collection, box 4, item 10a.

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.