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

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."

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 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.

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.

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 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.

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 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.

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 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.

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.

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 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 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.