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Collection
Prints and Drawings
61
Creator
Gwin, James, 1700–1769
47
Bruce, James, 1730–1794
8
Balugani, Luigi Antonio Melchiorre, 1737–1771
2
Carter, John, 1748–1817
1
Gilpin, William, 1724–1804
1
Malton, Thomas the Younger, 1748–1804
1
Marlow, William, 1740–1813
1
Date
1867
315
1772
220
1832
167
1800
147
1785
127
1700
109
1758
98
1771
87
1802
86
1804
78
1775
72
1789
69
1795
68
1780
67
1790
66
1763
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61
1738
52
1827
51
1762
48
1791
47
1817
47
1768
46
1745
45
1839
44
1818
42
1777
41
1820
41
0
38
1786
38
1825
38
1717
36
1781
35
1805
34
1749
32
1765
32
1810
31
1748
30
1740
28
1751
25
1797
25
1801
25
1821
25
1798
24
1812
24
1857
24
1861
24
1826
23
1794
22
1799
21
1761
20
1770
20
1779
20
1830
20
1778
19
1806
19
1814
19
1875
19
1690
18
1788
18
1712
17
1746
17
1760
17
1792
17
1807
17
1715
16
1747
16
1755
16
1759
16
1783
16
1815
16
1752
15
1796
15
1816
15
1822
15
1834
15
1739
14
1784
14
1813
14
1750
13
1756
13
1764
13
1787
13
1863
13
1811
12
1829
12
1866
12
1730
11
1732
11
1803
11
1809
11
1823
11
1835
11
1842
11
1906
11
1932
11
1757
10
1782
10
1819
10
1854
10
1705
9
On-site Access
Accessible by appointment in the Study Room
61
Image Use
Free to Use
61
Image Available
Available
60
Unavailable
1
Classification
Drawings & Watercolors
58
Drawing & Watercolors-Architectural
3
Creator Gender
male
61
Collective Title
Desseins Originaux des Attitudes Continuée dans L'École des Armes
47
Period
18th century
59
18th century-19th century
2
Materials & Techniques
pen
[remove]
61
laid paper
60
graphite
59
black ink
54
gray wash
51
gray ink
47
watercolor
10
brown ink
7
gouache
2
etching (printing process)
1
vellum (skin)
1
wove paper
1
Height [cm]
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65
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81
Work Type
drawing
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61
watercolor
59
intaglio print
1
Genre
sporting art
47
animal art
5
architectural subject
5
botanical subject
2
landscape
2
cityscape
1
Subject Terms
animal art
5
architectural subject
5
landscape
2
trees
2
Gothic Revival
1
Grand Tour
1
boy
1
castle
1
chapels
1
cityscape
1
cushions
1
designs
1
hills
1
mountains
1
river
1
rocks (landforms)
1
stalls (religious building fixtures)
1
valley (landform)
1
vegetation
1
Associated Places
Banqueting House
1
Italy
1
Lazio
1
St. George's Church
1
Tivoli
1
Windsor Castle
1
Associated People
Jones, Inigo (1573–1652), architect and theatre designer
1
Exhibition History
Classic Ground - British Artists and the Landscape of Italy, 1740-1830 (Yale Center for British Art, 1981-07-29 - 1981-09-20)
1
Pleasures and Pastimes (Yale Center for British Art, 1990-02-21 - 1990-04-29)
1
Credit Line
Yale Center for British Art, Paul Mellon Collection
60
Yale Center for British Art, Gift of Arthur Weyhe
1
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Materials & Techniques
pen
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Date
1763
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drawing
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1
James Bruce, 1730–1794
Heterohyrax brucei (Yellow-Spotted Rock Hyrax)
ca. 1768
2
James Bruce, 1730–1794
Felis caligata (Booted Lynx)
ca. 1768
3
James Bruce, 1730–1794
Vulture
ca. 1768
4
James Bruce, 1730–1794
Madoqua (Dik-dik)
ca. 1768
5
James Bruce, 1730–1794
Dik-dik
ca. 1768
6
William Marlow, 1740–1813
Tivoli
ca. 1768
7
John Carter, 1748–1817
Stalls in St. George's Chapel, Windsor Castle
undated
8
Luigi Balugani, 1737–1770
Coffea arabica L. (Arabica Coffee): finished drawing of leafy shoot and berries
ca. 1768
9
Luigi Balugani, 1737–1770
Coffea arabica L. (Arabica Coffee): finished drawing of leafy shoot, with details of flowers, leaf, and fruits
ca. 1768
10
James Bruce, 1730–1794
Elevation and Plan of Arch at Makther
ca. 1768
11
James Bruce, 1730–1794
Aquaduct at Cherchel
ca. 1768
12
James Bruce, 1730–1794
Ruins of Temples at Saltronza
ca. 1768
13
James Gwin, 1700–1769
Position pour la Garde en Quarte
1763
14
James Gwin, 1700–1769
Premiere Position pour tirer L'Epée
1763
15
James Gwin, 1700–1769
Position pour la Garde en Tierce
1763
16
James Gwin, 1700–1769
Position pour la Garde de Tierce, et le Coup de Quarte sur les Armes
1763
17
James Gwin, 1700–1769
Echappement du Pied Gauche en Arriere dans le Tems de la Passe au Dehors des Armes
1763
18
James Gwin, 1700–1769
De la Volte sur la Passe au Dehors des Armes
1763
19
James Gwin, 1700–1769
Position Aprés Avoir Desarmé sur le Coup de Quarte
1763
20
James Gwin, 1700–1769
De la Risposte en Seconde aprés Avoir paré la Quarte sur les Armes
1763
21
James Gwin, 1700–1769
De la Garde Espagnole, Figure A Attaqueé par la Garde Françoise
1763
22
James Gwin, 1700–1769
Cinquieme Position du Salut
1763
23
James Gwin, 1700–1769
De la Parade de Quarte au Dedans des Armes sur le Coup de Quarte
1763
24
James Gwin, 1700–1769
De la Parade de Tierce, sur le Coup de Tierce
1763
25
James Gwin, 1700–1769
De la Parade de Seconde sur le Coup de Seconde
1763
26
James Gwin, 1700–1769
De la Parade du Demi-Cercle sur le Coup, de Quarte Basse
1763
27
James Gwin, 1700–1769
De la Risposte en Quinte de Pied forme sur le Coup de Seconde
1763
28
James Gwin, 1700–1769
De la Passe en Quarte du Dehors des Armes
1763
29
James Gwin, 1700–1769
De la Risposte du Cavé de Pied Ferme sur le Coup de Flanconnade a ceux qui n'Opposent pas de la Main Gauche
1763
30
James Gwin, 1700–1769
Garde de l'Espadonneur. Figure A. Garde Dêfensive du Pointeur. Figure B
1763
31
James Gwin, 1700–1769
Garde de L'Epée & Manteau Attaquée par L'Epée & Lanterne
1763
32
James Gwin, 1700–1769
Premiere Position du Salut
1763
33
James Gwin, 1700–1769
Position pour le Garde en Tierce et le Coup de Tierce
1763
34
James Gwin, 1700–1769
Demi Volte sur les Coups Forcés au Dehors des Armes
1763
35
James Gwin, 1700–1769
Position Aprés Avoir Désarmé sur le Coup de Tierce
1763
36
James Gwin, 1700–1769
De la Garde Espagnole Combattüe Aprês la Parade du Coup d'Estramasson
1763
37
James Gwin, 1700–1769
Risposte Aprés Avoir Trompé la Parade du Poignard
1763
38
Rev. William Gilpin, 1724–1804
Landscape with Two Trees and Castle
1763
39
Thomas Malton the Younger, 1748–1804
Banqueting House, Whitehall
undated
40
James Gwin, 1700–1769
Position de la Garde de Tierce et le Coup de Seconde
1763
41
James Gwin, 1700–1769
Position pour la Garde en Quarte et le Coup de Quarte
1763
42
James Gwin, 1700–1769
Position de la Garde en Quarte, et le Coup de Flanconnade
1763
43
James Gwin, 1700–1769
De la Parade de Quarte au Dehors des Armes sur le Coup de Quarte hors des Armes
1763
44
James Gwin, 1700–1769
De la Parade du Cavé sur le Coup de Flanconnade
1763
45
James Gwin, 1700–1769
De la Parade de Prime sur le Coup de Seconde
1763
46
James Gwin, 1700–1769
De la Risposte de Quarte apres la Parade de Quarte
1763
47
James Gwin, 1700–1769
De la Risposte en Tierce de Pied Ferme sur le Coup de Tierce
1763
48
James Gwin, 1700–1769
De la Parade Dequinte sur le Coup de Quinte
1763
49
James Gwin, 1700–1769
De la Risposte de Prime Aprés Avoir Paré le Coup de Seconde
1763
50
James Gwin, 1700–1769
Seconde Position du Salut
1763
51
James Gwin, 1700–1769
Quatrieme Position du Salut
1763
52
James Gwin, 1700–1769
Troisieme Position du Salut
1763
53
James Gwin, 1700–1769
Du Coupé sur Pointe de Quarte en Quarte sur les Armes
1763
54
James Gwin, 1700–1769
Du Desarmement Aprés Avoir Paré le Coup de Quarte
1763
55
James Gwin, 1700–1769
Du Desarmement sur le Coup de Tierce
1763
56
James Gwin, 1700–1769
Du Desarmement sur le Coup de Quarte ou de Seconde Paré de Prime
1763
57
James Gwin, 1700–1769
Position Aprés Avoir Desarme sur le Coup de Quarte ou de Seconde Paré de Prime
1763
58
James Gwin, 1700–1769
Du Desarmement Aprés la Parade au Dehors des Armes
1763
59
James Gwin, 1700–1769
L'Epée & Lanterne Combattüe par L'Epée et Manteau
1763
60
James Gwin, 1700–1769
Position de la Garde Italienne de L'Epée & Poignard
1763
61
James Gwin, 1700–1769
Desseins Originaux des Attitudes Continuée dans L'École des Armes
1763