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Collection
Prints and Drawings
63
Creator
Gwin, James, 1700–1769
48
Bruce, James, 1730–1794
8
Balugani, Luigi Antonio Melchiorre, 1737–1771
2
Bartolozzi, Francesco, 1727–1815
1
Carter, John, 1748–1817
1
Gilpin, William, 1724–1804
1
Malton, Thomas the Younger, 1748–1804
1
Riou, Stephen, 1720–1780
1
Unknown artist
1
Date
1796
307
1771
238
1745
237
1800
171
1773
136
1785
136
1804
130
1814
128
1775
115
1790
110
1772
100
1832
93
1700
91
1791
89
1797
86
1780
78
1799
74
1839
74
1789
64
1794
64
1763
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63
1795
59
0
56
1705
56
1910
54
1793
53
1781
51
1827
47
1770
43
1807
42
1817
42
1802
40
1825
39
1801
36
1830
36
1818
34
1768
33
1762
32
1767
31
1820
31
1811
30
1755
29
1765
28
1812
27
1823
27
1826
27
1776
26
1782
26
1787
26
1815
26
1748
25
1828
25
1761
24
1774
24
1798
24
1819
24
1715
22
1760
22
1783
22
1758
21
1759
21
1788
21
1792
21
1717
20
1778
20
1736
19
1740
19
1751
19
1753
19
1806
19
1867
19
1746
18
1805
18
1834
18
1857
18
1813
17
1822
17
1730
16
1764
16
1777
16
1784
16
1906
16
1712
15
1752
15
1779
15
1847
15
1848
15
1893
15
1749
14
1750
14
1843
14
1851
14
1810
13
1835
13
1900
13
1932
13
1803
12
1808
12
1756
11
1786
11
On-site Access
Accessible by appointment in the Study Room
63
Image Use
Free to Use
63
Image Available
Available
61
Unavailable
2
Classification
Drawings & Watercolors
55
Drawing & Watercolors-Architectural
7
Prints
1
Creator Gender
male
63
unknown
1
Collective Title
Desseins Originaux des Attitudes Continuée dans L'École des Armes
48
Period
18th century
61
18th century-19th century
2
Materials & Techniques
black ink
[remove]
63
laid paper
63
graphite
61
pen
55
gray wash
53
gray ink
47
watercolor
6
brown ink
2
etching (printing process)
1
line engraving
1
stipple engraving
1
wove paper
1
Height [cm]
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65
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Current results range from
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65
Work Type
drawing
61
watercolor
54
intaglio print
2
Genre
sporting art
47
architectural subject
9
animal art
2
botanical subject
2
landscape
1
portrait
1
religious and mythological subject
1
Subject Terms
architectural subject
9
animal art
2
Catholic
1
Gothic Revival
1
Italian
1
author
1
buttons
1
castle
1
chapels
1
coat
1
cushions
1
designs
1
framed
1
landscape
1
mountains
1
nose
1
oval
1
portrait
1
religious (people)
1
river
1
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Subject Terms
»
Associated Places
Banqueting House
1
St. George's Church
1
Windsor Castle
1
Associated People
Jones, Inigo (1573–1652), architect and theatre designer
1
Tartarotti, Girolamo, 1706–1761
1
Exhibition History
Pearls to Pyramids: British Visual Culture and the Levant, 1600–1830 (Yale Center for British Art, 2008-02-07 - 2008-04-28)
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
61
Yale Center for British Art, Gift of Arthur Weyhe
1
Yale Center for British Art, Paul Mellon Fund
1
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Materials & Techniques
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1763
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1
James Bruce, 1730–1794
Elevation and Plan of Arch at Makther
ca. 1768
2
James Bruce, 1730–1794
Temple Above Spring at Zaghouan
ca. 1768
3
James Bruce, 1730–1794
Details of Temple Above Spring at Zaghouan
ca. 1768
4
James Bruce, 1730–1794
Entrance Gate Zaghouan
ca. 1768
5
John Carter, 1748–1817
Stalls in St. George's Chapel, Windsor Castle
undated
6
James Gwin, 1700–1769
Position pour la Garde de Tierce, et le Coup de Quarte sur les Armes
1763
7
James Gwin, 1700–1769
Position de la Garde en Quarte, et le Coup de Quarte Basse
1763
8
James Gwin, 1700–1769
Premiere Position du Salut
1763
9
James Gwin, 1700–1769
Seconde Position du Salut
1763
10
James Gwin, 1700–1769
Quatrieme Position du Salut
1763
11
James Gwin, 1700–1769
De la Parade de Seconde sur le Coup de Seconde
1763
12
James Gwin, 1700–1769
De la Risposte de Quarte apres la Parade de Quarte
1763
13
James Gwin, 1700–1769
De la Risposte en Quinte de Pied forme sur le Coup de Seconde
1763
14
James Gwin, 1700–1769
De la Risposte de Prime Aprés Avoir Paré le Coup de Seconde
1763
15
James Gwin, 1700–1769
De la Passe en Quarte du Dehors des Armes
1763
16
James Gwin, 1700–1769
Echappement du Pied Gauche en Arriere dans le Tems de la Passe au Dehors des Armes
1763
17
James Gwin, 1700–1769
Du Desarmement Aprés Avoir Paré le Coup de Quarte
1763
18
James Gwin, 1700–1769
Demi Volte sur les Coups Forcés au Dehors des Armes
1763
19
James Gwin, 1700–1769
Du Desarmement sur le Coup de Tierce
1763
20
James Gwin, 1700–1769
Position Aprés Avoir Desarmé sur le Coup de Quarte
1763
21
James Gwin, 1700–1769
De la Volte sur la Passe au Dehors des Armes
1763
22
James Gwin, 1700–1769
Du Desarmement sur le Coup de Quarte ou de Seconde Paré de Prime
1763
23
James Gwin, 1700–1769
Position Aprés Avoir Désarmé sur le Coup de Tierce
1763
24
James Gwin, 1700–1769
Position Aprés Avoir Desarme sur le Coup de Quarte ou de Seconde Paré de Prime
1763
25
James Gwin, 1700–1769
Position de la Garde Italienne de L'Epée & Poignard
1763
26
James Gwin, 1700–1769
Risposte Aprés Avoir Trompé la Parade du Poignard
1763
27
James Gwin, 1700–1769
De la Garde Espagnole, Figure A Attaqueé par la Garde Françoise
1763
28
James Gwin, 1700–1769
De la Garde Espagnole Combattüe Aprês la Parade du Coup d'Estramasson
1763
29
James Gwin, 1700–1769
Garde de L'Epée & Manteau Attaquée par L'Epée & Lanterne
1763
30
James Gwin, 1700–1769
L'Epée & Lanterne Combattüe par L'Epée et Manteau
1763
31
James Gwin, 1700–1769
Garde de l'Espadonneur. Figure A. Garde Dêfensive du Pointeur. Figure B
1763
32
James Gwin, 1700–1769
Premiere Position pour tirer L'Epée
1763
33
James Gwin, 1700–1769
Position pour la Garde en Tierce
1763
34
James Gwin, 1700–1769
Position pour le Garde en Tierce et le Coup de Tierce
1763
35
James Gwin, 1700–1769
Position pour la Garde en Quarte
1763
36
James Gwin, 1700–1769
Position de la Garde de Tierce et le Coup de Seconde
1763
37
James Gwin, 1700–1769
Position pour la Garde en Quarte et le Coup de Quarte
1763
38
James Gwin, 1700–1769
Position de la Garde en Quarte, et le Coup de Flanconnade
1763
39
James Gwin, 1700–1769
Cinquieme Position du Salut
1763
40
James Gwin, 1700–1769
De la Parade de Quarte au Dedans des Armes sur le Coup de Quarte
1763
41
James Gwin, 1700–1769
De la Parade de Tierce, sur le Coup de Tierce
1763
42
James Gwin, 1700–1769
De la Parade du Cavé sur le Coup de Flanconnade
1763
43
James Gwin, 1700–1769
De la Parade de Prime sur le Coup de Seconde
1763
44
James Gwin, 1700–1769
De la Parade du Demi-Cercle sur le Coup, de Quarte Basse
1763
45
James Gwin, 1700–1769
De la Risposte en Seconde aprés Avoir paré la Quarte sur les Armes
1763
46
James Gwin, 1700–1769
De la Parade Dequinte sur le Coup de Quinte
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
Troisieme Position du Salut
1763
49
James Gwin, 1700–1769
De la Parade de Quarte au Dehors des Armes sur le Coup de Quarte hors des Armes
1763
50
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
51
James Gwin, 1700–1769
Du Coupé sur Pointe de Quarte en Quarte sur les Armes
1763
52
James Gwin, 1700–1769
Du Desarmement Aprés la Parade au Dehors des Armes
1763
53
Rev. William Gilpin, 1724–1804
Landscape with Two Trees and Castle
1763
54
Print made by Francesco Bartolozzi, 1728–1815
Gerolamo Tartarotti
1763
55
James Bruce, 1730–1794
Arch of Trajan Mactar Modern Makther set in Landscape
ca. 1768
56
James Bruce, 1730–1794
Entrance Gate, Zaghouan
ca. 1768
57
Luigi Balugani, 1737–1770
Coffea arabica L. (Arabica Coffee): finished drawing of leafy shoot and berries
ca. 1768
58
Luigi Balugani, 1737–1770
Coffea arabica L. (Arabica Coffee): finished drawing of leafy shoot, with details of flowers, leaf, and fruits
ca. 1768
59
James Bruce, 1730–1794
Jerboa
ca. 1768
60
James Bruce, 1730–1794
Felis caligata (Booted Lynx)
ca. 1768
61
Thomas Malton the Younger, 1748–1804
Banqueting House, Whitehall
undated
62
Stephen Riou, 1720–1780
Design for a villa: `Fore Front' (south-east elevation), `Garden Front' (north-west elevation) and overlay plan
1763
63
James Gwin, 1700–1769
Desseins Originaux des Attitudes Continuée dans L'École des Armes
1763