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Materials & Techniques stipple engraving

Remove constraint Materials & Techniques: stipple engraving

Period 18th century

Remove constraint Period: 18th century

Width [cm] 48

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Peltro W. Tomkins Sir Andrew Aguecheek, Sir Toby Belch and the Clown - "Twelfth Night", Act II, Scene III
Peltro W. Tomkins, 1760–1840
Sir Andrew Aguecheek, Sir Toby Belch and the Clown - "Twelfth Night", Act II, Scene III
1792
Thomas Macklin Fallstaff Playing the Prince, The Prince Playing the King
Print made by Thomas Macklin, active 1779–1793
Fallstaff Playing the Prince, The Prince Playing the King
1796
William S. Leney Taming the Shrew, Act III, Scene II
William S. Leney, 1769–1831
Taming the Shrew, Act III, Scene II
1793
Robert Mitchell Meadows Dodbery and Verges, with the Watch; "Much Ado About Nothing", Act III, Scene II
Robert Mitchell Meadows, Died before 1812
Dodbery and Verges, with the Watch; "Much Ado About Nothing", Act III, Scene II
1794
John Whessell The Woodman's Return
John Whessell, 1760–ca. 1823
The Woodman's Return
1797
Richard Earlom The West Window of the Chapel, New College Oxford:
Richard Earlom, 1743–1822
The West Window of the Chapel, New College Oxford
1785
John Browne The Sportsman
Print made by John Browne, 1741–1801
The Sportsman
1775
Francesco Bartolozzi Edward, Prince of Wales, Presenting the Captive King John of France and His Sons to His Father Edward the Third After the Battle of Poictiers
Print made by Francesco Bartolozzi, 1728–1815
Edward, Prince of Wales, Presenting the Captive King John of France and His Sons to His Father Edward the Third After the Battle of Poictiers
1788
Caroline Watson The Tempest, Act V, Scene I
Print made by Caroline Watson, 1760–1814
The Tempest, Act V, Scene I
1795
James Caldwall The Blue Passion Flower, 1800, from Robert John Thornton, 'The Temple of Flora', London, 1799-1812
Print made by James Caldwall, 1739–1819
The Blue Passion Flower, 1800, from Robert John Thornton, 'The Temple of Flora', London, 1799-1812
1800
Guillaume Philippe Benoist Pamela, being now in the custody of Mrs. Jenkes, seizes an occasion (as they are walking in the garden) to propose a Correspondence with Mr. Williams in order to contrive an Escape, who agree to hide their letters between two tiles near the Sunflower
Print made by Guillaume Philippe Benoist, 1725–ca. 1770
Pamela, being now in the custody of Mrs. Jenkes, seizes an occasion (as they are walking in the garden) to propose a Correspondence with Mr. Williams in order to contrive an Escape, who agree to hide their letters between two tiles near the Sunflower
1745