Creator Gender: male / Period: 18th century - YCBA Collections Search Search Results

Print made by Alexander Bannerman, ca. 1730–1780

Marc Garrard

1765

Print made by Edward Fisher, 1722–1785

Nathaniel Hone

between 1758 and 1782

Charles Townley, 1746–c.1800

Hogarth

1781

Thomas Rowlandson, 1756–1827

Heads: Barberorum

1800

Thomas Rowlandson, 1756–1827

Heads: Flora

1800

Thomas Rowlandson, 1756–1827

Heads: Billingsgatina

1800

Thomas Rowlandson, 1756–1827

Heads: Battleorum

1800

Thomas Rowlandson, 1756–1827

Heads: Nunina

1800

James Gillray, 1756–1815

Hounds in Finding

1800

William Hincks Plate II: View taken near Hillsborough in the County of Downe, Representing Pulling the Flax when grown, Stooking or putting it up to Dry, Ripling or saving the Seed, and Boging or burying it in Water.

William Hincks, 1752–1797

Plate II: View taken near Hillsborough in the County of Downe, Representing Pulling the Flax when grown, Stooking or putting it up to Dry, Ripling or saving the Seed, and Boging or burying it in Water

1791

William Hincks Plate IX: Perspective View of all the Machinery of a Bleach Mill, upon the Newest and Most approved Constructions, Consisting of the Wash Mill, Rubbing Boards moved by a Crank, and Beetling Engine for Glazing the Cloth, with a View of the Boiling House

William Hincks, 1752–1797

Plate IX: Perspective View of all the Machinery of a Bleach Mill, upon the Newest and Most approved Constructions, Consisting of the Wash Mill, Rubbing Boards moved by a Crank, and Beetling Engine for Glazing the Cloth, with a View of the Boiling House

1791

William Pether, ca. 1738–1821

Jeremiah Meyer, Esqr. r. A., Miniature painter in Enamel to His Majesty

1789

Print made by John Faber the Younger, ca. 1695–1756

Young Male Shearing a Sheep

undated

William Wynne Ryland, 1732–1783

King John Ratifying the Magna Charta

ca. 1783

Print made by Francesco Bartolozzi, 1728–1815

For the Benefit of Mr. Borghi

1789

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

Print made by Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

1763

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

1782

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

Alexander Bannerman, ca. 1730–1780

Boit. Baker

undated

Print made by William S. Leney, 1769–1831

Thomas Banks, Esqr., R.A

1794

D. P. Pariset, born 1740, active in Britain from 1767

F. Cotes

1768

Thomas Ryder, 1746–1810

Henry Bunbury, Esq

1789

Anthony Walker, 1726–1765

Charles De La Fosse

Alexander Bannerman, ca. 1730–1780

Dobson

undated

Thomas Ryder, 1746–1810

Honorable Anne Damer

1793

George White, ca.1684–1732

William Dobson

Print made by Matthew Darly, active 1754–1778

Matthew Darly

1775

Thomas Holloway, 1748–1827

Henry Fuseli Esqr., R. A

1796

Alexander Bannerman, ca. 1730–1780

James Gibbs

undated

Thomas Rowlandson, 1756–1827

Heads: Hazardorum

1800

Thomas Rowlandson, 1756–1827

Heads: Penserosa

1800

John Robert Cozens, 1752–1797

The Bay of Naples from Capodimonte, Italy

ca. 1790

Francis Towne, 1740–1816

View on Lake Maggiore at Evening

1781

William Hincks Plate III: View taken in the County of Louth Representing taking the Flax out of the Bog when it has lain a sufficient time to seperate the Rind, which is the Flax from the Stem, & strengthen it, spreading it to dry, stoving, beetling, and breaking it.

William Hincks, 1752–1797

Plate III: View taken in the County of Louth Representing taking the Flax out of the Bog when it has lain a sufficient time to seperate the Rind, which is the Flax from the Stem, & strengthen it, spreading it to dry, stoving, beetling, and breaking it

1791

William Hincks Plate V: A Perspective View of a Scutch Mill, with the Method of Breakng the Flax with groved Rollers, and Scutching it with Blades first on a Shaft, both turn'd by the Main Wheel, Great Improvements in the Method of Braking and Scutching of Flax

William Hincks, 1752–1797

Plate V: A Perspective View of a Scutch Mill, with the Method of Breakng the Flax with groved Rollers, and Scutching it with Blades first on a Shaft, both turn'd by the Main Wheel, Great Improvements in the Method of Braking and Scutching of Flax

1791

William Hincks Plate VIII: representing the Brown Linen Market at Banbridge, in the County of Downe, The Weavers holding up their Pieces of Linen to View, the Bleachers elevated on Forms examining its Quality

William Hincks, 1752–1797

Plate VIII: representing the Brown Linen Market at Banbridge, in the County of Downe, The Weavers holding up their Pieces of Linen to View, the Bleachers elevated on Forms examining its Quality

1791

William Hincks Plate XII: Perspective View of the Linen Hall in Dublin, with the Boxes and Bales of Linen ready for Exportation, the Emblems of their Industry

William Hincks, 1752–1797

Plate XII: Perspective View of the Linen Hall in Dublin, with the Boxes and Bales of Linen ready for Exportation, the Emblems of their Industry

1791

William Hincks Plate XI: A Perspective View of a Lapping Room, with the Measuring, Crisping or Folding the Cloth in Lengths, Picking the Laps or Lengths, Tying the Clips, acting by the Mechanic power of the Laver to press the Cloth round & firm, and Sealing it ...

William Hincks, 1752–1797

Plate XI: A Perspective View of a Lapping Room, with the Measuring, Crisping or Folding the Cloth in Lengths, Picking the Laps or Lengths, Tying the Clips, acting by the Mechanic power of the Laver to press the Cloth round & firm, and Sealing it ..

1791

Alexander Bannerman, ca. 1730–1780

Major General Lambert

undated

Print made by John Faber the Younger, ca. 1695–1756

Sir Godfrey Kneller

1735

Print made by John Faber the Younger, ca. 1695–1756

Philippe Mercier

1735

Print made by John Faber the Younger, ca. 1695–1756

A Girl Spinning Thread

undated

Print made by John Faber the Younger, ca. 1695–1756

The Swain's Amusement

between 1748 and 1756

Print made by John Faber the Younger, ca. 1695–1756

The Housewife's Employment

undated

Thomas Worlidge, 1700–1766

Portrait of Sir Edward Astley

1762

Francesco Bartolozzi, 1728–1815

Ticket for the Theatre Royal, Haymarket

Between 1775 and 1800

Bernard Lens II, 1659–1725

A Triton holding a Fish

1700

Francesco Bartolozzi, 1728–1815

Concert Ticket: Professional Concert, 1789, First Night, Hanover Square

1789

Francesco Bartolozzi, 1728–1815

Ticket for the Theatre Royal, Covent Garden

Between 1775 and 1800

Francesco Bartolozzi, 1728–1815

Adelaide

1798

Francesco Bartolozzi, 1728–1815

Cupid and Psyche

1789

Print made by Francesco Bartolozzi, 1728–1815

Ticket to Westminster Abbey

before 1791

Francesco Bartolozzi, 1728–1815

Concert Ticket For The Benefit of Madame Banti

1795

Francesco Bartolozzi, 1728–1815

Ticket for the Brandenbourg House Masquerade

ca. 1797

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Sal Pietro

1773

Print made by Francesco Bartolozzi, 1728–1815

John Henderson as Iago

1786

Francesco Bartolozzi, 1728–1815

Concert Ticket: Benefit Night of Luigi Borghi

1780

Print made by Francesco Bartolozzi, 1728–1815

Ticket: For the Benefit of Mr. Salpietro

1799

Print made by Francesco Bartolozzi, 1728–1815

Ticket: For the Benefit of Mr. Salpietro

1799

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

1770

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

1778

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

between 1769 and 1787

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

between 1768 and 1776

Francesco Bartolozzi, 1728–1815

Ticket to Mr. Fierville's Ball

1781

Print made by Francesco Bartolozzi, 1728–1815

Mrs. Abington as Thalia

1783

Print made by Francesco Bartolozzi, 1728–1815

Lady Gertrude, Marchioness of Halifax

1776

Print made by Francesco Bartolozzi, 1728–1815

Ticket: Anacreontic Society Meeting

1773

Guillaume Philippe Benoist Pamela setting out in the travelling Chariot (for her Father's as She is made to believe) takes her farewel of Mrs. Jervis, and the other servants; Mr. B. observing her from the window; by whose private order she is carried into Lincolnshire

Print made by Guillaume Philippe Benoist, 1725–ca. 1770

Pamela setting out in the travelling Chariot (for her Father's as She is made to believe) takes her farewel of Mrs. Jervis, and the other servants; Mr. B. observing her from the window; by whose private order she is carried into Lincolnshire

1745

Print made by Peter P. Benazech, 1767–1794

For Japanning, Plate 2

1757

Guillaume Philippe Benoist Pamela having divided her clothes into threee Bundles, in order to leave the House, rejects that containing her Masters presents calling it the wicked bundle, & harangues over her own little Parcel which she huggs in her Arms;...

Print made by Guillaume Philippe Benoist, 1725–ca. 1770

Pamela having divided her clothes into threee Bundles, in order to leave the House, rejects that containing her Masters presents calling it the wicked bundle, & harangues over her own little Parcel which she huggs in her Arms;..

1745

Guillaume Philippe Benoist The Marriage Ceremony performed in Mr. B.'s own Chappel by Mr. Williams, Mr. Peters giving her away, Mrs. Jewkes waits behind Pamela and the Maid keeps the door

Print made by Guillaume Philippe Benoist, 1725–ca. 1770

The Marriage Ceremony performed in Mr. B.'s own Chappel by Mr. Williams, Mr. Peters giving her away, Mrs. Jewkes waits behind Pamela and the Maid keeps the door

1745

Print made by Peter P. Benazech, 1767–1794

For Japanning, Plate 6

1757

James Fittler, 1758–1835

Mail Coach

ca. 1787

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Giardini

1780

Guillaume Philippe Benoist Pamela with the Children and Miss Goodwin to whome she is telling her nursery tales. This last Piece leaves her in full possession of the peaceable fruits of her Virtue long after having surmounted all the difficulties it had been exposed to

Print made by Guillaume Philippe Benoist, 1725–ca. 1770

Pamela with the Children and Miss Goodwin to whome she is telling her nursery tales. This last Piece leaves her in full possession of the peaceable fruits of her Virtue long after having surmounted all the difficulties it had been exposed to

1745