2024-03-29T11:10:53Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:129612024-03-28ycba:pd
YCBA/lido-TMS-12961
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300078925
watercolor
300417318
architectural subject
300033973
drawing
300033973
Drawing & Watercolor
Cottages at Llanllyfni, North Wales
Inscribed in pen and brown ink, lower left: "Llanllyfni N. W."
Watermark: JW HATMAN | 1804
Signed in brown ink, lower left: "C Varley | 1805"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1975.4.1769
https://www.wikidata.org/wiki/Q109985898
Not on view
Yale Center for British Art
41.3080060, -72.9306282
4 1/16 x 9 3/4 inches (10.3 x 24.8 cm)
width
cm
24.8
height
cm
10.3
Sheet
12961
300054713
production
Cornelius Varley, 1781–1873, British
ycba_actor_746
https://viaf.org/viaf/65227247
https://www.wikidata.org/wiki/Q5171468
http://id.loc.gov/authorities/names/n77002027
http://vocab.getty.edu/ulan/500004766
https://n2t.net/ark:/99166/w66j22jz
Cornelius Varley
Cornelius Varley
Varley Cornelius, 1781–1873
Cornelius Varley, 1781–1873
Cornelius Varley, 1781–1873
7011820
7011781
British
1781
1873
male
300025103
Artist
landscape painter
300237213
optician
300025845
inventor
300112172
draftsman (artist)
300025136
painter (artist)
300111159
British
1805
1805
1805
24
19th century
Watercolor and graphite on medium, moderately textured, cream wove paper
300011098
graphite
300070114
gouache
300014187
wove paper
300015045
watercolor
Through the Looking Lens - The Story of Artist Cornelius Varley and his Telemicroscope, 1800-1860 (American Philosophical Society, 2013-05-17 - 2013-12-29)
810
300054766
exhibition
Through the Looking Lens - The Story of Artist Cornelius Varley and his Telemicroscope, 1800-1860
Yale Center for British Art
American Philosophical Society
ycba_actor_7043
American Philosophical Society
0
0
2013-05-17 - 2013-12-29
2013-05-17
2013-12-29
American Philosophical Society
ycba_actor_7043
American Philosophical Society
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
British Art Center
BAC
YCBA
Yale Center for British Art
1977
0
66
Lender
2008-06-09 - 2008-08-17
2008-06-09
2008-08-17
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (The State Hermitage Museum, 2007-10-23 - 2008-01-13)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
Yale Center for British Art
The State Hermitage Museum
ycba_actor_6557
Olga Ilmenkova
The State Hermitage Museum
0
0
300311675
Borrower
2007-10-23 - 2008-01-13
2007-10-23
2008-01-13
The State Hermitage Museum
ycba_actor_6557
The State Hermitage Museum
Sankt-Peterburg
7010273
Sankt-Peterburg
300435424
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Virginia Museum of Fine Arts, 2007-07-11 - 2007-09-30)
500
https://britishart.yale.edu/node/647
300054766
exhibition
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art
Yale Center for British Art
Virginia Museum of Fine Arts
ycba_actor_1286
http://vocab.getty.edu/ulan/500310718
http://www.wikidata.org/entity/Q4013975
https://viaf.org/viaf/148748621
https://n2t.net/ark:/99166/w6991x8v
http://id.loc.gov/authorities/names/n79046025
Virginia Museum of Fine Arts
0
0
300311675
Borrower
2007-07-11 - 2007-09-30
2007-07-11
2007-09-30
Virginia Museum of Fine Arts
ycba_actor_1286
http://id.loc.gov/authorities/names/n79046025
http://vocab.getty.edu/ulan/500310718
http://www.wikidata.org/entity/Q4013975
https://n2t.net/ark:/99166/w6991x8v
https://viaf.org/viaf/148748621
Virginia Museum of Fine Arts
Richmond
7013964
Richmond
300435424
Great British Watercolors brought together eighty-eight outstanding works in the medium from the Paul Mellon Collection at the Center, including masterpieces by J. M. W. Turner, John Constable, William Blake, Paul Sandby, John Robert Cozens, Thomas Girtin, Thomas Gainsborough, and others. The exhibition was organized as part of the 2007 celebrations commemorating both the Center’s thirtieth anniversary and the centenary of the institution’s founder, Paul Mellon, one of the greatest cultural philanthropists of the twentieth century.
In a period of a little over fifteen years, beginning in the early 1960s, Mr. Mellon assembled one of the world’s greatest collections of British drawings and watercolors. As part of his extensive collecting of British art, he purchased several distinguished private collections of British watercolors, enriching and expanding them with astute purchases reflecting his own taste. In his memoirs he praised “the beauty and freshness of English drawings and watercolors, their immediacy and sureness of technique, their comprehensiveness of subject matter, their vital qualities, their Englishness.” — —
Great British Watercolors spanned more than a century of British artistic production, from the emergence of watercolor painting in the mid-eighteenth century to its flowering in the early nineteenth century. The exhibition highlighted the diversity of British watercolor painting, showing both landscapes and figurative works by some of the principal artists who worked in the medium. Paul Mellon’s collecting activity helped to revive the study of British watercolor. — —
Venues — —
Virginia Museum of Fine Arts, Richmond: — —
July 11–September 30, 2007 — —
The State Hermitage Museum, St. Petersburg, Russia: — —
October 23, 2007–January 13, 2008 — —
Yale Center for British Art: — —
une 10–August 17, 2008 — —
Credits — —
Organized by the Center in association with the Virginia Museum of Fine Arts, Richmond, Great British Watercolors was curated by Scott Wilcox, Curator of Prints and Drawings at the Center; Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art, Virginia Museum of Fine Arts; and Matthew Hargraves, Postdoctoral Research Associate in the Department of Paintings and Sculpture at the Center.
Yale Center for British Art
Fairest Isle - The Appreciation of British Scenery 1750-1850 (Yale Center for British Art, 1989-04-12 - 1989-06-25)
640
300054766
exhibition
Fairest Isle - The Appreciation of British Scenery 1750-1850
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
63
Organizer
1989-04-12 - 1989-06-25
1989-04-12
1989-06-25
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
12961
818773
ND1354.4 F35 (YCBA)
20634286
372
300054686
publication event
Duncan Robinson, ^Fairest isle : the appreciation of British scenery, 1750-1850, ^, Yale Center for British Art, New Haven, 1989, p. 11, no. 86, ND1354.4 F35 (YCBA)
Yale Center for British Art
Duncan Robinson
ycba_actor_2713
http://vocab.getty.edu/ulan/500281434
Robinson Duncan
300025492
Author
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
300025574
Publisher
1989
1989
1989
New Haven
12961
7842306
ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
71833360
4877
300054686
publication event
Yale Center for British Art, ^Great British watercolors : from the Paul Mellon Collection^, Yale University Press, New Haven, 2007, pp. 130-31, no. 56, ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
300025492
Author
Matthew Hargraves
ycba_actor_7112
Hargraves Matthew
300025492
Author
Scott Wilcox
ycba_actor_1252
Wilcox Scott
300025492
Author
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
2007
2007
2007
New Haven
12961
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1975
1975
1975
300138913
gift
Cornelius Varley was the younger brother of John and, like him, worked in watercolor. But Cornelius's interests gradually shifted from painting to scientific pursuits, particularly in the field of optics. In 1805 Cornelius was still committed to painting, and a tour of Wales yielded this study of cottages. Typically for Cornelius, details such as the door have been painted with scrupulous fidelity while the left-hand side of the cottage is barely sketched in. What was distinctive about Cornelius Varley's attitude to these sketches was his willingness to exhibit them as works of art in their own right. By doing so he helped transform the status of the sketch in the nineteenth century from a mere aide mémoire to the purest expression of an artist's engagement with nature.
--- --- Gallery label for Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (Yale Center for British Art, 2008-06-09 - 2008-08-17)
12961
300048722
Gallery label
2008-06-24
Whereas John Varley was gradually seduced by pseudoscience, his brother Cornelius was interested in more pragmatic knowledge of the natural world. After around 1814, his early attachment to painting was increasingly replaced by scientific concerns. While John remained an active professional watercolor painter, Cornelius painted only for amusement or as a tool in his investigations into optics. This enthusiasm for science came from his uncle, Samuel Varley, who had raised him after his father died in 1791. Cornelius's chief contribution was his work with optical devices, using both the camera obscura and camera lucida to sketch from nature, before developing his drawing aid in 1809 known as the "Patent Graphic Telescope." ---
Prior to this, Cornelius Varley was an active tourist, visiting the established regions of Britain favored by artists. His watercolors from these years frequently take the form of unfinished sketches; the statistics show that he produced about four times as many sketches as finished works in the period before 1810. Although Cornelius claimed to be self-taught, it is probable that John Varley began to teach him the rudiments of watercolor around 1800, at a time when he was encouraging his other pupils to study direct from nature. Cornelius Varley imbibed this philosophy and cited the illustrious precedent of Thomas Girtin (cat. nos. 39-42) to support it, claiming that when "sketching from nature," the late Girtin used to "expose himself to all weathers, sitting out for hours in the rain to observe the effects of storms and clouds upon the atmosphere." Perhaps this recollection fortified him against the dismal weather when this watercolor was made on a Welsh tour in 1805. According to his own account, he spent his time "quite alone, for the whole season was so rainy." ---
Llanilyfni was then a small, but ancient, village that Varley found on the fringes of Snowdonia. His study Cottages at Lanilyfni, North Wales is typical of the sketches of vernacular architecture that Varley made throughout this period. In this watercolor, the disparity in interest between the various elements of the cottage is particularly striking. Details such as the blocked-up window on the right have been carefully observed as have the leaded lights, which have been rendered painstakingly. The cottage door has been painted with such fidelity to nature that he scrupulously recorded the aging door furniture, some printed papers pinned to the wood, and even the rot ting, moss-covered panels at the bottom. Meanwhile, the left-hand side of the cottage is barely sketched in, the stonework only lightly penciled, and the roof and foreground foliage left unfinished. What was distinctive about Cornelius's attitude to these sketches, however, was his willingness to exhibit them in an incomplete state as works of art in their own right. By doing so, he helped to transform the status of the sketch in the nineteenth century from a mere aide-mémoire to the purest expression of an artist's engagement with nature.
--- --- Matthew Hargraves
--- --- Hargraves, Matthew, and Scott Wilcox. Great British Watercolors: from the Paul Mellon collection. New Haven: Yale Center for British Art, 2007, pp. 130-31, no. 56
12961
300111999
Published catalog entry
ycba_actor_7112
Matthew Hargraves
300025492
Author
2007
300006411
ycba_term_31634
shed
300010797
ycba_term_13128
glass
300132410
ycba_term_40196
tree
300002803
ycba_term_30573
door
300002469
ycba_term_15703
walls
300002944
ycba_term_15713
windows
300005500
ycba_term_31338
cottage
300005433
ycba_term_31315
house
ycba_term_2036212
architectural subject
Caernarfonshire and Merionethshire
5000551
ycba_term_1872458
Caernarfonshire and Merionethshire
53.8300, -4.0000
United Kingdom
7008591
ycba_term_1872354
United Kingdom
54.0000, -4.5000
Gwynedd
ycba_term_2037756
Gwynedd
Wales
7002443
ycba_term_1872394
Wales
52.5160, -3.5000
Llanllyfni
1064722
ycba_term_1872491
Llanllyfni
53.5000, -4.2830
Cymru
7002443
ycba_term_1872395
Cymru
52.5160, -3.5000
Duncan Robinson, Fairest isle : the appreciation of British scenery, 1750-1850, , Yale Center for British Art, New Haven, 1989, p. 11, no. 86, ND1354.4 F35 (YCBA)
818773
ND1354.4 F35 (YCBA)
20634286
372
related to
Yale Center for British Art, Great British watercolors : from the Paul Mellon Collection, Yale University Press, New Haven, 2007, pp. 130-31, no. 56, ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
7842306
ND1928 .Y35 2007 (LC)+ Oversize (YCBA)
71833360
4877
related to
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Collection
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
12961
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:12961
oai:tms.ycba.yale.edu:12961
https://manifests.collections.yale.edu/v2/ycba/obj/12961
https://manifests.collections.yale.edu/ycba/obj/12961
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art