2024-03-29T09:13:20Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:234362024-03-28ycba:pd
YCBA/lido-TMS-23436
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300041338
intaglio print
300139140
genre subject
300041273
Print
Milk below Maids
Cries of London: Plate 2
Cries of London
Qui veut du lait il est tout chaud
Inscribed on verso in graphite, top center: "2"; top right: "XX"; Lower left: "12126 | 12"; lower center: "16 x 12 1/4"; lower right: "The extremely rare first issue with 'Second Plate of the Cries of London'"
Lettered below image, lower left: "Painted by F. Wheatley R.A."; lower right: "Engraved by L. Schiavonetti" | "Milk below Maids | Qui veut de lait il est tout chaud | London pub'd as the Act Directs July 2, 1793 by Colnaghi & Co. No. 132 Pall Mall"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1974.12.3
https://www.wikidata.org/wiki/Q110185380
Not on view
Yale Center for British Art
41.3080060, -72.9306282
16 1/4 × 12 1/2 inches (41.3 × 31.8 cm)
height
cm
41.3
width
cm
31.8
Sheet
trimmed inside plate
14 × 10 7/8 inches (35.6 × 27.6 cm)
height
cm
35.6
width
cm
27.6
Image
23436
300054713
production
Print made by Luigi Schiavonetti, 1765–1810, Italian
ycba_actor_5056
http://vocab.getty.edu/ulan/500043428
https://n2t.net/ark:/99166/w61c55s6
http://www.oxforddnb.com/view/article/24807
https://www.wikidata.org/wiki/Q6700133
https://viaf.org/viaf/2739493
http://id.loc.gov/authorities/names/n82037898
Lewis Schiavonetti
Luigi Schiavonetti
Schiavonetti Luigi, 1765–1810
Luigi Schiavonetti, 1765–1810
Print made by Luigi Schiavonetti, 1765–1810
Italian
1765
1810
male
300025103
Artist
300025136
painter
300025164
printmaker
Print made by
after Francis Wheatley, 1747–1801, British
ycba_actor_40
http://d-nb.info/gnd/122390555
http://en.wikipedia.org/wiki/Francis_Wheatley_(painter)
https://n2t.net/ark:/99166/w6wj5f0p
http://id.loc.gov/authorities/names/n85161126
http://viaf.org/viaf/50107566
http://www.idref.fr/157054691/id
https://www.wikidata.org/wiki/Q5482749
http://isni-url.oclc.nl/isni/0000000066827060
http://vocab.getty.edu/ulan/500017459
F. Wheatley R. A.
Francis Whately
Francis Wheatly
F. Wheatley Esq., R. A.
Francis Wheatley
Wheatley, Francis, 1747-1801
Wheatley Francis, 1747–1801
Francis Wheatley, 1747–1801
after Francis Wheatley, 1747–1801
1000078
7011781
7011781
British
1747
1801
male
300025103
Artist
Royal Academician
300112172
draftsman (artist)
300025136
painter (artist)
after
300111159
British
1793
1793
1793
22
18th century
Color printed etching, aquatint and stipple engraving with hand coloring in watercolor on medium, slightly textured cream wove paper
300133555
hand coloring
300053239
stipple engraving
300053242
aquatint
300053329
color printing
300053241
etching (printing process)
300015045
watercolor
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
553
https://britishart.yale.edu/node/654/
https://britishart.yale.edu/node/654
300054766
exhibition
Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
300311675
Borrower
2007-09-27 - 2007-12-30
2007-09-27
2007-12-30
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
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
300435424
Organized to commemorate the bicentenary of the abolition of the British slave trade, Art and Emancipation in Jamaica was the first exhibition to focus exclusively on the visual and material culture of slavery and emancipation in Jamaica. It featured works produced in the Caribbean and Britain, including a number lent from public and private collections in Jamaica that had rarely or never been exhibited. The exhibition chronicled the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s, with a particular focus on the turbulent years preceding and immediately following emancipation in 1838. Gathered together for the first time were drawings and prints depicting life on a Jamaican sugar plantation, and images used by the anti-slavery campaign. Many works were selected from the Center’s extraordinarily rich holdings relating to the Caribbean, which provided the original impetus for the exhibition. — —
At the center of the exhibition was the remarkable lithographic series Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica, made by Jewish Jamaican-born artist Isaac Mendes Belisario. Published in Jamaica in 1837–38, Sketches of Character provides the first detailed visual representation of Jonkonnu (or John Canoe), the celebrated Afro-Jamaican masquerade performed by the enslaved during the Christmas and New Year holidays. Tracing the West African roots of Jonkonnu, its evolution in Jamaica, and its continuing transformation into the twenty-first century, the exhibition featured Jamaican and West African costumes and musical instruments, accompanied by video footage of historic and contemporary performances, as well as a specially commissioned sound track. The exhibition concluded with work by contemporary Jamaican and Afro-Caribbean artists investigating the complex legacy of slavery and emancipation. — —
Credits — —
Art and Emancipation in Jamaica was curated by Gillian Forrester, Associate Curator of Prints and Drawings at the Center; Tim Barringer, Paul Mellon Professor of the History of Art, Yale University; and Barbaro Martinez-Ruiz, Assistant Professor, Department of Art History, Stanford University. Generous support for the project was provided by the Reed Foundation.
Yale Center for British Art
Francis Wheatley (Yale Center for British Art, 2005-08-31 - 2006-02-05)
240
https://britishart.yale.edu/node/666
300054766
exhibition
Francis Wheatley
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
63
Organizer
2005-08-31 - 2006-02-05
2005-08-31
2006-02-05
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
Francis Wheatley (1747–1801) inhabited myriad artistic and social worlds: Georgian London and rural Ireland, the high life of his wealthy clients and the marginal world of the theater, the Royal Academy and the print shop. His artistic output was equally broad, encompassing printmaking, portraiture, genre painting, and history painting. — —
The first section of the exhibition explored The Oliver and Ward Families and The Browne Family, looking at how Wheatley responded to his clients’ needs by portraying middle-class merchants and bankers in the trappings of country gentlemen. His four years in Ireland comprised the second part of the exhibition. During this period of artistic freedom, Wheatley abandoned his focus on studio portraiture and created some of his most important works. Sketching and painting watercolors out-of-doors, he focused his attention on the peasants and rural poor living outside of Dublin, and in the process gathered material that would serve him for the rest of his career. Returning to London in 1783, Wheatley began to create paintings for the reproductive print market and consequently expanded his subject matter to include contemporary events and historical and literary scenes. Wheatley’s depictions of peasant life were tinged with morality and eroticism in equal measure, and they were immensely popular with the print-buying public. His greatest success in the print market was his series The Cries of London, and the exhibition ended with a comprehensive display of those works. — —
Credits — —
The Worlds of Francis Wheatley was organized by the Center and highlighted its rich holdings of Wheatley’s work in all genres and media. Featuring Wheatley’s oil paintings, his evocative and delicate watercolors and drawings, and prints after his work, the exhibition was curated by Angus Trumble, Curator of Paintings and Sculpture; and A. Cassandra Albinson, Assistant Curator of Paintings and Sculpture at the Center. It was organized to complement Sensation and Sensibility: Viewing Gainsborough’s “Cottage Door.” — —
Yale Center for British Art
23436
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1974
1974
1974
300138913
gift
In the late 1790s the portrait and genre painter Francis Wheatley exhibited at the Royal Academy fourteen paintings of London street vendors, each showing an encounter between tradesperson and customer, rather than depicting the criers as isolated figures as was usual in the "Cries" tradition. Thirteen of the paintings were published as stipple engravings by Colnaghi & Co. between 1793 and 1797 under the collective title The Itinerate Trades of London. The prints were extremely popular, and were reprinted so frequently that by 1812 new plates had to be engraved. ---
It is likely that Belisario would have known these engravings, which were still being widely circulated during the years when he was training as an artist. Wheatley's predominantly female vendors and their clientele are remarkably elegant, and his images may have been influential on Belisario's rendering of costume in Sketches of Character.
--- --- Gallery label for Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale Center for British Art, 2007-09-27 - 2007-12-30)
23436
300048722
Gallery label
2007
300015571
ycba_term_32654
cityscape
300139140
ycba_term_2036211
genre subject
300209443
ycba_term_136013
streetlamp
300025945
ycba_term_114139
children
300191622
ycba_term_12787
milk
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/
23436
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:23436
oai:tms.ycba.yale.edu:23436
https://manifests.collections.yale.edu/v2/ycba/obj/23436
https://manifests.collections.yale.edu/ycba/obj/23436
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art