2024-03-29T08:26:44Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:385332024-03-28ycba:ps
YCBA/lido-TMS-38533
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033618
painting
300015636
landscape
300033618
Painting
Golding Constable's House, East Bergholt: the Artist's birthplace
Landscape with Village and Trees
East Bergholt House
500303557
Yale Center for British Art
http://britishart.yale.edu
B2001.2.105
https://www.wikidata.org/wiki/Q23746107
Not on view
Yale Center for British Art
41.3080060, -72.9306282
5 3/4 x 10 inches (14.6 x 25.4 cm)
height
cm
14.6
width
cm
25.4
38533
300054713
production
John Constable, 1776–1837, British
ycba_actor_18
http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX895728
http://vocab.getty.edu/ulan/500115382
http://isni-url.oclc.nl/isni/0000000122770039
http://www.idref.fr/030345952/id
http://en.wikipedia.org/wiki/John_Constable
http://d-nb.info/gnd/118521934
http://www.oxforddnb.com/view/article/6107?docPos=3
http://libris.kb.se/resource/auth/182141
http://id.loc.gov/authorities/names/n80007977
https://n2t.net/ark:/99166/w6wm20v2
http://id.ndl.go.jp/auth/ndlna/00512631
http://viaf.org/viaf/17265725
https://www.wikidata.org/wiki/Q159297
John Constable
John Constable R. A.
Constable, John, 1776-1837
Constable John, 1776–1837
John Constable, 1776–1837
John Constable, 1776–1837
7011827
7029248
7011781
7011781
British
1776
1837
male
300025103
Artist
Royal Academician
300025136
painter
300112172
draftsman (artist)
ca. 1809
1804
1814
24
19th century
Oil on canvas
300015050
oil paint
300014078
canvas
300054216
painting (technique)
Richard Wilson and the Transformation of European Landscape Painting (Yale Center for British Art, 2014-03-06 - 2014-06-01)
756
https://britishart.yale.edu/node/613
300054766
exhibition
Richard Wilson and the Transformation of European Landscape Painting
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
300311675
Borrower
2014-03-06 - 2014-06-01
2014-03-06
2014-06-01
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
This was the first major exhibition devoted to Richard Wilson (1714–1782) in thirty years. It explored Wilson’s work in its broader European contexts, focusing on his transformative experience in Rome, where he spent nearly seven years in the 1750s. The exhibition confronted fundamental questions about changes in taste in the middle years of the eighteenth century, which saw “the rise of landscape” as an independent genre that challenged accepted academic hierarchies. — —
It also explored how Wilson, as the “father of British landscape painting,” marketed his landscape art upon his return to England and how his work was understood after his death, influencing a generation of artists including John Constable and J. M. W. Turner. Many of Wilson’s greatest paintings and drawings were featured, along with key paintings by the earlier masters Claude Lorrain and Gaspard Dughet, as well as by Wilson’s contemporaries such as Pompeo Batoni, Anton Raphael Mengs, Francesco Zuccarelli, Charles Joseph Natoire, Joseph Vernet, Louis Gabriel Blanchet, and other artists associated with the Académie de France. Finally, the exhibition revealed how Wilson’s international pupils in Rome went on to become influential figures in their native countries. — —
Credits — —
Richard Wilson and the Transformation of European Landscape Painting was co-organized by the Center and Amgueddfa Cymru–National Museum Wales. It was on view at National Museum Cardiff from July 5 to October 26, 2014. The exhibition was co-curated by Robin Simon, Honorary Professor of English, University College London, and Editor, the British Art Journal, and Martin Postle, Deputy Director of Studies, the Paul Mellon Centre for Studies in British Art, London. The organizing curator at the Center was Scott Wilcox, Chief Curator of Art Collections and Senior Curator of Prints and Drawings; and, at Amgueddfa Cymru–National Museum Wales, Oliver Fairclough, Keeper of Art. The exhibition was accompanied by a book of the same title, published by the Center and Amgueddfa Cymru–National Museum Wales, in association with Yale University Press.
Yale Center for British Art
An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29)
248
300054766
exhibition
An American's Passion for British Art - Paul Mellon's Legacy
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
BAC
YCBA
Yale Center for British Art
British Art Center
1977
0
66
Lender
2007-04-18 - 2007-07-29
2007-04-18
2007-07-29
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
An American's Passion for British Art - Paul Mellon's Legacy (Royal Academy of Arts, 2007-10-20 - 2008-01-27)
248
300054766
exhibition
An American's Passion for British Art - Paul Mellon's Legacy
Yale Center for British Art
Royal Academy of Arts
ycba_actor_5870
http://vocab.getty.edu/ulan/500115632
https://viaf.org/viaf/153543255
http://www.wikidata.org/entity/Q270920
http://id.loc.gov/authorities/names/n80032672
RA
Royal Academy of Arts
0
0
300311675
Borrower
2007-10-20 - 2008-01-27
2007-10-20
2008-01-27
Royal Academy of Arts
ycba_actor_5870
http://id.loc.gov/authorities/names/n80032672
http://vocab.getty.edu/ulan/500115632
http://www.wikidata.org/entity/Q270920
https://viaf.org/viaf/153543255
Royal Academy of Arts
Piccadilly
https://en.wikipedia.org/wiki/Piccadilly
Piccadilly
The Paul Mellon Bequest : Treasures of a Lifetime (Yale Center for British Art, 2001-02-17 - 2001-04-29)
82
https://britishart.yale.edu/node/692
300054766
exhibition
The Paul Mellon Bequest : Treasures of a Lifetime
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
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300025633
Curator
2001-02-17 - 2001-04-29
2001-02-17
2001-04-29
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
When Paul Mellon died in February 1999, he left the Center nearly three hundred paintings, sixty-four mostly small-scale sculptures, large numbers of drawings and prints, and a magnificent group of rare books. These were the works he chose to keep for his own pleasure until the end of his life, and they represent the more personal side of his great British collection. To the vast array of his gifts to the Center since its opening in 1977, they brought a firmer sense of his own life, character, and interests. — —
Mellon’s passion for English country life was rooted in childhood experiences: his aversion to the grim, moneymaking world of his unresponsive father, his happy early visits to England, homeland of his mother. For him England was truly a green and pleasant land. Taken together, the works in the bequest present an idyllic vision of the place, green and fresh, a paradise of hunting, shooting, fishing, and horse racing. — —
This exhibition included about 150 paintings from the bequest, with a complementary selection of sculptures, drawings, and rare books. Among the highlights were eleven paintings by George Stubbs, eighteen oil sketches by John Constable, a small painting on copper by William Blake, and nine paintings, largely of equine subjects, by the early twentieth-century painter Robert Bevan. — —
Credits — —
Malcolm Warner, a former Curator of Paintings and Sculpture at the Center, curated the exhibition, which was accompanied by a published illustrated catalogue. — —
Yale Center for British Art
38533
7838392
N5220 M552 P38 2007 OVERSIZE (YCBA)
74916141
48
300054686
publication event
John Baskett, ^Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, ^, Yale Center for British Art, New Haven, CT, 2007, p. 287, no. 95, pl. 95, N5220 M552 P38 2007 OVERSIZE (YCBA)
Yale Center for British Art
John Baskett
ycba_actor_6645
Baskett John
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
2007
2007
2007
New Haven, CT
38533
3102002
J10 P835+ (LSF)
173881454
1371
300054686
publication event
^Constable^, Portfolio, vol. no. 4, 1873, pp. 93-4, J10 P835+ (LSF)
Yale Center for British Art
1873
1873
1873
38533
25384
NJ18 C74 A12 +H66 (YCBA)
5472212
289
300054686
publication event
Robert Hoozee, ^L'opera completa di Constable^, 98, Rizzoli, Milano, Italy, 1979, p. 96, no. 91, NJ18 C74 A12 +H66 (YCBA)
Yale Center for British Art
Robert Hoozee
ycba_actor_8609
Hoozee Robert
300025492
Author
Rizzoli
ycba_actor_8384
Rizzoli
300025574
Publisher
1979
1979
1979
Milano, Italy
38533
579897
NJ18 C74 P374 + (YCBA)
8111921
1605
300054686
publication event
Leslie Parris, ^The Tate Gallery Constable collection : a catalogue, ^, Tate Britain, London, UK, 1981, p. 44-47, fig. 2, NJ18 C74 P374 + (YCBA)
Yale Center for British Art
Leslie Parris
ycba_actor_8356
Parris Leslie
300025492
Author
Tate Britain
ycba_actor_1284
http://id.loc.gov/authorities/names/n80046785
http://vocab.getty.edu/ulan/500266827
http://www.wikidata.org/entity/Q430682
https://viaf.org/viaf/155600523
Tate Britain
300025574
Publisher
1981
1981
1981
London, UK
38533
7964230
N5220 M552 P381 2007 OVERSIZE (YCBA)
701808157
190
300054686
publication event
^Paul Mellon's Legacy : a passion for British art [large print labels], ^, Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 P381 2007 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
300025574
Publisher
2007
2007
2007
New Haven, CT
38533
11890423
NJ18.W72 R53 2014 OVERSIZE (YCBA)
855507191
3201
300054686
publication event
Martin Postle, ^Richard Wilson and the transformation of European landscape painting^, Yale University Press, New Haven, 2014, p. 328, Cat. No. 160, NJ18.W72 R53 2014 OVERSIZE (YCBA)
Yale Center for British Art
Martin Postle
ycba_actor_8699
Postle Martin
300025526
editor
Robin Simon
ycba_actor_8543
Simon Robin
300025526
editor
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
300403974
contributor
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
2014
2014
2014
New Haven
38533
3892926
NJ18 C74 R484 1996 + (YCBA)
33046220
261
300054686
publication event
Graham Reynolds, ^The early paintings and drawings of John Constable^, The Paul Mellon Centre for Studies in British Art, New Haven, 1996, p. 149 (v. 1), no. 10.30, Pl. 859 [v.2], NJ18 C74 R484 1996 + (YCBA)
Yale Center for British Art
Graham Reynolds
ycba_actor_8357
Reynolds Graham
300025492
Author
The Paul Mellon Centre for Studies in British Art
ycba_actor_5853
http://id.loc.gov/authorities/names/n79109777
http://vocab.getty.edu/ulan/500301928
http://www.wikidata.org/entity/Q7152454
https://viaf.org/viaf/131545782
The Paul Mellon Centre for Studies in British Art
300025574
Publisher
1996
1996
1996
New Haven
38533
4700909
N5247 M385 P28 2001 (YCBA)
46348788
283
300054686
publication event
Malcolm Warner, ^The Paul Mellon Bequest : treasures of a lifetime, ^, Yale Center for British Art, New Haven, CT, 2001, p. 29, N5247 M385 P28 2001 (YCBA)
Yale Center for British Art
Malcolm Warner, born 1953
ycba_actor_1214
http://id.loc.gov/authorities/names/n78078373
https://www.wikidata.org/wiki/Q16185655
Warner Malcolm
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
2001
2001
2001
New Haven, CT
38533
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
2001-01-05
2001-01-05
2001-01-05
300079440
bequest
Constable’s father was a prosperous corn merchant and owned water mills in the Stour Valley at Flatford, Dedham, and East Bergholt, close to the large family house over which he presided, the rear view of which this sketch records. If Constable had extended this composition further to the left, he could have included the parish church of East Bergholt, which was located close to his father’s home. --- ---
Gallery label for An American's Passion for British Art - Paul Mellon's Legacy (Yale Center for British Art, 2007-04-18 - 2007-07-29)
38533
300048722
Gallery label
2007
The substantial house in this picture belonged to John Constable’s father, a prosperous corn merchant who also owned watermills in the low-lying Stour Valley in the East Anglian countryside. This characteristic little oil sketch by Constable reveals how far British landscape composition had come as a result of Wilson’s pioneering exploration of its possibilities. The apparent informality of the picture belies the strength of its underlying structure and tonal control, both features that Wilson had brought to bear on such ostensibly unpromising subject matter as Hounslow Heath (cat. 140) or “country house portraits” like Tabley House (cat. 139). The oil sketch, as adapted by Wilson’s pupil Thomas Jones to capture a swift impression such as this (see, for example, cat. 145), owed much to Wilson’s habit of jotting down in his sketchbooks promising fragments of the view before him. --- ---
Robin Simon --- ---
Martin Postle, Richard Wilson and the transformation of European landscape painting, Yale University Press, New Haven, 2014, p. 328, Cat. No. 160, NJ18.W72 R53 2014 OVERSIZE (YCBA)
38533
300111999
Published catalog entry
ycba_actor_8543
Robin Simon
300025492
Author
2014
Constable's father was a prosperous corn merchant and owned water mills in the Stour Valley at Flatford, Dedham, and East Bergholt, close to the large family house over which he presided, the rear view of which this sketch records. (The stand of trees and the lone poplar, on the right, and the sprightly little cupola make it clear that we are looking at the back of the house.) The church of East Bergholt (see cat. 96) would be visible here if the margin of the present composition were extended farther to the left. Constable in fact produced at least one other view of his birthplace in which he included the church, thereby gathering into the composition the symbolic presence of the two crucial components of the rural polity.-.the rector and the squire. As well, Constable painted views from the rear windows of East Bergholt House, in effect directing his gaze back out toward the ground from which this and related views of the back of the house were taken. --- ---
Angus Trumble --- ---
John Baskett, Paul Mellon's legacy: a passion for British art : masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, p. 287, no. 95, pl. 95, N5220 M552 P38 2007 OVERSIZE (YCBA)
38533
300111999
Published catalog entry
ycba_actor_6799
Angus Trumble
300025492
Author
2007
Created by John Constable (1776-1837), the artist; by descent to his daughter, Isabel Constable (1822-1888) [1]; acquired by Dowdeswell and Dowdeswell, Ltd., 160 New Bond Street, London, after 1887 [2], probably at auction, at Christie, Manson & Woods, London, England, June 17, 1892 (lot 239, 3 ‘Studies of Landscapes’), in “Catalogue of Works of the late John Constable, R.A….Many of which were Exhibited at the Grosvenor Gallery, 1889, as the Property of Miss Isabel Constable” [3];… ; probably acquired by Edward William Hooper (1839-1901), Cambridge, Massachusetts in London, England [4]; probably by descent to his daughter, Frances “Fanny” Curtis (née Hooper, 1877-1963), Boston, Massachusetts [5];...; acquired by Oscar and Peter Johnson Ltd., London, England [a]; purchased by Paul Mellon (1907-1999), 1964 [b]; by whom given to the Yale Center for British Art, New Haven, Connecticut, September 10, 1999. --- ---
Notes: ---
[1] Per an inscription on a label affixed to the back of the frame claiming "late the property of Miss Isabel Constable deceased." --- ---
[2] Per a fragmentary label affixed to the back of the frame and overlaid with a Pitt & Scott Ltd. sticker. In its partial form, it reads "Limited|Publishers, V…ers of, and Dealers in|...Art,|...[St]reet, 160. Its content and typography matches other examples of Dowdeswell's labels pictured elsewhere, e.g. https://paintings.theclowescollection.org/technical-reports/c10062. The painting was first known as "Study of Landscape," according to the inscription on the back of the frame that gives Isabel Constable's prior ownership. Dowdeswell coincidentally exhibited a no. 42 "Study of Landscape September 22nd 1808," and no. 43 "Study of Landscape" at a December 1892 exhibition, https://www.exhibitionculture.arts.gla.ac.uk/exhibition.php?eid=227. The label also gives Dowdeswell and Dowdeswell’s gallery address as 160 New Bond Street, a site they only occupied after 1887; this provides a probable terminus post quem for when this artwork entered their collection. --- ---
[3] Dowdeswell and Dowdeswell acquired a number of works by Constable at the June 17, 1892 auction. A marked catalog indicates that Dowdeswell and Dowdeswell bought lot 239, “Studies of Landscapes,” which consisted of three separate works. As discussed in the note above, they exhibited two works with related names at a December 1892 exhibition. --- ---
[4] Edward William Hooper was an active collector of art and one of the original trustees of the Boston Museum of Fine Arts. Hooper had previously bought several works by James Abbott McNeill Whistler from Dowdeswell and Dowdeswell, and he appears to have been in England in 1892 based on ship’s records, departing in October (prior to the December exhibit at Dowdeswell & Dowdeswell Gallery). In his will, Hooper directed that all his art ("All pictures....works of art") be split evenly among his five daughters. See Robert Gardner McClung, Representative Massachusetts Wills, selected by Robert Gardner McClung, Boston, 1912: p. 80. While we are certain that this work was owned by his daughter Fanny Curtis, it seems highly probable that she inherited the work from her father. --- ---
[5] I.e., the "Mrs. G.S. Curtis" (Greely S. Curtis, 1871-1947) named in the documentation inherited from Oscar and Peter Johnson, Ltd. and invoked by the object's provenance in Graham Reynolds, The early paintings of John Constable (New Haven: Yale University Press, 1996), 1:149, https://collections.britishart.yale.edu/catalog/orbis:3892926. Fanny was the daughter of Edward W. Hooper (1839-1901), one of the first trustees of the MFA Boston, and owner of two other Constable cloud studies now in the YCBA's collection (B1981.25.146 and B1981.25.147). The work may have been purchased by Edward and passed by descent to Fanny. Nevertheless, her husband--Greely Stevenson Curtis Jr. (1874-1947)--was a prominent engineer and aviator and may also have had affluence sufficient to buy art, although no collection in his name is known. The Curtises kept a home in Marblehead, MA, where Fanny lived after her husband's death. --- ---
Citations: ---
[a] Graham Reynolds, The early paintings and drawings of John Constable, The Paul Mellon Centre for Studies in British Art, New Haven, 1996, p. 149 (v. 1), no. 10.30 --- ---
[b] John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, p. 287, no. 95, pl. 95, N5220 M552 P38 2007 OVERSIZE (YCBA)
38533
300055863
Provenance
300015636
ycba_term_149705
landscape
300185434
ycba_term_137583
brushstrokes
300008217
ycba_term_32216
road
300172863
ycba_term_4924
Romantic
300005425
ycba_term_31314
dwelling
300005433
ycba_term_31315
house
300004792
ycba_term_17956
buildings
0
ycba_term_947634
village
300008321
ycba_term_32257
path
300343840
ycba_term_2036248
clouds
300229355
ycba_term_138746
rural
300132410
ycba_term_17587
trees
300002469
ycba_term_30469
wall
Suffolk
7008185
ycba_term_1879035
Suffolk
52.1660, 1.1600
Europe
1000003
ycba_term_1816338
Europe
56.2000, 15.0160
England
7002445
ycba_term_1875229
England
53.0000, -2.0000
East Bergholt
7029248
ycba_term_2036552
East Bergholt
51.9667, 1.0167
United Kingdom
7008591
ycba_term_1872354
United Kingdom
54.0000, -4.5000
John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, p. 287, no. 95, pl. 95, N5220 M552 P38 2007 OVERSIZE (YCBA)
7838392
N5220 M552 P38 2007 OVERSIZE (YCBA)
74916141
48
related to
Constable, Portfolio, vol. no. 4, 1873, pp. 93-4, J10 P835+ (LSF)
3102002
J10 P835+ (LSF)
173881454
1371
related to
Robert Hoozee, L'opera completa di Constable, 98, Rizzoli, Milano, Italy, 1979, p. 96, no. 91, NJ18 C74 A12 +H66 (YCBA)
25384
NJ18 C74 A12 +H66 (YCBA)
5472212
289
related to
Leslie Parris, The Tate Gallery Constable collection : a catalogue, , Tate Britain, London, UK, 1981, p. 44-47, fig. 2, NJ18 C74 P374 + (YCBA)
579897
NJ18 C74 P374 + (YCBA)
8111921
1605
related to
Paul Mellon's Legacy : a passion for British art [large print labels], , Yale Center for British Art, New Haven, CT, 2007, v. 3, N5220 M552 P381 2007 OVERSIZE (YCBA)
7964230
N5220 M552 P381 2007 OVERSIZE (YCBA)
701808157
190
related to
Martin Postle, Richard Wilson and the transformation of European landscape painting, Yale University Press, New Haven, 2014, p. 328, Cat. No. 160, NJ18.W72 R53 2014 OVERSIZE (YCBA)
11890423
NJ18.W72 R53 2014 OVERSIZE (YCBA)
855507191
3201
related to
Graham Reynolds, The early paintings and drawings of John Constable, The Paul Mellon Centre for Studies in British Art, New Haven, 1996, p. 149 (v. 1), no. 10.30, Pl. 859 [v.2], NJ18 C74 R484 1996 + (YCBA)
3892926
NJ18 C74 R484 1996 + (YCBA)
33046220
261
related to
Malcolm Warner, The Paul Mellon Bequest : treasures of a lifetime, , Yale Center for British Art, New Haven, CT, 2001, p. 29, N5247 M385 P28 2001 (YCBA)
4700909
N5247 M385 P28 2001 (YCBA)
46348788
283
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/
38533
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:38533
oai:tms.ycba.yale.edu:38533
https://manifests.collections.yale.edu/v2/ycba/obj/38533
https://manifests.collections.yale.edu/ycba/obj/38533
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art