2024-03-28T17:40:52Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:667722024-03-27ycba:pd
YCBA/lido-TMS-66772
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033973
drawing
300015637
portrait
300033973
Drawing & Watercolor
Thomas, Second Baron Bruce, Later First Earl of Ailesbury (1729-1814)
Thomas, 2nd Baron Bruce, Later 1st Earl of Ailesbury (1729-1814)
Inscribed on frame label in black ink, lower center: "Thomas 1st Earl of Ailesbury | 1730. 1814 | married Feb[y] 17 = 1761 to Susanna | daughter of Henry Hoare Esq | of Stourhead = Wilts
500303557
Yale Center for British Art
http://britishart.yale.edu
B2013.8
https://www.wikidata.org/wiki/Q109975903
Not on view
Yale Center for British Art
41.3080060, -72.9306282
18 3/8 × 14 1/2 inches (46.7 × 36.8 cm)
height
cm
46.7
width
cm
36.8
Sheet
24 3/4 × 21 × 2 1/4 inches (62.9 × 53.3 × 5.7 cm)
height
cm
62.9
width
cm
53.3
depth
cm
5.7
Frame
66772
300054713
production
Katharine Read, 1723–1778, British
ycba_actor_3184
http://id.loc.gov/authorities/names/nr99029800
http://vocab.getty.edu/ulan/500002897
https://www.wikidata.org/wiki/Q5052892
http://www.oxforddnb.com/view/article/23214
Katharine Read
Katherine Read
Read Katharine, 1723–1778
Katharine Read, 1723–1778
Katharine Read, 1723–1778
7000198
7009741
7000874
7008038
British
1723
1778
female
300025103
Artist
300237351
portraitist
300025136
painter
300111159
British
ca. 1751
1746
1756
22
18th century
Pastel on laid paper
300014184
laid paper
300122621
pastel
A Decade of Gifts and Acquisitions (Yale Center for British Art, 2017-06-01 - 2017-08-13)
946
https://britishart.yale.edu/node/461
300054766
exhibition
A Decade of Gifts and Acquisitions
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
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
2017-06-01 - 2017-08-13
2017-06-01
2017-08-13
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
The Yale Center for British Art first opened to the public in April 1977. In celebration of this fortieth anniversary, a suite of exhibitions showcased the most recent additions to the Center’s exceptional collection of British art. Offering visitors a behind-the-scenes look at the growth and evolution of the collection, the displays featured several groupings of newly acquired works—some organized thematically, others focused on specific artists, such as the abstract painter John Golding, and some highlighting individual gifts to the Center, including from the institution’s founder, Paul Mellon (Yale College, Class of 1929). — —
Mr. Mellon’s final gifts to the Center were largely intimate, personal objects with which he and his wife Rachel Lambert Mellon enjoyed living, and many of which she possessed until her death in 2014. They ranged from James Seymour’s The Chaise Match Run on Newmarket Heath on Wednesday the 29th of August 1750 (1750) to a group of eight paintings by the pre-eminent British modernist Ben Nicholson, which augmented the Center’s existing collection of eight works by the artist originally assembled by Mr. Mellon. Gifts from other significant donors, such as Joseph McCrindle and Brian Sewell, were also featured. Highlights from the McCrindle and Sewell bequests included paintings and drawings by Augustus John, fashionable society portraits by Sir William Orpen and Glyn Warren Philpot, and a number of works by the landscape and still-life painter Eliot Hodgkin. — —
Other exhibitions were thematic, focusing on childhood and education, war and conflict, and the natural world. The works here were chosen primarily from recent additions to the Center’s collection of rare books and manuscripts. Among the objects on display included an early map sampler (1806) by a nine-year-old girl; a manuscript by a French naval officer who took part in the Battle of Trafalgar (1805); a Second World War silk escape map; a rare early sciagraph (X-ray) of a lizard from a series of images of British reptiles (1897); and a number of works by contemporary artists, such as Barbara Ciurej and Lindsay Lochman, whose portfolio of cyanotype prints (Natural History, 2014) was inspired by the work of the nineteenth-century naturalist Anna Atkins. — —
A display of modern and contemporary prints featured two outstanding print portfolios shown in their entirety for the first time at the Center—Shadow IV (2011), by Anish Kapoor, and Thirty Pieces of Silver (2015), by Cornelia Parker, as well as prints by Richard Hamilton and other exponents of British pop art. — —
Some of the most important additions to the Center’s outstanding collection of historic British drawings, including masterpieces in watercolor by Thomas Girtin and David Cox, were showcased in another section. — —
Known as an outstanding teacher, writer, and curator, John Golding was first and foremost a painter. The display John Golding: From the Artist’s Estate drew extensively on the rich gift of his work to the Center that charts his journey from figurative art to abstraction.
Objects that document the experience of British India were also highlighted here. Works by both British and Indian artists provided a visual record of the subcontinent for British and continental audiences. — —
Works in pastel have been a collecting focus of the Center in recent years. This exhibition brought together pastel portraits, with more unusual uses of the medium in landscape and in copying old master paintings. Other portraits, studies for portraits, and portrait miniatures in a variety of graphic media were on display, including works by Sir Peter Lely and Sir Thomas Lawrence.
Over the last decade, the Center’s photographic holdings have grown dramatically through gift and purchase. On view were works from pioneering British photographer Roger Fenton to twentieth-century photographers Bill Brandt, Cecil Beaton, Lewis Morley, and contemporary artist Yinka Shonibare MBE (RA). — —
Credits — —
A Decade of Gifts and Acquisitions was curated by Elisabeth Fairman, Chief Curator of Rare Books and Manuscripts; Matthew Hargraves, Chief Curator of Art Collections; Lars Kokkonen, Assistant Curator of Paintings and Sculpture; and Sarah Welcome, Assistant Curator of Rare Books and Manuscripts; under the direction of Scott Wilcox, Deputy Director for Collections.
Yale Center for British Art
66772
00111197936
DealerCat Lowell Libson Ltd. (YCBA)
826823698
2822
300054686
publication event
^British paintings & works on paper^, Lowell Libson Ltd., London, 2013, pp. 66, 6879, DealerCat Lowell Libson Ltd. (YCBA)
Yale Center for British Art
Lowell Libson Ltd.
ycba_actor_6312
Lowell Libson Ltd. Libson Lowell
300025574
Publisher
2013
2013
2013
London
66772
4582666
N6761 B74 + (YCBA)
43427170
860
300054686
publication event
Margery Morgan, ^British Connoisseurs in Rome : Was it painted by Katherine Read?^, British Art Journal, vol. 7, no. 1, Spring/Summer 2006, pp. 41,42, 44, pl. 4, N6761 B74 + (YCBA)
Yale Center for British Art
Margery Morgan
ycba_actor_9027
Morgan Margery
300025492
Author
Spring/Summer 2006
2006
2006
66772
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
2013-03-26
2013-03-26
2013-03-26
300417642
purchase
Katharine Read was one of the most successful pastelists working in eighteenth-century Britain and one of the few professional female artists. Such was her success that she included French and British royalty among her clientele. Read had trained with the French pastelist Maurice Quentin de la Tour in Paris in her early twenties and then moved on to Rome, where she worked successfully making portraits of both Italian and British sitters. This early pastel was made in around 1751, shortly after she arrived in Rome and when Lord Bruce was on the Grand Tour. Read returned to Britain in 1753, where she earned a considerable reputation for her portraits. In 1778 she traveled to India, planning to establish herself in Madras after her niece had married the governor in 1777. She died en route and was buried at sea.
--- --- Gallery label for A Decade of Gifts and Acquisitions (Yale Center for British Art, 2017-06-01 - 2017-08-13)
66772
300048722
Gallery label
2017-06-26
300178802
ycba_term_21364
costume
300015637
ycba_term_32667
portrait
300025928
ycba_term_35274
man
Brudenell-Bruce, Thomas (1729-1814), 1st Earl of Ailesbury
https://www.wikidata.org/wiki/Q7611139
ycba_term_2047265
Brudenell-Bruce, Thomas (1729-1814), 1st Earl of Ailesbury
British paintings & works on paper, Lowell Libson Ltd., London, 2013, pp. 66, 6879, DealerCat Lowell Libson Ltd. (YCBA)
00111197936
DealerCat Lowell Libson Ltd. (YCBA)
826823698
2822
related to
Margery Morgan, British Connoisseurs in Rome : Was it painted by Katherine Read?, British Art Journal, vol. 7, no. 1, Spring/Summer 2006, pp. 41,42, 44, pl. 4, N6761 B74 + (YCBA)
4582666
N6761 B74 + (YCBA)
43427170
860
related to
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Fund
300055598
Public Domain
300435434
https://creativecommons.org/publicdomain/zero/1.0/
66772
300133025
(not defined)
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:66772
oai:tms.ycba.yale.edu:66772
https://manifests.collections.yale.edu/v2/ycba/obj/66772
https://manifests.collections.yale.edu/ycba/obj/66772
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art