2024-03-29T13:00:07Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:8962024-03-28ycba:ps
YCBA/lido-TMS-896
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300033618
painting
300015637
portrait
300033618
Painting
George James Welbore Agar-Ellis, later first Baron Dover
George James Welbore Agar-Ellis, later first Lord Dover
George James Welbore Agar-Ellis, later 1st Lord Dover
Dover, George, 1st Baron
Dover, George, Lord
500303557
Yale Center for British Art
http://britishart.yale.edu
B1981.25.411
https://www.wikidata.org/wiki/Q23760217
On view at the Yale University Art Gallery
Yale Center for British Art
41.3080060, -72.9306282
36 x 29 inches (91.4 x 73.7 cm)
height
cm
91.4
width
cm
73.7
43 5/8 × 36 3/4 × 3 inches (110.8 × 93.3 × 7.6 cm)
height
cm
110.8
width
cm
93.3
depth
cm
7.6
Frame
896
300054713
production
Sir Thomas Lawrence, 1769–1830, British
ycba_actor_42
https://viaf.org/viaf/59122598
https://n2t.net/ark:/99166/w6h70d53
https://www.wikidata.org/wiki/Q312096
http://id.loc.gov/authorities/names/n81008170
http://vocab.getty.edu/ulan/500022619
Thomas Lawrence
T. Lawrence
Tho. Lawrence
Thos. Lawrence
Thomas Lawrence R. A.
Sir Thomas Lawrence
Lawrence, Thomas, Sir, 1769–1830
Lawrence Thomas Sir, 1769–1830
Sir Thomas Lawrence, 1769–1830
Sir Thomas Lawrence, 1769–1830
7011781
7011198
British
1769
1830
male
300025103
Artist
President of the Royal Academy of Art, London (1820-1830)
300025234
collector
300025136
painter
300112172
draftsman (artist)
1823 to 1824
1823
1824
24
19th century
Oil on canvas
300054216
painting (technique)
YUAG European Galleries (Yale University Art Gallery, 2023-12-01 - 2025-01-15)
1108
300054766
exhibition
YUAG European Galleries
Yale Center for British Art
Yale University Art Gallery
ycba_actor_1258
http://vocab.getty.edu/ulan/500303559
http://www.wikidata.org/entity/Q1568434
https://viaf.org/viaf/158793816
http://id.loc.gov/authorities/names/n79129213
Yale University Art Gallery
YUAG
0
0
2023-12-01 - 2025-01-15
2023-12-01
2025-01-15
Yale University Art Gallery
ycba_actor_1258
http://id.loc.gov/authorities/names/n79129213
http://vocab.getty.edu/ulan/500303559
http://www.wikidata.org/entity/Q1568434
https://viaf.org/viaf/158793816
Yale University Art Gallery
New Haven
7014210
New Haven
In a New Light: Paintings from the Yale Center for British Art (Yale University Art Gallery, 2023-03-24 - 2023-12-03)
1075
https://media.art.yale.edu/content/lux/exb/5069.json
https://britishart.yale.edu/node/1791
300054766
exhibition
In a New Light: Paintings from the Yale Center for British Art
Yale Center for British Art
Yale University Art Gallery
ycba_actor_1258
https://viaf.org/viaf/158793816
http://www.wikidata.org/entity/Q1568434
http://vocab.getty.edu/ulan/500303559
http://id.loc.gov/authorities/names/n79129213
YUAG
Yale University Art Gallery
0
0
300311675
Borrower
2023-03-24 - 2023-12-03
2023-03-24
2023-12-03
Yale University Art Gallery
ycba_actor_1258
http://id.loc.gov/authorities/names/n79129213
http://vocab.getty.edu/ulan/500303559
http://www.wikidata.org/entity/Q1568434
https://viaf.org/viaf/158793816
Yale University Art Gallery
New Haven
7014210
New Haven
300435424
More than fifty paintings from the Yale Center for British Art are on view at the Yale University Art Gallery through December 3, 2023. The exhibition offers visitors the opportunity to engage with the YCBA’s collection while the museum is closed to the public for a building conservation project. The exhibition spans four centuries of British landscape and portraiture traditions, with works by Mary Beale, John Constable, Thomas Gainsborough, William Hogarth, Gwen John, Angelica Kauffman, George Stubbs, and Joseph Mallord William Turner, among others. Several of these paintings were on view at the Gallery in 2015, where they were featured in The Critique of Reason: Romantic Art, 1760–1860, the first major collaborative exhibition between the two Yale art museums. --- ---
In a New Light occupies the special-exhibition galleries on the fourth floor of the Gallery’s Kahn building, which opened in 1953 and was the architect’s first significant commission and the first modernist structure on Yale’s campus. Directly across the street, Kahn’s final building, the YCBA, was completed after his death and opened to the public in 1977.
Yale Center for British Art
The Critique of Reason : Romantic Art, 1760–1860 (Yale University Art Gallery, 2015-03-06 - 2015-07-26)
851
https://media.art.yale.edu/content/lux/exb/3979.json
300054766
exhibition
The Critique of Reason : Romantic Art, 1760–1860
Yale Center for British Art
Yale University Art Gallery
ycba_actor_1258
http://vocab.getty.edu/ulan/500303559
http://www.wikidata.org/entity/Q1568434
https://viaf.org/viaf/158793816
http://id.loc.gov/authorities/names/n79129213
Yale University Art Gallery
YUAG
0
0
2015-03-06 - 2015-07-26
2015-03-06
2015-07-26
Yale University Art Gallery
ycba_actor_1258
http://id.loc.gov/authorities/names/n79129213
http://vocab.getty.edu/ulan/500303559
http://www.wikidata.org/entity/Q1568434
https://viaf.org/viaf/158793816
Yale University Art Gallery
New Haven
7014210
New Haven
Thomas Lawrence - Regency, Power and Brilliance (National Portrait Gallery, 2010-10-21 - 2011-01-23)
662
https://britishart.yale.edu/node/626
300054766
exhibition
Thomas Lawrence - Regency, Power and Brilliance
Yale Center for British Art
National Portrait Gallery
ycba_actor_1628
http://vocab.getty.edu/ulan/500226159
https://viaf.org/viaf/121893961
http://www.wikidata.org/entity/Q238587
http://id.loc.gov/authorities/names/n79113062
National Portrait Gallery
The National Portrait Gallery
0
0
63
Organizer
2010-10-21 - 2011-01-23
2010-10-21
2011-01-23
National Portrait Gallery
ycba_actor_1628
http://id.loc.gov/authorities/names/n79113062
http://vocab.getty.edu/ulan/500226159
http://www.wikidata.org/entity/Q238587
https://viaf.org/viaf/121893961
National Portrait Gallery
London
7011781
London
300435424
Thomas Lawrence (1769–1830) was the most famous portraitist of his day. Praised and abused by the popular press and the exhibition-going public, his controversial portraits set the standard for beauty, elegance, and glamour in the unstable period of revolution and reform through which he lived. Lacking in formal and artistic education, Lawrence scaled the most dazzling heights of his profession. Through his prodigious talents and ambition, he became not only the most popular chronicler of fashionable London society, but also one of the most lauded and imitated portraitists in Europe. Portraits that emerged from Lawrence’s brush were startlingly modern, yet grounded in historical forms. He captured his subject’s inner life (the “fire in the eye” that contemporary critics remarked upon) while simultaneously representing the sitter’s idealized social persona. — —
Thomas Lawrence: Regency Power and Brilliance was wide in scope: it contrasted the artist’s approach to sitters according to their age and gender; juxtaposed his public identity with the private world of his studio; explored his technical innovations as a draftsman and painter; and placed him within the broader contexts of the aesthetic debates, networks of patronage, and international politics of his day. Attention was paid to meaningful groupings that Lawrence created by exhibiting works together. The exhibition also offered visitors a behind-the-scenes look at his working methods and conveyed the importance of his studio as a workspace, a social space in London, and a space for the display of his own works and stellar collection of Old Master drawings. — —
The exhibition began with a restaging of Lawrence’s first definitive Royal Academy success in 1790, where he showed, to thunderous acclaim, portraits of the actress Elizabeth Farren and Queen Charlotte. A display of works from Lawrence’s controversial exhibitions from the 1790s followed, including portraits that challenged traditional notions of masculinity. During the period from 1797 to 1815 the artist experienced financial and emotional turmoil but created his most innovative and experimental group portraits and “half-history” portraits. Lawrence was sent abroad by the Prince Regent between 1818 and 1820 to paint the victors of Waterloo, and a section of the exhibition included portraits of the Duke of Wellington and Charles William Vane-Stewart, later 3rd Marquess of Londonderry. The exhibition also examined the innovative chalk-on-canvas drawings that he made during his travels. It featured some of Lawrence’s best works on paper, ranging from friendship portraits and commissioned portrait drawings to sketches of historical events. — —
Inspired by a drawing of his studio in 1824, the last section of the exhibition area explored new paradigms of masculinity and femininity in Lawrence’s later work and also looked at the importance of his portraits of children. “The magic of his art is thrown around the representations of the most ordinary things,” a critic wrote at this time. The exhibition shared this magic with visitors drawn by the beauty of Lawrence’s paintings, by interest in the period of the Napoleonic Wars, and by the challenging representations of gender roles in Lawrence’s work. — —
Venues — —
National Portrait Gallery, London: October 21, 2010–January 23, 2011 — —
Yale Center for British Art: February 24–June 5, 2011 — —
Credits — —
Thomas Lawrence: Regency Power and Brilliance was organized by the Center and the National Portrait Gallery, London, and curated by Cassandra Albinson, Associate Curator of Paintings and Sculpture at the Center; Peter Funnell, Curator of Nineteenth-Century Portraits and Head of Research Programmes, National Portrait Gallery; and Lucy Peltz, Curator of Eighteenth-Century Portraits, National Portrait Gallery. The exhibition was supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support was provided by the David T. Langrock Foundation.
Yale Center for British Art
Thomas Lawrence - Regency, Power and Brilliance (Yale Center for British Art, 2011-02-24 - 2011-06-05)
662
https://britishart.yale.edu/node/626
300054766
exhibition
Thomas Lawrence - Regency, Power and Brilliance
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
http://id.loc.gov/authorities/names/n77005277
https://viaf.org/viaf/155449049
Yale Center for British Art
BAC
YCBA
British Art Center
1977
0
63
Organizer
2011-02-24 - 2011-06-05
2011-02-24
2011-06-05
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
Thomas Lawrence (1769–1830) was the most famous portraitist of his day. Praised and abused by the popular press and the exhibition-going public, his controversial portraits set the standard for beauty, elegance, and glamour in the unstable period of revolution and reform through which he lived. Lacking in formal and artistic education, Lawrence scaled the most dazzling heights of his profession. Through his prodigious talents and ambition, he became not only the most popular chronicler of fashionable London society, but also one of the most lauded and imitated portraitists in Europe. Portraits that emerged from Lawrence’s brush were startlingly modern, yet grounded in historical forms. He captured his subject’s inner life (the “fire in the eye” that contemporary critics remarked upon) while simultaneously representing the sitter’s idealized social persona. — —
Thomas Lawrence: Regency Power and Brilliance was wide in scope: it contrasted the artist’s approach to sitters according to their age and gender; juxtaposed his public identity with the private world of his studio; explored his technical innovations as a draftsman and painter; and placed him within the broader contexts of the aesthetic debates, networks of patronage, and international politics of his day. Attention was paid to meaningful groupings that Lawrence created by exhibiting works together. The exhibition also offered visitors a behind-the-scenes look at his working methods and conveyed the importance of his studio as a workspace, a social space in London, and a space for the display of his own works and stellar collection of Old Master drawings. — —
The exhibition began with a restaging of Lawrence’s first definitive Royal Academy success in 1790, where he showed, to thunderous acclaim, portraits of the actress Elizabeth Farren and Queen Charlotte. A display of works from Lawrence’s controversial exhibitions from the 1790s followed, including portraits that challenged traditional notions of masculinity. During the period from 1797 to 1815 the artist experienced financial and emotional turmoil but created his most innovative and experimental group portraits and “half-history” portraits. Lawrence was sent abroad by the Prince Regent between 1818 and 1820 to paint the victors of Waterloo, and a section of the exhibition included portraits of the Duke of Wellington and Charles William Vane-Stewart, later 3rd Marquess of Londonderry. The exhibition also examined the innovative chalk-on-canvas drawings that he made during his travels. It featured some of Lawrence’s best works on paper, ranging from friendship portraits and commissioned portrait drawings to sketches of historical events. — —
Inspired by a drawing of his studio in 1824, the last section of the exhibition area explored new paradigms of masculinity and femininity in Lawrence’s later work and also looked at the importance of his portraits of children. “The magic of his art is thrown around the representations of the most ordinary things,” a critic wrote at this time. The exhibition shared this magic with visitors drawn by the beauty of Lawrence’s paintings, by interest in the period of the Napoleonic Wars, and by the challenging representations of gender roles in Lawrence’s work. — —
Venues — —
National Portrait Gallery, London: October 21, 2010–January 23, 2011 — —
Yale Center for British Art: February 24–June 5, 2011 — —
Credits — —
Thomas Lawrence: Regency Power and Brilliance was organized by the Center and the National Portrait Gallery, London, and curated by Cassandra Albinson, Associate Curator of Paintings and Sculpture at the Center; Peter Funnell, Curator of Nineteenth-Century Portraits and Head of Research Programmes, National Portrait Gallery; and Lucy Peltz, Curator of Eighteenth-Century Portraits, National Portrait Gallery. The exhibition was supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support was provided by the David T. Langrock Foundation.
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
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
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://www.wikidata.org/entity/Q270920
https://viaf.org/viaf/153543255
http://vocab.getty.edu/ulan/500115632
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
Sir Thomas Lawrence - Portraits of an Age 1790-1830 (Kimbell Art Museum, 1993-05-15 - 1993-07-11)
476
300054766
exhibition
Sir Thomas Lawrence - Portraits of an Age 1790-1830
Yale Center for British Art
Kimbell Art Museum
ycba_actor_6149
http://vocab.getty.edu/ulan/500305329
http://www.wikidata.org/entity/Q1741629
https://viaf.org/viaf/148545856
http://id.loc.gov/authorities/names/n79021847
Patricia DeCoster Registrar
Kimbell Art Museum
0
0
300311675
Borrower
1993-05-15 - 1993-07-11
1993-05-15
1993-07-11
Kimbell Art Museum
ycba_actor_6149
http://id.loc.gov/authorities/names/n79021847
http://vocab.getty.edu/ulan/500305329
http://www.wikidata.org/entity/Q1741629
https://viaf.org/viaf/148545856
Kimbell Art Museum
Fort Worth
7013934
Fort Worth
Sir Thomas Lawrence - Portraits of an Age 1790-1830 (Yale Center for British Art, 1993-02-27 - 1993-04-25)
476
300054766
exhibition
Sir Thomas Lawrence - Portraits of an Age 1790-1830
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
BAC
YCBA
Yale Center for British Art
British Art Center
1977
0
66
Lender
300311675
Borrower
1993-02-27 - 1993-04-25
1993-02-27
1993-04-25
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
Sir Thomas Lawrence - Portraits of an Age 1790-1830 (Virginia Museum of Fine Arts, 1993-08-02 - 1993-09-26)
476
300054766
exhibition
Sir Thomas Lawrence - Portraits of an Age 1790-1830
Yale Center for British Art
Virginia Museum of Fine Arts
ycba_actor_1286
https://n2t.net/ark:/99166/w6991x8v
https://viaf.org/viaf/148748621
http://www.wikidata.org/entity/Q4013975
http://vocab.getty.edu/ulan/500310718
http://id.loc.gov/authorities/names/n79046025
Virginia Museum of Fine Arts
0
0
300311675
Borrower
1993-08-02 - 1993-09-26
1993-08-02
1993-09-26
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
896
9573498
NJ18 L42 T56 2010 + (YCBA)
601347854
1672
300054686
publication event
Cassandra Albinson, ^Thomas Lawrence, Regency power & brilliance ^, Yale Center for British Art, New Haven, 2010, pp. 269-71..., No. 49, NJ18 L42 T56 2010 + (YCBA)
Yale Center for British Art
Cassandra Albinson
ycba_actor_7020
Albinson Cassandra
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
300025574
Publisher
2010
2010
2010
New Haven
896
5275461
NJ18 L42 A75 (YCBA)
3998373
494
300054686
publication event
Sir Walter Armstrong, ^Lawrence^, Methuen & co., ltd., London, 1913, p. 127, NJ18 L42 A75 (YCBA) Also Available Online (ORBIS)
Yale Center for British Art
Sir Walter Armstrong
ycba_actor_8577
Armstrong Walter Sir
300025492
Author
Methuen & co., ltd.
ycba_actor_8509
Methuen & co., ltd.
300025574
Publisher
1913
1913
1913
London
896
7141323
NJ18 L42 A76 2007 + (YCBA)
62345058
495
300054686
publication event
Geoffrey Ashton, ^Sir Thomas Lawrence^, Chaucer Press, London, 2006, pp. 116-17, pl. 42, NJ18 L42 A76 2007 + (YCBA)
Yale Center for British Art
Geoffrey Ashton
ycba_actor_8579
Ashton Geoffrey
300025492
Author
Chaucer Press
ycba_actor_8580
Chaucer Press
300025574
Publisher
2006
2006
2006
London
896
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. 281, no. 83, pl. 83, 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
896
7987433
N1 .A54 + OVERSIZE (YCBA)
701810642
1500
300054686
publication event
^British Art at Yale^, Apollo, v.105, April 1977, pp. 250-1, fig. 31, N1 .A54 + OVERSIZE (YCBA)
Yale Center for British Art
April 1977
1977
1977
896
Not Available at Yale
1811
300054686
publication event
Kelly Compton, ^Thomas Lawrence : Still Brilliant, Two Centuries On, ^, Fine Art Connoisseur, vol. 8, no. 3, June, 2011, p. 33, Not Available at Yale
Yale Center for British Art
Kelly Compton
ycba_actor_9926
Compton Kelly
300025492
Author
June, 2011
2011
2011
896
583000
N590.2 A83 (YCBA)
13422488
323
300054686
publication event
Malcolm Cormack, ^Concise Catalogue of Paintings in the Yale Center for British Art^, Yale Center for British Art, New Haven, CT, 1985, pp. 142-43, N590.2 A83 (YCBA)
Yale Center for British Art
Malcolm Cormack
ycba_actor_6010
Cormack 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
1985
1985
1985
New Haven, CT
896
9610484
N12 W35 A1 39 + (YCBA)
1378
300054686
publication event
Dr. Kenneth Garlick, ^A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence^, Volume of the Walpole Society, v. 39, Walpole Society, 1962-1964, p. 69, N12 W35 A1 39 + (YCBA)
Yale Center for British Art
Dr. Kenneth Garlick
ycba_actor_8043
Garlick Kenneth Dr.
300025492
Author
Walpole Society
ycba_actor_11625
Walpole Society
300025574
Publisher
1962-1964
1962
1964
896
841941
NJ18 L42 G376 (YCBA)
19266992
497
300054686
publication event
Dr. Kenneth Garlick, ^Sir Thomas Lawrence, a complete catalogue of the oil paintings ^, Phaidon, Oxford, 1989, p. 133, no. 13, pl. 56, NJ18 L42 G376 (YCBA)
Yale Center for British Art
Dr. Kenneth Garlick
ycba_actor_8043
Garlick Kenneth Dr.
300025492
Author
Phaidon
ycba_actor_8178
Phaidon
300025574
Publisher
1989
1989
1989
Oxford
896
3474064
NJ18 L42 G377 1993 + (YCBA)
26257401
496
300054686
publication event
Dr. Kenneth Garlick, ^Sir Thomas Lawrence, portraits of an age, 1790-1830 ^, Art Services International, Alexandria, Va., 1993, pp.22-23, no. 2, NJ18 L42 G377 1993 + (YCBA)
Yale Center for British Art
Dr. Kenneth Garlick
ycba_actor_8043
Garlick Kenneth Dr.
300025492
Author
Art Services International
ycba_actor_6479
Art Services International
300025574
Publisher
1993
1993
1993
Alexandria, Va.
896
14058
NJ18 L42 G37 (YCBA)
1209569
492
300054686
publication event
Dr. Kenneth Garlick, ^Sir Thomas Lawrence^, Routledge & Kegan Paul, London, 1954, p. 23, NJ18 L42 G37 (YCBA)
Yale Center for British Art
Dr. Kenneth Garlick
ycba_actor_8043
Garlick Kenneth Dr.
300025492
Author
Routledge & Kegan Paul
ycba_actor_8574
Routledge & Kegan Paul
300025574
Publisher
1954
1954
1954
London
896
762884
N1 C75 + (YCBA)
960056578
1163
300054686
publication event
^George Welbore Agar-Ellis, Lord Dover^, Connoisseur, Vol. 166, September 1967, p. 1ii, N1 C75 + (YCBA)
Yale Center for British Art
September 1967
1967
1967
896
580032
ND466 G67 (YCBA)
7500731
2775
300054686
publication event
Catherine M. Gordon, ^British paintings Hogarth to Turner^, Frederick Warne, London, 1981, p. 40, ND466 G67 (YCBA)
Yale Center for British Art
Catherine M. Gordon
ycba_actor_11569
Gordon Catherine M.
300025492
Author
Frederick Warne
ycba_actor_11570
Frederick Warne
300025574
Publisher
1981
1981
1981
London
896
14048
NJ18 L42 G7 + (YCBA)
123167325
493
300054686
publication event
Ronald Sutherland Gower, ^Sir Thomas Lawrence^, Goupil, J. Boussod, Manzi, Joyant, successors, London New York, 1900, p. 124, NJ18 L42 G7 + (YCBA)
Yale Center for British Art
Ronald Sutherland Gower
ycba_actor_8575
Gower Ronald Sutherland
300025492
Author
Goupil, J. Boussod, Manzi, Joyant, successors
ycba_actor_8576
Goupil, J. Boussod, Manzi, Joyant, successors
300025574
Publisher
1900
1900
1900
London New York
896
2507185
Bb39m O19 (LSF)
35652676
498
300054686
publication event
Clements R. Markham, ^Markham memorials^, Spottiswoode & Co., London, 1913, pp. 73, 86, 195, Bb39m O19 (LSF)
Yale Center for British Art
Clements R. Markham
ycba_actor_8581
Markham Clements R.
300025492
Author
Spottiswoode & Co.
ycba_actor_8582
Spottiswoode & Co.
300025574
Publisher
1913
1913
1913
London
896
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
896
11312678
N7575 .P6452 2013 (YCBA)
788273138
2798
300054686
publication event
Marcia R. Pointon, ^Portrayal and the search for identity^, Reaktion Books, London, 2013, pp. 105-07, 109, Illus. 33, N7575 .P6452 2013 (YCBA)
Yale Center for British Art
Marcia R. Pointon
ycba_actor_8352
Pointon Marcia R.
300025492
Author
Reaktion Books
ycba_actor_11028
Reaktion Books
300025574
Publisher
2013
2013
2013
London
896
583043
N1090 A592 (YCBA)
30594530
443
300054686
publication event
R. J. B. Walker, ^Regency portraits^, National Portrait Gallery, London, 1985, p. 161 (vol. 1), N1090 A592 (YCBA)
Yale Center for British Art
R. J. B. Walker
ycba_actor_8526
Walker R. J. B.
300025492
Author
National Portrait Gallery
ycba_actor_1628
http://id.loc.gov/authorities/names/n79113062
http://vocab.getty.edu/ulan/500226159
http://www.wikidata.org/entity/Q238587
https://viaf.org/viaf/121893961
National Portrait Gallery
300025574
Publisher
1985
1985
1985
London
896
7985985
N1 A54 + (YCBA)
701810454
847
300054686
publication event
Ellis Waterhouse, ^An Impressive Panorama of British Portraiture^, Apollo, v. 105, no. 182, April 1977, p. 250-1, fig. 31, N1 A54 + (YCBA) Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]
Yale Center for British Art
Ellis Waterhouse
ycba_actor_2053
Waterhouse Ellis
300025492
Author
April 1977
1977
1977
896
135488
N590.2 A82 (YCBA)
3147750
212
300054686
publication event
Yale Center for British Art, ^Selected paintings, drawings & books^, Yale University Press, New Haven, CT, 1977, p. 41, N590.2 A82 (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
Yale University Press
ycba_actor_7029
Yale University Press
300025574
Publisher
1977
1977
1977
New Haven, CT
896
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1981
1981
1981
300138913
gift
The Honorable George Agar-Ellis (1797–1833), MP, FRS, FSA, (later first Baron Dover) was the only son of the second Viscount Clifden and sat as a Whig member of Parliament, where he supported Catholic emancipation. In July 1823, in a speech in the House of Commons, he urged the government to purchase the collection of John Julius Angerstein (1735–1823), an insurance broker and connoisseur of art, and use it as the foundation of a future national art collection in London. The proposal was ultimately successful, and in due course Agar-Ellis became a trustee of the new National Gallery, and of the British Museum. A good friend of Sir Thomas Lawrence, he joined the future prime ministers Sir Robert Peel and Lord Aberdeen as a pallbearer at Lawrence’s funeral in 1830, to which the king and many other noble households sent empty carriages in procession, the usual method of paying tribute. --- ---
Gallery label for installation of YCBA collection, 2016
896
300048722
Gallery label
2016
Lawrence advised on the collection of paintings assembled by John Julius Angerstein, which
was eventually purchased as the nucleus of the National Gallery, London. Agar-Ellis was a
politician and art lover who argued in Parliament for the purchase of Angerstein’s collection.
He and Lawrence were close in the 1820s, and Agar-Ellis served as a pallbearer at Lawrence’s
funeral. There were at least twelve sittings for this simple portrait, and Lawrence suggested
that his sitter should be painted in a fur and velvet jacket reminiscent of portraits by Titian.
Considered the consummate portrayer of female beauty, Lawrence here delineates an equally
compelling vision of masculinity. The portrait of Agar-Ellis is a study in soft curves, from
the mop of brown curls and delicately crimped little finger to his relaxed posture. This
painting proves that Lawrence’s penchant for sinuous torsos and sloping shoulders was not
reserved for his female sitters alone.
--- --- Gallery label for Thomas Lawrence: Regency, Power & Brilliance (Yale Center for British Art, 2011-02-14 - 2011-06-05)
896
300048722
Gallery label
2011
The Hon. George Agar-Ellis, M.P., F.R.S., F.S.A. (1797–1833) (later 1st Baron Dover), was the only son of the second Viscount Clifden, and sat as a Tory member of the House of Commons, where he supported Catholic emancipation. In July 1823, in a speech in the House, Agar-Ellis urged the British government to purchase the collection of the insurance broker and connoisseur of art John Julius Angerstein (ca. 1732–1823), and use it as the foundation of a future national art collection in London. The proposal was ultimately successful, and in due course Lord Dover became a trustee of the new National Gallery, and of the British Museum. He was a good friend of Sir Thomas Lawrence and, in 1830, he joined the future prime ministers Sir Robert Peel and Lord Aberdeen as a pallbearer at Lawrence’s funeral, to which the king and many other noble households sent empty carriages in procession, the usual method of paying tribute.
--- --- Gallery label for Paul Mellon's Legacy: A Passion for British Art (Yale Center for British Art, 2007-04-18 - 2007-07-29)
896
300048722
Gallery label
2007
The Honorable George Agar-Ellis, M.P., F.R.S., F.S.A. (1797-1833) (later 1st Baron Dover) was the only son of the second Viscount Clifden, and sat as a Tory member of the House of Commons, where he supported Catholic emancipation. In July 1823, in a speech in the House, Agar-Ellis urged the government to purchase the collection of the insurance broker and connoisseur of art John Julius Angerstein (ca. 1732-1823), and use it as the foundation of a future national art collection in London. The proposal was ultimately successful, and in due course Lord Dover became a trustee of the New National Gallery, and of the British Museum. He was a good friend of Sir Thomas Lawrence and, in 1830, he joined the future prime ministers Sir Robert Peel and Lord Aberdeen as a pallbearer at Lawrence's funeral, to which the king and many other noble households sent empty carriages in procession, the usual method of paying tribute. --- ---
Gallery label for installation of YCBA collection, 2005
896
300048722
Gallery label
2005-08-03
This elegant portrait is a testament to the relationship of mutual respect and friendship between the artist and his subject, George James Welbore Agar-Ellis (1797–1833). Agar-Ellis, a politician and art lover, had persuaded the British government to purchase the Angerstein collection of paintings (which Lawrence had effectively curated) as the nucleus for the National Gallery. Lawrence and Agar-Ellis established a firm friendship based on mutual regard, and the artist was later commissioned to paint Agar-Ellis’s wife and young son in a charming double portrait (1827–28; private collection). Agar-Ellis served as one of Lawrence’s pallbearers. --- ---
The virtuosity of this portrait can in part be explained by the extraordinary amount of time and labor that Lawrence invested in it. Twelve sittings are recorded in Agar-Ellis’s diary between October 1823 and May 1824, several lasting for three or more hours (Northamptonshire Records Office, Annaly of Holdenby Collection, ref. X1384). The sitter’s handsome features are complimented by a masterfully painted costume of velvet and fur, referred to in Agar-Ellis’s diary as a “crimson =Titian-like pelisse,” which Lawrence had personally selected for the portrait. The face is painted smoothly in comparison with the slash of blue ribbon and the bristling fur. A second white highlight glimmers in Agar-Ellis’s right pupil, a trick that Lawrence used to suggest the glassy moisture of the human eye with remarkable fidelity. --- ---
Considered the consummate portrayer of female beauty, Lawrence here delineates an equally compelling vision of masculinity. The portrait—a study in soft curves, beginning with the sitter’s mop of brown curls and his delicately crimped pinky finger and extending through his relaxed posture—proves that Lawrence’s penchant for sinuous torsos and sloping shoulders was not reserved for his female sitters. --- ---
Cassandra Albinson --- ---
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. 281, no. 83, pl. 83, N5220 M552 P38 2007 OVERSIZE (YCBA)
896
300111999
Published catalog entry
ycba_actor_7020
Cassandra Albinson
300025492
Author
2007-01
ycba_term_2036442
seated
300015637
ycba_term_32667
portrait
300025928
ycba_term_35274
man
300210069
ycba_term_44078
neckcloth
300056362
ycba_term_1556
texture
300210059
ycba_term_143397
stock
300221683
ycba_term_127214
hand
300046143
ycba_term_37986
coat
300011811
ycba_term_10932
fur
300162391
ycba_term_83687
fabric
300178802
ycba_term_21364
costume
Agar-Ellis, George James Welbore, first Baron Dover (1797–1833), politician and patron of art
500435049
ycba_term_2041173
Agar-Ellis, George James Welbore, first Baron Dover (1797–1833), politician and patron of art
Cassandra Albinson, Thomas Lawrence, Regency power & brilliance, Yale Center for British Art, New Haven, 2010, pp. 269-71..., No. 49, NJ18 L42 T56 2010 + (YCBA)
9573498
NJ18 L42 T56 2010 + (YCBA)
601347854
1672
related to
Sir Walter Armstrong, Lawrence, Methuen & co., ltd., London, 1913, p. 127, NJ18 L42 A75 (YCBA) Also Available Online (ORBIS)
5275461
NJ18 L42 A75 (YCBA)
3998373
494
related to
Geoffrey Ashton, Sir Thomas Lawrence, Chaucer Press, London, 2006, pp. 116-17, pl. 42, NJ18 L42 A76 2007 + (YCBA)
7141323
NJ18 L42 A76 2007 + (YCBA)
62345058
495
related to
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. 281, no. 83, pl. 83, N5220 M552 P38 2007 OVERSIZE (YCBA)
7838392
N5220 M552 P38 2007 OVERSIZE (YCBA)
74916141
48
related to
British Art at Yale, Apollo, v.105, April 1977, pp. 250-1, fig. 31, N1 .A54 + OVERSIZE (YCBA)
7987433
N1 .A54 + OVERSIZE (YCBA)
701810642
1500
related to
Kelly Compton, Thomas Lawrence : Still Brilliant, Two Centuries On, , Fine Art Connoisseur, vol. 8, no. 3, June, 2011, p. 33, Not Available at Yale
Not Available at Yale
1811
related to
Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 142-43, N590.2 A83 (YCBA)
583000
N590.2 A83 (YCBA)
13422488
323
related to
Dr. Kenneth Garlick, A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence, Volume of the Walpole Society, v. 39, Walpole Society, 1962-1964, p. 69, N12 W35 A1 39 + (YCBA)
9610484
N12 W35 A1 39 + (YCBA)
1378
related to
Dr. Kenneth Garlick, Sir Thomas Lawrence, a complete catalogue of the oil paintings, Phaidon, Oxford, 1989, p. 133, no. 13, pl. 56, NJ18 L42 G376 (YCBA)
841941
NJ18 L42 G376 (YCBA)
19266992
497
related to
Dr. Kenneth Garlick, Sir Thomas Lawrence, portraits of an age, 1790-1830, Art Services International, Alexandria, Va., 1993, pp.22-23, no. 2, NJ18 L42 G377 1993 + (YCBA)
3474064
NJ18 L42 G377 1993 + (YCBA)
26257401
496
related to
Dr. Kenneth Garlick, Sir Thomas Lawrence, Routledge & Kegan Paul, London, 1954, p. 23, NJ18 L42 G37 (YCBA)
14058
NJ18 L42 G37 (YCBA)
1209569
492
related to
George Welbore Agar-Ellis, Lord Dover, Connoisseur, Vol. 166, September 1967, p. 1ii, N1 C75 + (YCBA)
762884
N1 C75 + (YCBA)
960056578
1163
related to
Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 40, ND466 G67 (YCBA)
580032
ND466 G67 (YCBA)
7500731
2775
related to
Ronald Sutherland Gower, Sir Thomas Lawrence, Goupil, J. Boussod, Manzi, Joyant, successors, London New York, 1900, p. 124, NJ18 L42 G7 + (YCBA)
14048
NJ18 L42 G7 + (YCBA)
123167325
493
related to
Clements R. Markham, Markham memorials, Spottiswoode & Co., London, 1913, pp. 73, 86, 195, Bb39m O19 (LSF)
2507185
Bb39m O19 (LSF)
35652676
498
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
Marcia R. Pointon, Portrayal and the search for identity, Reaktion Books, London, 2013, pp. 105-07, 109, Illus. 33, N7575 .P6452 2013 (YCBA)
11312678
N7575 .P6452 2013 (YCBA)
788273138
2798
related to
R. J. B. Walker, Regency portraits, National Portrait Gallery, London, 1985, p. 161 (vol. 1), N1090 A592 (YCBA)
583043
N1090 A592 (YCBA)
30594530
443
related to
Ellis Waterhouse, An Impressive Panorama of British Portraiture, Apollo, v. 105, no. 182, April 1977, p. 250-1, fig. 31, N1 A54 + (YCBA) Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]
7985985
N1 A54 + (YCBA)
701810454
847
related to
Yale Center for British Art, Selected paintings, drawings & books, Yale University Press, New Haven, CT, 1977, p. 41, N590.2 A82 (YCBA)
135488
N590.2 A82 (YCBA)
3147750
212
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/
896
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:896
oai:tms.ycba.yale.edu:896
https://manifests.collections.yale.edu/v2/ycba/obj/896
https://manifests.collections.yale.edu/ycba/obj/896
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art