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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 Katherine Read, 1723–1778, British born in Dundee, Scotland, 1723; active in Scotland, France, Italy, and England; died at sea in the southern Indian Ocean, 1778 ycba_actor_3184 http://id.loc.gov/authorities/names/nr99029800 http://vocab.getty.edu/ulan/500002897 http://www.oxforddnb.com/view/article/23214 https://www.wikidata.org/wiki/Q5052892 Read, Katherine, 1723–1778 Katherine Read Read Katherine, 1723–1778 Katherine Read, 1723–1778 Katherine Read, 1723–1778 7016682 7008038 7008038 7000874 7009741 7011781 7000198 British 1723 1778 female 300025103 Artist 300025136 painter 300237351 portraitist 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 https://viaf.org/viaf/155449049 http://id.loc.gov/authorities/names/n77005277 British Art Center Yale Center for British Art YCBA BAC 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 9945826663408651 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 300015637 ycba_term_32667 portrait 300178802 ycba_term_120054 costume 300025928 ycba_term_35274 man Brudenell-Bruce, Thomas (1729-1814), 1st Earl of Ailesbury 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) 9945826663408651 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