Showing Collections: 1–19 of 19
- Yale Center for British Art, Institutional Archives 13
- Beinecke Rare Book and Manuscript Library 2
- Manuscripts and Archives 2
- Yale Center for British Art, Rare Books and Manuscripts 2
- Art, British 6
- Art -- Collectors and collecting 5
- Art museums -- United States 3
- Correspondence 3
- Architects 2
- Architecture, Modern -- 20th Century 2
- Art -- History 2
- Art dealers 2
- Art historians 2
- Art museum directors 2
- Academic libraries -- Administration 1
- Air pilots -- Great Britain 1
- American poetry -- 20th Century 1
- Architectural photography 1
- Architecture 1
- Architecture -- Conservation and restoration 1
- Architecture -- Designs and plans 1
- Art -- Collectors and collecting -- United States 1
- Art museums 1
- Artists -- Great Britain 1 ∧ less
- Yale Center for British Art 6
- Baskett, John 3
- Kahn, Louis I., 1901-1974 3
- Taylor, Basil 3
- Delano, William Adams, 1874-1960 2
- MacLeish, Archibald, 1892-1982 2
- Mellon, Rachel Lambert 2
- National Gallery of Art (U.S.) 2
- Acheson, Dean, 1893-1971 1
- Adams, Frederick B. (Frederick Baldwin), 1910-2001 1
- Adee, George Townsend, 1874-1948 1
- Aldrich, Amey 1
- Aldrich, Winthrop W. (Winthrop Williams), 1885-1974 1
- Allen, Frederick Lewis, 1890-1954 1
- American National Red Cross 1
- Armour, Norman, 1887-1982 1
- Armstrong, Hamilton Fish, 1893-1973 1
- Arnaud, Leopold, 1895-1984 1
- Aschan, Marit Guinness 1 ∧ less
- Storage location
- Stored onsite 14
- Stored offsite 3
- Stored onsite and offsite 2
This collection consists of audio and video material about the Yale Center for British Art that has been created by other entities. Highlights of the collection include media about the opening of the Center, documentaries from television and public radio related to the Center and its exhibitions, and the film “Something to Brighten up the Morning” about Paul Mellon's horse Mill Reef.
Photographs of architectural designs and finished work executed by H. Page Cross. Included are photographs of commercial, institutional and residential buildings with both interior and exterior views. A small amount of funiture design is also shown. Among the projects are floor plans for the Museum of Modern Art, the Foxcroft School, Trinity Episcopal Church of Upperville, Virginia, and designs for Paul Mellon residences in Virginia, Massachusetts, and the British West Indies.
Collection material mostly pertains the life of Paul Mellon and his relationship with Duncan Robinson, with an emphasis on Mellon's personal interests in horse racing and sporting art.
Collection material pertains to correspondence, exhibition catalogs, art-related publications, brochures, and loose-leaf notebooks of art reproductions that document the life and career of John Baskett, art dealer and close friend of Paul Mellon.
The project includes a paper transcript and recordings of the Jules David Prown Oral History Project. For the project, information analyst Karen E. Denavit interviewed Prown about his family, professional life, and travels. Particular attention is paid to Prown's interactions with Paul Mellon in the years 1968-1977, while the Yale Center for British Art's building and design were being decided.
The collection comprises correspondence by British artists, collected by Paul Mellon.
This collection consists of a special edition reprint of National Geographic magazine from March 1967 with the headline “The National Gallery after a Quarter Century by John Walker, Director, National Gallery of Art.” It is 38 pages in length and includes color photographs. Paul Mellon and the Mellon family feature prominently within the magazine’s articles.
The papers contain correspondence with family, friends, and acquaintances, plus a variety of personal papers, including obituaries, letters of sympathy, diaries, and scrapbooks documenting the lives of Richard E. and Alice Lee Myers and their children. Prominent correspondents include Stephen Vincent Benét, Nadia Boulanger, Grace Flandrau, John Gielgud, Charlotte Kett, Archibald MacLeish, and Gerald Murphy.
The collection comprises letters from Paul Oppé to Janet Camp Troxell, with related material.
This collection consists of three notebooks created by Paul Mellon for a “Pictorial Art” class at Yale University during his undergraduate studies (1925-1929). The notebooks include Mellon’s professor’s course material on pictorial art, pictures of artwork, and Mellon’s handwritten notes. The notes include Mellon’s critiques and analyses of the artworks, which span from ancient to contemporary.