John Russell, Portrait of Ann and Maria Russell, 1804, colored chalks and pastel, 40 x 30 inches, Paul Mellon Fund. The successful and prolific eighteenth-century portraitist John Russell (1745-1806) was best known for his work in pastels (often referred to as "crayons"). This double portrait of his daughters Maria (1782-1861) and Ann (1781-1857), which was acquired by the Center, is a superb example of Russell's virtuoso pastel technique. Made in 1804, two years before his death, the portrait was exhibited at the Royal Academy, but was essentially a private work, which remained in the family until 2001. J.M.W. Turner, Staffa, Fingal’s Cave, 1831–32, oil on canvas, Paul Mellon Collection. J.M.W. Turner, Staffa, Fingal’s Cave, 1831–32, oil on canvas, Paul Mellon Collection. Sir Edwin Landseer, Favourites, the Property of H.R.H. Prince George of Cambridge, 1834–35, Oil on canvas, Yale Center for British Art, Paul Mellon Collection. Peter Monamy, An English Royal Yacht standing offshore in a calm, n.d., Oil on canvas, 28 x 38 in., Yale Center for British Art, The U Collection, In appreciation of Choh Shiu and Man Foo U, loving parents, and Dorothea and Frank Cockett, dear friends.. 'Dorothy' at the Theatre Royal, Bath, ca. 1886-87, chromolithograph, Gift of Max and Barbara Wilk. The comic opera Dorothy, with libretto by Benjamin Charles Stephenson (1838-1906) and music by Alfred Cellier (1844-1891), was one of the most popular London musicals of the nineteenth century. Cellier worked with both Arthur Sullivan and William Gilbert, serving as principal conductor of Richard D'Oyly Carte's troupe for a number of years until he began to work independently on projects. Edward Lear, Butrinto, Albania, 1861, Oil on canvas, Yale Center for British Art, Paul Mellon Collection. Joseph Noel Paton, Study from Nature: Inveruglas, 1857, Watercolor and gouache, 14 1/2 x 20 1/2in., Yale Center for British Art, Friends of British Art Fund. Mary Anne Burges, "191. Echium. 60. Vipergrass. 4. Vulgare common” Watercolours of the Lepidoptera and Flora of the British Isle, ca. 1790-1810, Watercolor, pen and ink, and grey wash, Yale Center for British Art, Paul Mellon Fund. Benjamin West, The Death of the Earl of Chatham, 1778, oil on canvas, 28 1/8 x 36 ¼ in, Yale Center for British Art, Paul Mellon Fund, in honor of Professor Jules David Prown. Thomas Hudson, The Thistlethwayte Family, ca. 1758, oil on canvas, Yale Center for British Art, Paul Mellon Fund. This monumental, full-length, family portrait depicts Alexander Thistlethwayte, his wife, and two daughters. It is a stunning addition to the Center’s collection of eighteenth-century portraits, and in particular, its strong holdings of family and group portraits, commonly called “conversation pieces”. Grayson Perry, Map of Nowhere, Published by Paragon Press, 2008, Single etching made from five plates on a single sheet, edition of 68, 60.25 x 44.5 inches, Yale Center for British Art, Friends of British Art Fund, copyright The Artist and Paragon Press. James Gillray (1756-1815), Extirpation of the Plagues of Egypt, 1798, hand-colored etching, 9 5/8 x 14in. (24.4 x 35.6cm), Yale Center for British Art, Paul Mellon Collection. Barbara Hepworth, Biolith, 1948-49, blue limestone (Ancaster stone), 48-1/2 in. high, Gift of Virginia Vogel Mattern in memory of her husband, W. Gray Mattern, Class of 1946. Claude de Jongh, View of London Bridge, ca. 1632, oil on panel, Paul Mellon Fund. The Utrecht-based Dutch topographical painter Claude de Jongh visited London on several occasions, but never settled there. His remarkable view of Old London Bridge at low tide was taken upstream looking east, and is one of only a small number of related views that were based on a drawing that is today in the collection of the Guildhall Library in London. It was painted to order in Holland, possibly for someone who lived in one of the houses on the bridge. The view is framed by the turrets of the Tower of London on the left and the ancient tower of the Church of St. Mary Overy (Southwark Cathedral) on the right. Thames School of Chartmakers, London, Manuscript map of North America, c. late 1630s, Pen and ink and watercolor on parchment, Yale Center for British Art, Paul Mellon Fund. This finely drawn map of 1721 was given to the Center at its opening by Alexander Vietor, former Curator of the Map Collection at Yale, in honor of Paul Mellon. Benedetto Gennari, Cleopatra, ca. 1674-75, oil on canvas, Yale Center for British Art, Paul Mellon Fund. A splendid painting by Benedetto Gennari, a Bolognese compatriot and follower of Guercino, of the death of Cleopatra. Most likely painted in England around 1674 for King Charles II, Cleopatra, along with the equally erotic Diana and Endymion, was originally intended for Cardinal Richelieu in Paris both paintings hung in the King's stanza. Naval woolwork, 1891, wool and silk, with tintype photograph, Paul Mellon Fund. Among the Rare Book Department's more unusual recent acquisitions is this unique naval woolwork, known as a "woolie." From the mid- nineteenth century, it was common for sailors to embroider mementos of their service in wool and silk to be hung in a family parlor. By the end of the century, the design often incorporated a tintype of the sailor who made it. The tintype process was introduced in 1853 and became instantly popular in both Britain and the U.S. It was a cheap, simple, and quick way of capturing an image and it became widely used by street photographers in both countries. The sheet of black painted iron (not tin) was not terribly fragile and it was easily cut to mount in an album or framed in a piece of needlework. Paula Rego, The Guardians [portfolio], 2001-2002, lithograph, portfolio, Yale Center for British Art, Friends of British Art Fund. The Department of Prints and Drawings acquired a group of prints by Paula Rego, whose work was the subject of a major exhibition at the Center in the spring of 2002. Attributed Francis Harwood, Active 1748-1783, Bust of a Negro, reputedly 'Psyche', a black athlete in the employ of the Duke of Northumberland , c. 1758, Black marble, 27 1/2 x 19 3/4in. (69.9 x 50.2cm), Paul Mellon Fund.