"Among the Whores and Thieves": William Hogarth and The Beggar's Opera‚ Edited by David Bindman and Scott Wilcox‚ Yale Center for British Art and The Lewis Walpole Library‚ 1997.
The exhibition for which this catalogue was produced used different versions of Hogarth's paintings of The Beggar's Opera, and other visual satire to explore theatrical and political history. 112 pages, 41 b/w illustrations‚ ISBN 0-930606-80-9.
Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds‚ Tim Barringer, Gillian Forrester, and Barbaro Martinez Ruiz‚ Yale University Press‚ 2007.

Coinciding with the bicentenary of the abolition of the British slave trade, this multi-disciplinary volume chronicles the iconography of sugar, slavery, and the topography of Jamaica from the beginning of British rule in 1655 to the aftermath of emancipation in the 1840s. Focusing on the visual and material culture of slavery and emancipation in Jamaica, it offers new perspectives on art, music, and performance in Afro-Jamaican society and on the Jewish diaspora in the Caribbean.

Central to the book is Sketches of Character (1837-38)—a remarkable series of lithographs by the Jewish Jamaican artist Isaac Mendes Belisario—the earliest visual representation of the masquerade form Jonkonnu. Innovative scholarship traces the West African roots of Jonkonnu through its evolution in Jamaica and continuing transformation today offers a unique portrait of Jamaican culture at a pivotal historical moment and provides a new model for interpreting the visual culture of empire.

Tim Barringer is Paul Mellon Professor of the History of Art, Yale University. Gillian Forrester is Curator of Prints and Drawings, Yale Center for British Art. Barbaro Martinez Ruiz is Assistant Professor of Art and Art History, Stanford University.

This project received generous support The Reed Foundation.

AWARDS
 Winner of the College Art Association's Alfred H. Barr, Jr., Award for museum scholarship

Awarded an Honorable Mention from the 2008 American Association of Museums' Publications Design Competition

REVIEWS
"...this book is unquestionably a triumph. It is the most ambitious volume yet published on Anglophone Caribbean art."—Nicholas Laughlin, The Caribbean Review of Books

"...an important landmark in the study of the colonial enterprise as a whole, a monument, certainly, for the study of art in Jamaica, and a strong platform from which to launch any future investigation."—Tim Wilcox, The Art Newspaper

"[This catalog] traces the history of Jamaica from the beginning of British rule in 1655 to the abolition of slavery on the island in the 1830s. . . . The displays and research yield fascinating stories, not only about art's relation to history but also about the appalling cruelty that humans inflict upon one another." —Benjamin Genocchio, New York Times

"A comprehensive overview of 'sugar, slavery, and the topography of Jamaica' the years 1655 through to the beginning of emancipation in the 1840s. Breathtaking in its scope, this oversize, lavishly illustrated volume belongs in all public and institutional librariesImpressive."—Art Times

"Impressive. . . . Recommended."—Choice

. Yale University Press 2007. 612 p.; 499 color illusrations‚ ISBN: 9780300116618

To purchase this publication, please contact the Center's Museum Shop at 203 432 2828..
British Sporting and Animal Drawings, 1500–1850‚ By Judy Egerton and Dudley Snelgrove‚ The Tate Gallery for the Yale Center for British Art‚ 1978.
126 pages, 21 color and 121 b/w illustrations‚ ISBN 0-905-00552-X.




 		 
British Watercolors: Drawings of the 18th and 19th Centuries from the Yale Center for British Art‚ By Scott Wilcox, introduction by Patrick Noon‚ Hudson Hills Press‚ 1985.
Seventy-eight watercolors, spanning the years 1750 to 1881, are reproduced in full color, and each work is discussed in its own extensive essay. 240 pages, 78 color and 5 b/w illustrations‚ ISBN 0-933920-68-7.




 		 
Color Printing in England, 1486–1870‚ By Joan M. Friedman‚ Yale Center for British Art‚ 1978.
An introduction to the processes of color printing and its development in England over four centuries-illustrated by examples of the earliest woodcut prints, 18th-century intaglio prints, relief color printing of the early 19th century, early lithography,. 72 pages, 24 color and 165 b/w illustrations‚ ISBN 0-930606-12-4.




 		 
Constance Stuart Larrabee: Time Exposure‚ Yale Center for British Art‚ Yale Center for British Art‚ 1995.
This catalogue accompanied the first American retrospective of a photographer who worked in South Africa in the late 1930s and 1940s, in Italy and France as a war correspondent during WWII, and in America since the 1950s. 78 pages, 49 b/w illustrations‚ ISBN 0-930606-76-0.




 		 
Contemporary British Art in Print‚ By Charles Booth‚ Scottish National Gallery of Modern Art and The Paragon Press‚ 1995.
This catalogue illustrates thirty-four print projects by contemporary British artists such as Hamish Fulton, John Bellany, Anish Kapoor, and Richard Long. It also features in-depth interviews with the artists and detailed technical notes on each publication. 208 pages, 195 color and 301 b/w illustrations‚ ISBN 1-873-96868-X.




 		 
Crown Pictorial: Art and the British Monarchy‚ Essay by Linda Colley‚ Yale Center for British Art‚ 1990.
This exhibition catalogue documents the ways in which the British monarchy has used art as a political and personal tool. 45 pages, 20 b/w illustrations‚ ISBN 0-930606-64-7.




 		 
David Blackburn: Light and Landscape‚ By Peter Fuller‚ Yale Center for British Art‚ 1989.
Accompanying an exhibition of thirty-nine abstract landscapes in pastel, this catalogue contains an essay on the artist, a brief interview, a chronology, bibliography, and exhibitions listings, as well as a checklist of works in the show. 48 pages, 24 color and 12 b/w illustrations‚ ISBN 0-930606-59-0.




 		 
Fairest Isle: The Appreciation of British Scenery, 1750–1850‚ Foreword by Duncan Robinson‚ Yale Center for British Art‚ 1989.
This is a checklist of the exhibition's 165 objects depicting the scenic attractions of the Wye, the Lake District, North Wales, the Peak District, and Scotland. 20 pages, 10 b/w illustrations.




 		 
Golden Age of Watercolors: Hickman Bacon Collection‚ By Eric Shanes‚ Merrell Publishers‚ 2001.
160 pages‚ ISBN 1-85894146-6.




 		 
Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art‚ By Matthew Hargraves, with an introduction by Scott‚ Copublished with the Virginia Museum of Fine Arts in association with Yale University Press‚ 2007.
224 pages, ISBN 9780300116588.
Hard Times: Social Realism in Victorian Art‚ By Julian Treuherz, with contributions by Susan P. Casteras, Lee M. Edwards, Peter Keating, and Louis van Tilborgh‚ Lund Humphries‚ 1987.
This catalogue features works by 19th-century English painters who were concerned with the poverty and social distress of their time. 152 pages, 8 color and 116 b/w illustrations‚ ISBN 0-853315-27-2.




 		 
Humphrey Spender's Humanist Landscapes: Photo-Documents, 1932–1942‚ By Deborah Frizzell‚ Yale University Press‚ 1997.
Photographer Humphrey Spender (b. 1910) produced a body of powerful and poignant photographs during Depression-era and wartime Britain. This book, the first to examine his photography in depth, includes illustrations of works by his contemporaries. 158 pages, 103 b/w illustrations‚ ISBN 0-300-07334-8.




 		 
'Oil on Water': Oil Sketches by British Watercolorists‚ By Malcolm Cormack‚ Yale Center for British Art‚ 1986.
This publication examines the interrelationship of oil painting and watercolor as seen in the art of twenty-seven 18th- and 19th-century British artists who worked primarily in watercolor. 64 pages, 34 b/w illustrations‚ ISBN 0-930606-52-3.




 		 
Papermaking and the Art of Watercolor in Eighteenth-Century Britain: Paul Sandby and the Whatman Paper Mill‚ Theresa Fairbanks Harris and Scott Wilcox‚ Yale University Press‚ 2006.
192 pages‚ ISBN 0300114354.
Patrick Caulfield‚ By Patrick Caulfield‚ Hayward Gallery and The British Council‚ 1999.
A catalogue of the retrospective exhibition of the artist—closely associated with the Pop movement in Britain in the 1960s—who has developed his style into a deep and paradoxical commentary on modern life. 152 pages, 96 color and 5 b/w illustrations‚ ISBN 1-85332-184-2.




 		 
Paula Rego: Celestina's House‚ Catalogue by Fiona Bradley, interview with Edward King‚ Abbot Hall Art Gallery, Kendal‚ 2001.
84 pages, 53 color and 26 b/w illustrations‚ ISBN 1-902498-05-4.




 		 
PayneWebber Art Collection‚ Essays by David Cohen and Scott Wilcox‚ Yale Center for British Art‚ 1999.
81 pages, 44 b/w illustrations‚ ISBN 0-930606-88-4.




 		 
Peter Nadin: Recent Work and Notes on Six Series‚ Introduction by Jeff Rian‚ Yale Center for British Art‚ 1992.
Designed by the artist and published to coincide with an exhibition of his works at the Yale Center for British Art, this limited-edition catalogue contains original poetry by Peter Nadin, an interview with Nick Lawson, and an essay by Kirby Gookin. 72 pages, 17 color and 113 b/w illustrations.




 		 
Photographs by Horatio Ross, 1801–1886‚ By Chris Titterington‚ Yale Center for British Art‚ 1993.
Horatio Ross was one of the generation of gentleman amateurs who established the art of photography in Britain. This illustrated publication features rare photographs from the 1850s and 1860s and includes a checklist of works in the exhibition. 31 pages, 10 b/w illustrations‚ ISBN 0-930606-70-1.




 		 
Photographs by Snowdon: A Retrospective‚ With contributions from Drusilla Beyfus, Simon Callow, Georgia Howell, Patrick Kinmonth, Anthony Powell, Carl Toms, and Marjorie Wallace‚ Harry N. Abrams‚ 2001.
240 pages, 79 color and 141 b/w photographs‚ ISBN 0-8109-4479-0.




 		 
Richard Hamilton: Prints and Multiples 1939-2002‚ By Richard Hamilton, Etienne Lullin, and Stephen Coppel‚ Richter Verlag‚ 2004.
320 pages, 244 color, 36 b/w illustrations‚ ISBN 3-933807-79-4.
Richard Parkes Bonington: ‘On the Pleasure of Painting’‚ By Patrick Noon‚ Yale University Press‚ 1991.
Richard Parkes Bonington was one of the most influential landscape and genre painters of his era. This publication illustrates the painter's extraordinary artistic achievement and defines his stature in the international Romantic movement. 311 pages, 177 color and 50 b/w illustrations‚ ISBN 0-300-05108-5.




 		 
Rowlandson Drawings from the Paul Mellon Collection‚ By John Riely‚ Yale Center for British Art‚ 1977.
A catalogue of 120 of the finest drawings from the Center's Rowlandson collection—the second largest in existence—accompanied by an essay dealing with the artist's development as a draughtsman. 93 pages, 6 color and 30 b/w illustrations‚ ISBN 0-930606-05-1.




 		 
The Archaeology of Architecture: Charles Robert Cockerell in Southern Europe and the Levant, 1810–1817‚ By Pieter B. F. J. Broucke‚ Yale Center for British Art‚ 1993.
This exhibition catalogue documents the archaeological investigations of the architect who became 19th-century Britain's foremost specialist in classical Greek architecture. 23 pages, 9 b/w illustrations‚ ISBN 0-930606-69-8.




 		 
The Art of Paul Sandby‚ By E. Bruce Robertson‚ Yale Center for British Art‚ 1985.
This catalogue accompanied an exhibition of over 110 works by one of Britain's foremost landscape draughtsmen. In addition to the watercolors for which he is best known, his work as a printmaker and painter in oils is also reviewed. 112 pages, 100 b/w illustrations‚ ISBN 0-930606-47-7.




 		 
The Human Form Divine: William Blake from the Paul Mellon Collection‚ By Patrick Noon‚ Yale University Press and Yale Center for British Art‚ 1997.
76 pages, 50 color illustrations‚ ISBN 0-300-07174-4.




 		 
The Line of Beauty: British Drawings and Watercolors of the Eighteenth Century‚ By Scott Wilcox, Gillian Forrester, Morna O'Neill, and Kim Sloan‚ Yale Center for British Art‚ 2001.
This catalogue of over 150 outstanding drawings and watercolors from the Yale Center for British Art celebrates the richness and diversity of its 18th-century holdings, and explores the professional and social roles played by draftsmanship during the period. Among the highlights are works by Blake, Gainsborough, Rowlandson, Sandby, and Hogarth. 231 pages, 89 color and 87 b/w illustrations‚ ISBN 0-930606-95-7.




 		 
The Poetry of Truth: Alfred William Hunt and the Art of Landscape‚ Christopher Newall with contributions by Scott Wilcox and Colin Harrison‚ Ashmolean Museum‚ 2004.
160 pages‚ ISBN 1854441965.
Tom Eckersley: Posters and Other Graphic Works‚ Foreword by Zuleika Dobson, introduction by George Him‚ Yale Center for British Art‚ 1980.
24 pages, 12 b/w illustrations.




 		 
Traces of India: Photography, Architecture, and the Politics of Representation, 1850–1900‚ Edited by Maria Antonella Pelizzari‚ Yale University Press‚ 2003.
280 pages, 180 photographs‚ ISBN 0-300098-96-0.
Translations: Turner and Printmaking‚ By Eric M. Lee‚ Yale Center for British Art‚ 1993.
This catalogue offers a comprehensive survey of J. M. W. Turner's involvement with printmaking over four decades and includes a checklist of 195 watercolors, annotated working proofs, and engravings. 48 pages, 33 b/w illustrations‚ ISBN 0-930606-71-X.




 		 
Victorian Landscape Watercolors‚ By Scott Wilcox and Christopher Newall‚ Hudson Hills Press in association with the Yale Center for British Art‚ 1992.
Accompanying the first major international exhibition of British landscape watercolors from 1840 to 1900, this book illuminates the achievements of the talented but undervalued artists of the Victorian period. 196 pages, 126 color and 4 b/w illustrations‚ ISBN 1-555950-71-X.




 		 
Walter Sickert as Printmaker‚ By Aime Troyen‚ Granite Impex Ltd‚ 1979.
The first full study of the evolution of W Sickert''s etchings his early plates, executed as a student of Whistler, to his commercial prints of the late 1920s. 90 pages, 118 b/w illustrations.




 		 
Wenceslaus Hollar: A Bohemian Artist in England‚ By Richard T. Godfrey‚ Yale University Press and Yale Center for British Art‚ 1994.
Wenceslaus Hollar was the first great printmaker to practice in England. This catalogue offers a comprehensive survey of his graphic art and a probing assessment of his achievement. 224 pages, 12 color and 230 b/w illustrations‚ ISBN 0-300-061661-8+.