Arts & Humanities

‘A Bold Effort’: Illuminating images of slavery in the British Empire

A mysterious pair of hands on the edge of a family portrait sparked a campus collaboration resulting in two exhibitions, an international symposium, collections research, painting conservation, teaching from the collections, and public programs — all looking at how slaves were depicted in the British Empire.
1 min read
By
Amy Athey McDonald
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The image of the servant or slave whose disembodied hands appear at the lower left side of William Hogarth’s “A Family Portrait” was included originally as a symbol of the family’s wealth.
Gallery

Two exhibits explore images of slavery in the British empire

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    William Hogarth, "Portrait of a Family," ca. 1735, oil on canvas, Yale Center for British Art, Paul Mellon Collection
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    Unknown artist, "Elihu Yale, the second Duke of Devonshire, Lord James Cavendish, Mr. Tunstal, and an Enslaved Servant," ca. 1708, oil on canvas, Yale Center for British Art, Gift of Andrew Cavendish, eleventh Duke of Devonshire
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    Studio of Francis Harwood, "Bust of a Man," ca. 1758, black limestone on yellow marble socle, Yale Center for British Art, Paul Mellon Collection
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    Sir Joshua Reynolds, "Charles Stanhope, third Earl of Harrington, and a Servant," 1782, oil on canvas, Yale Center for British Art, Paul Mellon Collection
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    Unknown engraver, after Richard Cosway, "Richard and Maria Cosway, and Ottobah Cugoano," 1784, engraving, dimensions unknown, Yale Center for British Art, Paul Mellon Collection
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    Roger Dixon for William Lutwyche (manufacturer) and Soho Mint, Birmingham, “Am I Not A Man And A Brother,” Antislavery Halfpenny Token, ca. 1796, copper, Yale University Art Gallery, transfer from the Yale University Library, Numismatic Collection, 2001
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    William A.V. Clark, "Planting the Sugar-Cane," 1823, aquatint with hand coloring, in William Clark, "Ten Views in the Island of Antigua" (London: Thomas Clay, Ludgate-Hill), plate 3, Yale Center for British Art
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    After Abraham James, "Johnny New-Come in the Island of Jamaica," 1800 or 1803, etching with aquatint and hand coloring, Published October 1 [1800 or 1803], by William Holland, The Lewis Walpole Library, Yale University, 803.10.01.02++
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    Agostino Brunias, "A Negroes Dance in the Island of Dominica," 1779, stipple engraving and etching, The Lewis Walpole Library, Yale University, 779.02.15.01
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    Henry Heath after C.J.G., "The Delights of Emigration!" 1830, etching with hand coloring, Published by S. Gans, The Lewis Walpole Library, Yale University, 830.00.00.16+
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    Thomas Vivares after George Robertson,"A View in the Island of Jamaica, of Roaring River Estate, belonging to William Beckford Esqr. near Savannah la Marr," etching with hand coloring, Published by John Boydell, The Lewis Walpole Library, Yale University, Topos J27 no. 2++ Impression 2
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    Joscelyn Gardner, from the suite "Creole Portraits III: 'bringing down the flowers,'" lithograph with hand coloring on frosted mylar: "Petiveria aliacea (Mirtilla)," 2011; and "Veronica frutescens (Mazerine)," 2009.

Arts & Humanities