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European Art
Artist: John Vanderbank the Elder, British, active 1689–1717

The Promenade

ca. 1700

Wool and silk

304.8 × 243.8 cm (120 × 96 in.)
Gift of Edward S. Harkness, B.A. 1897
Not on view
18th century

“Glemham Hall, Suffolk, a Seat of the Earl of Guilford,” Country Life (1910): 25.

“Yale Tapestries,” Time 4, no. 4 (July 28, 1924): 19.

William Tappan, “The Tapestries of Elihu Yale,” International Studio (December 1925): 209–214, ill.

A.F. Kendrick, “The Yale Tapestries,” Old Furniture: A Magazine of Domestic Ornament vol. 2 (October–December 1927): 162, 164–67, ill.

John Walker Harrington, “Yale Tapestries as Textile Treasures,” Antiquarian 8 (April 1927): 43–46, ill.

William George Thomson, A History of Tapestry from the Earliest Times until the Present Day (London: Hodder and Stoughton, 1930), 361–62, ill.

Margaret T. J. Rowe, “An Important New Tapestry,” Bulletin of the Associates in Fine Arts at Yale University vo. 10, no. 1 (November 1931): 1–2.

“Yale Gallery Given Important Tapestries,” New Haven Register (June 1, 1932).

Virginia N. Whitehill, “Of Ships and Sails and Chinoiserie,” Arts News (May 1–14, 1941): 10–14, 41, ill.

Edith A. Standen, “English Tapestries “After the Indian Manner”,” Metropolitan Museum Journal 15 (1981): 119–123, 125–27, 130–31, 134–35, 138–39, fig. 2.

Romita Ray, “Going Global, Staying Local: Elihu Yale the Art Collector,” Yale University Art Gallery Bulletin (2012): 44–45, fig. 9.

Diana Scarisbrick and Benjamin Zucker, Elihu Yale: Merchant, Collector and Patron (London: Thames and Hudson, 2014), 81, fig. 36.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.