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Thisbe.
Thisbe. Ev'n in this narrow chinkthey quickly found [/] A friendly passage for a trackless sound, [/] Safely they told their sorrows, and their joys, [/] In whisper'd murmurs, and a dying noise.
J. Hoppner del. W. Nutter Sculp.
Publish'd Dec.r 5th, by Bull & Jeffryes. Ludgate Hill London.
Stipple engraving with large margins. Platemark: 395 x 290mm. (15½ x 11¼"). Slight stain inside platemark on right side.
Thisbe listening through a chink in a stone wall. Pyramus and Thisbe is the story of two lovers in the city of Babylon who occupy connected houses, forbidden by their parents to be wed. Through a crack in one of the walls, they whisper their love for each other. From Shakepeare's 'A Midsummer Night's Dream'.
From the Oettingen-Wallerstein Collection.
[Ref: 28402]   £280.00  
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Oberon and Titania. [&] Oberon & Puck.
Oberon and Titania. [&] Oberon & Puck. Vide Shakespeare's Midsummer Nights Dream.
[n.d., c.1800.]
Pair of coloured stipples. Each sheet c.135 x 175mm (5¼ x 7"). Mounted on the same album sheet.
A pair of oval stipples, with the figures looking like children playing the roles.
[Ref: 40753]   £120.00  
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Titania.
Titania. Puck. What Hempen Home-Spuns Have We Swaggering Here... From the original picture in the possession of William Chamberlayne Esq.r to whom this print is respectfully inscribed by His most obliged & obedient humble Servant, Henry Thompson.
Painted by Henry Thomson R.A. Engraved by W. Say, Engraver to H.R.H. the Duke of Gloucester.
London Published March 21, 1814 by T. MacDonald, 39 Fleet Street.
Colour-printed mezzotint. 620 x 415mm. Framed. Trimmed within platemark at bottom.
A scene from 'A Midsummer's Night Dream', with Titania asleep, watched by Puck. In the background is Bottom with an ass's head.
Ex: Collection of the Hon. C. Lennox-Boyd.
[Ref: 7112]   £520.00  
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Ariel.
Ariel. Priseilla Horton [Facsimile within plate.]
LANE [monogram of Richard James Lane]. J. Graf. Printer to Her Majesty.
London, Published Dec.r 17, 1838 by J. Mitchell, 33 Old Bond St.
Lithograph with hand colouring. Laid, on India paper. Sheet size: 355 x 260mm (14 x 10¼").
Priscilla Horton (1818 - 1895) was a well-known singer and actress in 19th century London, famous with her husband, Thomas German Reed, for their refined entertainments which became popular with middle-class audiences who did not otherwise go to the theatre. The print shows her as Ariel, in the 1838 production of Shakespeare's The Tempest. By Richard James Lane (1800 - 1872).
[Ref: 39046]   £260.00  
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Shakspeare.  As You Like It   Act II, Scene VII,  The Seven Ages.  Seventh Age.
Shakspeare. As You Like It Act II, Scene VII, The Seven Ages. Seventh Age.
Painted by R. Smirke R.A. Engraved by I.P. Simon.
Pub. June 4. 1801, by J. & J. Boydell, at the Shakspeare Gallery Pall Mall; & at No. 90, Cheapside, London.
Stipple, final state, 455 x 545mm. 18 x 21½". Trace of crease through image.
An old man dozes in a chair by the hearth on the right, a woman sitting on the left, resting her head against the back of her chair and watching a little boy, who sits on the floor in front of her, dismayed as his house of cards collapses. Paintings on the walls behind: a view of ruins, the Last Day, a jester enthroned and blowing bubbles, sages either side and cherubs playing with the bubbles. Two lines of quotations either side of title. After Robert Smirke (1752 - 1845) for a series of scenes from Shakespeare plays after paintings in Boydell's 'Shakespeare Gallery', which opened in 1789 in Pall Mall.
[Ref: 12358]   £110.00   (£132.00 incl.VAT)
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Shakespear's Seven Ages of Man.
Shakespear's Seven Ages of Man.
Published by J.T.Wood, 9 Curriers Hall Court. London Wall. Entd. Stationers Hall. [n.d., c.1850.]
Wood engraving on card. Sheet 150 x 115mm, 6 x 4½".
Scenes illustratrating Shakespeare's famous monologue from 'As You Like It', starting "All the world's a stage, And all the men and women merely players". It also contains the word "Shakespeare" made up of a list of his plays and poems. It is interesting that the publisher managed to spell Shakespeare's name two different ways.
[Ref: 15210]   £110.00   (£132.00 incl.VAT)
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Second Childishness.
Second Childishness. and meer oblivion, sans teeth, sans eyes, sans taste, sans everything.
Drawn by Tho.s. Stothard Esq.r. R.A. Engraved by W.m. Bromley. Printed by Collins Shoe Lane.
Publish'd Jan.y. 24. 1799, by W. Bromley, Jessamine House, Hammersmith.
Stipple, rare. Sheet: 215 x 300mm, (8½ x 12"). Trimmed to plate.
Depiction of the seventh and final stage of Shakespeare's 'Seven Ages of Man' from 'As You Like It'. An old man sits in an armchair while a young woman offers him a bowl.
[Ref: 35562]   £95.00   (£114.00 incl.VAT)
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Pantaloon.
Pantaloon. The sixth stage shifts Into the lean and slippered pantaloon.
Drawn by Tho.s. Stothard Esq.r. R.A. Engraved by W.m. Bromley.
Published Jan.y. 24. 1799 by W. Bromley Jessamine House Hammersmith.
Stipple with very small margins, rare; Plate: 215 x 300mm, (8½ x 12"). Creasing in top edge.
Illustration of the sixth stage from Shakespeare's 'Seven Ages of Man' from 'As You Like It'. An old man sits crouched over his book, his spectacles on his nose.
[Ref: 35566]   £120.00   (£144.00 incl.VAT)
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The Justice.
The Justice. In fair round belly, with good capon lin'd, With eyes severe and beard of formal cut.
Drawn by Tho.s. Stothard Esq.r. R.A. Engraved by W.m. Bromley.
Publish'd Jan.y. 24. 1799 by W. Bromley, Jessamine House Hammersmith.
Stipple, rare. Plate: 215 x 300mm, (8½ x 12"). Trimmed to plate on lower edge. Some staining. Creasing in top edge.
Illustration of the fifth stage of Shakespeare's 'Seven Stages of Man' from 'As You Like It.' A man with a rounded belly sits on a chair smoking a long pipe while a man at a desk takes notes.
[Ref: 35569]   £160.00   (£192.00 incl.VAT)
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Shakespeare. As you like it. Act II. Scene VII. The Seven Ages. First Age. Jaq. At first the Infant Mewling & puking in the nurse's arms. [&] Second Age. Jaq. And then, the whining school-boy, with his satchel, And shining morning face, Creeping like
Shakespeare. As you like it. Act II. Scene VII. The Seven Ages. First Age. Jaq. At first the Infant Mewling & puking in the nurse's arms. [&] Second Age. Jaq. And then, the whining school-boy, with his satchel, And shining morning face, Creeping like snail unwillingly to school. [&] Third Age. Jaq.___And then, the lover; Sighin like furnace, with a woeful ballad Made to his mistress' eye-brow. [&] Fourth Age. Jaq.___Then a Soldier; Full of strange oaths, and bearded like the pard, Jealous in honour, sudden and quick in quarrel: Seeking the bubble reputation Even in the cannons mouth. [&] Fifth Age. Jaq.___And then, the justice In fair round belly, with good capon lin'd, With eyes severe, and beard of formal cut, Full of wise saws and modern instances, And so he plays his part. [&] Sixth Age. Jaq.___The sixth age shifts Into the lean and slipper'd pantaloo; With spectacles on nose, and pouch on side; His youthful hose well sav'd, a world too wide For his shrunk shank; and his big manly voice Turning again toward childish treble, pipes and Whistles in his sound: [&] Seventh Age. Jaq.___Las scene of all, That ends this strange eventful history. Is second childishness, and mere oblivion; Sans teeth, sans eyes, sans taste, sans everything.
Painted by R. Smirke, R.A. Engraved by P.W. Tomkins. Hist.l Engraver to Her Majesty. [&] by I. Ogborn. [&] by R. Thew, Hist.l Engraver to H.R.H. the Prince of Wales. [&] by J. Ogborn. [&] by I.P. Simon. [&] by W. Leney. [&] by I.P. Simon.
Pubd. June 4, 1801, by J & J Boydell, at the Shakespeare Gallery, Pall Mall; &No. 90, Cheapside, London.
A set of seven stipples. Plate 457 x 541mm. 18 x 21¼".
Seven plates illustrating the famous soliloquy by Jaques in Shakespeare's 'As You Like it', in which he described the Seven Ages of Man, from infancy to old age.
[Ref: 25290]   £950.00   view all images for this item
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Bardolph
Bardolph My Lord do you see these meteors? do you behold these exhalations? Henry the IV Act the II Scene the 9.
[Drawn & etched by John Hamilton Mortimer.]
Publshed May 20th, 1775 by J.Mortimer, Norfolk Street, Strand. [Watermarked 1821.]
Etching, very large margins. 400 x 325mm, 15¾ x 12¾".
Bardolph, one of the companions of the young Prince Hal, alongside Falstaff, Poins and Peto. This group is the comic relief in a grim slice of English history. From the first set of "Six Characters from Shakespeare", here as re-issued by Thomas Palser after Mortimer's death.
[Ref: 15868]   £160.00   (£192.00 incl.VAT)
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Beatrice.
Beatrice. Much ado about nothing. Ac t 1. Scene 2d. Is it possible disdain should die whilst she has such meel food to feed it as Senior Benidict.
[Drawn & etched by John Hamilton Mortimer.]
Publshed March 15th, 1776 by J.Mortimer, Norfolk Street, Strand. [Watermarked 1821.]
Etching, with very large margins. 400 x 325mm, 15¾ x 12¾".
Beatrice, niece of Leonato, governor of Messina, subject of a matchmaking plot. From the second set of "Six Characters from Shakespeare", here as re-issued by Thomas Palser after Mortimer's death.
[Ref: 15872]   £160.00   (£192.00 incl.VAT)
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Bianca.
Bianca.
Painted by W.P. Frith, A.R.A. Engraved by William Holl.
[n.d. c.1825.]
Mixed-method engraving. Plate 373 x 305mm. 14¾ x 12". Tear into top margin.
A young girl standing in the garden, a wreath on her head. Looking into the distance with teary eyes, her hands are bound togther. This is Bianca from Shakespeares's Taming of the Shrew; Katherina has bound Bianca's hands in an effort to make her younger sister choose a suitor, however Bianca finds it difficult to choose, as she does not care for one man any more then the next.
[Ref: 16795]   £95.00   (£114.00 incl.VAT)
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Burbage [in pencil]. [Richard Burbage. The First Performer of King Richard III. From the Original Picture in Dulwich College…]
Burbage [in pencil]. [Richard Burbage. The First Performer of King Richard III. From the Original Picture in Dulwich College…]
[S. Harding del et sculp.]
[n.d. c.1790.]
Stipple. Proof before letters. Image 157 x 126mm. Image stuck onto separate sheet.
Richard Burbage (1568-1619) was an actor and theatre owner. Burbage was a popular actor by his early 20s. His early acting career is poorly documented. It has been suggested that it included a stint in the Earl of Leicester's company, but there is no good evidence for this. He probably was acting with the Admiral's Men in 1590, with Lord Strange's Men in 1592, and with the Earl of Pembroke's Men in 1593; but most famously he was the star of William Shakespeare's theatre company, the Lord Chamberlain's Men which mutated into the King's Men on the ascension of James I in 1603. He played the title role in the first performances of many of Shakespeare's plays, including Hamlet, Othello, Richard III and King Lear. But he was in great demand and also appeared in the plays of many of the great contemporary writers, such as Ben Jonson (the title role in Volpone, and Subtle in The Alchemist), John Marston (The Malcontent), John Webster (The Duchess of Malfi) and Beaumont & Fletcher (The Maid's Tragedy).
Appears in NPG with title area.
[Ref: 12670]   £85.00   (£102.00 incl.VAT)
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Mr. Dimond & Miss Wallis in the Characters of Romeo & Juliet.
Mr. Dimond & Miss Wallis in the Characters of Romeo & Juliet. Romeo. "Let's fly together"
Ch.s Shirreff Pinx.t F. Bartolozzi R.A. sculp.t
London Publish'd as the Act directs by Ch.s Shirreff May 1796
Stipple, sheet 250 x 185mm (9¾ x 7¾"). Trimmed inside platemark.
Scene from Shakespeare's 'Romeo & Juliet' engraved by Francesco Bartolozzi (1725-1815) after Charles Shirreff (b.1750), British artist in India (Madras and Calcutta) 1796-1809. Bartolozzi (1725-1815) was born in Florence but migrated to England, and in 1768 was elected as a founding member of the Royal Academy in London (the RA did not admit engravers at this time but made an exception in his case). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton invited Bartolozzi to London with a promise of an appointment as engraver to the king. In England he became the most celebrated exponent of the 'stipple' technique whereby he produced prints using dots rather than lines. In 1801 Bartolozzi was invited to Lisbon to reform the royal printing press, and he spent his final years in Portugal. This impression from the collection of Dr. Augusto Calabi of Milan, art historian who co-authored (with A.B. de Vesme) the authoritative catalogue raisonné of Bartolozzi's work. Inscription verso indicates this is the only impression of the print in this state seen by Calabi. This state is not in fact listed in the catalogue, which lists only different identifications of the actors playing the two roles on impressions in different collections.
Calabi & de Vesme 1213 (state not listed)
[Ref: 43138]   £180.00   (£216.00 incl.VAT)
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Cassandra.
Cassandra.
Engraved by Caroline Watson (engraver to Her Majesty,) from the original Picture.
Published April 14th. 1809, by Thomas Payne, Pall Mall.
Stipple, roundel, 330 x 265mm. 13 x 10½". Uncut sheet.
Detail from a scene from William Shakespeare's 'Troilus and Cressida'.
Provenance Drax Family, Charborough Park, Wareham, Dorset.
[Ref: 13696]   £130.00   (£156.00 incl.VAT)
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Cassandra
Cassandra Troilus and Cressida Act IId Scene 4th. Cry Trojans cry. practice your eyes with tears / Troy must not be nor goodly Ilion stand.
[Drawn & etched by John Hamilton Mortimer.]
Publshed March 15th, 1776 by J.Mortimer, Norfolk Street, Strand. [Watermarked 1821.]
Etching, with very large margins. 400 x 325mm, 15¾ x 12¾".
Cassandra, daughter of the Trojan king Priam, cursed to be a prophetess no one ever believed. From the second set of "Six Characters from Shakespeare", here as re-issued by Thomas Palser after Mortimer's death.
[Ref: 15870]   £180.00   (£216.00 incl.VAT)
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Habit of Coriolanus in the Tragedy of Coriolanus.
Habit of Coriolanus in the Tragedy of Coriolanus. Coriolan dans la Tragédie de Coriolan.
[Thomas Jefferys, n.d., c.1772.]
Hand coloured engraving. Sheet size: 270 x 200mm (10¾ x 8"). Fine original colour. Trimmed inside platemark. Slight staining bottom left.
William Shakespeare's Coriolanus, in full costume, directed to the left, with his right hand on his hip. He wears a large fur robe and a laurel wreath on his head. Plate 238 from 'Collection of the dresses of different nations, antient [sic] and modern. Particularly old English dresses; after the designs of Holbein, Vandyke, Hollar and others, with an account of the authorities from which the figures are taken, and some short historical remarks on the subject. To which are added the habits of the principal characters on the English stage', published by Thomas Jefferys between 1757 - 1772.
[Ref: 34884]   £95.00   (£114.00 incl.VAT)
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[Shakespeare.  Cymbeline  Act III. Scene IV.]
[Shakespeare. Cymbeline Act III. Scene IV.]
[Painted by J. Hoppner. Engraved by R. Thew.]
[London, c.1801.]
Stipple, unfinished proof before etching and all letters, 505 x 635mm. 19¾ x 25". Very scarce.
A forest path with boulders and steep banks, Imogen holding up a sword, begging Pisanio to kill her. Pisanio has shown her the letter instructing him to do so, believing that her husband has been led to order her death by some woman - but he refuses. Title area annotated in ink by a 19th century hand: 'From the original Painting in the Collection of Mr. Neeld(?)'. After John Hoppner (1758 - 1810), for a series of scenes from Shakespeare plays after paintings in Boydell's 'Shakespeare Gallery', which opened in 1789 in Pall Mall.
[Ref: 13267]   £260.00  
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Shakespeare.  Cymbeline  Act III. Scene IV.
Shakespeare. Cymbeline Act III. Scene IV. Near Milford Haven. __ Pisanio and Imogen.
Painted by J. Hoppner R.A. Engraved by Robt. Thew Histl. Engraver to H.R.H. the Prince of Wales.
Pub. June 4, 1801 by J. & J. Boydell, at the Shakespeare Gallery, Pall Mall, & No. 90, Cheapside, London.
Stipple and etching, final published state, 505 x 635mm. 19¾ x 25". Some spotting, mostly to the full margins.
A forest path with boulders and steep banks, Imogen holding up a sword, begging Pisanio to kill her. Pisanio has shown her the letter instructing him to do so, believing that her husband has been led to order her death by some woman - but he refuses. Quotations either side of title. After John Hoppner (1758 - 1810), for a series of scenes from Shakespeare plays after paintings in Boydell's 'Shakespeare Gallery', which opened in 1789 in Pall Mall.
[Ref: 13265]   £130.00   (£156.00 incl.VAT)
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Falstaff
Falstaff There's a merry hear good master Silence. / I'll give you a health for that anon. Second part Henry IV Act V Scene 4th.
[Drawn & etched by John Hamilton Mortimer.]
Publshed March 15th, 1776 by J.Mortimer, Norfolk Street, Strand. [Watermarked 1821.]
Etching, with very large margins. 400 x 325mm, 15¾ x 12¾".
Falstaff, one of the companions of the young Prince Hal, alongside Bardolph, Poins and Peto. This group is the comic relief in a grim slice of English history. From the second set of "Six Characters from Shakespeare", here as re-issued by Thomas Palser after Mortimer's death.
[Ref: 15867]   £180.00   (£216.00 incl.VAT)
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Miss Kitty Fischer.
Miss Kitty Fischer.
J. Reynolds pinxt. J. Watson fecit.
Printed for John Bowles at No. 13 in Cornhill [n.d., c.1760].
Mezzotint, 150 x 112mm. Glued to album page at corners.
Catherine Maria ('Kitty') Fisher (d.1767) as Cleopatra dissolving the pearl. Fisher was a courtesan known for her beauty, wit and daring horsemanship. A favourite model of Sir Joshua Reynolds and an aspiring actress, although originally a milliner, she would become best known for her high-profile affairs with men of wealth.
Chaloner Smith: 53a, II of II. Hamilton: p.98, III of III. Goodwin: 10, II of II. Ex: Collection of Alec Clunes.
[Ref: 7876]   £160.00   (£192.00 incl.VAT)
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November_ (Old Style) ___
November_ (Old Style) ___ "Hover thro' the fog & filthy air" ___
Etched by G.C.
London Pub.d Nov.r 30 1822 by G. Humphrey 27 St James's St
Aquatint with hand-colouring, platemark 130 x 165mm (5 x 6½"). Paper watermarked 'Whatman 1823'; crease.
Satire on the notoriously impenetrable London fog (which seems to have been particularly bad in November), with quote from the witches in Shakespeare's 'Macbeth' making humorous comparison with the Scottish moors. Etched by George Cruikshank (1792-1878). The son of a notable satirist (who died following a drinking match when George was only 19, leaving him as the family breadwinner), Cruikshank was a prolific and celebrated caricaturist from an early age. Alongside contemporaries such as Rowlandson and Gillray, he ridiculed the excesses of late Georgian Britain with devastating effectiveness (George IV eventually paid him 'not to caricature His Majesty in any immoral situation').
BM Satires 14434; for another satire on November London fog see ref. 2322.
[Ref: 41690]   £130.00   (£156.00 incl.VAT)
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Mr Garrick In The Character Of Richard The IIId.
Mr Garrick In The Character Of Richard The IIId. Shakespear. Act 5. Scene 7. _
Painted by Wm. Hogarth. Engrav'd by Wm: Hogarth & C. Grignion.
Publish'd according to Act of Parliamt. June 20th. 1746.
Etching and engraving, 252 x 353mm. Trimmed close to plate left top and right, repair in title area
David Garrick in the role of Richard III (after the painting in the Walker Art Gallery, Liverpool) awakening from his troubled dream in the tent before the battle of Bosworth Field. The great actor was a close friend of Hogarth. An 18th century copy on laid paper reduced in size from the 1746 engraving by Charles Grignion. A good impression.
See Paulson: 165.
[Ref: 12907]   £490.00  
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Richard The Third,
Richard The Third, To the right honble. Baroness Howe, This print representing Garrick in the character of Richard the III, in the memorable Battle of Bosworth Field, Is dedicated by her ladyships most obedient humble Servant, John Boultbee.
Hayman & Boultbee pinxt. W. Bromley sculpt.
Chester, Published by John Boultbee, Jany, 21st 1811.
Stipple with etching, open letter state, 565 x 405mm. 22¼ x 16". Repaired small tear into upper margin and on right.
David Garrick (1717 - 1779), the greatest actor of his age, in a dramatic scene in the title role of William Shakespeare's history play Richard III. His costume is a suit of armour and robe, his sword is drawn and his helmet lies on the ground as he is surrounded by hostile forces; dying horse behind him. The painting by Hayman was probably prompted by Garrick's revival of the play at Drury Lane in 1759, although the attempts at historical veracity in evidence here owe more to history painting than the conventions of theatrical portraiture. The painting is in the collection of London's National Theatre.
Harvard p.104, 278; Brian Allen, 'Francis Hayman'
[Ref: 20562]   £350.00  
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Mr Garrick in Hamlet.
Mr Garrick in Hamlet. Act 1 Scene 4
B. Wilson Pinx.t J. McArdell Fecit
Publish'd by B. Wilson according to Act of Parliament Novem.r 1754.
Mezzotint, platemark 455 x 330mm (18 x 13"). Creases at top, small margins.
David Garrick (1717-1779), English actor and theatrical manage, in the role of Hamlet. The most celebrated actor of his day, he did more than anyone else to change the British acting style, which prioritised energy and engagement above accuracy and control. As a manager (primarily of the Drury Lane Theatre, Covent Garden) he presided over the creation of Shakespeare as national poet and icon, while shaping the texts to suit the demands of his patrons. The supremacy of Drury Lane during Garrick's management was not to be matched until Irving's reign at the Lyceum in the following century, and in the names of pubs and streets, and the famous Garrick Club, Covent Garden is filled with echoes of one of the greatest men to have occupied the area. This print illustrates the moment when Hamlet is confronted by the ghost of his dead father, the king of Denmark, who was murdered by his brother Claudius. Engraved after a portrait by Benjamin Wilson (1721 - 1788), portrait painter and scientist, etcher, occasional mezzotinter and collector of Rembrandt who was appointed Hogarth's successor as Serjeant-Painter to the King.
Lennox-Boyd. 'Theatre: The Age of Garrick' 22 iii/iv.
[Ref: 43747]   £450.00  
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[Mr Garrick in Richard the Third.]
[Mr Garrick in Richard the Third.]
N. Dance pinx.t. J. Dixon Fecit.
Published according to Act of Parliament April 28 1772 by John Boydell Engraver, Cheapside, London
Mezzotint, platemark 635 x 395mm (25 x 15½"). Finished proof with scratched inscription; small margins; slight foxing.
David Garrick (1717-1779), English actor and theatrical manager, in the role of Richard III. By the time this print was published Garrick was particularly associated with this role. Hogarth also painted Garrick in the same role. Engraved from the painting by Nathaniel Dance shortly after it was exhibited at the Royal Academy in 1771. The painting is owned by Stratford-upon-Avon Town Council. It was acquired by Sir Watkin Williams Wynne, who reputedly outbidded Garrick himself (who had promised to buy the painting for his wife!) Garrick is known to have admired this print and sent impressions to his friends with complimentary lines printed and pasted on the back. It was also used as the model for Derby porcelain statuettes.
Lennox-Boyd 28 i/ii; CS 15 i/ii; for other prints of Garrick as Richard III see refs. 12907 and 20562.
[Ref: 36616]   £620.00  
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King Henry IV.
King Henry IV.
[Monogram of Paul Pry, i.e. William Heath] Esq.r Del.
Pub by T. McLean 26 Haymarket. [n.d., c.1828.]
Fine hand-coloured etching. 370 x 260mm (14½ x 10¼"), large margins. Cut to platemark on left.
George IV depicted as Falstaff, with Lady Conyngham as the grotesquely fat Doll Tearsheet on his knee. Heath seems to have based this scene on Henry Fuseli's painting published by the Boydell Shakepeare Gallery, 1805.
BM Satires: 15411.
[Ref: 39612]   £260.00  
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The Globe on the Bancke Side, where Shakspere acted.
The Globe on the Bancke Side, where Shakspere acted. From an Old View of London published in 1579.
James Coleman, Heraldic and Genealogical Bookseller. 22 High Street, Bloomsbury, London W.C. on William Shakspeare's Birth-day: 23rd April 1864.
Woodblock. Sheet size: 215 x 135mm (8½ x 5¼").
A commemorative etching celebrating the birth of William Shakespeare, depicting the Globe Theatre, published as part of catalogue XXXIV by James Coleman, 1864.
[Ref: 37824]   £95.00   (£114.00 incl.VAT)
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There's a Divinity that shapes our ends / Rough hew them how we will. Shakespr.
There's a Divinity that shapes our ends / Rough hew them how we will. Shakespr.
E. Edwards delin. J. Hall sculpt. [n.d., c.1790]
Engraving with hand-colouring and gold leaf, sheet 190 x 165mm (7½ x 6½"). Trimmed inside platemark,
A man sits reading amongst a ruined abbey(?) with a skull beside him. Adjacent, two reapers set out to gather crops at harvest. Lines from Shakespeare's 'Hamlet' remind us of the impossibility of defying fate. On a rectangular object by the man's feet, text reads 'so it must be'.
[Ref: 37644]   £130.00   (£156.00 incl.VAT)
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Hamlet.
Hamlet. Angels and Ministers of Grace defend us!
Dean & Co Threadneedle St. [n.d., c.1840.]
Hand coloured lithograph heightened in white. Sheet 255 x 200mm, 10 x 8".
Social satire, a parody of the scenes in Shakespeare's Hamlet when the ghost of Hamlet's father appears to him. A donkey draped in a white sheet is ushered through a door by moonlight into an interior by a mischievous boy, surprising another boy within who gestures in surprise, holding a fork in the other hand.
[Ref: 20656]   £75.00   (£90.00 incl.VAT)
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Mr Henderson in the Character of Macbeth.
Mr Henderson in the Character of Macbeth.
Painted by George Romney. Engraved by John Jones.
Publish'd as the Act directs Decr. 1st. 1787, by J. Jones, Engraver No. 75, Great Portland Street.
Mezzotint, 455 x 540mm. Trimmed to platemark lower left.
Portrait of John Henderson (1747 - 1785) as Macbeth, looking over his left shoulder at the Three Witches. A procession passes across the landscape in the distance.
Chaloner Smith: 37, II.
[Ref: 8339]   £420.00  
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[Henry IV  Part 1, Act II, Scene IV.]
[Henry IV Part 1, Act II, Scene IV.]
[Painted by Richard Westall. Engraved by Peter Simon.]
[London: John & Josiah Boydell, 1795.]
Stripple engraving, proof before all letters, 645 x 465mm. 25½ x 18¼". Foxing. Small marginal tears, one into plate from lower edge.
Hotspur, Worcester, Mortimer and Owen Glendower sitting around a table and dividing up England, in the Archdeacon's House, Bangor. Illustrating William Shakespeare's 'Henry IV', for Boydell's 'Shakespeare Gallery'. After Richard Westall (1765 - 1836).
[Ref: 10646]   £260.00  
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Henry V.
Henry V. Mrs. Quickly. So a bade me lay more Clothes on his feet. I put my hand into the bed & felt them and they were as cold as any stone.
[Anon., c.1800]
Engraving, sheet 185 x 100mm (7¼ x 4"). Trimmed.
Nell Quickly mourns the death of Falstaff, one of Shakespeare's most beloved characters, in Act II, Scene III of 'Henry V'.
[Ref: 43429]   £90.00   (£108.00 incl.VAT)
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Shakespeare. Third part of King Henry 6th. Act II. Scene V. A field of battle, near Towton in Yorkshire. King Henry. Son that had killed his Father._Father that had kill'd his Son. Queen, Princes of Wales, & Exeters, in the distance.
Shakespeare. Third part of King Henry 6th. Act II. Scene V. A field of battle, near Towton in Yorkshire. King Henry. Son that had killed his Father._Father that had kill'd his Son. Queen, Princes of Wales, & Exeters, in the distance. Fath. But let me see: - Is this out foeman's face? An, no, no, no, it is mine only son! Son._Oh God: it is my father's face. Whom in this conflict I unawares have kill'd.
Painted by J.h Boydell. Engrav'd by J. Ogborne.
Publish'd June 4. 1794, by John & Josiah Boydell, Shakspeare Gallery Pall Mall, & No.90, Cheapside.
Stipple. Plate 495 x 630mm. 19½ x 24¾". Fine impression
The Battle of Towton as dramatised in Shakespeare's Henry VI. The Battle, fought on March 29, 1461 near Towton in Yorkshire during the Wars of the Roses, resulted in a decisive Yorkist victory. It has been described as the 'largest and bloodiest battle ever fought on English soil'. This particular battle between the Houses of York and Lancaster brought about a monarchical change in England, whereby Edward IV displaced Henry VI as King of England, driving the Lancastrians and his key supporters out of the country. In 1929, the Towton Cross was erected on the battlefield to commemorate the event. Various archaeological remains and mass graves related to the battle were found in the area centuries after the engagement. The King on a battle field, sitting beside his horses, contemplating the senselessness of war and gesturing sadly towards a father who holds the dead body of the son he has just killed on his knee, while to the right a son weeps over his father who he has killed, and on the far left, the queen rides up, looking back towards the battle.
[Ref: 25285]   £260.00  
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[Elizabeth Hastings, countess of Huntingdon]
[Elizabeth Hastings, countess of Huntingdon] Vera Effigies Dominae Elizabetha Nuper Comtissae Huntingdon
Published Jan.y 1802 by Wm Richardson York House, No 31 Strand
Engraving, platemark 190 x 140mm (7½ x 5½"); very large margins. Slight foxing.
Elizabeth Hastings, countess of Huntingdon (bap.1587-d.1633), noblewoman. A significant patroness, the writers to whom she was connected, and in whose works she features, include Spenser, Milton, Donne, John Fletcher, John Marston, and, potentially, Shakespeare. Following her death she was buried at Ashby-de-la-Zouch in Leicestershire.
O'D 3
[Ref: 40808]   £60.00   (£72.00 incl.VAT)
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Irving as Hamlet.
Irving as Hamlet. [In pencil:] Richard Northcott from Henry Irving: with every good wish.
Painted by Edwin Long, A.R.A.
Printed in Paris by Goupil & Co. [n.d. c.1884.]
Photogravure. Plate 621 x 438mm. 24½ x 17¼". Laid on card.
Sir Henry Irving (1838-1905) was an English stage actor of the Victorian era. Known as the actor-manager as he took complete reponsibility of everything for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. He was the first actor to be awarded a knighthood.
Harvard: Vol. II, 163: p.289.
[Ref: 22933]   £240.00  
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Irving as Hamlet.
Irving as Hamlet.
Painted by Edwin Long, A.R.A.
Printed in Paris by Goupil & Co. [n.d. c.1884.]
Photogravure. Plate 610 x 445mm. 24 x 17½". Messy at top. Repaired tear at bottom.
Sir Henry Irving (1838-1905) was an English stage actor of the Victorian era. Known as the actor-manager as he took complete reponsibility of everything for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. He was the first actor to be awarded a knighthood.
Harvard: Vol. II, 163: p.289.
[Ref: 20244]   £260.00  
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Miss Fanny Kemble.
Miss Fanny Kemble. in the Character of Juliet.
London, Published Nov.r 2nd 1829 by T McLean, 26 Haymarket. Printed by C. Hullmandel.
Lithograph on india, india dimensions 285 x 185mm (11¼ x 7¼"). Very large margins.
Frances Anne [Fanny] Kemble (1809-93), actress and author, in the role in which she made her debut in Covent Garden, as Juliet. Her parents played Mercutio and Lady Capulet in the production. Her tremendous success in the role is attested to by the several prints made to commemorate it.
Harvard 69
[Ref: 37956]   £80.00   (£96.00 incl.VAT)
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King Richard III.d. Act 4. Scene 2. Mr Kemble in King Richard.
King Richard III.d. Act 4. Scene 2. Mr Kemble in King Richard. But I am in, So far in blood that Sin will pluck on sin.
Browne del.t from Mr Stewarts Portrait. Thornthwaite sculpt.
London Printed for John Bell British Library, Strand May 10th 1786.
Copper engraving. Sheet 155 x 85mm, x 6 x 3½".
[Ref: 16959]   £30.00   (£36.00 incl.VAT)
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King Lear. Act 3. Sc. 6.
King Lear. Act 3. Sc. 6.
F.Hayman Inv. H. Gravelot Sculp.
[Oxford: University Press, c.1743-4.]
Copper engraving. Sheet 260 x 180mm, 10¼ x 7".
Lear, wandering on the heath after the storm, encounters Edgar in the guise of Tom o' Bedlam. Published as a frontispiece in Sir Thomas Hanmer's Shakespeare, a deluxe six-volume edition with fine bindings and nearly 40 original illustrations by Francis Hayman. engraved by Hubert Gravelot. This was the first complete edition to be published outside London. A second edition appeared in 1770.
[Ref: 17560]   £50.00   (£60.00 incl.VAT)
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King Lear.
King Lear.
Engrav'd by Wm. Sharp, from a Picture of Sr. Joshua Reynolds.
Publish'd May 1.st 1783, by John Boydell Engraver in Cheapside London.
Engraving and etching. Plate 222 x 184mm. 8¾ x 7¼".
King Lear, looking up, with windswept hair and a full beard; clouds behind.
Hamilton: p.151.
[Ref: 20922]   £160.00   (£192.00 incl.VAT)
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Macbeth. Macbeth, I am afraid to think what I have done; look on't again I dare not. Lady Macbeth,____Infirm of purpose! give me the daggers:
Macbeth. Macbeth, I am afraid to think what I have done; look on't again I dare not. Lady Macbeth,____Infirm of purpose! give me the daggers:
Georgina North del.t Printed by Graf & Soret.
[n.d. c.1830.]
Lithograph, rare. 355 x 271mm (14 x 10¾"). Nicks and tears around the edges, paper chip lower right.
Lady Macbeth taking two daggers from the 'infirm of purpose' Macbeth, stooping down behind her on a platform at right. The three witches visible through window top right. Illustration of Shakespeare's 'Macbeth'.
[Ref: 28977]   £120.00   (£144.00 incl.VAT)
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Macbeth.
Macbeth. I've done the deed.- did I not hear a noise? [/] Macbeth, Act II. Scene 2.
H. Singleton del. C. Taylor direxit et sculpsit.
Stipple with very large margins. 140mm x 180mm, (5½" x 7"). Small tear in upper margin.
Depiction of events in Shakespeare's 'Macbeth' Act II. Scene 2. in which Macbeth murders Duncan, King of Scotland. Macbeth is depicted leaving the bedroom of Duncan holding a dagger, Duncan can be seen lying dead in his bed. From a series of Shakespeare illustrations.
[Ref: 31930]   £60.00   (£72.00 incl.VAT)
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Macbeth.
Macbeth.
Sir Joshua Reynolds Pinxt. S.W. Reynolds Sculpt.
[n.d., c.1825.]
Mixed media, 230 x 260mm. 9 x 10¼".
William Shakespeare's Macbeth, seen from the back, faces the witches and the apparitions. By his feet, inside a coiled snake, stand a small bloody child and a child wearing a crown and holding a tree. Behind them are the kings, one holding a mirror, and a large figure of a soldier, pointing; the witches sit on the far right, Hecate in the middle, with her forefinger pointing upwards. For Samuel William Reynold's (1774 - 1835) 'Engravings from the Works of Sir Joshua Reynolds'.
Whitman: Appendix, pg. 149, 56.
[Ref: 9567]   £140.00   (£168.00 incl.VAT)
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Macbeth. Proof.
Macbeth. Proof.
Sir Joshua Reynolds Pinx.t S.W. Reynolds Sculp.t.
Stipple and etching. Plate 228 x 253mm (9 x 10"). Trimmed inside left platemark.
Macbeth in the foreground to left, seen from the back, faces the witches and the apparitions; by his feet, inside a coiled snake, stand a small bloody child and a child wearing a crown and holding a tree, behind them are the kings, one holding a mirror, and a large figure of a soldier, pointing; the witches sit on the far, Hecate in the middle, with her forefinger pointing upwards.
Whitman: p.149 (Appendix): 56*. For a later state see ref. 9567.
[Ref: 21501]   £120.00   (£144.00 incl.VAT)
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Macbeth. Act 4.th Scene 1.st.
Macbeth. Act 4.th Scene 1.st.
Painted by J. H. Nixon. Engraved by G. H. Phillips.
Published by John Kendrick, 54 Leicester Sq.e February 1st, 1831.
Mezzotint with small margins. Proof impression. Platemark: 220 x 270mm (8¾ x 10¾"). Sheet slightly toned.
A representation of a scene from Shakespeare's Macbeth, depicting a rocky landscape, with a group of witches encircling a fire. They deliver the prophecy that Banquo will be father to a line of kings. A vision can be seen in the background in the sky. The figure of Macbeth is facing them on a rock at the right.
Ex: Collection of the Hon. C. Lennox-Boyd.
[Ref: 35778]   £140.00   (£168.00 incl.VAT)
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[MacBeth & Witches.]
[MacBeth & Witches.]
[after James Holmes.]
[n.d., c.1800.]
Watercolour, coloured on both sides as a transparency. Sheet 350 x 290mm (13¾ x 11½").
Macbeth and Banquo visiting the witches, who are gathered around a cauldron on the left, with two skeletons in the bushes behind them. A watercolour copy of the mezzotint by Jehner after Holmes, published by Ackermann, 1799.
Ex: collections of the Spencer Sisters and the Hon. Christopher Lennox Boyd.
[Ref: 40434]   £350.00   (£420.00 incl.VAT) view all images for this item
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To the R.t Hon.ble Alexander Lord Loughborough Lord High Chancellor of England: this Print of The Witches in Macbeth,
To the R.t Hon.ble Alexander Lord Loughborough Lord High Chancellor of England: this Print of The Witches in Macbeth, From an Original Tranparent Drawing, in His Lordships possession is with permission humbly Dedicated by Lordships most obliged & obedt Servt. Edwd. Orme. The original Drawing by a Gentleman.
Sold & Published June1, 1799 by Edwd. Orme, Printseller to the King corner of George Street, & Conduit Street London.
Coloured mezzotint. 550 x 330mm. Framed. Some time staining as to be expected, small crack in the figure of Banquo in the centre. Not visible unless held to the light.
Edward Orme [1774 - 1821] publisher/printer; printmaker; Transparent prints produced an illusion, making a painted scene appear extremely realistic, at least at first glance. Being changes often to create a fresh entertainment. As an artist and publisher, Orme had promoted the fashion for transparencies. These coloured prints were chemically treated thereby rendering parts transparent when held to the light and giving an effective illusion of moonlight, fire etc. Due to their popularity few have survived. This example presented for use in an early frame has is a powerful shakespearean scene where the Macbeth returns to the Witches, Banquo's ghost appears through the darkness.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 4503]   £680.00  
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Mr Caple & Miss Goddard, As Macbeth and Lady Macbeth.
Mr Caple & Miss Goddard, As Macbeth and Lady Macbeth. "Infirm of Purpose! Give me the Daggers!" Act 2.nd Scene 2.nd
Drawn on Stone by W. Bowman. From a Dag by G. Villiers Woodhouse Lane Leeds.
Printed by Masser & Otley Leeds. [n.d. c.1850.]
Tinted lithograph. 341 x 210mm (13½ x 8¼"). Slight crease.
A scene from Shakespeare's 'Macbeth': Caple and Goddard standing together, Lady Macbeth taking the daggers from the 'infirm' Macbeth.
Harvard Vol. II. p.130: 2.
[Ref: 28970]   £75.00   (£90.00 incl.VAT)
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