VAT included (see terms) | Exclude VAT

[A Midsummer Night's Dream] Titania.
[A Midsummer Night's Dream] 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  
enquire about this item add to your wishlist

[A Midsummer Night's Dream] Oberon.
[A Midsummer Night's Dream] Oberon. _da Blick und Son, ihm schnell ihr Herz gewann, so wagen bald Kinder sich hin uns spielen mit Seinen Locken. Den tapfern Mann ergötzt ihr traulich frohes Gewühl, er wird mit ihnen Kind, und theilt ihr süsses Spiel.
H. Rambery delt. F. John sculpt. Viennae 1769.
Stipple engraving with large margins. Plate 255 x 185mm. 10 x 7¼". Fine.
Oberon is a legendary king of the fairies in medieval and Renaissance literature. He is best known as Consort to Titiana, Queen of the Fairies in Shakespeare's play "A Midsummer Night's Dream."
[Ref: 15464]   £95.00   (£114.00 incl.VAT)
enquire about this item add to your wishlist

[A Midsummer Night's Dream] Thisbe.
[A Midsummer Night's Dream] 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   (£336.00 incl.VAT)
enquire about this item add to your wishlist

Puck, vide Midsummer Night's Dream.
Puck, vide Midsummer Night's Dream.
Painted by Sir Joshua Reynolds, P.R.A. Engraved by Charles Heath. Proof. Printed by McQueen.
London: Published March 1827, for the Proprietor by R. Jennings, Poultry.
Engraving. Plate 458 x 349mm (18 x 13¾"), very large margins, uncut.
A naked infant with faun's ears sat on a toadstool in a glade, his arms and legs outstretched and holding a sprig of flowers in his right hand; Titiana and Bottom lying amongst the trees in the background. Fagan maintains that this print was the work of two of Charles Heath's distinguished pupils, J.H. Watt and G. Doo. Engraved from a painting which Reynolds sold Boydell for his 'Shakespeare Gallery'. There is also a much smaller 1789 print of the same picture.
Hamilton: p.154. Heath: 1827.12. [p.229].
[Ref: 23635]   £220.00   (£264.00 incl.VAT)

Unfortunately this item is either sold or reserved. If you are interested in similar items and cannot find what you're looking for on our website, please consider filling in our interests form. If you register, we can also send you items that match your interests when the website is updated.


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   (£144.00 incl.VAT)
enquire about this item add to your wishlist

[Anthony and Cleopatra] The Death of Mark Anthony.
[Anthony and Cleopatra] The Death of Mark Anthony. La Mort de Marc Antoine.
Angelica Kauffman pinxit. J.M. Delattre sculpsit.
Published according to Act, Feb.y 23rd, 1785, by Ann Bryer, No. 5, Poland Street, Soho.
Stipple, printed in brown. 385 x 330mm (15¼ x 13"), with large margins. Mint.
The death of Marcus Antonius according to Shakespeare: having stabbed himself he finds that Cleopatra is still alive, dying in her arms.
Ex: Oettingen-Wallerstein collection. Sotheby's London / Milan Nov 1997.
[Ref: 60310]   £350.00   (£420.00 incl.VAT)
enquire about this item add to your wishlist

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
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

Shakespeare's Seven Ages of Man Illustrated.
Shakespeare's Seven Ages of Man Illustrated.
Drawn by Tho.s Stothard Esq. R.A. Engraved by Will.m Bromley.
Publish'd Jan.y 24 1799 by W. Bromley, Jessamine House, Hammersmith.
Folio (455 x 305mm, 18 x 12"), original boards; stipple engraved title, engraved text sheet & 7 stipple plates, all printed in sepia; complete with very large margins. Binding distressed, plates with spotting and damp stain.
The complete set of plates illustrating Jaques's monologue in William Shakespeare's 'As You Like It', reproduced on the engraved text sheet. The title features two cherubs, one young, the other with a crutch, and an ouroboros (a snake eating its own tail). The plates are: 'Infant', 'School Boy', 'Lover', 'Soldier', 'Justice', 'Pantaloon' and 'Childishness'.
[Ref: 56479]   £680.00   view all images for this item
enquire about this item add to your wishlist

[As You Like It.] The Justice.
[As You Like It.] 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)
enquire about this item add to your wishlist

[As You Like It.] Pantaloon.
[As You Like It.] 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)
enquire about this item add to your wishlist

[As You Like It.] Second Childishness.
[As You Like It.] 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)
enquire about this item add to your wishlist

As You Like It. Act IV. Orlando and Oliver.
As You Like It. Act IV. Orlando and Oliver. To the Honourable Horace Walpole, this Plate is Inscribed, by his most Obliged humble Servant, Sam.l Middiman.
Painted by G.B. Cipriani, G. Barrett & S. Gilpin. The Figures by F. Bartolozzi R.A. Engraved by S. Middiman.
Published as the Act directs May 1. 1787 by S. Middiman, No 3, Grafton Street, Tottenham Court Road.
Stipple. 355 x 380mm (14 x 15"), with wide margins.
Orlando rescues Oliver from a lioness.
[Ref: 54067]   £260.00  
enquire about this item add to your wishlist

[As You Like It.] Shakespear's Seven Ages of Man.
[As You Like It.] 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)
enquire about this item add to your wishlist

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. 400 x 325mm (15¾ x 12¾"), with wide margins.
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)
enquire about this item add to your wishlist

Beatrice.
Beatrice. Vide Shakespear's Much ado about Nothing.
R. Westall, A. inv. T. Cheesman sculp, late Pupil to F. Bartolozzi.
Publsh'd Feb.y 10, 1793 by J.F. Tomkins, New Bond Street.
Stipple, 315 x 205mm (12½ x 8"), with large margins, partial 18th century watermark
Beatrice, niece of Leonato, governor of Messina, subject of a matchmaking plot.
[Ref: 55070]   £290.00   (£348.00 incl.VAT)
enquire about this item add to your wishlist

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. 400 x 325mm (15¾ x 12¾"), with wide margins.
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)
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

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. 400 x 325mm (15¾ x 12¾"), with very wide margins.
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)
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

Celia.
Celia.
T. Cheesman inv.t et sculp.t.
Publsihed May 1, 1799, by T. Cheesman N.o 40 Oxford Street, London.
Coloured stipple, pt printed in colour; sheet 275 x 195mm (10¾ x 7¾"). Trimmed to printed border.
Half-length portrait of a young woman wearing a hat and dress with large collar and holding a basket of flowers amongst a countryside landscape. Most likely a representation of Celia from Shakespeare's 'As You Like It'. Thomas Cheesman (c.1760-1834) was a British draughtsman, painter and stipple engraver. He studied under Bartolozzi from the mid 1770s.
[Ref: 60324]   £290.00   (£348.00 incl.VAT)
enquire about this item add to your wishlist

Coriolanus.
Coriolanus. From the Original Picture in ye Collection of George Sheppard Esq.r.
Angelica Kauffman R.A. pinx.t [...] Fran.s Bartolozzi R.A. Sculp.t.
London, Publish'd Nov.r 3 1785 by Ja.s Birchall No. 473 Strand.
Very fine stipple, printed in brown. 420 x 490mm (16½ x 19¼"). Trimmed to platemark bottom & top edge. Small margin at sides.
Scene from Act 5, Scene 3 of Shakespeare's tragedy 'Coriolanus'. Stipple engraving by Francesco Bartolozzi after Angelica Kauffman. Bartolozzi 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, getting around the rules by electing Bartolozzi as a painter). He was already hailed as the best engraver in Italy when he met George III's librarian Richard Dalton in 1763. Dalton enticed 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.
Calabi & de Vesme 1842 ii/iii. Provenance: Edge Hall Library, Cheshire
[Ref: 46758]   £520.00  
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

[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   (£312.00 incl.VAT)
enquire about this item add to your wishlist

[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 Rob.t Thew Hist.l 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, proof before letters. 505 x 635mm (19¾ x 25"). Trimmed to plate top and bottom, soiling of edges. Slight staining in margins.
On a forest path Imogen bares her breast and offers Pisanio a sword, begging him to kill her. After John Hoppner (1758-1810). John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Angelica Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious, and the cost caused the firm to go bankrupt.
[Ref: 54059]   £250.00   (£300.00 incl.VAT)
enquire about this item add to your wishlist

[Cymbeline] Imogen's Chamber.
[Cymbeline] Imogen's Chamber. On her left breast a mole, cinque spotted...
Painted by W. Martin. Engraved by A. Zaffonato
Publish'd November 30th 1793 by A. Suntach.
Stipple, printed in brown. Sheet 230 x 250mm (9 x 9¾") Trimmed into plate top and bottom, thread margins at sides.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
[Ref: 54204]   £260.00   (£312.00 incl.VAT)
enquire about this item add to your wishlist

[Cymbeline] [Imogen's Chamber.
[Cymbeline] [Imogen's Chamber. On her left breast a mole, cinque spotted...]
W. Martin inv. et pinx. F. Bartolozzi sculps. 1786.
London, Publish'd June 21st; 1786 by W. Dickinson Engraver Bond Street.
Very fine etching with stipple, proof before title, printed in brown. 265 x 355mm (10½ x 14"), with large margins.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
De Vesme 1840, state ii of iii.
[Ref: 53335]   £450.00  
enquire about this item add to your wishlist

[Cymbeline] Imogen's Chamber.
[Cymbeline] Imogen's Chamber. On her left breast a mole, cinque spotted...
W. Martin inv. et pinx. F. Bartolozzi sculps. 1786.
London, Publish'd June 21st; 1786 by W. Dickinson Engraver Bond Street.
Etching with stipple printed in reddish brown. 265 x 355mm (10½ x 14"). Thread margins, some creasing. Messy.
A scene from William Shakespeare's 'Cymbeline': Imogen sleeps in her bed while Iachimo leans over her writing a letter suggesting he has seduced her. After William Martin (1753 - c.1831), historical painter who was pupil and assistant to Cipriani until c.1784.
De Vesme 1840, state iii of iii.
[Ref: 53334]   £220.00   (£264.00 incl.VAT)
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

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. 400 x 325mm (15¾ x 12¾"), with very wide margins.
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)
enquire about this item add to your wishlist

Falstaff Reproved by King Henry.
Falstaff Reproved by King Henry.
H. Bunbury Esq.r Delin.t. Shenner Sculp.t.
London Published June 1. 1792, by Thos. Macklin Poets Gallery Fleet Street.
Stipple, printed in brown, open letter proof; 410 x 475mm (16 x 18¾"). Narrow margins, tear at top repaired, creasing.
Falstaff at left glares in the direction of the new monarch at right who has banished him. The BM records a note from David Alexander regarding the engraver 'Shenner', suggesting he was the 'Sheneker' who engraved a plate of Nell Gwynn
BM: 1951,0702.12.
[Ref: 54229]   £260.00   (£312.00 incl.VAT)
enquire about this item add to your wishlist

Falstaff.
Falstaff.
Revd. J. Beresford, Invt. & Delint. W. Bromley sc.
London Published Jany. 2d. 1809, by W. Miller, Albermarle Street.
Engraving. 375 x 480mm. Repaired tear c.3cm into image on left.
Sir John Falstaff, one of the most famous comic characters in all English literature, appears in four of Shakespeare's plays. Entirely the creation of Shakespeare, Falstaff is said to have been partly modeled on Sir John Oldcastle, a soldier and the martyred leader of the Lollard sect.
[Ref: 630]   £230.00   (£276.00 incl.VAT)
enquire about this item add to your wishlist

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 110mm (6 x 4¼"). Glued to album page at corners.
Catherine Maria ('Kitty') Fisher (d.1767) as Cleopatra dissolving the pearl. Although originally a milliner, she became an aspiring actress known for her beauty, wit, daring horsemanship and high-profile affairs with men of wealth. She was a favourite model of Sir Joshua Reynolds.
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)
enquire about this item add to your wishlist

[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  
enquire about this item add to your wishlist

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  
enquire about this item add to your wishlist

Richard The Third,
Richard The Third, To the right hon.ble 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 pinx.t. W. Bromley sculp.t.
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  
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

[Hamlet] Ophelia.
[Hamlet] Ophelia.
[Engraved by William Wynne Ryland after Giovanni Battista Cipriani.]
Publish'd Dec.r 2 1786 by J. Walker, Carver & Printseller No 148 Strand London.
Stipple, printed in brown. Sheet 355 x 280mm (13¾ x 11"). Trimmed within plate.
Shakespeare's Hamlet, Act 4, Scene 5: Ophelia, her mind unhinged by her father's murder, she offers herbs and flowers to her brother, the queen and king. Soon after this scene, she will fall into a brook while picking flowers and drown. An early state: an edition of April 1787 has the added engraved text: ''Oph: There's Fennel for you, & Columbines: / There's Rue for you; _".
[Ref: 54242]   £320.00  
enquire about this item add to your wishlist

[Hamlet] There's a Divinity that shapes our ends / Rough hew them how we will. Shakespr.
[Hamlet] 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)
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

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  
enquire about this item add to your wishlist

[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   (£312.00 incl.VAT)
enquire about this item add to your wishlist

Falstaff at Justice Shallow's Mustering his Recruits. Vide, Second part of Henry IV, Act 3, Sc.3.
Falstaff at Justice Shallow's Mustering his Recruits. Vide, Second part of Henry IV, Act 3, Sc.3. From an Original Drawing in the Collection of Her Royal Highness the Dutchess of York, to whom this Plate is by Her Royal Highnesses most Gracious Permission humbly Dedicated by Her Royal Highnesses most obed.t Serv.t Tho.s Macklin.
H. Bunbury Esq.r Del.t. N. Gardiner Sculp.t.
London, Published June 1, 1792 by Thos. Macklin, Poets Gallery Fleet Street.
Stipple. Sheet 415 x 480mm (16¼ x 19"). Trimmed to plate, repaired tear in unprinted area on left.
Falstaff seated at a table, preparing to interview a timid young man, as another potential recruit is sent away with bowed head.
[Ref: 55395]   £280.00   (£336.00 incl.VAT)
enquire about this item add to your wishlist

Falstaff at Justice Shallows Mustering his Recruits.
Falstaff at Justice Shallows Mustering his Recruits. Vide, Second part of Henry IV, Act 3, Sc.3.
H. Bunbury Esq.r Del.t. N. Gardiner Sculp.t.
London, Published June 1, 1792 by Thos. Macklin, Poets Gallery Fleet Street.
Stipple, printed in brown, proof with scratched letter title and no dedication. 415 x 480mm (16¼ x 19"). Repaired tears in margin, one entering title. Creasing bottom left. Very large margins on 3 sides.
Falstaff seated at a table, preparing to interview a timid young man, as another potential recruit is sent away with bowed head. This state lacks the dedication to Frederica Charlotte, Duchess of York, owner of the original drawing.
[Ref: 55394]   £260.00   (£312.00 incl.VAT)
enquire about this item add to your wishlist

Falstaff.
Falstaff. [DO]L ... I love thee better than I love e'er a Scurvey young boy of them all / 2d part [Henry IV Act 2.]
J.no Flaxman Delin. W.m Flaxman Sculp.t.
[n.d., c.1780.]
Stipple, printed in colours and hand-finished. Sheet 170 x 135mm (6¾ x 5¼"). Trimmed to roundel border, losing beginning and end of title.
A scene from Shakespeare's 'Henry IV part II': with Doll Tearsheet, a prostitute, leaning on Falstaff's shoulder and reaching up to his beard, watched by two boys.
[Ref: 57974]   £160.00   (£192.00 incl.VAT)
enquire about this item add to your wishlist

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)
enquire about this item add to your wishlist

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   (£312.00 incl.VAT)
enquire about this item add to your wishlist

Shakspeare. Second Part of King Henry VI.
Shakspeare. Second Part of King Henry VI. Act I. Scene IV. Mother Jordain, Hume, Southwell, Bolingbroke & Eleanor.
Painted by John Opie R.A. Engraved by C.G. Playter. And Rob.t Thew.
Published Dec.r 1 1796 by John & Josiah Boydell, at the Shakspeare Gallery, Pall Mall. & No 90 Cheapside London.
Stipple, open letter proof, without lines of verse. 505 x 635mm (20 x 25") very large margins. Small tear in bottom margin. Uncut.
The Conjuration, in which Margery Jourdemayne summons a demon to bring about the death of Henry VI. The other figures are: Eleanor Cobham, Duchess of Gloucester; Roger Bolingbroke, cleric and astrologer; John Hume (or Home), Canon of Hereford and St Asaph and chaplain and secretary to the Gloucesters; & Thomas Southwell, physician and Canon of St Stephen's Chapel in the Palace of Westminster. Shakespeare drew on a real trial for this episode: in 1440 Bolingbroke and Southwell drew up a horoscope for the Duchess that predicted the death of Henry, which meant her husband would succeed to the throne. The group was accused of conspiring to kill the King with necromancy; Eleanor was sentenced to life imprisonment; Bolingbroke was hung, drawn and quartered, his head displayed on London Bridge; and Margery Jourdemayne was burnt at the stake. John Boydell (1720-1804), publisher and Lord Mayor of London in 1790, began his Shakespeare Gallery to encourage British historical painting by commissioning paintings on the theme of Shakeapeare's plays from leading artists and reproducing them as high quality prints. When his gallery in Pall Mall opened in 1789 it contained 34 paintings; by the end it has nearly 170, by artists including Angelica Kauffman, Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Robert Smirke, John Opie & Francesco Bartolozzi. 96 were engraved, published separately until the bound edition, ''A Collection of Prints, From Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakspeare, by the Artists of Great-Britain'' was issued in 1805. The project was over-ambitious, and the cost caused the firm to go bankrupt
[Ref: 54002]   £260.00   (£312.00 incl.VAT)

Unfortunately this item is either sold or reserved. If you are interested in similar items and cannot find what you're looking for on our website, please consider filling in our interests form. If you register, we can also send you items that match your interests when the website is updated.


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   (£312.00 incl.VAT)
enquire about this item add to your wishlist