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[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  
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[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)
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[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)
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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)

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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   (£144.00 incl.VAT)
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Helena and Hermia. From A Midsummer Night's Dream.
Helena and Hermia. From A Midsummer Night's Dream. Premium Plate to Subscribers to "The Art Journal'', 1899.
EJP 1899. Painted by Sir Edward John Poynter, P.R.A. Etched by W. Heydemann.
Copyright 1898. Published by H. Virtue & Co. Limited, London.
Etching. 450 x 510mm (17¾ x 20"), with large margins. Foxing.
The two female romantic leads from Shakespeare's 'A Midsummer Night's Dream', seated together discussing an embroidery. This etching is taken from the first of two versions in oil by Edward John Poynter (1836-1919); the second, dated 1901, is in the Art Gallery of South Australia.
[Ref: 52195]   £190.00   (£228.00 incl.VAT)
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[Helena and Hermia. From A Midsummer Night's Dream.]
[Helena and Hermia. From A Midsummer Night's Dream.]
EJP 1899. Edward John Poynter. W. Heydemann [pencil signatures.]
Copyright 1898. Published by H. Virtue & Co. Limited, London.
Etching on vellum, artist's proof before title. 450 x 510mm (17¾ x 20"), with large margins. Mint.
The two female romantic leads from Shakespeare's 'A Midsummer Night's Dream', seated together discussing an embroidery. This etching is taken from the first of two versions in oil by Edward John Poynter (1836-1919); the second, dated 1901, is in the Art Gallery of South Australia.
[Ref: 52194]   £490.00  
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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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[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)
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[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)
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[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)
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[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)
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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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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  
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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
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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  
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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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[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)
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A Scene in Cymbeline.
A Scene in Cymbeline. Belarius: Stay go not in. But that it eats our Victuals I Should think it were a fairy. vide. Shakespear Act 3d Scene 4th.
Painted by Edw.d Penny R.A. professor of Painting to the Royal Academy. Engrav'd by J.s Walker.
Publish'd Jan.y 10th 1783 by Ja.s Walker No 49 upper Mary le Bone Street.
Mezzotint. 505 x 550mm (20 x 21"). Faint crease.
Belarius, along with his adopted sons Polydore and Cadwal (in fact the Romano-British princes Guiderius and Arviragus), find their sister Imogen, in disquise as 'Fidele', in their hut.
[Ref: 50087]   £390.00  
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[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  
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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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[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)
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[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)
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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   (£312.00 incl.VAT)
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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)
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Falstaffs Cowardice Detected, from an Original Painting in Vaux-hall Gardens.
Falstaffs Cowardice Detected, from an Original Painting in Vaux-hall Gardens. 12 Prints being The Second Part of Dramatic and Humourous Pieces in Vaux-hall Gardens.
Printed for Rob.t Sayer, at the Golden Buck in Fleet Street. [c.1750.]
Hand-coloured engraving. Plate: 175 x 275mm (7 x 11"). Staining in margins. Slight hole off image.
A scene showing Falstaff being arrested by two men who stand either side of him in a tavern. From a series of paintings exhibited in Vauxhall Gardens.
[Ref: 46151]   £110.00   (£132.00 incl.VAT)
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[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)
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[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  
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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   (£312.00 incl.VAT)
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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)
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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)
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[Henry IV] The Parting of Hotspur and Lady Percy. [&] Henry and Emma.
[Henry IV] The Parting of Hotspur and Lady Percy. [&] Henry and Emma. To Lady Williams Wynne, This Print after an Original Drawing by H. Bunbury Esq.r is with the greatest respect Dedicated by her Ladyships most obedient humble Servant W. Dickinson.
H. Bunbury Esq.r Delin.t. W. Dickinson Excudit.
London, Publish'd June 26th, 1784 by W. Dickinson Engraver & Printseller No 158 New Bond Street.
Scarce pair of stipples, printed in sepia. Sheets 580 x 460mm (22¾ x 18"). Trimmed to platemarks, laid on album paper at corners.
A pair of scenes of parting couples. The first shows Sir Henry Percy (1364-1403) leaving to meet his end at the Battle of Shrewsbury, as narrated by Shakespeare. The second is apparently a scene from Sir Henry Bate Dudley's 'Henry and Emma, a new poetical interlude: altered from Prior's Nut brown maid'.
[Ref: 54539]   £680.00   view all images for this item
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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)
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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   (£312.00 incl.VAT)
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Lear & Cordelia.
Lear & Cordelia. Cor. We're not the first, / Who with best meaning have incurr'd the worts: / For thee, oppressed King, I am cast down, / Myself could else out frown false fortune's frowns.
Stothard del.t. Delatree sculp.t.
London Pub.d Sep.r 10, 1784, by Tho.s Macklin No 39 Fleet Street.
Stipple, printed in sanguine. 375 x 320mm (14¾ x 12½") very large margins. Laid on card.
King Lear and his daughter in chains. Edmund directs his band of soldiers to escort them to their deaths.
[Ref: 48123]   £260.00   (£312.00 incl.VAT)
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[Sleepest, or wakest thou]
[Sleepest, or wakest thou]
R. Ansdell.
[Etching Club 1853]
Etching, sheet 165 x 250mm (6½ x 9¾"). Trimmed within plate.
Shepherd lying asleep surrounded by sheep. Walking stick and horn lay behind him. Illustration of King Lear Act 3, scene 6 from Songs and Ballads of Shakespeare' published by the Etching Club. Richard Ansdell RA (1815-85) was was a British painter of animals and genre scenes and member to the Etching Club.
See BM 1869,0213.232 for letterpress.
[Ref: 61176]   £60.00   (£72.00 incl.VAT)
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Shakspeare,
Shakspeare, King Lear Act V Scene I.
Paind by B. West Esqr. R.A. Prest of the Royal Academy & Historical Painter to His Majesty. Engrad by R. Earlom.
Published Jany 1 1799 by B B Evans in the Poultry London.
Mezzotint, 483 x 582mm. Age toning, stain spots lower edge of image. Small tears to tatty margins. Faint crease through upper left corner of image.
The King sits up weakly on his bed, supported by a male figure (perhaps Kent or the Doctor), and with Cordelia sitting beside him, holding his hand and with tears in her eyes. Two further women and two soldiers stand at the left. The scene is in fact incorrectly identified in the title, as the action portrayed here is loosely based on act IV, scene VII. 'Shakspeare' in open letters, very rare.
BM: 1838,0714.92. Wessely: undescribed.
[Ref: 8082]   £460.00  
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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. From 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. From an Original Picture, in the Collection of Will,m Lock Esq.r.
Painted by Fran.co Zuccarelli. Engrav'd by W,,m Woollett.
Published as the Act directs Dec.r 29th. 1770, by W.m Woollett, Charlotte Street, Rathbone Place, London.
Etching. Sheet 455 x 560mm (18 x 22"). Trimmed to plate top and left, narrow margins elsewhere, some surface scuffing to edges.
Macbeth and Banquo meet the Three Witches in a wind-swept landscape. Behind soldiers try to restrain their terrified horses as lightning strikes a castle on the hilltop behind. The second published state, with a new address of Charlotte Street.
Fagan 74.
[Ref: 54251]   £280.00   (£336.00 incl.VAT)
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[Macbeth] The Banquet.
[Macbeth] The Banquet. _ Prithee, see there. Behold! look! loe! How say you! Shakespeare's Macbeth Act III Scene 3.d.
S. Harding delin.t. J. Baldrey Fecit.
London, Publish'd Oct.r 10th 1786, by W. Dickinson, Bond Street.
Fine stipple, printed in brown. 385 x 330mm (15¼ x 13") with margins. Title bit messy on right.
As Macbeth sees Banquo's ghost sitting in his chair he starts to rave and is retrained by his wife.
[Ref: 53327]   £320.00  
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[Macbeth.]
[Macbeth.] [From an Original Picture, in the Collection of Will,m Lock Esq.r.]
[Painted by Fran.co Zuccarelli. Engrav'd by W,,m Woollett.]
[Published as the Act directs Dec.r 29th. 1770, by W.m Woollett, in Green Street, Leicester Fields, London]
Etching. Proof before letters. Plate 335 x 430mm (13¼ x 17"), with margins. Repaired tears and some creasing.
Macbeth and Banquo meet the Three Witches in a wind-swept landscape. Behind soldiers try to restrain their terrified horses as lightning strikes a castle on the hilltop behind.
Fagan 74. See Ref: 54251 for lettered impression
[Ref: 55160]   £380.00  
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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] [The Weird Sisters, played by] G.J. Bennett. Drinkwater Meadows. W.H. Payne. [facsimile signatures]
[Macbeth] [The Weird Sisters, played by] G.J. Bennett. Drinkwater Meadows. W.H. Payne. [facsimile signatures] [''A Drum! A Drum! Macbeth doth come!'']
[Drawn by Richard James Lane.] [J. Graf, Printer to Her Majesty.]
London, Published Dec.r 1, 1838, by J. Mitchell, Old Bond Street.
Lithograph. Sheet 185 x 250mm (7¼ x 9¾"). Trimmed, losing printer and publisher's inscription (plate not signed by the artist), laid on album paper.
The three witches from Shakespeare's 'Macbeth', played by George John Bennett (1800-79), Drinkwater Meadows (1799-1869) and William Henry Payne (1804-78), all well-known actors.
[Ref: 53700]   £65.00   (£78.00 incl.VAT)
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Singing Witches. Macbeth. Act 4. Sc. 1.
Singing Witches. Macbeth. Act 4. Sc. 1. Jane Shirreff Priscilla Horton Harriett D. Taylor [facsimile signatures in plate.]
J. Graf, Printer to Her Majesty.
London, Published Decr. 1, 1838, by J. Mitchell, Old Bond Street.
Lithograph on india laid paper, sheet 255 x 305mm. Foxing and age-toning, mostly outside india.
Three popular actresses of the day as the famous witches from Macbeth.
Ex: Collection of Alec Clunes.
[Ref: 7871]   £160.00   (£192.00 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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Lady Macduff and Family Surprized and Murdered by the Order of Macbeth. Vide Shakespeare's Tragedy of Macbeth, Act. IV. Sc. 2.
Lady Macduff and Family Surprized and Murdered by the Order of Macbeth. Vide Shakespeare's Tragedy of Macbeth, Act. IV. Sc. 2. Enter Murderers. Lady Macduff.__"what are these fuces." Murderer. "where is your husband?" Lady Macduff. "I hope in no place so unsanctified, where such as thou may'st find him." To the Corporation and Inhabitants of the Borough of Liverpool this plate of Lady Macduff, is most respectfully dedicated; by their much obliged and obedient humble servant, William Martin.
Wm. Martin Historic Painter to his Majesty, Pinx.t F. Bartolozzi R.A. Sculp.t
Engraved from the Original Picture 12 feet by 9 (presented by the Artist &) placed in the Exchange of Liverpool.~Published for the Proprietor August 11th.1804, by Wm Martin, Windsor Castle; and H. Macklin, 39, Fleet Street, London.
Rare Stipple. 509 x 636mm. 20 x 25".
The murder of Lady Macduff and her family, following the orders of Macbeth.
[Ref: 18328]   £320.00  
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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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Lady Macbeth.
Lady Macbeth. One! Two! Why, then tis time to do it-.[/] Macbeth. Act V. Scene 3.
H. Singleton del. W. Nutter Sculp.t.
C. Taylor excud.
Stipple with very large margins. 190mm x 140mm (7½" x 5½"). Small tear in lower margin.
Depiction of Act V. Scene 3 of Shakespeare's 'Macbeth' in which Lady Macbeth, driven mad by her involvement in the murder of Duncan, King of Scotland, sleepwalks and sleeptalks whilst watched by two female servants from the bedroom door. From a series of Shakespeare illustrations.
[Ref: 31928]   £60.00   (£72.00 incl.VAT)
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