0
0
1
1
= ,.■
2
5
6
6
4
^,
U
2
,tf*""
2"^
CATALOGUE OF AN EXHIBITION
ILLUSTRATIVE OF THE TEXT OF
■ ^t)afeespeare's ^laps
AS PUBLISHED IN EDITED EDITIONS
TOGETHER WITH A LARGE COL-
LECTION OF ENGRAVED
PORTRAITS OF
THt POET
lifornia
ional
lity
NEW YORK
^l)e SxoUtx Club
APRIL 6-29
I 916
iPf
Ul^iD LIBKAKr
^-4 32(3
Digitized by tine Internet Arcliive
in 2007 witli funding from
IVIicrosoft Corporation
littp://www.arcliive.org/details/exliibitsliakespeaOOgroliala
CATALOGUE OF AN EXHIBITION
ILLUSTRATIVE OF THE TEXT OF
SHAKESPEARE'S PLAYS
AS PUBLISHED IN EDITED EDITIONS ; TOGETHER
WITH A LARGE COLLECTION OF
ENGRAVED PORTRAITS
OF THE POET
NEW YORK
THE GROLIER CLUB
APRIL 6-29
1916
FOREWORD
The Grolier Club joins the many literary
associations, libraries and the English-speaking
world generally in honoring the memory of
William Shakespeare on the occasion of the
Tercentenary of his death, and presents to its
members and their friends an exhibition illus-
trative of the development of the text of the
plays of the great master, from the First Folio
of 1623 to the monumental Variorum Edition
of Dr. Furness, w^hose first volume appeared
in 1871.
The First Folio of 1623 was printed partly
from the earlier Quartos and partly from the
manuscript copies in the hands of the players,
and consequently did not have the careful edit-
ing that the First Folio of Ben Jonson's
"Workes" (1616) enjoyed at the hands of the
author. Hence, there were many errors, in part
due to careless printing, as well as to inaccuracy
in transcribing the playhouse copies. The edi-
tors, from Rowe in 1709 to the present day,
have been busily engaged in corrections and
FOREWORD
emendations, and many a fine controversy has
been the result. The first editions of the work
of the learned editors appear in this exhibition,
and form an interesting view of the great in-
dustry and scholarship devoted to the elucida-
tion of Shakespeare's text.
The Stratford Bust and the Droeshout Print,
issued on the title-page of the First Folio, 1623,
must ever remain the only portraits of Shake-
speare which have practically the endorsement
of his contemporaries. Many others have been
brought forward and have had their advocates.
Engravings of many types and varieties are here
exhibited, and it is believed that never before
have so many engraved portraits of Shakespeare
(over four hundred) been brought together.
As is usual, the members of the Club have
furnished most of the articles here exhibited,
with the exception of several volumes of impor-
tance kindly contributed by the Library of Co-
lumbia University, acknowledgment of which is
gratefully made.
IV
CONTENTS
PAGE
The Four Folios, i 623-1 685 ... 3
Nicholas Rowe's Edition, 1709 . . 8
Alexander Pope's Edition, i 723-1 725 . 9
Lewis Theobald's Edition, 1733 . . 12
Sir Thomas Hanmer's Edition, 1744 . 13
William Warburton's Edition, 1747 . 15
Samuel Johnson's Edition, 1765 . . 16
Edward Capell's Edition, 1 767-1 768 . 17
George Steevens's Edition, 1773 . . 19
Joseph Rann's Edition, i 786-1 794 . 21
Edmund Malone's Edition, 1790 . . 22
Some Nineteenth Century Editions . 23
The Stratford Bust 34
The Stratford Portrait .... 43
The Droeshout Engraving ... 44
The Flower Portrait 51
The Ely Palace Portrait .... 52
The Felton Portrait ..... 53
CONTENTS
PAGE
The Chandos Portrait 59
The Janssen Portrait 86
The Zuccaro Portrait 93
The Soest Portrait 94
The Ashbourne Portrait .... 95
Miniatures 96
Various Sup^osITITIOus Portraits
AND Busts 99
Fraudulent Portraits 102
The Westminster Monument . . 105
The Banks Relief 108
Various Statues iii
Addenda 114
PART I
EDITED EDITIONS
1623-1871
THE FOUR FOLIOS, 1623-1685
In 1623, seven years after the death of William
Shakespeare, the first attempt was made, by a
number of printers and stationers with the co-
operation of his fellow actors, to give to the
world a complete edition of his Plays. The re-
sult was the First Folio Edition, containing all
of the thirty-seven plays which are now consid-
ered to be wholly or in part by Shakespeare,
with the exception of Pericles, which was added
to the third edition in 1664. The plays which
are generally considered to be not entirely by
Shakespeare are Pericles, Titus Andronicus, the
three parts of Henry VI, and Henry VHI.
Whether portions of The Taming of the Shrew
and Tim on of Athens may be by other hands is
a debated question.
Sixteen of the thirty-six plays in the volume
had already been published separately in quarto
form. For eight of these, however, the editors
of the folio introduced different texts. The
following twenty were here printed for the first
time from manuscripts, which unfortunately have
not come down to us : The Tempest, Two Gen-
tlemen of Verona, Measure for Measure, Com-
edy of Errors, As You Like It, All's Well that
Ends Well, Twelfth Night, The Winters Tale,
Henry VI (Pt. I, and new versions of Pts. II
WILLIAM SHAKESPEARE
and III), Henry VIII, Coriolanus, Timon of
Athens, Julius Casar, Macbeth, Anthony and
Cleopatra, Cymbeline, King John, and Taming
of the Shrew.
Though only the names of Isaac Jaggard
(printer) and Ed. Blount (stationer), are men-
tioned in the imprint, we learn from the colo-
phon that the risk of publication was shared
with them by W. Jaggard, I. Smithweeke
(Smethwicke), and W. Aspley. John Heminge
and Henry Condell who signed the dedication
and address to the reader were two actor-man-
agers mentioned in Shakespeare's will, to whom
much of the credit of the undertaking is due. It
is thought that at least five hundred copies were
originally printed, and that they were sold at a
pound a copy. Of nearly two hundred which
survive, only fourteen, according to Sir Sidney
Lee, are in perfect condition.
Of all concerned in the enterprise, Mr. Al-
fred W. Pollard has written: "It is true that
their editorial ideas were merely formal and
ceremonial, and that even these were only par-
tially carried out ... In a word, they were
very human persons, soon weary of well doing,
and with not a conception that they were deal-
ing with the greatest of all English books. But
they preserved some twenty of Shakespeare's
plays from total destruction and printed greatly
improved texts of several others, and for these
inestimable benefits, had each of the venturers
received the whole proceeds of the edition as his
share of the profits, who shall say that they
EDITED EDITIONS
would have been overpaid?" Shakespeare Folios
and Quartos, igOQ.
Mr. William Shakespeares Comedies, Histories,
& Tragedies. Published according to the True
Originall Copies. [Portrait by Droeshout.]
London. Printed by Isaac laggard, and Ed.
Blount. 1623.
Folio. First folio edition. Portrait by Mar-
tin Droeshout on title-page (for description, see
Pt. II, Nos. 54-57)-
The arrangement of the nine preliminary leaves
has caused much controversy. The copy shown
was formerly in the collection of the Duke of Rox-
burghe, and later was owned by the Duke of Dev-
onshire. It is the one which was used for Sir
Sidney Lee's photographic facsimile, 1902.
Reprints of the First Folio were issued in 1807
(far from exact), in 1861-1864 by Lionel Booth,
in 1866 by Howard Staunton, in 1876 (reduced
facsimile) by J. O. Halliwell-Phillips, in 1902
(photographic facsimile) by Sir Sidney Lee, and
in 1910 by Methuen & Co. Reprints of the Sec-
ond, Third and Fourth Folios were brought out
by Methuen & Co. in 1904-1905.
Nine years after the publication of the First
Folio, the demand for a new edition warranted
the issue of a "New Impression" by a syndicate
of five stationers, several changes having taken
place among the owners of Shakespeare copy-
rights. Each of the five publishers had a special
5
WILLIAM SHAKESPEARE
title-page, giving his own name, without the
other four, in the imprint of the copies which he
took as his share. The colophon in all known
copies, however, mentions the five names, John
Smethwicke, William Aspley, Richard Hawkins,
Richard Meighen, and Robert Allot. The edi-
tion was printed by Thomas Cotes. Copies with
the Allot imprint are the most common, and
Meighen 's are the rarest. The portrait on the
title-page is printed from the same plate as the
portrait in the First Folio. An effort seems to
have been made to edit the text, probably by the
ordinary corrector of the press, but no important
changes occur.
2 M"". William Shakespeares Comedies, Histories,
and Tragedies. Published according to the true
Originall Copies. The Second Impression. [Por-
trait by Martin Droeshout] London, Printed
by Tho. Cotes, for Robert Allott, and are to be
sold at his shop at the signe of the Blacke Beare
in Pauls Church-yard. 1632.
Folio. Second edition. Allot imprint. Portrait
by Droeshout on title-page.
2a Another Copy. Aspley imprint.
With the Restoration came a new demand for
books of plays, and in 1663 Philip Chetwinde
published a reprint of the Second Folio, the
title-page appearing in two states, with and
without the portrait. Shortly after the volume
6
EDITED EDITIONS
appeared it was realized that seven plays which
had been printed in Shakespeare's lifetime, with
either his name or initials attached, had never
been included in the collected editions; and
Chetwinde forthwith issued the unused sheets
of his edition, with a new title-page (dated
1664) from which the portrait was removed to
leave room for the list of new plays, which were
added at the end of the book. All except Peri-
cles have since been rejected by students of
Shakespeare.
The rarity of this Third Folio has led to the
supposition that a large number of copies were
destroyed in the Great Fire of London, 1666.
M*". William Shakespear's Comedies, Histories,
and Tragedies. Published according to the true
Original Copies. The Third Impression. And
unto this Impression is added seven Playes,
never before Printed in Folio, viz. Pericles
Prince of Tyre. The London Prodigall. The
History of Thomas lA. Cromwell. Sir John
Oldcastle Lord Cobham. The Puritan Widow.
A York-shire Tragedy. The Tragedy of Lo-
crine. London, Printed for P. C. 1664.
Folio. Third edition, second issue, with addi-
tional plays. Portrait by Droeshout as frontis-
piece, with Jonson's verses below.
The fourth and last of the seventeenth century
folio editions of Shakespeare is a reprint of the
7
WILLIAM SHAKESPEARE
third, with but few corrections, and a number of
new mistakes. The seven new plays are included
and mentioned in the title, as in the second issue
of the Third Folio, and the portrait faces the
title.
M*". William Shakespear's Comedies, Histories,
and Tragedies . . . The Fourth Edition. Lon-
don, Printed for R. Herringman, E. Brewster,
R. Chiswell, and R. Bentley, at the Anchor in
the New Exchange; and at the Crane, and Rose
and Crown in St. Pauls Church- Yard, and in
Russell-Street Covent Garden. 1685.
Folio. Fourth edition. Portrait by Droeshout,
with Jonson's verses below, as frontispiece.
A variation of the imprint omits Chiswell's name,
and a third form of imprint contains Herringman's
name alone.
NICHOLAS ROWE'S EDITION, 1709
To Nicholas Rowe, poet laureate and drama-
tist, we owe the first attempt to edit Shakespeare
in the modern sense. Although the text is based
mainly on the Fourth, and worst. Folio, his
claim to have "rendered many places intelligible
that were not so before" is justified. An early
Quarto of Romeo and Juliet, and a late Hamlet
gave him some suggestions. He modernized
spelling, punctuation and grammar, added lists
of dramatis persona and improved the division
of the acts and scenes.
Rowe's edition is the first to contain a biog-
raphy of the poet, the details of which he com-
8
EDITED EDITIONS
missioned Betterton, the actor, to collect for him
in and around Stratford ; the first with illustra-
tions to the plays ; and the first to bear the name
of its editor. The plays were printed in the
same order as in the Fourth Folio, with Pericles
and the six spurious pieces brought together at
the end.
Rowe was a man of great cultivation and
linguistic attainments, as well as "a. comely per-
sonage and a very pretty sort of man." His por-
trait was twice painted by Kneller. For his
Shakespearian labors, Nichols says that he re-
ceived thirty-six pounds, ten shillings.
5 Works . . . Adorn'd with cuts, Revis'd and cor-
rected, with an Account of the Life and Writ-
ings of the Author. By N. Rowe, Esq ; London :
Printed for Jacob Tonson . . . 1709.
Octavo. Six volumes. Portraits (Chandos
type by Van der Gucht and the Stratford bust;
see Pt. II, Nos. 135 and 3), plates.
A few sets were printed on large paper.
In 1 7 10, a supplementary volume, containing the
poems, was issued by Edmund Curll. A new edi-
tion in eight volumes, with a supplementary ninth,
appeared in 1714.
5a Another Copy. Printed on large paper.
ALEXANDER POPE'S EDITION, 1 723-1 725
Alexander Pope's edition of Shakespeare is one
of the proofs that a poet is not necessarily a good
critic of poetry. The work was undertaken for
9
WILLIAM SHAKESPEARE
Jacob Tonson, the publisher, and Pope, while
appreciating the magnitude of the task, had lit-
tle taste for the drudgery which it entailed ; the
preface is the only part of the work on which he
spent his best efforts. While showing his ac-
quaintance with the First Folio and many of the
Quartos (he listed those of which he made use),
his text is based, for the most part, on Rowe,
although he omits Pericles and the six spurious
plays. The life by Rowe is included, as well as
an index of characters, etc., and a list of sub-
scribers; and, for the first time, the "place" of
each scene is indicated.
Pope's innovations in the text are numerous,
and his omissions, as in the case of the line,
"Sleep that knits up the ravell'd sleave of care,"
are often incomprehensible. While in the main
his changes were arbitrary, a good number of his
conjectures have been generally accepted, and
many lines owe their metrical arrangement to
him. He received from Tonson for the task
£217, 10 s., but the edition was a financial
failure, many copies selling for sixteen shillings,
instead of the original price, six guineas. Its
defects were mercilessly exposed by Lewis Theo-
bald in his Shakespeare Restored, 1726, Pope
retaliating by making Theobald the hero of The
Dunciad (see Nos. 7 and 8).
6 Works . . . Collated and corrected by the former
Editions, By Mr. Pope. London: Printed for
Jacob Tonson . . . [i 723-] 1725.
Quarto. Six volumes. Two portraits by Vertue
10
EDITED EDITIONS
(Stratford bust and Welbeck miniature; see Pt.
II, Nos. 4 and 345).
Seven hundred and fifty sets were printed. The
separate title-pages are dated 1723.
A supplementary volume, 1725, contains the poems,
edited by George Sewell, an essay on the stage and
a glossary.
A second edition, so-called in the title, appeared
in 1728 in nine volumes, including the poems and
the spurious plays. Sew^ell's name is added to the
title-page. A piratical edition had been brought
out in Dublin, the first of Shakespeare's works to
be published in Ireland, dated 1725-1726. Pope's
version was used also for the first complete Scot-
tish edition, printed in 1766 at Glasgow by the
Foulis brothers, who had previously issued plays
in separate volumes, 1752, etc. At the suggestion
of David Garrick, a reissue of Pope's edition was
printed at Birmingham in 1768 from Baskerville's
types, and sold at the Stratford jubilee of 1769.
Shakespeare restored: Or, A Specimen of the
Many Errors, as well Committed as Un-
amended, by Mr. Pope in his late Edition of this
Poet ... by Mr. Theobald . . . London: Printed
for R. Francklin . . . 1726.
Quarto. First edition.
The work is a critical examination of Hamlet
in which Theobald exposed the defects of Pope's
edition. He boasted that he (Theobald) would be
able to give five hundred emendations which would
escape any other editor who might undertake a
version of Shakespeare. One of his most notable
changes is in the account of Falstaff's death
II
WILLIAM SHAKESPEARE
{Henry V), where "a table of green fields" is
made to read "a' babbled of green fields." In his
second edition Pope adopted many of Theobald's
corrections, and then began his campaign against
Theobald, which culminated in The Dunciad.
8 [Pope, Alexander.] The Dunciad. An Heroic
Poem. In Three Books. Dublin, Printed, Lon-
don Reprinted for A. Dodd. 1728
Octavo. First edition, first issue, with the first
line, "Book and the man I sing," and verso of
H2 blank.
Pope's revenge for the Shakespeare Restored of
Theobald, who is held up to ridicule as the dull
and pedantic hero of the Dunciad.
LEWIS THEOBALD'S EDITION, 1733
It is usually conceded that the text of Shake-
speare owes more to Theobald than to any
other early editor. Though unsuccessful as a
writer of original poetry and prose, he proved
himself remarkably acute and ingenious in tex-
tual criticism, and introduced more than three
hundred corrections and emendations which
have been accepted as authoritative.
"In dealing with admitted corruptions,"
writes Sidney Lee, "Theobald remains unri-
valled, and he has every right to the title of the
Porson of Shakespearian criticism. His prin-
ciples of textual criticism were as enlightened
as his practice was ordinarily triumphant."
Theobald's editorial profits amounted to more
12
EDITED EDITIONS
than £650, in startling contrast to the small
sums received by other editors. The sale of
his work was enormous.
9 Works . . . Collated with the oldest copies and
corrected. With Notes explanatory and critical
by Mr. Theobald. London: Printed for A,
Bettesworth, and C. Fitch, J. Tonson . . . 1733.
Octavo. Seven volumes. Portrait by Duchange
(Chandos-Arland; see Pt. II, No. 156). [This
edition is generally, and probably incorrectly,
described as containing plates.]
Seventy-five sets were printed on large paper.
10 Works . . . With Notes explanatory and critical
by Mr. Theobald. The second edition. Lon-
don: Printed for H. Lintott, C. Hitch, J. & R.
Tonson . . . 1740.
Second edition.
Duodecimo. Eight volumes. Portrait by G.
Van der Gucht (Chandos; see Pt. II, No. 162),
and plates by Van der Gucht after Gravelot.
Theobald's work was republished with a new title
in 1857, and several times during the next twenty-
five years.
SIR THOMAS HANMER'S EDITION,
1744
Shakespeare's fourth editor has been described
as a "sensible, impracticable, honest, formal, dis-
agreeable man, whose great merit was loving his
country." He was Speaker of the House of
Commons in 17 14, and on retiring devoted his
13
WILLIAM SHAKESPEARE
leisure to the study of Shakespeare's plays,
though he does not seem to have consulted the
early editions, founding his work on Pope and
Theobald. While possessing little literary
knowledge, his native ingenuity led him to make
some sensible emendations, which have been
followed, but his edition has almost no critical
value.
It was, however, handsomely printed at the
Oxford University Press, and was the first
Shakespeare, says Mr. Dibdin, "which appeared
in any splendid typographical form . . . The
first edition was a popular book and was proudly
displayed in morocco binding in the libraries of
the great and fashionable."
II Works . . . carefully Revised and Corrected by
the former Editions and Adorned with Sculp-
tures designed and executed by the best Hands.
Oxford: Printed at the Theatre, 1744.
Quarto. Six volumes. Three portraits by
Gravelot (Chandos, Westminster monument,
and Stratford bust; see Pt. II, Nos. 165, 392,
and 5), and plates by Gravelot after Hayman.
Some copies are dated 1743-44. A few sets
were printed on large paper.
A second edition (so called on the title-page) ap-
peared in 1770-1771. This also was issued on
large paper, copies being in the Warwick Castle
and Jaggard collections. A few copies are en-
tirely dated 1771.
14
EDITED EDITIONS
BISHOP WARBURTON'S EDITION, 1747
William Warburton, afterwards Pope's literary
executor, had sympathized with Theobald in his
controversy with Pope, but had later quarreled
with Theobald and Hanmer, accusing them
both of plagiarism in his own edition of Shake-
speare. "He eulogized Pope, whose name he
placed by the side of his own on the title-page,"
writes the Rev. Ernest Walder, in the Cam-
bridge History of English Literature, "only,
however, to depart from his text, while he de-
nounced Theobald only to adopt his edition as
a basis."
Warburton was boastful and incompetent
(note "the genuine text ... is here settled"
of his title-page), and many of his conjectures
as to the text are nonsensical, though a few
have been adopted. He was severely and effec-
tually criticized by John Upton, Zachary Grey
and Benjamin Heath, but his most able com-
mentator was Thomas Edwards, for whose
"Supplement to Warburton's Edition," renamed
"The Canons of Criticism," see No. 13.
12 Works . . . The Genuine Text (collated with all
the former Editions and then corrected and
emended) is here settled; being restored from
the Blunders of the first Editors, and the Inter-
polations of the two Last : With a Comment and
Notes, Critical and Explanatory. By Mr. Pope
and Mr. Warburton. London: Printed for J.
& P. Knapton . . . 1747.
15
WILLIAM SHAKESPEARE
Octavo. Eight volumes. Portrait by Vertue
(Chandos; see Pt. II, No. 137).
This was issued also in Dublin the same year.
13 [Edwards, Thomas.] A Supplement to Mr. War-
burton's Edition of Shakespeare. Being the
Canons of Criticism, and Glossary collected
from the Notes in that celebrated Work and
proper to be bound up with it. By another
Gentleman of Lincoln's Inn. London: M.
Cooper, 1748.
Octavo. First edition.
Thomas Edwards's famous criticism of Warbur-
ton's edition. It was renamed "Canons of Criti-
cism" in the third edition, 1748, and had gone
through seven editions by 1765.
SAMUEL JOHNSON'S EDITION, 1765
Although described as at press in 1757, the great
lexicographer's edition of Shakespeare, with
text based on Warburton's, did not appear until
October, 1765, and was then, perhaps, hastened
by Churchill's allusion in The Ghost:
"He for subscribers baits his hook
And takes your cash, but where 's the book?"
Johnson made no startling discoveries, but he
restored some passages from the quartos which
had been omitted in the folios, giving his text a
distinct value. His well-known preface shows
his appreciation of Shakespeare's greatness. He
is said to have received £375 for the first, and
£100 for the second issue.
16
EDITED EDITIONS
14 Plays . . . With the Corrections and Illustrations
of Various Commentators. To which are added
Notes by Sam. Johnson. London: Printed for
J. & R. Tonson . . . 1765.
Octavo. Eight volumes. Portrait by Vertue
(Chandos; see Pt. II, No. 137).
Reissued in 1768. A piratical edition had ap-
peared in Dublin in 1766.
(See also under George Steevens.)
15 Plays and Poems . . . corrected from the latest
and best London Editions, with Notes by Samuel
Johnson, L.L.D. To which are added a Glos-
sary and the Life of the Author. Embellished
with a striking Likeness from the Collection of
his Grace the Duke of Chandos. First Ameri-
can Edition. Philadelphia: Printed and sold by
Bioren & Madan, I795[-I796].
Duodecimo. Eight volumes. Portrait by R.
Field (Chandos; see Pt. II, No. 265).
The first American edition of Shakespeare, and
the first collected edition to be produced outside
of Great Britain. The portrait is probably the
first one of Shakespeare to be engraved in America.
EDWARD CAPELL'S EDITION,
I 767-1 768
Edward Capell devoted over twenty years with
untiring zeal to the preparation of his edition,
and is said to have transcribed the whole of
Shakespeare ten times. A scientific critic, he
made a thorough study of the early Quartos and
17
WILLIAM SHAKESPEARE
First and Second Folios, producing more schol-
arly results than any of his forerunners. He
was the first to attach due importance to the
first editions of those plays which were issued
separately in quarto before the appearance of the
First Folio in 1623. He also investigated the
principles of Shakespeare's versification, and his
arrangement of many of the lines has been gen-
erally adopted, as in the first scene of Hamlet:
"Give you good night," etc.
Capell's own conjectures, however, were not
fortunate, and his clumsy style of writing
prompted Johnson to say that he "gabbled mon-
strously."
His "Notes," the publication of which was
completed in 1783, two years after his death,
are sufficient proof of his untiring industry, for
which later editors owe him an enormous debt.
He had collected a valuable library of Shake-
speariana, including many Quartos, which he
presented to Trinity College, Cambridge, where
the manuscript of his work is preserved.
16 Mr. William Shakespeare his Comedies, Histories,
and Tragedies, set out by himself in quarto or
by the Players his Fellows in folio, and now
faithfully republish'd from those Editions in ten
volumes octavo ; with an Introduction. Where-
unto will be added, in some other volumes.
Notes critical and explanatory and a Body of
Various Readings entire . . . London: Printed
by Dryden Leach for J. & R. Tonson in the
Strand, [1767-1768].
Small octavo. Ten volumes. Medallion por-
18
EDITED EDITIONS
trait by J. Miller (Chandos; see Pt. II, No.
182a), in vol. I, p. 74 of Introduction.
Large paper copy. Only one other is recorded.
An introduction, with Table of his Editions, is
prefixed to the first volume.
17 Notes and Various Readings to Shakespeare.
. . . London: Printed by H. Hughs, [1779-
1783].
Quarto. Three volumes. Portrait of Capell.
Although Capell promised these notes and read-
ings in the title-page of his edition, it was not until
1774 that he brought out the first part. Meet-
ing with little success, he recalled the impression
and decided to publish the work by subscription in
three volumes, the first two of which appeared in
1779. The last, entitled The School of Shake-
speare, did not come out until 1783, two years
after Capell's death. The additions are by John
Collins.
GEORGE STEEVENS'S EDITION, 1773
(With Samuel Johnson)
George Steevens's first contribution to Shake-
spearian research was a reprint of a collection
of quarto plays, many of them borrowed from
David Garrick's library, 1766. Impressed by
the editor's exceptional intelligence and anti-
quarian knowledge. Dr. Johnson accepted Stee-
vens's offer to prepare a new version of his edition
with more careful annotations. The result was
considered the best edition that had appeared up
19
WILLIAM SHAKESPEARE
to that time, and was long regarded as the
standard, the illustrative quotations from the
works of Shakespeare's contemporaries being of
especial value.
Although both names appear on the title-page,
Johnson's share in the undertaking seems to
have been purely advisory. Steevens, however,
injured the appreciation of his work by an ex-
hibition of bad taste and temper in his allusions
to his predecessors, especially Capell, from
whose text he borrowed largely. As he grew
older his malicious treatment of those with
whom he quarreled increased, and, in later edi-
tions of his work, won for him the title of the
"Puck of Commentators."
His large collection of Shakespeariana was
dispersed at auction in 1800.
18 Twenty of the Plays of Shakespeare. Being the
whole Number printed in Quarto during his
Life-time, or before the Restoration . . . Lon-
don: Printed for J. & R. Tonson . . . 1766.
Octavo. Four volumes.
A few copies were printed on large paper.
19 Plays . . . With the Corrections and Illustra-
tions of Various Commentators. To which are
added Notes by Samuel Johnson and George
Steevens. With an Appendix. London : Printed
for C. Bathurst . . . 1773.
Octavo. Ten volumes. Portrait by Vertue
(Chandos; see Pt. II, No. 137).
The appendix was by Richard Farmer, the
"forerunner of Steevens and Malone," whose
20
EDITED EDITIONS
Essay on the Learning of Shakespeare had ap-
peared in 1767.
So-called second, third and fourth editions ap-
peared during the editor's life-time, in 1778, 1785,
and 1793 respectively. That of 1778 contained
Edmund Malone's Essay on the Chronology of
Shakespeare's Plays, while that of 1785 was re-
vised by Isaac Reed. The so-called fifth and sixth
editions, 1803 and 1813, have been named by book-
sellers the First Variorum and Second Variorum.
The former was prepared by Isaac Reed (see No.
24), and the second is mainly a reprint of it.
20 Dramatic Writings . . . With the Notes of all
the various Commentators; printed complete
from the best Editions of Sam. Johnson and
Geo. Steevens . . . London: Printed for, and
under the Direction of, John Bell . . . 1786[-
1788].
Duodecimo. Twenty volumes. Portraits,
plates. Volumes one and two are entitled:
Prolegomena to the Dramatic Writings of Will.
Shakspere.
Large paper copy, with proof plates in addi-
tional (twenty-first) volume.
JOSEPH RANN'S EDITION, 1786-1794
Joseph Rann, under whose auspices a handsome
edition was brought out by the Clarendon Press,
was Vicar of St. Trinity, in Coventry. Rann's
"Notes" consist of little more than verbal sug-
gestions in footnotes.
21
WILLIAM SHAKESPEARE
21 Dramatic Works . . . With Notes by Joseph
Rann . . . Oxford: At the Clarendon Press,
I 786 [-1794]-
Octavo. Six volumes.
EDMUND MALONE'S EDITION, 1790
Edmund Malone was a painstaking, but not a
brilliant editor, whose work w^as eulogized by
Burke, but described by Walpole as "the
heaviest of all books . . . with notes that are
an extract of all the opium that is spread
through the works of all the bad playwrights of
that age." However, he made great contribu-
tions to our knowledge of the early English
stage, and threw much light on the sources and
chronology of Shakespeare's plays.
His first contribution to the subject was an
essay on the chronology hi the plays which was
published in Steevens's edition of 1778, and two
years later, as a supplement to this edition, he
issued two volumes containing a history of the
English stage and reprints of the poems,
Pericles, the six spurious plays, and Arthur
Broke's Romeus and Juliet. He afterwards
quarreled with Steevens, and brought out his
own edition in 1790. Here, the poems are
added, and Pericles first admitted as authentic,
while the six plays added in the Third and
Fourth Folios are definitely left out as spurious.
Malone's Dissertation on the Three Parts
of King Henry VI appeared in 1787. His
22
EDITED EDITIONS
library, containing one of the best Shakespeare
collections ever brought together, was presented
to the Bodleian Library, Oxford, by the brother
of the editor.
22 Plays and Poems . . . collated verbatim with the
most authentick copies . . . With the Correc-
tions and Illustrations of Various Commenta-
tors, to which are added, an Essay on the
Chronological Order of his Plays; an Essay
relative to Shakspeare and Jonson ; a Disserta-
tion on the Three Parts of King Henry VI ; an
Historical Account of the English Stage; and
Notes; by E. Malone. London: Printed by H.
Baldwin for J. Rivington & Sons . . . 1790.
Octavo. Ten volumes in eleven. Portraits
(Shakespeare's, by C. Knight, of the Chandos
type; see Pt. II, No. 192), plates, woodcuts.
This was reprinted in Dublin in 1794. Malone
died before the completion of his revised edition,
which was issued by James Boswell, the younger,
in 1821 (see No, 26).
SOME NINETEENTH CENTURY
EDITIONS
23 Dramatic Works . . . Revised by George Stee-
vens. London: Printed by Bulmer & Co. . . .
for John & Josiah Boydell . . . 1802.
Folio. Eighteen parts in nine volumes, contain-
ing Boydell's series of one hundred plates after
the leading English artists of the time.
Issued in parts, from 1791 to 1802. The prospec-
tus of 1786 stated that a foundry, ink factory and
23
WILLIAM SHAKESPEARE
printing house were specially erected for making
this edition. The plates were issued separately in
1802. The original paintings by Reynolds, Bun-
bury, Westall, and others, "filled the great Shake-
speare Gallery in Pall Mall, and made the name
of Boydell famous."
24 Plays . . . With the Corrections and Illustrations
of various Commentators. To which are added
Notes by Samuel Johnson and George Steevens.
Fifth edition. Revised and augmented by Isaac
Reed, with a glossarial index. London : Printed
for J. Johnson . . . 1803.
Octavo. Twenty-one volumes. Portrait by
Neagle (Felton; see Pt. II, No. 103).
Called by booksellers the "First Variorum." The
reprint of 181 3 is known as the "Second Vario-
rum"; it is called on the title-page the sixth edi-
tion of Steevens. Copies were issued on large
paper.
25 Plays . . . London: Printed by T. Davison for
Peter Wynne & Son . . . 1807.
Octavo. Eight volumes. Woodcuts by Thurs-
ton and Nesbit.
Two supplementary volumes of readings and notes
were added to this issue. The first edition with
woodcuts by Thurston appeared in 1803-1805.
26 Plays and Poems . . . with the Corrections and
Illustrations of various Commentators; com-
prehending a Life of the Poet and an enlarged
History of the Stage by the late Edmund
Malone, with a new glossarial index. London:
F. C. & J. Rivington . . . 1821.
24
EDITED EDITIONS
Octavo. Twenty-one volumes. Portraits (Chan-
dos, Milliard miniature and Stratford bust),
facsimiles.
This edition, upon which M alone had long been
engaged, was completed after Malone's death, by
James Boswell, son of Dr. Johnson's biographer.
It is commonly known as the "Third Variorum,"
or Boswell's Malone, and is a most valuable con-
tribution to Shakespearian scholarship.
"Boswell's chief service to the text was his final
vindication of the reading 'Like the base Indian,*
in 'Othello.' "
27 Plays . . . London: William Pickering . . . 1825.
Type-page, 2^x1^ inches. Nine volumes.
One of Pickering's diamond type editions, until
1908 the smallest form in which Shakespeare had
appeared.
28 Dramatic Works ... to which is prefixed a Life
of the Author by W. Harness. London: Saun-
ders & Otley . . . 1825.
Octavo. Eight volumes. Portrait by Swaine
(Droeshout).
A scrupulously impartial edition. It was reprinted
for Saunders in 1830, and again in 1833, with
plates by Heath.
29 Dramatic Works . . . With Notes, original and
selected, by Samuel Weller Singer, F.S.A., and
a Life of the Poet by Charles Symmons. Chis-
wick: Printed by C. Whittingham for Wm.
Pickering, 1826.
Duodecimo. Ten volumes. Portrait, and sixty
woodcuts by Thompson, after Stothard and
others.
25
WILLIAM SHAKESPEARE
The first edition to contain Singer's notes, with
text founded mainly on Malone. A popular edi-
tion, especially in America, and often republished.
Singer was the first to question the genuineness of
Collier's manuscript notes in the so-called Perkins
folio.
30 Plays and Poems . . . with Life, Dr. Johnson's
Preface [etc.] London: A. J. Valpy . . . 1832-
[1834].
Duodecimo. Fifteen volumes. Portraits by
Freeman and Starling (Chandos; see Pt. II,
Nos. 222 and 264b), and outline plates from
Boydell's 1802 edition.
The first edition under the auspices of A. J. Valpy;
called the "Cabinet Pictorial Edition."
31 Pictorial Edition of the Works of Shakespeare,
edited by Charles Knight. London: C. Knight
& Co., 1 838 [-1843].
Royal octavo. Eight volumes, published in fifty-
six parts. Numerous woodcuts after Harvey
and others.
The first edition edited by Knight, often reissued
under various designations, "Library edition,"
1 842-1 844, "National edition," 1 851-1853, etc.
It includes a biography, music to the songs, doubt-
ful plays, etc.
32 Works . . , revised from the best Authorities.
With a Memoir and Essay on his Genius by
Barry Cornwall . . . Illustrated with Engrav-
ings on Wood from Designs by Kenny Mead-
ows. London: R. Tyas, i839[-i843].
Royal octavo. Three volumes. Numerous
woodcuts after designs by Kenny Meadows.
26
EDITED EDITIONS
Edited by B. W. Procter (Barry Cornwall) and
published in parts. A few copies were printed
on India paper, on one side of the leaf only, with
proofs of the illustrations.
33 Works . . . The Text formed from an entirely
new Collation of the old Editions; with the
various Readings, Notes, Life of the Poet, and
a History of the Early English Stage by John
Payne Collier. London: Whittaker & Co,
i84i[-i844].
Octavo. Eight volumes.
The first edition edited by John Payne Collier.
To it is sometimes added, as a ninth and supple-
mental volume, Collier's "Notes and Emenda-
tions," embodying the results of his forgeries (see
next number).
34 Notes and Emendations to the Text of Shake-
speare's Plays from early Manuscript Correc-
tions in a Copy of a Folio 1632 in the possession
of John Payne Collier. London: Shakespeare
Society, 1852
Octavo, xxviii, 512 pp. Facsimile.
Accompanied by the "Perkins Folio," 1632, con-
taining the early manuscript corrections men-
tioned in the title. These were proved, after
much controversy, to be an elaborate forgery,
probably perpetrated by Collier himself.
35 Shakespeare's Plays . . . With his Life. Edited
by Gulian C. Verplanck . . . New York: Har-
per & Brothers . . . 1847.
Royal octavo. Three volumes. Portraits, wood-
cuts.
27
WILLIAM SHAKESPEARE
Verplanck was the first American writer to under-
take an original critical edition. His work, how-
ever, is founded on Collier, and the illustrations
are borrowed from Knight's edition of 1838-43.
It was issued in parts, beginning in 1844.
36 Works . . . With Introductions, Notes original
and selected, and Life of the Poet by H. N.
Hudson. Boston: J. Munroe & Co . . . 1851
[-1856.]
Duodecimo. Eleven volumes. Portrait (Chan-
dos), woodcuts.
The first edition produced by H. N. Hudson. It
was revised and issued in twenty volumes as the
Harvard edition, in 1881.
37 Works . . . the Text formed from a new Colla-
tion of the Early Editions ; to which are added all
the original Novels and Tales on which the Plays
are founded ; copious archaeological Annotations
on each Play; an Essay on the formation of the
Text; and a Life of the Poet. By James O.
Halliwell . . . The Illustrations and Wood
Engravings by Frederick William Fairholt . . .
London: Printed for the Editor by C. & J.
Adlard, 1853 [-1865].
Royal folio. Sixteen volumes. Portrait (Strat-
ford bust; see Pt. II, No. 16) and illustrations
by Fairholt, and facsimiles of title-pages.
Issued by subscription, the edition being limited
to 150 copies, 25 of these having plates on India
paper. An elaborate work, as set forth in the
title, and the first issued by Halliwell, the three
previous ones which bear his name being fraud-
ulent.
Titus Andronicus and Henry VI are in smaller
28
EDITED EDITIONS
type than the other plays, as HalHwell doubted
their Shakespearian authorship.
38 Werke . . . herausgegeben und erklart von Nico-
laus Delius. Elberfeld: R. L. Friderichs, 1854
[-1865].
Octavo. Eight volumes. Portrait in Vol. VIII.
English texts, with notes and introductions in
German. "Delius's text, although it is based
mainly on the Folios, does not neglect the Quartos
and is formed on sound critical principles." Lee,
Life of William Shakespeare, igi6.
Delius also issued a one-volume edition in 1854.
39 Works . . . The Text revised by Alexander
Dyce. London: E. Moxon . . . 1857.
Octavo. Six volumes. Portrait (Stratford
bust).
The first edition under the editorship of Alexan-
der Dyce, a notable student of Elizabethan litera-
ture and drama. His edition "has many new and
valuable illustrative notes and a few good textual
emendations, as well as a useful glossary; but
Dyce's annotations are not always adequate, and
often tantalize the reader by their brevity."
40 Works . . . The Plays edited from the Folio of
MDCXXIII., with various Readings from all
the Editions and Commentators; Notes, Intro-
ductory Remarks [etc.] ... by Richard Grant
White. Boston: Little, Brown & Co, [1857]
-1866.
Octavo. Twelve volumes. Two portraits.
The first edition edited by Richard Grant White,
and the best American edition which appeared up
to that date. It was reissued as the Riverside
Shakespeare in 1883.
29
WILLIAM SHAKESPEARE
41 Plays . . . edited by Howard Staunton; the Illus-
trations by John Gilbert, engraved by the Broth-
ers Dalziel. London: G. Routledge & Co., 1858
[-i860]
Royal octavo. Three volumes. Portrait (Strat-
ford bust; see Pt. II, No. 29), and woodcuts
after John Gilbert.
The first edition undertaken by Howard Staun-
ton, a keen textual critic and student of stage his-
tory.
42 Works . . . edited by William George Clark,
John Glover [and William Aldis Wright],
Cambridge and London; Macmillan & Co.,
1863 [-1866].
Octavo. Nine volumes.
The first edition of the Cambridge Shakespeare,
which "exhaustively notes the textual variations of
all preceding editions, and supplies the best and
fullest apparatus criticus." A third edition ap-
peared in I 89 1-1893.
The best one-volume edition, the Globe, first
issued in 1864, is based on this Cambridge edition.
43 New Variorum Edition . . . edited by Horace
Howard Furness [and H. H. Furness jun.]
Philadelphia; J. B. Lippincott & Co . . . 1871
[-1913].
Royal octavo. Eighteen volumes.
The New Variorum Shakespeare, which "super-
sedes all previous versions ... in fulness and
richness of references, and in copiousness of ex-
tracts from the vast mass of books illustrating the
poet."
30
PART II
PORTRAITS
ENGRAVED PORTRAITS OF
SHAKESPEARE
No representation of Shakespeare, made during
his lifetime, is positively known to exist. Only
two— the Stratford Bust and the Droeshout
Engraving — are known to have been executed
within a few years after his death and with the
approbation, in all probability, of his family and
friends. That these two honestly preserve his
features seems indisputable.
Various alleged portraits, possessing greater
or less claim to authenticity, as well as a multi-
tude of supposititious and fraudulent ones, have
been frequently engraved. The present exhibi-
tion includes examples of all the important
types, and of many that can present no claim
to recognition. The prints have been grouped
according to type. An attempt has been made at
chronological arrangement of each group, but
for obvious reasons it has often been found nec-
essary to depart from that order.
Dimensions are given in inches, the height
being placed first, and refer only to the engraved
work, exclusive of inscriptions or plate-marks.
B= Catalogue of Engraved British Portraits
... in the British Museum, 1908-14.
33
WILLIAM SHAKESPEARE
THE STRATFORD BUST
This bust, "really a half length statue, with its
structural wall monument," is in the choir of
Holy Trinity Church, Stratford. It is of soft
stone, and was carved prior to 1623 by Garret
and Nicholas Johnson, who are said to have been
commissioned by Shakespeare's son-in-law, and
was probably seen by Mrs. Shakespeare. Al-
though the monument was repaired in 1649 and
again in the eighteenth century, there seems little
reason to believe that the bust itself was ex-
tensively altered. The forehead is high and
bald with hair massed about the ears, and the
upper lip, on account of the thinness of the
moustache, seems long. One hand holds a pen
and the other rests upon an open book which lies
on a flat cushion. Originally colored, the bust
was painted white at Malone's suggestion in
1793, but the colors were restored in 1861.
Much of the apparent woodenness of the face is
due to the coloring, as may be seen by a compari-
son of photographs of the bust and the uncolored
plaster cast here shown.
It was first engraved in 1656 after an inaccu-
rate sketch by Sir William Dugdale (made in
1634), for his Antiquities of Warwickshire.
Vertue's engraving, 1725, Gravelot's, 1744, and
the Cast by George Bullock, 18 14, all present
variations, and will be found noted below.
34
ENGRAVED PORTRAITS
1 A Plaster Cast of the face of the Stratford Bust;
taken directly from the monument.
Size of face, 12 x 9.
2 Anonymous. Line.
The Stratford Monument, with effigy and archi-
tectural features differing considerably from the
original, the hands lying palms downward on a
well stuffed cushion.
PI. to Dugdale's Antiquities of Warwickshire,
1656, after the author's sketch, the earliest pic-
ture of the monument which survives. The en-
graving was reproduced in Dugdale's second edi-
tion, 1730.
3 Anonymous. Line.
Copy of preceding. Below: p. 3y in the Life.
63^x4.
PI. to Rowe's edition of Works, 1709.
3a Grignion ScuLpT. Line.
Another copy of No. 2. Shakspere's Monument
in the Church at Stratford upon Avon.
B:37. 4Hx2H-
Pub. by Bell, 1786; pi. to Works.
4 G. Vertue Sculp. Line.
The monument, with bust, with head done from
the Chandos picture; rectangle.
B : 40. SJi X 6^.
PI. to Pope's edition of Works, 1725.
35
WILLIAM SHAKESPEARE
5 H. Gravelot Sculp. Line.
Same monument; mainly following Vertue's de-
sign; rectangle.
PI. to Hanmer's edition of WorkSj 1744.
6 Same Plate. Unfinished proof.
7 S. Harding del: — A. Birrell sc. Line.
The monument, with bust; with head as in
monument; rectangle.
B:34. SKXSM.
PI. to Harding's Shakespeare illustrated, 1793.
8 Same Plate. Proof on large paper.
9 R. Cooper Sculp. Stipple.
Same monument. Shakespeare's Monument at
Stratford on Avon.
4x3-
On engraved title-page of Oxberry's Dramatic
Biography.
10 Same Plate. On title-page of The Drama or
Theatrical Pocket Magazine. Vol. I.
B:35.
11 Drawn & Eng". by H, S. Storer. — for Coles
Residences of Actors. Line.
Same monument; rectangle. Shakespeare's
Monument, Stratford on Avon.
36
ENGRAVED PORTRAITS
12 Rock & Co. London— No. 825 Line.
Same monument, over view of Stratford. Shake-
speare's Monument. Stratford upon Avon.
3x2^-
13 Engraved by W. Wallis, from a drawing in
THE POSSESSION OF J. BrITTON EsQ«. ThE FIG-
URE OF THE BUST BY A. WiVELL. Line.
Same monument; rectangle.
6:41. 4^x3.
Pub. by A. Wivell, 1827; front, to his Inquiry
into the History . . . of the Shakspeare Por-
traits. (See book.)
14 Same Plate. Proof before inscription, engraver's
name lightly etched.
15 Engrav'd by J. Neagle, from a Drawing by
Jos". BOYDELL . . . Line.
Same monument; rectangle. Shakspeare's
Monument in the Church at Stratford upon
Avon.
B:39. 11x6^.
Pub. by Boydell; pi. to Works, 1802.
16 F. W. Fairholt del. et Sc. 1852 Stipple.
Same monument.
10^x4^,
PI. to Halliwell's edition of Works, 1853; im-
pression on India paper.
17 Anonymous. Lithograph in colors.
Same monument.
8^x3^.
37
WILLIAM SHAKESPEARE
18 Colored photogravure.
Same monument.
19 Colored reproduction.
Same monument.
8^x5.
Front, to Lee's Life of William Shakespeare,
1899. (See large paper copy of book.)
20 Engraved by J. S. Agar from an original
Drawing by A. Wivell . . . Stipple.
The bust of the monument, in niche, full face;
rectangle. Shakspeare. To the King's Most
Excellent Majesty . . .
8:43. 7x4^.
Pub. by George Lawford, 1825. Proof on India
paper.
21 Same Plate. Proof before letters.
22 [H. Robinson] Stipple.
Similar print.
6^X4^4.
Proof on India paper before all letters.
23 Engraved by Wm. Ward A.R.A. from a Paint-
ing BY Thos. Phillips Esq*. R.A. after a
CAST BY G. Bullock . . . Mezzotint.
The bust of the monument, to right; rectangle.
Mr. William Shakspeare. "His true Effigies."
8:51. 8^x6.
Pub. by J. Britton, 1816.
38
engraved portraits
24 Engraved by W. T. Fry, after a Cast made by
Mr. George Bullock . . . Stipple,
Same bust, to right; rectangle formed of double
lines. Shakspeare.
8:46. 6^X5>4.
Pub. by T. Cadell & W. Davies, 1817; front, to
Drake's Shakespeare and his Times.
25 Engraved by E. Scriven. Stipple.
Same bust, head only, to left, vignette. Drawn
by Mr. John Boaden from the Stratford Bust.
5^X4^-
Pub. by Saunders and Ottley, 1825.
26 Same Plate. Proof before publisher's inscription.
6:48.
PI. to Boaden's Inquiry, 1824.
27 Same Plate. Proof on India paper with engraver's
name lightly etched.
28 Anonymous. Stipple.
Copy of preceding, yignette, with background of
perpendicular lines. Shakspere. From his
Monument . . .
8:49. 5Hx4}i'
Pub. by Virtue & Co.
29 E. W. Robinson^ del. — H. Robinson, sc.
Stipple.
The bust of the monument, to right. William
Shakespeare. From the bust in the Church at
Stratford upon Avon.
B:47. 6Mx4>4.
Front, to Staunton's edition of Plays, 1858.
39
WILLIAM SHAKESPEARE
30 [E. Bocquet] Stipple.
Same bust, to left; rectangle of double lines.
6x4^,
Proof before letters.
31 Engraved by Francis Holl. Stipple.
Same bust, to right; rectangle. William Shake-
speare. From his Monument at Stratford.
32 Same Plate. Proof before all letters.
33 [Anonymous.] Stipple.
Same bust, full face; rectangle.
3>4X2^.
Private plate. Proof before all letters on India
paper.
34 Drawn by J. Thurston. — Engraved by W.
FiNDEN. Line.
Same bust, to right; rectangle. William Shak-
speare. From the Monumental Effigy . . .
4x33^-
Pub. by W. Walker, 1820; pi. to Effigies Poeti-
cae.
35 Same Plate. Proof on India paper.
36 J. Thurston. — F. Halpin. Stipple.
American copy of preceding. William Shake-
speare. From the Monumental Effigy . . .
3^x3.
Pub. by Daniels & Freeman.
40
ENGRAVED PORTRAITS
37 Published by C. J. Smith Engraver, London,
1836. Stipple.
Same bust, full face, vignette, above collection
of autographs. Monumental Bust of Shake-
speare, at Stratford upon Avon.
2X I^.
38 Engraved by T. A. Deane, after a drawing by
A. WiVELL, FROM THE BuST BY GerARD JoHN-
SON . . . Stipple.
Same bust, head only, to left; rectangle. Shak-
speare.
8:44. 2^x2^.
Pub. by A. Wivell, 1827; pi. to his Inquiry.
39 Same Plate. Proof on India paper.
40 G. Greatbach. Stipple.
Same bust, full face, surrounded by scenes from
Plays designed by T. D. Scott.
8M X 6.
Pub. by John Tallis & Company ; pi. to Sonnets.
41 Same Plate. With imprint of The London Print-
ing and Publishing Company.
42 Engraved by J. B. Longacre. Stipple.
Same bust, framed, surrounded by other por-
traits of poets connected by scrolls. Above: Bust
of Shakspeare.
3>^X2j4.
StauflFer 2139.
Proof on India paper.
41
WILLIAM SHAKESPEARE
43 Eng°. by O. H. Throop. Stipple.
Copy of preceding. Bust of Shakspeare . . .
3>4x2>4.
Not in Stauffer.
44 [?] Stipple.
Same bust, head only, to left, vignette. fFil-
liam Shakespeare From The Stratford Bust.
45 G. H. Hodges, lith : . . . Lithograph, colored.
Same bust, full face, vignette. Shakspeare,
From the Monument in Stratford Church . . .
3^X2^.
Pub. by Ward.
46 Same Plate. Proof before letters.
47 Colored photogravure.
Same bust, head only; full face, rectangle.
2X2%.
48 Sherborn, pinxit, et Sculpsit, Londini. 1876.
Etching.
Portrait derived from same bust, with fanciful
additions; to left, in rectangle. William Shak-
spere [in autograph] Poeta, Philosophus, Ac-
tor .. .
8:63. 63^x4.
First state of the plate ; with ring on little finger
and earring.
49 Same Plate. Second state; with ring on first fin-
ger, and earring erased. Date 1897 added.
4a
ENGRAVED PORTRAITS
THE STRATFORD, OR HUNT,
PORTRAIT
This portrait, presented to the Birthplace Trus-
tees in 1864 by William Oakes Hunt, town
clerk of Stratford, is mentioned here as it was
evidently founded upon the Stratford Monu-
ment. The claim that it was the original from
which the bust was made is without foundation,
judges of painting declaring that it cannot date
further back than 1758, when it is said to have
come into the possession of the Hunt family.
50 Photograph of the Stratford Portrait, showing
frame.
II xgH'
51 Another photograph of the Stratford Portrait,
framed in wood taken from an original beam of
the room where Shakespeare was born.
Accompanied by photograph of the room, simi-
larly framed.
52 Colored photogravure.
[The Stratford Portrait.]
2^X2^.
53 Anonymous. Line.
Half-length, to left; rectangle over facsimiles
43
WILLIAM SHAKESPEARE
of autograph. The Stratford Portrait Of
Shakspere.
THE DROESHOUT ENGRAVING
The portrait engraved by Martin Droeshout for
the First Folio edition of Shakespeare's plays,
1623, gains distinction from the fact that it was
made for that volume, and accepted by his
friends and fellow actors, who were partly
responsible for it. Ben Jonson's congratulatory
lines seem to indicate that the likeness was good,
for the workmanship does not merit his praise.
The face is long, with scanty moustache, and the
suspicion of a beard under the lower lip. The
collar is stiff and wide, and the coat closely but-
toned and elaborately trimmed.
Marshall copied the portrait in 1640, and
Faithorne in 1655, both introducing fanciful de-
tails.
There has been much speculation as to
whether Droeshout worked from an original
painting, and various portraits have been put
forward as the one which served him as guide.
Of these the Flower Portrait (see Nos. 100,
loi) has been the most generally accepted,
though none can be positively identified.
54 Martin. Droeshout: sculpsit. London. Line.
Bust, to left, with stiff collar, and embroidered
coat; rectangle.
7^x6M.
44
ENGRAVED PORTRAITS
On title-page of First Folio, 1623. (See book.)
Two copies of an earlier state exist.
55 Same Plate, reworked; on title-page of Second
Folio, 1632. (See book.)
56 Same Plate, further altered; ten type-printed lines
by Ben Jonson below.
B: I.
Front, to Third Folio, 1664. (See book.)
57 Same Plate, still further altered; with verses in
later type; front, to Fourth Folio, 1685. (See
book.)
B:2.
58 Anonymous. Line.
A close copy of the Droeshout plate.
59 Anonymous. Line.
Another copy of the Droeshout plate, without
his name.
8x6^.
60 Anonymous. Line.
Another copy of the Droeshout plate, with his
name; reduced.
4x33^.
61 Anonymous. Line.
Another copy of the Droeshout plate. To the
45
WILLIAM SHAKESPEARE
Reader. [lo lines of verse by Ben. Jonson.]
William Shakespeare. . . .
Pub. by W. Smith,
62 Anonymous. Line.
Bust, to left; rectangular frame with garlands
of laurel. William Shakspere.
B: 10. 4^x3.
Pub. by J. Bell, 1786; front, to Works.
63 Engrav'd by W. Sherwin from the Original
Folio Edition. Line.
Bust, to left; oval. William Shakspeare.
B: 7- 5^x5.
Pub. by John Stockdale, 1790; front, to Dra-
matic Works.
64 Engrav'd by H. Brocas from the Original
Folio Edition. Line.
Copy of preceding. William Shakspeare.
65 Martin Droeshout.— H. Robinson. Line.
Bust, to left; rectangle, with facsimile of auto-
graph.
B:6. 53^X4>^.
Front, to Lansdowne edition of Works, 1852.
66 Same Plate. Impression on India paper.
67 Same Plate. Proof before the facsimile of auto-
graph.
46
ENGRAVED PORTRAITS
68 Anonymous. Line.
Bust, to left; rectangle, with facsimile of auto-
graph. After the Print by Martin Droeshout
. . . Engraved from the Folio Edition 1623.
Pub. by RoUo, New York.
69 J. SwAiNE sc. Line.
Similar print, without facsimile of autograph.
Shakspeare from the First Folio Edition.
B:8. S'A^^'A-
PI. to Boaden's Inquiry, 1824.
70 Same Plate. Impression on India paper.
71 Thurston delt.— Rivers sculp^. Line.
Similar print. William Shakspeare.
B:5. aVs^Z'A
Pub. by Sherwin & Co., 1821.
72 Engraved by C. Picart from the original
Print by Martin Droeshout. Stipple.
Similar print. William Shakspeare.
B:4. sVsX^H-
Pub. by A. Wivell, 1827; pi. to his Inquiry.
73 Same Plate. Impression on India paper.
74 Engraved by H. Cook. Line.
Similar print. William Shakespeare. Engraved
from the Folio Edition 1623.
554 X4M.
Pub. by Whittaker & Co.
47
WILLIAM SHAKESPEARE
75 Same Plate. On India paper, with inscription:
William Shakespeare. Engraved from the Por-
trait by M. Droeshout in the Folio Edition
1623.
76 Same Plate. Proof on India paper, before all
letters.
77 Anonymous. Line.
Similar print. William Shakespeare. From the
Folio of 1623.
78 Martin Droeshout — R. C. Bell Line,
Similar print, with facsimile of autograph.
79 ScHOFF SC. Line.
Similar print.
3^x2^.
Unlettered proof.
80 W. M[arshall] sculpsit. Line.
Half-length, to right; cape over right shoulder,
left hand holding laurel branch; oval in rect-
angle, with eight lines of verse below.
5Mx3-
Front, to Poems j 1640. (See book.)
Marshall's version of the Droeshout plate.
81 Anonymous. Line.
48
ENGRAVED PORTRAITS
Copy of preceding, published by Baldwin, with-
out engraver's initials. Above: To Face the
First Page N". J of Shakespeares Will.
82 Same Plate. Without line at top, and with Pub-
lished by Baldwyn, etc., added at bottom.
83 Anonymous. Line.
Another copy of No. 80.
5Mx2^.
Same type, with "W. M. sculpsit" in lower right
corner.
PI. to Boaden's Inquiry, 1824.
84 Same Plate, with "From the Edition of his Poems,
164.0" added.
85 Same Plate. Proof on India paper.
86 Delattre scuLpT. Line.
Copy of Marshall's plate, with floral decora-
tions, and without verses.
B: 18. sVsxsH-
Pub. by Bell, 1786; pi. to fForks.
87 Same Plate. Proof on large paper.
88 H. Robinson Sc. Stipple.
Another copy of No. 80, oval only, with fac-
simile of autograph, and without the verses.
B: 19. 2>^X2>^.
Pub. by Pickering, 1832.
49
WILLIAM SHAKESPEARE
89 Anonymous. Stipple.
Copy of preceding.
3x2^.
90 [Faithorne.] Line.
Bust, to right; oval medallion, in print showing
Lucretia stabbing herself in presence of Col-
latinus; rectangle.
Size of print, 4^ x 3.
Front, to Rape of Lucrece, 1655. (See book.)
91 R. Sawyer. Line.
Copy of preceding, published by Rodd.
B: 15. 4^x3.
92 Same Plate. With Engraved by R. Sawyer from
the Original . . . added.
B:[i5+]
PI. to Wivell's Inquiry, 1727. (Sup.)
93 Same Plate. The head in oval, separately printed.
94 Engraved by F. Collyer. Stipple.
Bust, to left; rectangle, in frame with symbolic
ornaments. Faithorne type. W. Shakspeare.
4^x2^.
Pub. by J. Nichols & Son, 18 10.
95 Same Plate. Proof on large paper.
96 M Droeshout — W. H. Worthington sc.
50
ENGRAVED PORTRAITS
Similar print; with facsimile of autograph on
tablet in rectangle.
B:9. 53^x3^.
Pub. by William Pickering, 1825.
97 Engraved by Augustus Fox from a Picture
PAINTED BY T. StOTHARD, R.A., FROM THE RARE
Print by Droeshout. Line.
Bust, to left; oval, with garlands. Shakespeare.
B:3. I'Axi'A-
Pub. by William Pickering, 1825; pi. to Plays.
98 Same Plate. Impression on large paper.
99 Thomas Stothard's Original Drawing for No. 97.
THE FLOWER PORTRAIT
In 1892 there was discovered at Peckham Rye
a faded portrait painted on a panel by an un-
known artist, with the inscription, "Willn Shake-
speare, 1609." From its strong resemblance to
the Droeshout print and the fact that Sir Ed-
ward Poynter and other connoisseurs have pro-
nounced that it antedates the engraving, it seems
possible that it may be the original on which
Droeshout based his work. Mr. M. H. Spiel-
mann, however, while granting that it may be
the earliest existing painted portrait of the poet,
argues that, as it resembles the later states of
the plate more than the earliest existing one, it
cannot be the painting from which the engrav-
ing was made. In 1895 the portrait was pur-
chased by Mrs. Charles Flower, and presented
51
WILLIAM SHAKESPEARE
to the Memorial Picture Gallery, at Stratford,
where it now hangs. It is sometimes called the
Droeshout Portrait.
lOO Reproduction in colors of the Flower Portrait;
published by the Medici Society, 1909.
B: 14. 17^x13^.
loi Photogravure.
Another reproduction of the Flower Portrait.
William Shakespeare from the "Droeshout"
paint in ff . . .
4J^X3J4.
Pub. by Smith, Elder & Co. ; pi. to Lee's Life of
William Shakespeare, 1899; also used as front,
to the New Edition, 1916.
THE ELY PALACE PORTRAIT
Another portrait resembling the Droeshout en-
graving, but less closely than does the Flower
Portrait, is one discovered in 1845, and pur-
chased by Thomas Turton, Bishop of Ely. On
his death, it was acquired by Henry Graves,
who presented it to the Birthplace, and it has
been claimed that it is the original of the print.
Experts, however, question its early date, though
it possesses artistic value.
102 Colored photogravure.
A reproduction of the Ely Palace Portrait.
2%X2J4.
52
ENGRAVED PORTRAITS
THE FELTON PORTRAIT
Another portrait of the same general character
as the Flower and Ely Palace is the so-called
Felton Portrait, purchased by S. Felton in 1792,
and championed by George Steevens and others
as the original source of the Droeshout print.
It is painted on an old panel, and bears the
inscription "Gul. Shakespear 1597, R. B." giv-
ing rise to the contention that it was painted by
Shakespeare's fellow actor, Richard Burbage.
A copy made by John Boaden in 1792 is in the
Shakespeare Memorial Gallery at Stratford. It
was engraved by Boydell for Steevens in 1797.
While in the hands of Richardson, the print-
seller, it was fraudulently engraved by Trotter
and others, attired in the Droeshout costume,
which does not appear in the picture. Mr.
Spielmann calls attention to its great resemblance
to the inaccurate print after the Droeshout en-
graving prefixed to Ayscough's edition of the
Dramatic Works, 1790, two years before the
discovery of the Felton Portrait. (See No. 63.)
103 J. Neagle sqt Line.
Bust, to left; dress plain with flat collar; oval.
William Shakspeare.
B:30. 4x3%-
Pub. by J. Johnson, 1803; front, to Works.
104 C. Warren sc. Line.
53
WILLIAM SHAKESPEARE
Similar print. William Shakspeare.
B:3i- 3H^2ys.
Pub. by J. Johnson, 1803.
105 Evans sc. Stipple.
Similar print; in oval frame of laurel with title
on tablet. William Shakspeare. Born
MDLXIV Died MDCXVI.
53^x3^.
106 Engraved by Evans, From An Original Pic-
ture. Stipple.
Bust, to left; plain dress and stiff collar; rect-
angle. William Shakspeare.
4x2^.
Pub. by Longman & Co., 1806.
107 Engraved by W. T. Fry, From an Original
Picture. Stipple.
Similar print. William Shakspeare.
Pub. by Longman & Co., 181 9.
108 J. Bo YD sc Line.
American copy of No. 104. William Shakspeare.
3H^3'A-
Staufler: 262.
Front, to Plays, Boston, 1813; 8vo.
109 J. Boyd sc. Stipple.
54
ENGRAVED PORTRAITS
Reduced copy of preceding. William Shak-
speare.
3x29^.
Stauffer: 263.
Front, to Plays, Boston, 1813; 24010.
no R. BURBAGE PINX^. 1597. — J. CoCHRAN SCULP^.
Stipple,
Bust, to left ; in rectangular frame. Shakspeare
The property of George Nicol Esq*".
4^X3^-
Pub. by A. Wivell, 1827; pi. to his Inquiries.
111 Same Plate. Proof on India paper.
112 Same Plate. Proof on India paper, before all
letters.
B: 21.
113 R, BURBAGE, PiNXT.— H. WrIGHT SmITH, ScULpT.
Stipple.
Copy of preceding, with forehead modified.
4}i X 2^. Cut close. PI. to White's edition.
114 Same Plate. With engraver's name erased; fac-
simile of autograph added. Also cut close.
115 Anonymous. Lithograph.
Bust, to left; plain dress with stiff band; rect-
angle, with facsimile of inscription. J Fac-
simile in all but colour, of the remains of a Por-
trait, on panel of William Shakspeare . . .
iixgj^.
Pub. for William Nicol, 185 1.
55
WILLIAM SHAKESPEARE
1x6 G. Greatbach. Stipple.
Bust, to left; oval, with scenes in his plays de-
signed by T. D. Scott. The Burbage Portrait.
Tragedies.
8x5^.
Pub. by John Tallis & Co., London; front, to
his Tragedies.
117 Sanne Plate. With imprint of The London Print-
ing and Publishing Company.
118 Plate i.— T. Trotter Sculp^. Line.
Bust, to left; rectangle; the head only is fully
engraved, the figure (in the Droeshout dress)
being show^n in outline. [Inscription in fac-
simile.] From the Original Picture in the Pos-
session of Mr. Felton . . .
6:24. 5^x4^.
Pub. by W. Richardson, 1794.
119 Plate 2. — T. Trotter Sculp^. Line.
Repetition of the preceding, but with the figure
fully engraved. William Shakspeare. From
the original Picture in the Possession of Mr.
Felton.
8:25. 5V4^AV2-
Pub. by W. Richardson, 1794.
120 Same Plate. Proof on large paper.
121 L GoDOFROY Sculp. Line.
Similar print.
William Shakspeare, 1597 . . .
56
ENGRAVED PORTRAITS
B: 22. I2^X8>^.
Pub. by W. Richardson, 1796.
122 Jno Thurston delin — Chas Warren sculp.
Line.
Bust, to right; oval frame with ornaments.
On frame: Shakspeare.
B:26. 6^X3^.
Pub. by J. Wallis, 1805; front, to Plays.
123 Same Plate. Proof on India paper, before letters.
124 Engraved by C. Warren . . . Line.
Bust, to left; rectangle with musical instru-
ments, etc. W. Shakspeare.
8:27. sVA-xzVk.
Pub. by Kearsley, 1806; front, to Wood's edi-
tion of Plays.
125 H, Adlard sc. Stipple.
Bust, to right; curtain in background; irregu-
lar rectangle. William Shakspeare.
41^x2^.
Pub. by Welton & Jarvis, 1821.
126 Engraved by Cosmo Armstrong. Line.
Bust, to left; rectangle. Painter Unknown.
William Shakspeare.
See B: 23. 2^x2.
Pub. for the Proprietor, 1822; pi. to Physiog-
nomical Portraits, 1824.
57
WILLIAM SHAKESPEARE
127 Anonymous. Stipple.
Similar print.
Proof before letters. Presentation copy to
Bernard Barton, the Quaker poet.
128 Anonymous. Stipple.
Bust, to left, in Droeshout dress ; vignette ; back-
ground with books and curtains. William
Shakespeare. Expired on April 23rd, 1616 . . .
Pub. by William Darton, 1822; pi. to Cabinet
of Portraits, 1823.
129 Engraved by Thomson. Stipple.
Bust, to right, vignette; Droeshout dress.
Shakspeare.
3^x3^.
Pub. by Henry Fisher, 1823.
130 Engraved by J. Thomson . . . Stipple.
Reduced copy of preceding. William Shak-
speare.
Pub. by James Robins, 1827.
131 Same Plate. With publication line erased, and
Page 52g added.
132 Same Plate. Page 529 erased.
133 I- J- Penstone Stipple.
Half-length, to right; Droeshout dress with
drapery over right arm; rectangle. Below,
masks, etc
58
ENGRAVED PORTRAITS
Size of rectangle, sH ^ 4^«
Pub. by I. J. Chidley.
134 Colored photogravure. ,
Bust, to left; rectangle.
THE CHANDOS PORTRAIT
Perhaps the most famous of the alleged portraits
of Shakespeare, certainly the one oftenest chosen
for reproduction, is that called the Chandos,
now in the National Gallery. Tradition (un-
corroborated) has it that it was painted by
Richard Burbage, and that he gave it to Joseph
Taylor, both being Shakespeare's fellow actors.
It seems to have belonged at one time to Sir
William d'Avenant, and then to the actor, Bet-
terton, and to Mrs. Barry, after whose death it
was owned by Robert Keck and John Nichols,
and finally became the property of the Dukes of
Chandos. At the sale of the effects of the Duke
of Buckingham and Chandos, at Stowe, it was
purchased by the Earl of Ellesmere, who pre-
sented it to the nation in 1856.
The features are Italian rather than English ;
heavy hair falls over a loose, narrow collar, at
the sides, though the forehead is high and bald ;
the beard extends from ear to ear ; in the left ear
is a plain gold earring. It seems possible that
the portrait was painted from fanciful descrip-
tions of the poet some years after his death. A
copy painted by Kneller for Dryden in 1693 is
59
WILLIAM SHAKESPEARE
now owned by Earl Fitzwilliam, and numerous
copies were made in the eighteenth century,
notably that of G. Van der Gucht, in colored
crayons, belonging to Earl Howe, and a crayon
drawing which Malone commissioned Ozias
Humphry to prepare, now in the Birthplace col-
lection. The original and the copies have fre-
quently been engraved. Among the best known
engravings are Van der Gucht's, 1 709, Vertue's,
1 7 19, and Houbraken's, 1747.
It has been claimed that the so-called Lumley
Portrait, doubtfully said to have belonged to
Lord Lumley who died in 1609, is the original
of the Chandos picture. It is the property of
Mr. Burdett-Coutts, and bears some resem-
blance to the Chandos Portrait, of which it may
be an early copy.
135 M: V". Gucht Sculp. Line.
Bust, to left, in small oval, on pedestal ; crowned
by Comedy and Tragedy, Fame blowing trum-
pet above.
B. 74. 7 X 414.
Front, to Rowe's edition of Works, 1709.
136 Geo: Vertue Londini— Sculpsit 17 19. Line.
Bust, to right; oval frame on pedestal in rectan-
gle. Above: William Shakespeare. Ob*. An°.
Dom 1616 Aetat 53. [Four lines of verse on
pedestal.] Done from the Original now in the
Possession of Robert Keck of the Inner Temple
Esq"". Sold by G. Vertue . . .
B: 107. 14x9)4.
60
ENGRAVED PORTRAITS
Vertue's version of the Chandos portrait, with
doublet of figured silk.
137 G. Vertue— ScuLPSiT. Line.
Reduced copy of preceding; with date trans-
ferred to pedestal.
B: 108. ey&xsji.
Front, to Warburton's edition of Works, 1747;
and used also in Johnson's edition, 1765, and in
Johnson & Steevens's, 1773.
138 [John Simon] Mezzotint.
Bust, to right. Below: William Shakespeare
ObK Anno Dom. 1616. Aetat 53. Oval, in
rectangular plate with portraits of Chaucer,
Spenser and Jonson.
C. S: 55. I3>^x 10.
One of a set of six plates. Poets and Philoso-
phers of England.
139 Engraved by T. Priscott from Vertue.
Stipple.
Bust, to right; rectangle. William Shakespeare.
4^X3^.
Pub. by C. Dyer.
140 Anonymous. Stipple.
Copy of preceding. Shakspeare. Engraved for
the Select Portrait Gallery . . .
4^x4.
141 Same Plate. With publication line erased.
61
WILLIAM SHAKESPEARE
142 Same Plate. Proof before all letters.
143 Ridley sculp. Stipple.
Bust, to left; oval. Vertue type. Shakespeare.
8:76. 35^X2^.
Pub. by Vernor & Hood, i8cx); front, to Plays.
144 Same Plate. Without publisher's name.
145 Engraved by Holl. Stipple.
Copy of preceding. Shakespeare.
3^X2^.
Pub. by Vernor, Hood & Sharpe.
146 T. Balzer Sc. Stipple.
Bust, to left; suspended oval frame on pedestal
in rectangle. Shakespeare.
147 E. Verelst fecit. Line.
Similar print.
B: no. 4^X2^^.
148 Schellenberg fec. Line.
Bust, to right; oval ornamented frame in rect-
angle; no title.
5^x3.
149 Engraved by S. Freeman. Stipple.
Bust, to right ; vignette. Vertue type. William
Shakespeare.
4x3^.
Pub. by Archibald Fullarton & Co., Glasgow^.
62
ENGRAVED PORTRAITS
150 Same Plate; with publisher's inscription changed
to A. Fullarton & Co.
151 G. Greatbach. Stipple.
Bust, to right; vignette, with scenes in his plays
after T. D. Scott.
B: 109. 8>4x6^.
Pub. by John Tallis & Co., London; front, to
Comedies.
152 Same Plate. With imprint of The London Print-
ing and Publishing Company.
153 Per N. Bettoni. — F. Zuliani. Line.
Bust, to right; rectangle. Shakespeare.
4/4x2^-
154 Vernier del. — Lemaitre direxit Line,
Bust, to right; vignette. Above: Angleterre
{Tudor s) ; below: Schakspeare.
155 Vertue Sculp. Line.
Bust, to left; in oval frame surrounded by six
other portraits; rectangle. fV: Shakespear.
Front, to The Poetical Register, 1723. It fol-
lows Arlaud's version of the Chandos portrait,
with cloak added.
156 B. ArLAUD del. — G. DUCHANGE SCUL. Line.
Bust, to right; oval frame on pedestal in rect-
angle. Mr: Wm. Shakespear . . .
B: 114. 7x4!/^.
63
WILLIAM SHAKESPEARE
Front, to Theobald's edition of Works, 1733.
Arlaud's version of the Chandos portrait.
157 LUD DU GUERNIER ScULP Line.
Bust, to left; small oval, after Arlaud, in plate
copied from that of M. Van der Gucht (No.
135) with allegorical figures; rectangle. Mr.
William Shakespear, Ob. A.D. 1616 JEt. S3-
158 LUD. Du GUERNIER ScULP. Line.
Similar portrait in larger oval, in rectangle.
M^ W"^. Shakespear . . .
5^X33^.
159 N. Parr Sculp Line.
Bust, to right; oval medallion frame. Arlaud
type. W. Shakespear.
From Whincop's Scanderbeg, 1747.
160 Anonymous. Line.
Similar oval, to right ; in symbolic frame.
i>^xi^.
161 Anonymous. Line.
Similar print, reversed.
1^X2^-
162 G. Vander Gu.cht Sculpt. Stipple.
Bust, to right; oval on pedestal in rectangle;
engraver's name on pedestal. Shakespeare.
64
ENGRAVED PORTRAITS
PL to Theobald's second edition of Works,
1740; G. Van der Gucht's version of the Chan-
dos portrait, similar to Vertue's.
163 G, Vander Gucht Sc. Stipple.
Similar print, with engraver's name below
pedestal. Shakespeare.
5^X3-
164 Beaumont Sculp. Line.
Reversed copy of No. 162.
5^X3-
165 H. Gravelot Sculps. Line.
Bust, to right; draped, oval frame above pedes-
tal, with lyre and other emblems, in rectangle.
On frame : tVill^. Shakespear.
9^x6.
Front, to Hanmer's edition of Works, 1744.
166 J. HouBRAKEN SCULPS. Amst. 1747- Line.
Bust, to right; in oval frame with symbolic
decorations in rectangle. On ribbon: William
Shakespear. Below: In the Possession of John
Nicoll of Southgate Esq^ . . .
B:8o. 1454x8%.
Pub. by J. & P. Knapton; pi. to Birch's Heads.
Houbraken's version of the Chandos Portrait.
167 Same Plate. Impression on large paper.
168 T. Cook sculp Line.
65
WILLIAM SHAKESPEARE
Reduced copy of No. i66, reversed; rectangular
frame. Shakespeare.
B: 8i. 6x4^.
Pub. by G. Kearsly, 1776.
169 Same Plate. With publication line erased.
170 Anonymous. Line.
Another copy of No. 166. William Shakespear.
Printed for J. Hinton . . .
B:82. 6>^X4.
PI. to the Universal Magazine.
IT I Anonymous. Line.
Similar print, without emblems below oval.
William Shakespeare.
172 Anonymous. Line.
Bust, to right; in oval frame, on which is Wil-
liam Shakespear; rectangle. Houbraken type.
6^X4>^.
PI. to the London Magazine, 1752.
173 Engraved by J. Hall 1772 Line.
Bust, to right; ornamented oval frame in rect-
angle, over tablet with title. Wm. Shakespear
at the Age of 40 . . . Houbraken type.
5x3.
Pub. 1773; front, to Bell's edition of Plays,
1774.
174 Same Plate. Impression on large paper.
66
ENGRAVED PORTRAITS
175 Engraved by Hall 1773. Line.
Similar print, reversed.
5x3-
Pub. by J. Bell.
176 Anonymous. Line.
Similar print. On pedestal: Will^: Shakespear.
B: 100. 4^X2j^.
177 GOLDAR ScuLpT Line.
Bust, to left; oval in rectangle. William Shake-
spear. In the Possession of John Nicoll Esq^.
7Mx6>^.
PI. to Harrison's Edition of Rapin, 1785.
178 Same Plate. Added: Published by Cornish ^ Co.
1813.
Cut close.
179 From Houbrakbn. — Audinet sC Line.
Bust, to right; oval at top of page, with bio-
graphical sketch below.
B:83. i^xi>4.
Pub. by Harrison & Co., 1794.
180 Same Plate, extended by horizontal lines to oc-
tagonal frame. Proof without the text or pub-
lisher's line.
2^x2.
181 Anonymous. Line.
Reversed copy of No. 179. Shakespear.
iHxiy2.
67
WILLIAM SHAKESPEARE
182 HoLL SCULP. Stipple.
Bust, to left; oval at top of page, with biograph-
ical sketch below.
2X I^.
182 a I A. Miller sc. Stipple.
Bust, to left; in oval frame, supported by sym-
bolical ornaments.
2x3.
On p. 74 of Capell's edition, vol. I, [1767].
183 Engraved by B. Holl from the print by Hou-
BR.\KEN. Stipple.
Bust, to left; oval in rectangle with facsimile of
autograph.
B:84. 3^x3^.
Pub. by George Virtue.
184 Same Plate. Without publisher's name.
185 Engraved by John Hall from an Original
Picture in the Possession of his Grace the
Duke of Chandos. Line.
Bust, to left; oval frame in rectangle with
laurel garlands. Dress derived from Droeshout
print. On pedestal: William Shakspeare Died
April 23<^. 16 16 . . .
B:75. 7x43^.
Pub. by J. Rivington & Partners, 1785; pi. to
Steevens's edition of Works, 1785.
186 Same Plate. Unfinished proof.
68
ENGRAVED PORTRAITS
187 Anonymous. Line.
Bust, to left; oval frame with garlands, on plate
with portrait of Alexander Pope. Wm. Shake-
speare, Esq''. . . .
Size of plate, 4>4 x 7^.
Pub. by Alexander Hogg, 1785; pi. to the New
London Magazine.
188 Painted by Taylor or Burbage . . . and En-
graved BY Cook by special permission . . .
Line.
Bust, to left; oval, resting on manuscript and
emblems, in rectangle. On oval frame: William
Shakspere. There are no trimmings nor buttons
on the coat ; collar with tassels.
Front, to Prolegomena, Bell, 1788.
189 H. Lips Sculp. Line.
Copy of preceding, with pedestal instead of the
decorations below oval. On pedestal: William
Shakspere.
5^X2^.
190 Anonymous. Stipple.
Bust, to left; vignette. Costume borrowed from
No. 188. W. Shakspeare geb. im A prill
1565 ' - .
4^x3^.
191 Heinr: Schmidt Sc: Stipple.
Similar print; oval. W. Shakspeare.
3}iX2}i.
69
WILLIAM SHAKESPEARE
192 Engraved by C. Knight . . . Stipple.
Bust, to left; oval on tablet with vignette and
emblems in panels; rectangle. William Shak-
speare. Born April 23, 1564 . . .
B:85. 53^x3^.
Pub. by J. Rivington & Partners, 1786; front, to
Malone's edition of Plays and Poems, 1790.
Ozias Humphry's version of the Chandos Por-
trait.
193 Engraved by H. Brocas . . . Stipple.
Copy of preceding.
B:86. 5^x314.
Pub. by William Jones.
194 Engraved by E. Scriven. Stipple.
Bust, to left; vignette. From Mr. Ozias Hum-
phry's Drawing of the Chandos Picture made
for the late Mr. Malone in the Year 1783 . . .
4x4.
Pub. by Saunders & Ottley, 1825.
195 Same Plate. With publication line erased.
196 C. A. Schwerdgeburth sculps. Stipple.
Bust, to left; oval in rectangular outline frame.
Shakspeare. From the Chandos Picture . . .
Pub. by Ernest Fleischer, Leipsic
197 C. Jansen.— R. Bell. Line.
Bust, to left; vignette with facsimile of auto-
graph.
254x2^.
70
ENGRAVED PORTRAITS
198 Barlow Scul. Line.
Bust, to right, in outline; rectangle. Shakespear.
From Lavater.
199 Anonymous. Line.
Similar bust; on plate with portraits of L.
Sterne and S. Clarke. Shakespear.
Size of portrait, 3^ x 2^.
On page 218 of Lavater's Essays on Physiog-
nomy, 1789.
200 Anonymous. Line.
Copy of preceding, unlettered.
' Size of portrait, 2^2 x 2^.
PL to Lavater's Essays on Physiognomy, i8o6.
201 Anonymous. Line.
Similar head, on plate with three other por-
traits.
Size of portrait, 2% x 2.
202 Anonymous. Line.
Similar head, on plate with four other por-
traits; rectangle. Above: Tom 2 — Tav. E
Size of plate, 5 x 3j^.
203 S. Harding delin. — Le Goux Sculp. Stipple.
Bust, to left; rectangle, with view of Globe
Theatre below. Shakspeare From an original
Picture ...
B: 87. Size of rectangle, 4.}i^3}^.
Front, to Harding's Shakespeare illustrated,
1793-
71
WILLIAM SHAKESPEARE
204 Eddy. Stipple.
Bust, to right; oval surmounted by three masks
in laurel wreath. On ribbon: William Shak-
speare.
205 Same Plate. Impression on large paper.
206 Fr. Bolt fec. 1817. Stipple.
Bust, to right; oval. fV*". Shakespeare.
Zwickau b. den Geb. Schumann 1817
207 Same Plate with oval extended to octagon; en-
graver's line altered.
208 Heath del. Stipple.
Bust, to left; vignette, vdth Shakspeare on tab-
let and figures of Victory, Comedy and Trag-
edy.
7x5.
Pub. by Jones & Co., 1822.
209 London: J. & F. Harwood, 26 Fenchurch St.
Stipple.
Bust, to left; in circular frame formed by ser-
pent with books and symbols below. Shake-
speare.
3Mx2>^-
210 Fry scuLpT. Stipple.
Bust, to left; rectangle. William Shakspeare.
From the Chandos Portrait . . .
8:72. ^HxsH-
ENGRAVED PORTRAITS
Pub. by Rivi'ngton & Partners, 1822; front, to
Works.
211 Dean sculp^ Stipple.
Bust, to left; rectangle. William Shakspeare
3^X2^.
Pub. by Rivington & Partners, 1823.
212 Anonymous. Stipple.
Bust, to left; rectangular frame with lions'
heads in corners. Shakespeare.
3^X2^-
Pub. by George Smeeton, 1824.
213 Same Plate. With publication line erased.
214 Anonymous. Stipple.
Bust, to left; octagon. Shakspere.
215 Anonymous. Stipple.
Bust, to left; oval, with background ruled to
rectangle. Shakspeare.
5^x4^.
216 Engraved by Hollis from the Chandos Por-
trait. Stipple.
Bust, to left; oval surrounded by vignette por-
traits of actors and actresses.
B:79. 9^x63^.
Pub. by John Tallis & Company.
73
WILLIAM SHAKESPEARE
217 RoFFE Sc, Stipple.
Bust, to left; rectangle. William Shakspeare.
From an Original Painting.
21 8 Engraved by E. Scriven . . . Stipple.
Similar print. Shakspere.
5^x4.
Pub. by William Mackenzie, Glasgow.
219 J. Cochran. Stipple.
Similar print. Shakspeare. From the Chandos
Picture.
5x3^^-
Pub. by Scott, Webster & Geary.
220 Same Plate. Reworked.
221 Same Plate. With publication line erased.
222 Engraved by Freeman. Stipple.
Similar print, to right. Shakspeare.
3^X2^.
PI. to Valpy's edition of Plays and Poems, Vol.
I, 1832.
223 B. Arlaud PiNX. — Jos. Selb del. Stipple.
Bust, to left; oval. William Shakespeare.
8x6^.
Tinted. It does not follow the Arlaud type.
74
engraved portraits
224 Engraved on Steel by Tho». Clerk Edin»
Stipple.
Bust, to left ; oval in rectangle with outline bor-
der, and facsimile of autograph.
7^X4^4-
225 A. WivELL delt.— I Cochran sculp^. Stipple.
Bust, to left; oval in rectangle. Shakspeare In
the collection of the Duke of Buckingham.
534 X4>^.
Pub. by A. Wivell, 1827; pi. to his Inquiry.
226 Same Plate. Proof on India paper, before all let-
ters.
B:66.
227 Drawn by A. Wivell, Engraved by W. Holl.
Stipple.
Bust, to left; rectangle in irregular symbolic
frame with facsimile of autograph. tVilliam
Shakespeare.
63^x4^4.
Pub, by Thomas Kelly, 1831.
228 Same Plate. Proof on India paper without the
symbolic frame.
3>^X2^.
229 Same Plate. Printed on India paper without
frame and publisher's inscription.
230 Holl. sculpsit. Stipple.
Bust, to left; oval in rectangle. Shakspeare . . .
5^x4.
75
WILLIAM SHAKESPEARE
231 Same Plate. Proof on large paper, before the plate
was cut. Pub. by Hilliard, Gray & Co., Boston.
232 Same Plate. Proof on India paper, before all let-
ters.
233 Engraved by E. Scriven. Stipple.
Similar print. Shakspeare. From the Picture
in the Possession of His Grace the Duke of
Buckingham, at Stowe . . .
B : 92. 5x4.
Pub. by Charles Knight, 1835; pi. to his Gallery
of Portraits.
234 Same Plate. Proof on India paper with engrav-
er's name and inscription lightly etched, and
date 1835.
235 Anonymous. Stipple.
Similar print, with facsimile of autograph. The
London Printing and Publishing Company . . .
236 C. F. Erminger sculp. Line.
Similar print. Shakspeare.
237 McCarty sculpsit. Line.
Similar print. Shakspeare.
4^X3>^-
76
ENGRAVED PORTRAITS
238 Anonymous. Stipple.
Similar print. Shakspeare. {From the Chan-
dos Picture)
5X3H'
239 Anonymous. Stipple.
Similar print. From the Chandos Portrait.
William Shakespeare.
4x33^.
240 Engraved by — H. Robinson. Stipple.
Similar print, with figured doublet, and coat of
arms. William Shakspeare. From an early
Copy of the Chandos Picture formerly in the
possession of Woodward the Comedian . . .
sHxsH-
Pub. by Edward Moxon, 1838.
241 Engraved by R. A. Artlett, from the Chan-
dos Portrait. Stipple.
Bust, to left; oval in rectangle. Shakspere.
8^x7-
242 Same Plate. Proof on India paper before letters.
243 Engraved by Rob^. Cooper. Stipple.
Similar print.
B:68. 7^x6^.
Private plate. Proof on India paper.
244 Samuel Cousins, A.R.A. Mezzotint.
Bust, to left ; oval in rectangle. William Shaken
77
WILLIAM SHAKESPEARE
speare. . . . Engraved for the Shakespeare So-
ciety, June 1849.
B : 69. 10 X 8.
245 Same Plate. Proof on India paper before all let-
ters.
246 Anonymous, Stipple.
Bust, to left, on plate with portraits of Queen
Elizabeth, Raleigh, Camden, Bacon and B. Jon-
son; vignette. Shakspere.
Size of portrait, 2^^ x 2^.
247 Anonymous. Stipple.
Bust, to left; background horizontally ruled;
rectangle with facsimile of autograph.
3>4X2^.
248 Same Plate. Impression on India paper.
249 Anonymous. Stipple.
Bust, to left; vignette with facsimile of auto-
graph. From the Chandos Picture.
2^x2^.
250 Anonymous. Etching.
Bust, to left; vignette with facsimile of auto-
graph.
3x3^-
251 Anonymous. Stipple.
Bust, to left ; vignette. Shakspeare. Publie par
Fume, Paris . . .
3^X35^.
78
ENGRAVED PORTRAITS
252 Albert-Duvivier Etching.
Bust, to right; rectangle. .W. Shakespeare.
253 Leopold Flameng sculp. Etching.
Bust, to left; oval in rectangle, with facsimile
of autograph. "He was not for an age . . ."
22 X 161/2.
Signed proof, with inscription lightly etched and
remarque portraits of David Garrick and Edwin
Booth.
The following prints seem to be based on the
Chandos type, but present many variations from
the original.
254 Anonymous. Line.
Bust, to right, circular, on plate with portraits
of Sir Francis Drake, Lord Burleigh, Sir Wal-
ter Raleigh, Lord Bacon and the Earl of
Clarendon. Shakespeare.
Size of portrait, l^ x i^.
255 Anonymous. Stipple.
Bust, to left, vignette; on plate with portraits
of Jonathan Swift, William Pitt, Isaac Watts
and John Wesley. William Shakespeare.
Size of portrait, 2^^ x 2^.
Pub. by J. & J. Cundee.
256 Anonymous. Line.
Bust, to left, on plate with 19 others. Cotton,
79
WILLIAM SHAKESPEARE
Burns, etc.; vignette. Shakspeare. Above:
Plate 30 Poets &' Dramatic Writers.
Size of portrait, i^ x i^.
257 Same Plate. Proof on India paper before all let-
ters.
258 DE St Ours del. — Moitte Sculp. Line.
Half-length, to left; in oval supported on ped-
estal by female figure ; in temple.
259 W. HOLL. Stipple.
Three-quarters length, to right; rectangle, with
facsimile of autograph. William Shakspeare.
53^x4-
Pub. by A. Fullarton & Co.
260 Drawn on Stone by J. Penn. — J. H. Parker,
Lith: Liverpool. Lithograph.
Three-quarters length, to left; vignette with
facsimile of autograph. Dedicated by special
permission to his Worshipful The Mayor of
Liverpool . . .
8^x8.
Pub. by Trumble & Co.
261 Anonymous. Stipple.
Half-length, to left; rectangle. Published by
T. H. Ellis. Shakspere.
I3j4x95^-
262 Same Plate. Proof before all letters.
80
ENGRAVED PORTRAITS
263 M. Steinla fec: Line.
Half-length, to left, with wide fur collar and
earring; rectangle framed in outline. William
Shakspeare.
4^X3^-
263a Same Plate. Proof before letters and outline
frame.
3^X2^.
264 LOCATELLI DIS GeNIANI INC. — PER DaLLA LiBERA
— Po, AnDERLONI DIRESSE. Line.
Bust, to left; rectangle. Collar trimmed with
lace and tassels. Shakespear.
7x5.
264a Same Plate. Proof before all letters.
264b T. Starling sculpsit. Stipple.
Bust, to left; rectangle. Shakspeare.
3X2>^.
PI. to Valpy's edition of Plays and Poems, Vol.
XV, 1834.
AMERICAN PORTRAITS OF THE
CHANDOS TYPE
So many of the portraits of Shakespeare en-
graved in America are of this class that it has
seemed interesting to separate them from the
main group. No such separation has been made
in the other divisions.
81
WILLIAM SHAKESPEARE
265 Engraved by R. Field, from the Original Pic-
ture IN THE Collection of the Duke of
Chandos. Stipple.
Bust, to left; oval in rectangle; under oval, an
urn and two cherubs as Comedy and Tragedy.
On base of urn: William Shakespeare. Born
April 23, 1564 . . .
Stauffer: 1002. 5M^3/^'
Front, to the First American Edition of Shake-
speare's Plays and Poems j Philadelphia, 1795.
(See book.)
266 Anonymous. Line.
Bust, to right; oval.
iy2Xi}i.
Pub. by Munroe & Francis; on title-page of
Dramatic Works, Boston, 1803.
267 Same Plate. On title-page of Dramatic Works,
1807.
268 Anonymous. Line.
Bust, to left; oval.
ix^.
On label of J. Riddle's Circulating Library,
Philadelphia.
269 D. Edwin sc. Stipple.
Bust, to right ; oval. W. Shakspeare.
Fielding: 176. 4x3^.
Pub. by Munroe & Francis; pi. to Works, 1810.
270 Same Plate. With imprint of C. S. Francis & Co.
82
ENGRAVED PORTRAITS
271 [Alexander Anderson] Woodcut.
Bust, to right; oval in rectangular frame.
Wm. Shakspeare. Born Apr. 23. 1564. Died
Apr. 23. 1616. [4 lines of verse.]
An interesting specimen of early American wood-
engraving.
272 GiMBREDE Sc. N. Y. Stipple.
Bust, to right; oval, with William Shakspeare
on ribbon, and symbols.
Stauffer: 1091. 6x3j/^.
American copy of No. 204.
273 Heath del. — Maria A. Maverick sculp.
Stipple.
Bust, to left; vignette, with Shakspeare on tab-
let, and figures of Victory, Comedy and Trag-
edy.
Staufler: 2180. 7x5.
American copy of No. 208.
274 Design'd by Harvey.— Eng'd by Prudhomme.
Line.
Bust, to left; rectangle, portrait on monument
with dramatic scenes. Above: Shakspeare.
Stauffer: 2609. 6^4x3^.
Pub. by Solomon King, New York, 1831.
Schoyer, printer.
275 Same Plate. Proof on India paper without name
of printer. On sheet with title-page of Dra-
matic Works, 1 83 1.
83
WILLIAM SHAKESPEARE
276 W. Harvey. — A Dick. Line.
Copy of preceding.
6y2X3y2.
Pub. by G. Dearborn, New York.
277 Same Plate. Proof on India paper.
278 Same Plate. With imprint of Harper & Brothers.
279 Drawn from the Chandos Portrait in the
POSSESSION OF THE MaRQUI§ OF BUCKINGHAM.
— T. Kelly Sc. Stipple.
Bust, to left; rectangle. William Shakspeare.
Stauffer: 1624. 4^2 xsH'
Pub. by Samuel Walker, Boston.
280 Engraved by Wm. D. Smith N. Y. Line.
Bust, to right; oval, with portraits of Garrick,
Macklin, Kemble and Cooke. Shakspeare.
7x4.
281 Drawn by W. Momberger. — Engraved by J. C.
Buttre. Stipple.
Bust, to left; oval, with scenes from his plays.
io>^x6^.
Copyright 1859.
282 Same Plate. Copyright 1879.
283 H. Wright Smith Phil* Stipple.
Bust, to left ; vignette.
3>^X3M.
Cut close.
84
ENGRAVED PORTRAITS
284 Eng». by Geo. E. Ferine. Stipple.
Similar print. Shaispere. From the Chandos
Picture.
285 Same Plate. Proof before letters.
286 Illman & Sons. Stipple.
Bust, to left ; rectangle. Shakspeare. With fac-
simile of autograph.
4^x3^.
287 Eng° by E. G, Williams Stipple.
Bust, to left; vignette. Shakespeare. Engraved
expressly for Demorest's Monthly Magazine.
Printed by Kimmel & Voigt, N. Y.
288 Houbraken— J. C. BuTTRE. Line.
Bust, to left; vignette, with facsimile of auto-
graph. Shakespeare.
5^x5.
289 Engo by H. B. Hall & Sons N. Y. Stipple.
Bust, to left; vignette, with facsimile of auto-
graph.
sHxsM-
Pub. by Dodd, Mead & Company, New York.
290 Same Plate. Without engravers' and publishers'
names.
291 H. B. Hall, 1867. Line.
85
WILLIAM SHAKESPEARE
Bust, to left; vignette. Engraved for Wyn-
koop's Handy Volume Skakspeare.
American copy of No. 194.
292 Same Plate. Proof on India paper.
293 Same Plate. Proof on India paper before pub-
lisher's name.
294 Same Plate. Proof on India paper before all let-
ters.
295 J. Sartain. Mezzotint.
Bust, to left; rectangle. Shakspeare.
Pub. by Gould, Kendall and Lincoln, Boston.
296 W H W BicKNELL sc Etching.
Bust, to left; oval in rectangle.
Proof on Japan paper.
THE JANSSEN, OR SOMERSET,
PORTRAIT
The most beautiful of the so-called portraits of
the poet is that which was first claimed to be
such when in the possession of Charles Jennens,
and was reproduced by Earlom in mezzotint
for Jennens's edition of King Lear, 1770. The
head in the picture is finely modelled; the
broad, wired collar is of lace, and the doublet,
86
ENGRAVED PORTRAITS
of figured silk. It bears the inscription "Ae* 46
1 610." Though it has by no means been proved
to represent Shakespeare, it is quite likely that
it is the work of Janssen, who painted a portrait
of Milton in 161 8. There is a legend that it
once belonged to Prince Rupert. It has been
the property successively of the Dukes of Ham-
ilton and Somerset, the twelfth Duke of Somer-
set leaving it to his daughter, Lady Guendolen
Ramsdem, whose son. Sir John Frecheville
Ramsdem, now owns the picture.
Several good copies of the portrait exist; it
has been often engraved, and is the theme of a
series of articles by Mr. M. H. Spielmann in
The Connoisseur, 1909— 1912.
297 R. Earlom fecit Mezzotint.
Bust, to left; rectangle, with U T. MAGUS on
scroll above head, and age and date at upper
left corner of print. William Shakespear. From
an Original Picture by Cornelius Jansen in the
Collection of C. Jennens Esq''.
C. 8:39. B: 119. 554x43^.
Front, to Jennens's edition of King Lear, 1 770.
298 R. Cooper, sculp^. — From a Print by Earlom
. . . Mezzotint,
Similar print, with facsimile of autograph.
B: 120. 5/^X4>^-
Pub. by Sherwood Jones, 1825; front, to Works.
299 Same Plate, With publication line erased.
87
WILLIAM SHAKESPEARE
300 J. R. JOBBINS, DEL^. Stipple.
Similar print. Shakespeare. From Earlom's
Engraved Likeness . . .
5^4x4.
301 [Charles Turner.] Mezzotint.
Proof before all letters, and lettering in back-
ground, of the Charles Turner mezzotint: pub-
lished by Robt. Triphook, 1824.
302 R. DUNKARTON SCULP'". Mezzotint.
Bust, to left; in rectangle with age and date at
left upper corner of print. William Shakspeare,
From an original Picture formerly in the pos-
session of Prince Rupert . . .
C. S:237- B: 118. 4^X3>4.
Pub. by S. Woodburn, 181 1; pi. to his Charac-
ters illustrious in British History.
303 R. Cooper, sc. Stipple.
Bust, to left; rectangle. Based on preceding
print. Wm. Shakespeare.
PI. to Bumpus's edition of Works, 1825.
304 J. Pass sc. Stipple.
Bust, to left; oval. Shakspeare. Engraved for
the Encyclopaedia Londinensis, 1827.
4>^X3H.
305 Same Plate. Printed in colors.
88
ENGRAVED PORTRAITS
306 H. Robinson, sculp. Stipple.
Bust, to left; rectangle, with facsimile of auto-
graph.
Pub. by Fisher, Son & Co., 1835.
307 Same Plate. With artist's name in center, and
date changed to 1836.
308 Same Plate. With date changed to 1839.
309 T. Wright Sculp^, Stipple.
Bust, to left; rectangle, with age and date in
left upper corner of plate. Shakspeare, In the
collection of the Duke of Somerset.
Pub. by A. Wivell; pi. to his Inquiry, 1827.
310 Same Plate. Proof on India paper.
311 Same Plate. Proof on India paper before all let-
ters.
B: 127.
312 Engraved by Page . . . Stipple.
Similar plate, reduced. Shakspeare . . .
2^x25^.
Pub. by Duncombe.
313 Anonvmous. Line.
Similar print, without age and date. Will.
Shakspeare.
33^X2^-
Pub. by GrifKn & Co.
89
WILLIAM SHAKESPEARE
314 Engraved on Steel by Hopwood. Stipple.
Bust, to left; rectangle of triple lines. Shak-
speare.
PL to Dramatic Works, 1842.
315 Dessine et Grave d'apres l'original par Caze-
NAVE. Line.
Bust, to left; rectangle. Based on preceding
print.
B: 117. zVAXiyk.
Proof on India paper.
316 Engraved by G. Greatbach, from the Somer-
set Portrait. Stipple.
Bust, to left, surrounded by characters from
his Plays.
8M X 6.
Pub. by John Tallis & Company ; front, to His-
tories.
317 Same Plate. With imprint of The London Print-
ing and Publishing Company.
318 Same Plate. Proof before all letters.
319 Anonymous. Stipple.
Bust, to left; rectangle in ornamented frame,
with age and date at upper left corner of plate;
facsimile of autograph on frame.
9% X ey2.
320 Engraved by Conrade Cooke. Line.
90
ENGRAVED PORTRAITS
Half-length, to left; vignette with laurel gar-
land. Shakspeare . . .
On title-page of Dramatick Library.
321 [William Sartain] Mezzotint.
Bust, to left; age and date in upper left cor-
ner; rectangle. Above: Copyright 1902 by Wil-
liam Sartain, N. York. Published by William
J. Campbell. Philadelphia.
i4>^x izyi.
322 Anonymous. . Line.
Half-length, to left; vignette on page 17 of
L'Album, Rome, 1834.
4x3^-
323 Anonymous. Stipple.
Bust, to left; rectangular background with cor-
ners rounded. Shakspeare. Caspar Y Roig
Editores. Madrid.
4>^X3>^.
324 Lacour Sc. — Dessine par Deveria. Line.
Bust, to left ; vignette with border of single line.
Illustration to Iconographie instructive.
325 Same Plate. Proof on large paper without text.
326 Same Plate. Proof without designer's name.
91
WILLIAM SHAKESPEARE
327 Same Plate. With ornamented frame added.
5MX3K.
Pub. by Danlos, Paris.
328 G Staal inv — F". Delannoy sc Stipple.
Half-length, to left, in fanciful frame decorated
with four female figures. Shakespeare. {Essai
sur la litter ature anglais e) Chateaubriand.
B: 121. 6x4.
Pub. by Abraham Beillet, Paris.
329 Engraved by R. Cooper . . . from the Origi-
nal IN THE Collection of John Wilson
Croker . . . Stipple.
Bust, to left; oval in rectangle. Shakspeare.
B: 131. 4>^X3^.
Pub. by G. Smeeton, 1824.
After a copy of the Janssen portrait.
330 Same Plate. Impression on India paper.
331 Engraved by Gardner. Stipple.
Bust, to right; oval. William Shakspere.
3^x3.
Pub. by J. Good, 1793; pi. to Literary Maga-
zine.
"Nominally after the Janssen portrait, but
really after no conceivable original."
332 Same Plate. Proof without publisher's inscription.
92
ENGRAVED PORTRAITS
THE ZUCCARO, OR COSWAY,
PORTRAIT
Of three portraits which have been, without suf-
ficient reason, attributed to Frederigo Zuccaro,
the one which once belonged to Richard Cos-
way, and is now owned in America, is perhaps
the best known, and is represented here by the
following numbers. Zuccaro left England in
1580, when Shakespeare was sixteen years old.
Mr. Spielmann calls the attribution of the por-
trait to him absurd, but it had credence a hun-
dred years ago.
333 London Engraved & Published 1803, by Han".
Greene . . . Mezzotint.
Three-quarters length, full face, resting head on
hand; oval in rectangle. fV. Shakespere From
an original Picture by Zucaro in the Possession
of Richard Cosway Esq^. R.A.
9X7H-
334 Engraved by W. Holl from the original pic-
ture ONCE THE PROPERTY OF THE LATE R. COS-
WAY R.A. Stipple.
Copy of preceding. Guglielm Shakspeare.
B: 143. 4^X3^-
Pub. by A. Wivell, 1827; pi. to his Inquiry,
Supplement.
335 Same Plate. Proof on India paper before all let-
ters.
93
WILLIAM SHAKESPEARE
336 Anonymous. Stipple.
Half-length, full face, resting head on hands;
vignette.
THE SOEST PORTRAIT
Gerald Soest was bom twenty-one years after
Shakespeare's death, and his portrait, while evi-
dently meant for Shakespeare and possibly based
on the Chandos type, is fanciful. The portrait,
with gentle but weak face, and waving hair and
beard, is principally knovv^n through Simon's
mezzotint (No. 337), which brought it into
notice in 1725. It is variously known as the
Douglas, Lister Kaye, or Clarges Portrait, ac-
cording to its different owners.
337 ZousT PiNX. — I. Simon Sc. et ex. Mezzotint.
Half-length, to right, oval in rectangle. Shake-
speare Ob: A.D. j6j6. Mtat: 53. Done from
a Capital Picture in the Collection of T. Wright
Painter in Covent Garden.
C.S: 133. B: 132. 11^^x9%.
First state of the plate.
338 Engraved by W. Holl from the print by J.
Simon. Stipple.
Copy of preceding.
B: 133. 4^x4.
Pub. by A. Wivell, 1827; pi. to his Inquiry, Sup-
plement.
94
ENGRAVED PORTRAITS
339 Same Plate. Proof on India paper before all let-
ters.
Stipple.
340 ZOUST PINXIT.— T. WOOLNOTH SCULPSIT.
Copy of oval in No. 337. Shakespear.
Pub. by M. J. Godwin, 1809.
341 ZousT PINXIT. — Edwin sc. Stipple.
American copy of preceding.
Fielding: 175. StauflFer: 869. 3}ix2}4.
342 Anonymous. Line.
Copy of bust of No. 337, with profile of Gar-
rick; circle.
B: 135. i^xi>4.
Vignette on title-page of Beauties of Shake-
speare. London, Kearsley, sixth edition. (See
book.)
THE ASHBOURNE, OR KINGSTON,
PORTRAIT
This picture first came to light when the Rev.
Clement U. Kingston purchased it from a Lon-
don dealer, and has become well known from
G. F. Storm's engraving, 1847. It is inscribed
"Aetatis Suae. 47. A° 161 1" and is regarded by
Mr. Spielmann as a portrait of importance.
95
WILLIAM SHAKESPEARE
343 Engraved by G. F. Storm, from an Original
Picture in the Possession of C. U. King-
ston, Esq. of Ashbourne, Derby.
Mezzotint.
Three-quarters length, standing, to right, with
right hand resting on skull; Elizabethan ruff,
sword-belt, thumb-ring, and glove; rectangle,
with facsimile of autograph.
Pub. by G. F. Storm, 1847.
344 Anonymous. Stipple.
Similar print, to waist only; rectangle with fac-
simile of autograph.
MINIATURES
Several miniatures have been said to represent
Shakespeare, but all on doubtful grounds. The
most famous are:
THE WELBECK, or HARLEIAN MIN-
IATURE, which Walpole caused to be en-
graved by Vertue for Pope's edition ; incorrectly
said by Oldys to represent James I (See Nos.
345-354)-
THE HILLIARD, or SOMERVILLE
MINIATURE, said to have belonged to Shake-
speare's friend, Somerville of Edstone, and now
the property of Lord and Lady Northcote; the
work of Nicholas Hilliard (See Nos. 355-358).
THE AURIOL MINIATURE, so called
from a former owner; now owned in America
(See Nos. 359, 360).
96
ENGRAVED PORTRAITS
345 G. Vbrtue Sculp. 1721. Stipple.
Bust, to right; ruff and earring; oval on pedes-
tal in rectangle, with William Shakespeare on
ribbon at top. Ad Originalem Tabulam penes
Edwardum Dominum Harley.
B: 161. 8^x6.
Front, to Pope's edition of Works, 1725. Ver-
tue's engraving of the Welbeck Miniature.
346 Anonymous. Line.
Copy of preceding, without decorations. W.
Shakspeare, Ob. an. 1616 . . .
5^x5.
Pub. by J. Stockdale, 1783; pi. to Works, 1784.
347 Same Plate. Without publication line.
348 Engraved by W. & I. Walker. Line.
Another copy of No. 345, with masks and flames
under oval. Shakspeare.
B: 163. 6x3^. ,
Pub. by Bellamy & Robarts, 1789.
349 Same Plate. Proof before all letters.
350 F. C. Bock Sc. Line.
Copy of preceding; oval. Shakspeare.
3j4x2^.
Front, to Englische Blatter, 1794.
351 S. Bennett Sc. Line.
Bust, to right; rectangle.
97
WILLIAM SHAKESPEARE
B: 162. 5^x4.
Pub. by I. Stockdale, 1807; pi. to Works.
352 Massol scuLpT. Stipple.
Bust, to right; ruff and ribbon with order of
St. George; rectangle. W. Shakspeare.
B: 165. S'AxsH-
PL to Guizot's French edition of Shakespeare,
1848; based on Vertue's plate. No. 345.
353 Same Plate. Impression on India paper.
354 Same Plate. Proof on India paper before Shake-
speare's name.
355 B. HoLL ScuLpT. Stipple.
Bust, to left; fair hair, pointed beard, wide col-
lar; oval. Shakespeare. The original picture
formerly belonged to the late Sir Edward Bland
B urges Bar*.
2X lYi.
Pub. by A. Wivell, 1827; pi. to his Inquiry, Sup-
plement. The Milliard Miniature.
356 Same Plate, Proof on India paper before all let-
ters.
357 Engraved by T. W. Harland from the por-
trait BY N. Milliard. Stipple.
Bust, to left ; oval in rectangle with facsimile of
autograph.
B: 150. zH^zyk.
PI. to Wivell's Inquiry, Ed. 2, 1 840.
358 Same Plate. With London, Virtue ^ Co.
98
ENGRAVED PORTRAITS
359 Engraved by W. Holl from the miniature in
THE POSSESSION OF ChARLES AuRIOL EsQ«.
Stipple.
Bust, to right, in oval frame. Shakspeare.
B: 151. 2yix i^.
Pub. by A. Wivell, 1827; pi. to his Inquiry j
Supplement. The Auriol Miniature.
360 Same Plate. Proof on India paper before all let-
ters.
VARIOUS SUPPOSITITIOUS
PORTRAITS AND BUSTS
361 Basire. S. Line.
Bust, profile, to left; oval.
Size of plate, 5j^ x 3%.
On engraved title-page of Poems, Bell, 1774.
362 Anonymous. ' Line.
Similar bust.
i^x I-
On p. 221 of Lavater's Essays on Physiognomy,
1789.
363 Anonymous. Line.
Similar bust, with four other portraits.
i-MxiM-
PI. to Lavater's Essays on Physiognomy, 1806.
99
william shakespeare
364 Drawn by R. Corbould, from a Gem by E.
BuRCH, R.A. & Engr". by P. W. Tomkins.
Stipple.
Bust, to left, profile, oval medallion with gar-
lands and name on tablet in rectangle. Shak-
speare.
B: 160. 3^x2.
Pub. by John Sharpe, 1804.
365 G. Upiz del,— Coupi Sc. Stipple.
Similar bust, in wreath, profile; emblems; rect-
angle. Shakespeare.
4/4x3-
366 Anonymous. Stipple.
American copy of preceding. Shakespere.
On title of Works, Philadelphia.
367 Thurston, del. — Rhodes, sculp. Line.
Similar bust, circular frame with emblems in
rectangle. Shakespeare.
B: 159- 3^X2^.
Pub. by Thomas Tegg, 18 16.
368 Same Plate. Proof on India paper.
369 J. Miller Sculp. Stipple.
Similar bust, oval. fF*^. Shakespeare.
B: 157. 4^X354-
100
ENGRAVED PORTRAITS
370 Anonymous. Line.
Bust, in oval, with wrinkled collar and pro-
truding chin.
2X l^.
Proof.
371 Anonymous. Line.
Small bust, to left; on book-plate of David
Garrick.
Size of bust, ^ x ^.
372 Hogarth pinx^. — J. I. Sc. Aquatint.
Small bust; medallion set in chair. Shakespear
Chair.
63^x3.
Pub. for S. Ireland, 1799.
The tradition is that the medallion was carved
by Hogarth and inset in a chair given by him to
David Garrick.
373 Engraved by W. Ridley from a drawing by W.
H. Brown . . . Stipple.
Bust, to right; slightly resembling the Chandos
Portrait, but without beard and earring. Shake-
speare. Engraved for C. Cooke, April 19, 1797.
3y8X2y2.
374 A. WivELL Delt.— W. Holl Sculp^. Stipple.
Half-length, to left; oval. Will. Shakespere.
The original Picture is in the possession of
Thomas Gilliland, Esqr.
B: 142. 3^x3.
lOl
WILLIAM SHAKESPEARE
Pub. by Wivell, 1827; pi. to his Inquiry, Sup-
plement.
375 Painted by R. Smirke, R.A. — Engraved by R.
Ash BY. Line.
Bust, full face, in architectural frame with Il-
lustrations to Shakspeare, by Rob*. Smirke, Rji,
Pub. by Hurst, Robinson & Co., 1825.
376 Same Plate. Impression on India paper.
377 Same Plate. Proof on India paper before letters.
378 Same Plate. Unfinished proof.
379 E. Desmaisons lith. — Imp. Lemercier . . .
Lithograph.
Half-length, to left, looking toward front; wavy
hair and loose collar; vignette. Shakespeare.
Pub. by Moore McQueen & Co.
FRAUDULENT PORTRAITS
Early in the nineteenth century two "restorers,"
Zincke and Holder, fabricated numerous spuri-
ous portraits of Shakespeare and others. Several
of them were accepted as genuine, and have be-
come well known through excellent engravings.
Some of the most noted of the frauds which may
be traced to one or the other of these impostors
are:
102
ENGRAVED PORTRAITS
THE STAGE PORTRAIT, named after
the publisher who first had it reproduced by
Robert Cooper (See Nos. 380-383).
THE DUNFORD PORTRAIT, named
for the publisher of Turner's mezzotint (See
Nos. 384-387).
THE WINSTANLEY PORTRAIT, one
of two owned by Mr. Thomas Winstanley (See
Nos. 388-390).
THE ZINCKE PORTRAIT, immediately
traceable to Zinclce (See No. 391).
380 Engraved by Rob^ Cooper. Stipple.
Half-length, to right; in plain coat with small
buttons and slightly turned collar; figure almost
in profile; rectangle. Shakspeare From an
original Portrait in the possession of the Pub-
lisher.
B: 136. 11^ xg.
Pub. by Machell Stace, 181 1. The Stace impos-
ture.
381 Same Plate. Without Shakespeare's name and
with RobK Cooper^ Aquafortis lightly etched.
382 Engraved by W. Roll from a print by R.
Cooper. Stipple.
Copy of preceding. Shakspeare . . .
B: 137. 4y&X3%'
Pub. by A. Wivell, 1827; pi. to his Inquiry, Sup-
plement.
103
WILLIAM SHAKESPEARE
383 RosMASTER Berlin 1838. Line.
Copy of preceding.
4x3^-
384 Engraved by C. Turner, from the newly dis-
covered Picture . . . Mezzotint.
Bust, to left, with broad plain collar, wrinkled ;
heavy hair falling over collar; rectangle. tV^.
Shakspeare.
B: 138. 15 X 12.
Pub. by Jas. Dunford, 1815. The Dunford im-
posture.
385 Same Plate. Proof before all letters.
386 Engraved by W**. Sharp . . . Line.
Copy of preceding; in rectangular frame. W^.
Shakspeare.
B: 140. 6}i>^5/i-
Pub. by J. Dunford, i8i6.
387 [W. Holl] Stipple.
Similar print ; rectangle, without the frame.
B: 139. 4^X3^-
Pub. by Wivell, 1827; pi. to his Inquiry, Sup-
plement.
Proof on India paper before all letters.
388 Anonymous. Line.
Bust, to left; in plain collar with tassels, out-
line floriated rectangle. Above: Engraved from
104
ENGRAVED PORTRAITS
a Portrait, in the possession of Mr. Tho'. Win-
stanley, Liverpool. (6 lines of verse below.)
5x4.
389 Engraved by Edward Smith from an Original
Painting. Line.
Same type, half-length, to left; rectangle. Shai-
speare.
B: 156. 43^x3^.
Pub. by Robt. Jennings, 1829; for The Union
Shakespeare.
390 Same Plate. Proof on India paper, with engrav-
er's name lightly etched.
391 W. HoLL scuLpT. Stipple.
Bust, full face; oval, with fancy figures and in-
scriptions in antique characters. "The earth
has bubbles . . ''
B: 144. 6^x4^4.
Pub. by A. Wivell, 1827; pi. to his Inquiry,
Supplement.
The so-called Zincke portrait.
THE WESTMINSTER MONUMENT
In 1 741 a monument, designed by William Kent
and executed by Peter Scheemakers, was set up
in the Poets' Corner in Westminster Abbey.
The expenses were met by public subscription,
Alexander Pope being one of the promoters of
the scheme. The standing figure of the poet is
105
WILLIAM SHAKESPEARE
represented as leaning against a pillar, on which
are books and a scroll; the head is after the
Chandos Portrait.
392 H. Gravelot delin. et Sculp. Line.
The monument, with statue, in Westminster
Abbey; rectangle. Below: To be placed next
after the Preface.
8K X 63^.
PI. to Hanmer's edition of Works, 1744.
393 Anonymous. Line.
Same monument; rectangle.
B: 185. 7^x454.
PI. to London Magazine, 1751.
394 Anonymous. Line.
Same monument, with railing; rectangle. Be-
low: Monument of Shakespeare.
5/2x314.
PI. to Royal Magazine, 1 763.
395 S. Wale delin.— C. Grignion so. Line.
Copy of preceding. Monument of Shakespear.
396 Anonymous. Line.
Reduced copy of No. 394. Monument of Shake-
speare.
5^X3^.
106
ENGRAVED PORTRAITS
397 Anonymous. Line.
Same monument; rectangle. Shaksperes Monu-
ment in fVestminster Abbey.
B: i86. sY&xzYi.
Printed for J. Bell, 1787; pi. to Works.
398 Anonymous. Line.
Same monument; rectangle. Above: Monu-
ment of Shakespear.
6^X3^.
PL to Universal Magazine.
399 HuLETT Sculp Line.
Same monument; rectangle.
5^x31^.
400 Anonymous. Line,
Same monument; rectangle.
43^x2^.
Cut close.
401 Anonymous. Line.
Same monument; rectangle. The Monument
of William Shakespear the Poet, erected to his
Memory in Westminster Abbey A.D. 1741.
II X7.
402 Anonymous. Line.
Same monument; rectangle. On base of statue;
Shakespeare.
6MX4M.
Pub. by John Williams, 1826.
107
WILLIAM SHAKESPEARE
403 Engraved by B. Holl. Line.
Same monument; rectangle. The Monument
of Shakspeare in Westminster Abbey.
8x4^.
Pub. by Wivell, 1827; pi. to his Inquiry, Sup-
plement.
404 Same Plate. Proof before all letters.
B: 182.
405 Drawn & Eng". by J. Storer. — for Cole's Resi-
dences OF Actors. Line.
Same monument, showing only part of pedestal;
rectangle. Shakespeare's Monument, West-
minster Abbey.
406 Anonymous. Line.
The statue of the monument; vignette, on Sed-
don's advertisement of Books & Stationery,
Philadelphia, about 1812.
3^2x23^.
407 Anonymous. Line.
Same statue; vignette. William Shakespeare.
Verlag von Friedrich Brandstetter in Leipzig.
5J^X4.
THE BANKS RELIEF
A relief, representing Shakespeare between the
Genius of Painting and the Dramatic Muse,
108
ENGRAVED PORTRAITS
was executed by J. Banks for Boydell's Shake-
speare Gallery in Pall Mall. It is now in the
garden of New Place, Stratford. It was repro-
duced on a medal by Kiichler, which was pre-
sented to every subscriber to Boydell's illus-
trated edition of Shakespeare.
408 T. Banks R.A. Inv. et Sculp.— Drawn &
Etch'd by G. Vitalba Etching.
Relief in front of Shakespeare Gallery with me-
dallion of John Boydell introduced; rectangle.
Bass Relief in the Front of the Shakespear Gal-
lery Pall Mall. Humbly Dedicated to the Sub-
scribers of the Shakespear Gallery . . .
B: 178. 9x7^-
Pub. by Vitalba, 1792.
409 I. Banks R.A. fecit.— Benj. Smith Sculp.
Stipple.
Same relief; rectangle. On pedestal: "He was
a Man, take him for all in all, I shall not look
upon his like agmn" . . . Below: Represents
Shakespeare seated between the Dramatic Muse
and the Genius of Painting . . .
B: 176. I9>^ X 14J4.
Pub. by J. & J. Boydell, 1796; pi. to Works.
410 I. Banks R.A. fecit.— James Stow Sculps.
Line.
Same relief; rectangle. Represents Shakspeare
seated ...
B: 177. ioyix6y2.
Pub. by J. & J. Boydell, 1798; front, to Works.
109
WILLIAM SHAKESPEARE
411 Same Plate. With inscription below lightly etched.
412 Same Plate. Proof before all letters.
413 J. Banks R.A. fecit — B. Holl sculp^. Line.
Same relief; rectangle.
B: 172. 6}ix4}i.
Pub. by A. Wivell; pi. to his Inquiry, Supple-
ment. (See book.)
414 Same Plate. Proof on India paper before all let-
ters.
415 I. Banks R.A. fecit. — Gestochen in Lorrach
BEY Basel von T. T. von Meckel jun.
Line.
Same relief; rectangle. Represents Shakspeare
seated between the Dramatick Muse and the
Genius of Painting . . .
416 Anonymous. Etching.
Same relief; rectangle, in outline.
4^^X354-
Proof before all letters.
417 Banks R.A. Fecit — Fauchery del.— A'*^.
Mathieu sc. Line.
Same relief; rectangle.
5x3^-
Pub. by Marchant, Paris.
418 ScRiVEN scuLpT Line.
Same relief; obverse of medal presented to sub-
IIO
ENGRAVED PORTRAITS
scribers to Boydell's edition of Shakespeare's
Works. Below is the reverse of the medal, en-
graved by Girtin.
1^X2.
Pub. by J. Asperne, 1804; pi. to European Mag-
azine.
419 Engraved by S. Rawle. Line,
Same relief, in view of full front of Shakespeare
Gallery.
B: 174. 7x3^-
Pub. by J. Asperne, 1804; pi. to European Mag-
VARIOUS STATUES
420 Anonymous. Stipple.
The Roubiliac Statue, inclined toward left with
pen in right hand and left hand raised to face;
long draped cloak; vignette. Below: Shak-
speare.
The French sculptor was commissioned by David
Garrick in 1758 to execute this statue, which Gar-
rick bequeathed to the British Museum.
421 Riley del. — Page Sculp Line.
Statue on pedestal, with figures of Tragedy and
Comedy below; encircling ribbon inscribed fVe
ne'er shall look upon his like again; vignette.
63^x4%.
Pub. by Bellamy & Roberts, 1791.
Ill
WILLIAM SHAKESPEARE
422 J. Bell, Sculptor. — Daguerreotyped by Beard.
Stipple,
Statue on pedestal ; left hand resting on trunk of
tree; head from Stratford bust; rectangle. Be-
low: Shakspere.
423 Anonymous. Stipple.
Similar statue; vignette. "His fame folds in
This orb 0' the earth." Shakespeare.
Pub. by D. Appleton & Co., New York.
424 Same Plate. Proof before publisher's inscription.
425 Same Plate. Proof before all letters.
426 Engraved by A. B. Walter from the Original
Drawing by W. Croome. Mezzotint.
Statue on pedestal with lyre, masks, etc., below ;
book in left hand; vignette.
5^X3>4.
427 Anonymous. Stipple.
The Central Park statue; face from the Strat-
ford bust, looking down, with book in right hand
and left hand on hip; vignette. Shakspeare.
From the Statue by J. Q. A. Ward. Copyright
by D. Appleton & Co. 1877.
8^X4>^.
428 Same Plate. With inscription: Shakspere. From
the bronze statue by J. Q. A. Ward, in Central
Park, New York.
112
ENGRAVED PORTRAITS
429 Programme of a performance of Julius Casar
given at Booth's Theatre in 1875; printed on
green silk, with representation of the Ward
statue.
5X2^.
430 Bust of William Shakespeare; carved in wood.
431 Alleged Portrait of William Shakespeare; painted
in oils, with inscription, Jfe 46 — 1610. In cor-
ner,. Lynde.
432 Engraved Portraits of the Early Editors of
Shakespeare's Plays.
433 Engraved Portraits of Early Shakespearian
Actors.
"3
WILLIAM SHAKESPEARE
ADDENDA
434 [William Sabin] Etching.
"The Whistling Shakespeare." Droeshout type,
on small sketch of title-page of the First Folio.
1^4 X i^.
435 [Francis Kyte.] Mezzotint.
Bust, to left, in oval on plate with oval portraits
of Jonson, Milton and Butler. Natus A. D.
1554 Wil"^. Shakespear . . .
C. S: 13. 13MX 10.
One of a set of six plates. The Worthies of
Britain; in imitation of Simon's set (See No.
138).
436 W. Page del. W. J. Linton sc.
Wood-engraving.
The "Kesselstadt Death Mask."
37^X253^.
On poster of lecture by William Page, Novem-
ber 14, 1871.
114
UUib LIbKMKI
University of California
SOUTHERN REGIONAL LIBRARY FACILITY
405 Hilgard Avenue, Los Angeles, CA 90024-1388
Return this material to ttie library
from wtiicli it was borrowed.
Universil
Southc
Libra
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11