CATALOGUE OF AN EXHIBITION ILLUSTRATIVE OF THE TEXT OF AS PUBLISHED IN EDITED EDITIONS TOGETHER WITH A LARGE COL- LECTION OF ENGRAVED PORTRAITS OF THE POET 'lifornia ional iity NEW YORK <9rolirr Club APRIL 6-29 1916 LIBKAKT 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, whose 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, 1623-1685 ... 3 NICHOLAS ROWE'S EDITION, 1709 . . 8 ALEXANDER POPE'S EDITION, 1723-1725 . 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, 1767-1768 . 17 GEORGE STEEVENS'S EDITION, 1773 . . 19 JOSEPH RANN'S EDITION, 1786-1794 . 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 SUPPOSITITIOUS PORTRAITS AND BUSTS 99 FRAUDULENT PORTRAITS 102 THE WESTMINSTER MONUMENT . . 105 THE BANKS RELIEF 108 VARIOUS STATUES in ADDENDA 114 VI 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 VIII. Whether portions of The Taming of the Shrew and Timon 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 Winter's Tale, Henry VI (Ft. I, and new versions of Pts. II WILLIAM SHAKESPEARE and III), Henry VIII, Coriolanus, Timon of Athens, Julius C&sar, 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 Quart os j 1909. 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 r . 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. 3 M r . 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 L d . 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. 4 M r . 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 1710, 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. 53 Another Copy. Printed on large paper. ALEXANDER POPE'S EDITION, 1723-1725 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 . . . [1723-] 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. Sewell'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. 7 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 F), 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. [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 Person 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, an d 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 1714, 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. 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. 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, 1767-1768 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. 1823), 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. 2O 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 . . . I786[- 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 was 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 fef 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 1813 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 M alone. 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., i838[-i843]. 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," 1842-1844, "National edition," 1851-1853, 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, i 84 i [-1844]. 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 Halliwell 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, 1916. 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 [-1860] 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., I 863 [-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 1891-1893. 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 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), f r ms Antiquities of Warwickshire. Vertue's engraving, 1725, Gravelot's, 1744, and the Cast by George Bullock, 1814, 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. 5^x 3 M- 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. 37 in the Life. 6^x4. PI. to Rowe's edition of Works, 1709. 3a GRIGNION SCULP T . Line. Another copy of No. 2. Shakspere's Monument in the Church at Stratford upon Avon. 6:37. 4^X2^- 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. 8% x 6%. PL to Pope's edition of Works, 1725. 35 WILLIAM SHAKESPEARE 5 H. GRAVELOT SCULP. Line. Same monument; mainly following Vertue's de- sign; rectangle. PL to Hanmer's edition of Works, 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- 5^x 3 %. PL 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. 4><3- 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: 3 5. 11 DRAWN & ENG D . 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 R . THE FIG- URE OF THE BUST BY A. WlVELL. Line. Same monument; rectangle. 8:41. 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 H . BOYDELL . . . Line. Same monument; rectangle. Shakspeare' s Monument in the Church at Stratford upon Avon. B: 39. ii x6^4. Pub. by Boydell; pi. to Works, 1802. 16 F. W. FAIRHOLT DEL. ET Sc. 1852 Stipple. Same monument. 10^5x424. PI. to Halliwell's edition of Works, 1853; im- pression on India paper. 17 ANONYMOUS. Lithograph in colors. Same monument. 37 WILLIAM SHAKESPEARE 1 8 Colored photogravure. Same monument. 19 Colored reproduction. Same monument. 8M*5- 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^. Proof on India paper before all letters. 23 ENGRAVED BY WM. WARD A.R.A. FROM A PAINT- ING BY THOS. PHILLIPS ESQ R . R.A. AFTER A CAST BY G. BULLOCK . . . Mezzotint. The bust of the monument, to right; rectangle. Mr. William Shakspeare. "His true Effigies." 6:51. 8>ix6. 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^. 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. Pub. by Saunders and Ottley, 1825. 26 Same Plate. Proof before publisher's inscription. B: 4 8. PL to Boaden's Inquiry, 1824. 27 Same Plate. Proof on India paper with engraver's name lightly etched. 28 ANONYMOUS. Stipple. Copy of preceding, vignette, with background of perpendicular lines. Shakspere. From his Monument . . . B:49- 5^x 4 ^. 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 . 6^x4^. Front, to Staunton's edition of Plays, 1858. 39 WILLIAM SHAKESPEARE 30 [E. BOCQUET] Stipple. Same bust, to left; rectangle of double lines. 6x4^4. 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^X2^. 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 . . . 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 1^5. 38 ENGRAVED BY T. A. DEANE, AFTER A DRAWING BY A. WlVELL, 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. 8^x6. 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^X2^. Stauffer 2139. Proof on India paper. 41 WILLIAM SHAKESPEARE 43 ENG D . BY O. H. THROOP. Stipple. Copy of preceding. Bust of Shakspeare . . . Not in Stauffer. 44 [?] Stipple. Same bust, head only, to left, vignette. Wil- 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 . . . Pub. by Ward. 46 Same Plate. Proof before letters. 47 Colored photogravure. Same bust, head only; full face, rectangle. 3x2^- 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. 6^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. 42 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. 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.] 53 ANONYMOUS. Line. Half-length, to left; rectangle over facsimiles 43 WILLIAM SHAKESPEARE of autograph. The Stratford Portrait Of Shakspere. 3X2^. 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, 101) 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. 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. 8x654. 60 ANONYMOUS. Line. Another copy of the Droeshout plate, with his name; reduced. 6l ANONYMOUS. Line. Another copy of the Droeshout plate. To the 45 WILLIAM SHAKESPEARE Reader. [10 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. 8:7- 5%x 5 . 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. 5^X5- 65 MARTIN DROESHOUT. H. ROBINSON. Line. Bust, to left; rectangle, with facsimile of auto- graph. B:6. 5^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. 5 I /4*4 I /4. Pub. by Rollo, New York. 69 J. SWAINE sc. Line. Similar print, without facsimile of autograph. Shakspeare from the First Folio Edition. B:8. 5Mx 4 M- PL to Boaden's Inquiry, 1824. 70 Same Plate. Impression on India paper. 71 THURSTON DEL T . RIVERS SCULP T . Line. Similar print. William Shakspeare. B:5- 4^x 3 ^. Pub. by Sherwin & Co., 1821. 72 ENGRAVED BY C. PICART FROM THE ORIGINAL PRINT BY MARTIN DROESHOUT. Stipple. Similar print. William Shakspeare. 8:4. sy&xiM- 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. 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. 4 I A><3 I A- 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. 5M X 3- Front, to Poems, 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 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. Same type, with "W. M. sculpsit" in lower right corner. PL 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 SCULP T . Line. Copy of Marshall's plate, with floral decora- tions, and without verses. B: 18. 5^X3^- Pub. by Bell, 1786; pi. to Works. 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}4 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. 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, 1810. 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. 8:9- 5^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. 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 WILLIAM SHAKESPEARE to the Memorial Picture Gallery, at Stratford, where it now hangs. It is sometimes called the Droeshout Portrait. 100 Reproduction in colors of the Flower Portrait; published by the Medici Society, 1909. B: 14. 17^x1314. 101 Photogravure. Another reproduction of the Flower Portrait. William Shakespeare from the "Droeshout" pain tin <3%. Pub. by J. Johnson, 1803; front, to Works. 104 C. WARREN sc. Line. 53 WILLIAM SHAKESPEARE Similar print. William Shakspeare. B:3i- 3^X2^- 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 MDCXVl. 1 06 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. 4x2%. Pub. by Longman & Co., 1819. 108 J. BOYD sc Line. American copy of No. 104. William Shakspeare. Stauffer: 262. Front, to Plays, Boston, 1813; 8vo. 109 J. BOYD sc. Stipple. 54 ENGRAVED PORTRAITS Reduced copy of preceding. William Shak- >., speare. 3 x 2^i. Stauffer: 263. Front, to Plays, Boston, 1813; 24010. 110 R. BURBAGE PINX T . I597- J. COCHRAN SCULP T . Stipple. Bust, to left; in rectangular frame. Shakspeare The property of George Nicol Esq r . 4rt*3tt. 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. 6:21. 113 R. BURBAGE, PINX T . H. WRIGHT SMITH, SCULP T . Stipple. Copy of preceding, with forehead modified. 4^ x 2^4- Cut close. PL 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. A Fac- simile in all but colour, of the remains of a Por- trait, on panel of William Shakspeare . . . Pub. for William Nicol, 1851. 55 WILLIAM SHAKESPEARE 116 G. GREATBACH. Stipple. Bust, to left; oval, with scenes in his plays de- signed by T. D. Scott. The Burbage Portrait. Tragedies. 8x5^4. Pub. by John Tallis & Co., London; front, to his Tragedies. 117 Same Plate. With imprint of The London Print- ing and Publishing Company. 118 PLATE i. T. TROTTER SCULP T . Line. Bust, to left; rectangle; the head only is fully engraved, the figure (in the Droeshout dress) being shown in outline. [Inscription in fac- simile.] From the Original Picture in the Pos- session of Mr. Felton . . . 8:24. 5H X 4^- Pub. by W. Richardson, 1794. 119 PLATE 2. T. TROTTER SCULP T . 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. 5^X4^- Pub. by W. Richardson, 1794. 120 Same Plate. Proof on large paper. 121 I. GODOFROY SCULP. Line. Similar print. William Shakspeare, 1597 . . . 56 ENGRAVED PORTRAITS B: 22. Pub. by W. Richardson, 1796. 122 JNO THURSTON DELIN CHAS WARREN SCULP. Line. Bust, to right; oval frame with ornaments. On frame: Shakspeare. 8:26. 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. 6:27. 5/4x3^- 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. 4jiX2^. 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. 2^x1%. 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 2$rd, 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. 3^x 3 ^. Pub. by James Robins, 1827. 131 Same Plate. With publication line erased, and Page $29 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, 5^x 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, 1709, Vertue's, 1719, 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 DR . 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 4*4. Front, to Rowe's edition of Works, 1709. 136 GEO: VERTUE LONDINI SCULPSIT 1719. 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 r . 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. 6 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 Ob*. Anno Dom. 1616. Aetat 53. Oval, in rectangular plate with portraits of Chaucer, Spenser and Jonson. C. S: 55. i3 l /2 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%*3^. 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. 3 l /2 x 2%. Pub. by Vernor & Hood, 1800; 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: 1 10. 4^4 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. Sy 2 x6y 2 . 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. 154 VERNIER DEL. LEMAITRE DIREXIT Line. Bust, to right; vignette. Above: Angleterre (Tudor s) ; below: Schakspeare. 3tt*3 l /2. 155 VERTUE SCULP. Line. Bust, to left; in oval frame surrounded by six other portraits; rectangle. W: Shakespear. (> I /4X4 I A- 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. 7x414 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. 53. 158 LUD. Du GUERNIER SCULP. Line. Similar portrait in larger oval, in rectangle. M r . W m . Shakespear . . . 159 N. PARR SCULP Line. Bust, to right; oval medallion frame. Arlaud type. W. Shakespear. 1^X124 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 PI. 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. 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: Will. Shakespear. Front, to Hanmer's edition of Works, 1744. 1 66 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 r . . . B:8o. I4>4x8?i 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. 166, reversed; rectangular frame. Shakespeare. B: 81. 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:8a. 6^x4. PL to the Universal Magazine. 171 ANONYMOUS. Line. Similar print, without emblems below oval. William Shakespeare. 4% x 3#. 172 ANONYMOUS. Line. Bust, to right; in oval frame, on which is Wil- liam Shakespear; rectangle. Houbraken type. PL 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. 5><3- Pub. by J. Bell. 176 ANONYMOUS. Line. Similar print. On pedestal: Will: Shakespear. B: 100. 4^x2^. 177 GOLDAR SCULP T Line. Bust, to left; oval in rectangle. William Shake- spear. In the Possession of John Nicoll Esq r . 7^x6^. PI. to Harrison's Edition of Rapin, 1785. 178 Same Plate. Added: Published by Cornish fcf Co. 1813. Cut close. 179 FROM HOUBRAKEN. AUDINET SC T Line. Bust, to right; oval at top of page, with bio- graphical sketch below. 6:83. i#xi#. Pub. by Harrison & Co., 1794. 1 80 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. 67 WILLIAM SHAKESPEARE 182 HOLL SCULP. Stipple. Bust, to left; oval at top of page, with biograph- ical sketch below. 2X \y%. 1823 IA. 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- BRAKEN. Stipple. Bust, to left; oval in rectangle with facsimile of autograph. B: 84. 1 7 A*1 1 A. 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 d . 1616 . . . B=75- 7x4^2- 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 r . . . . Size of plate, 4^2 x 7%. Pub. by Alexander Hogg, 1785; pi. to the New London Magazine. 1 88 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. 5^x 3 M- 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. 1 88. W. Shak spear e geb. im A prill 1565 191 HEINR: SCHMIDT Sc: Stipple. Similar print; oval. W. Shakspeare. 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. 5^*324 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. S I /2><3 I A- 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. 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 l /z x 2^4- PL to Lavater's Essays on Physiognomy, 1806. 201 ANONYMOUS. Line. Similar head, on plate with three other por- traits. Size of portrait, 2^4 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 3^. 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/^x3^. 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. W m . Shakespeare. Zwickau b. den Geb. Schumann 1817 3y&x2y 4 . 207 Same Plate with oval extended to octagon; en- graver's line altered. 208 HEATH DEL. Stipple. Bust, to left; vignette, with 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. 210 FRY SCULP T . Stipple Bust, From 8:72. Bust, to left; rectangle. William Shakspeare. From the Chandos Portrait . . . 72 ENGRAVED PORTRAITS Pub. by Rivington & Partners, 1822; front, to Works. 211 DEAN SCULP T 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. 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. 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>4x6K. Pub. by John Tallis & Company. 73 WILLIAM SHAKESPEARE 217 ROFFE Be. 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. 5*3H- 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. 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 S . CLERK EDIN" Stipple. Bust, to left ; oval in rectangle with outline bor- der, and facsimile of autograph. 225 A. WlVELL DEL T . I COCHRAN SCULP T . Stipple. Bust, to left; oval in rectangle. Shakspeare In the collection of the Duke of Buckingham. 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. William Shakespeare. Pub. by Thomas Kelly, 1831. 228 Same Plate. Proof on India paper without the symbolic frame. 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 Milliard, 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. 5^x4*4 237 MCCARTY SCULPSIT. Line. Similar print. Shakspeare. 76 ENGRAVED PORTRAITS 238 ANONYMOUS. Stipple. Similar print. Shakspeare. (From the Chan- das Picture) 239 ANONYMOUS. Stipple, Similar print. From the Chandos Portrait. William Shakespeare. 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 . . . 5%X3?i 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 T . 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 Shake- 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, 2^2 x 2^. 247 ANONYMOUS. Stipple. Bust, to left; background horizontally ruled; rectangle with facsimile of autograph. 3^2 X2^. 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. 3X3M. 251 ANONYMOUS. Stipple. Bust, to left; vignette. Shakspeare. Public par Furne, Paris . . . 78 ENGRAVED PORTRAITS 252 ALBERT-DuviviER Etching. Bust, to right; rectangle. .W. Shakespeare. (> 1 /&X3 7 A. 253 LEOPOLD FLAMENG SCULP. Etching. Bust, to left; oval in rectangle, with facsimile of autograph. "He was not for an age . . ." 22 X \&/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, i^ x 1^5. 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 l /z 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-Hs x i^. 257 Same Plate. Proof on India paper before all let- ters. 258 DE S T OURS DEL. MOITTE SCULP. Line. Half-length, to left; in oval supported on ped- estal by female figure; in temple. 6^x4*4. 259 W. HOLL. Stipple. Three-quarters length, to right; rectangle, with facsimile of autograph. William Shakspeare. 5^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. 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. 2633 Same Plate. Proof before letters and outline frame. 264 LOCATELLI DIS GfiNIANI INC. PER DALLA LlBERA P. ANDERLONI DIRESSE. Line. Bust, to left; rectangle. Collar trimmed with lace and tassels. Shakespear. 7x5. 2643 Same Plate. Proof before all letters. 264b T. STARLING SCULPSIT. Stipple. Bust, to left; rectangle. Shakspeare. 3X2J/2. 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. 5^x3^. Front, to the First American Edition of Shake- speare's Plays and Poems, Philadelphia, 1795. (See book.) 266 ANONYMOUS. Line. Bust, to right; oval. 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.] 4^x 3 ^. 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. 6x3^. 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. Stauffer: 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^x3^. 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, 1831. 83 WILLIAM SHAKESPEARE 276 W. HARVEY. A DICK. Line. Copy of preceding. 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. 4^2X3^4. 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. Copyright 1859. 282 Same Plate. Copyright 1879. 283 H. WRIGHT SMITH PHIL A Stipple. Bust, to left; vignette. Cut close. 84 ENGRAVED PORTRAITS 284 ENG D . BY GEO. E. FERINE. Stipple. Similar print. Shakspere. 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 7 A x 3tt- 287 ENG D 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. 5M X 5- 289 ENG D BY H. B. HALL & SONS N. Y. Stipple. Bust, to left; vignette, with facsimile of auto- graph. 3Hx3}i 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 Shakspeare. 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 BlCKNELL SC Etching. Bust, to left; oval in rectangle. 4^*3M- 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, 177- 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 1610." 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 1618. 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, 19091912. 297 R. EARLOM FECIT Mezzotint. Bust, to left; rectangle, with 17 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 r . C 8:39- B: 119. 5^x4^. Front, to Jennens's edition of King Lear, 1770. 298 R. COOPER. SCULP T . FROM A PRINT BY EARLOM . . . Mezzotint. Similar print, with facsimile of autograph. B: 120. $ l /2 x 4^. Pub. by Sherwood Jones, 1825; front, to Works. 299 Same Plate. With publication line erased. 87 WILLIAM SHAKESPEARE 300 J. R. JOBBINS, DEL T . Stipple. Similar print. Shakespeare. From Earlom's Engraved Likeness . . . 554x4. 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 T . 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. 8:237- B: 118. 4^x3^. Pub. by S. Woodburn, 1811; pi. to his Charac- ters illustrious in British History. 303 R. COOPER, sc. Stipple. Bust, to left; rectangle. Based on preceding print. Wm. Shakespeare. 3^X2^. PL to Bumpus's edition of Works, 1825. 304 J. PASS sc. Stipple. Bust, to left; oval. Shakspeare. Engraved for the Encyclopaedia Londinensis, 1827. 305 Same Plate. Printed in colors. 88 ENGRAVED PORTRAITS 306 H. ROBINSON. SCULP. Stipple. Bust, to left; rectangle, with facsimile of auto- graph. 4^x3^. 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 T . 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 . . . Pub. by Duncombe. 313 ANONYMOUS. Line. Similar print, without age and date. Will. Shakspeare. 3^X2$i Pub. by Griffin & 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. 3tt*3 l /&- Proof on India paper. 316 ENGRAVED BY G. GREATBACH, FROM THE SOMER- SET PORTRAIT. Stipple. Bust, to left, surrounded by characters from his Plays. 8^x6. 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. 320 ENGRAVED BY CONRADE COOKE. Li 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. 322 ANONYMOUS. . Line. Half-length, to left; vignette on page 17 of L 'Album, Rome, 1834. 323 ANONYMOUS. Stipple. Bust, to left; rectangular background with cor- ners rounded. Shakspeare. Caspar Y Roig Editor es. Madrid. 324 LACOUR Sc. DESSINE PAR DEVERIA. Line. Bust, to left; vignette with border of single line. 2^X1^- 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. Pub. by Danlos, Paris. 328 G STAAL INV F D . DELANNOY sc Stipple. Half-length, to left, in fanciful frame decorated with four female figures. Shakespeare. (Essai sur la litterature anglaise) 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^x3^4. 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 H . GREENE . . . Mezzotint. Three-quarters length, full face, resting head on hand; oval in rectangle. W. Shakespere From an original Picture by Zucaro in the Possession of Richard Cosway Esq r . R.A. 334 ENGRAVED BY W. HOLL FROM THE ORIGINAL PIC- TURE ONCE THE PROPERTY OF THE LATE R. CflS- WAY R.A. Stipple, Copy of preceding. Guglielm Shakspeare. B: 143. 4>4><3^. 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 born 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 known 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. 1616. jEtat: 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. 340 ZOUST PINXIT. T. WOOLNOTH SCULPSIT. Stipple. Copy of oval in No. 337. Shakespear. 3^A X2y 2 . Pub. by M. J. Godwin, 1809. 341 ZOUST PINXIT. EDWIN sc. Stipple. American copy of preceding. Fielding: 175. Stauffer: 869. 3^x2^. 342 ANONYMOUS. Line. Copy of bust of No. 337, with profile of Gar- rick; circle. B: 135. i^xi^. 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. VERTUE 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. 6x3^4 . Pub. by Bellamy & Robarts, 1789. 349 Same Plate. Proof before all letters. 350 F. C. BOCK Sc. Line. Copy of preceding; oval. Shakspeare. Front, to Englische Blatter, 1794. 351 S. BENNETT Sc. Line. Bust, to right; rectangle. 97 WILLIAM SHAKESPEARE B: 162. 5^ X 4- Pub. by I. Stockdale, 1807; pi. to Works. 352 MASSOL SCULP T . Stipple. Bust, to right; ruff and ribbon with order of St. George; rectangle. W. Shakspeare. B: 165. 5^X3^- 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 SCULP T . 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 \y 2 . 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. 3^X3^- PI. to Wivell's Inquiry, Ed. 2, 1840. 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 R . Stipple. Bust, to right, in oval frame. Shakspeare. B: 151. 2 l /x \Y^. Pub. by A. Wivell, 1827; pi. to his Inquiry, 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, 5^2 X-3%. On engraved title-page of Poems, Bell, 1774. 362 ANONYMOUS. Line. Similar bust. i^ x * On p. 221 of Lavater's Essays on Physiognomy, 1789- 363 ANONYMOUS. Line. Similar bust, with four other portraits. i#xi#. 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 D . BY P. W. TOMKINS. Stipple. Bust, to left, profile, oval medallion with gar- lands and name on tablet in rectangle. Shak- speare. B: 160. 354 x 2. Pub. by John Sharpe, 1804. 365 G. UPIZ DEL. COUPI Sc. Stipple. Similar bust, in wreath, profile; emblems; rect- angle. Shakespeare. 366 ANONYMOUS. Stipple. American copy of preceding. Shakespere. 2tt*ltt. On title of Works, Philadelphia. 367 THURSTON. DEL. RHODES. SCULP. Line. Similar bust, circular frame with emblems in rectangle. Shakespeare. B: 159- 3tt*2ti. Pub. by Thomas Tegg, 1816. 368 Same Plate. Proof on India paper. 369 J. MILLER SCULP. Stipple. Similar bust, oval. W m . Shakespeare. B: 157. 4M><3}4- 100 ENGRAVED PORTRAITS 370 ANONYMOUS. Line. Bust, in oval, with wrinkled collar and pro- truding chin. 2X I^. Proof. 371 ANONYMOUS. Line. Small bust, to left; on book-plate of David Garrick. Size of bust, ^ x ^. 372 HOGARTH PINX T . J. I. Sc T . Aquatint. Small bust; medallion set in chair. Shakespear Chair. 6^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. 374 A. WIVELL DEL T . W. HOLL SCULP T . Stipple. Half-length, to left; oval. Will. Shakespere. The original Picture is in the possession of Thomas Gilliland, Esqr. B: 142. 3^X3. 101 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, R.A. 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. 6y 2 x$y 2 . 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: 1 02 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 Zincke (See No. 391). 380 ENGRAVED BY ROB T 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^x9. Pub. by Machell Stace, 1811. The Stace impos- ture. 381 Same Plate. Without Shakespeare's name and with Rob*. Cooper, Aquafortis lightly etched. 382 ENGRAVED BY W. HOLL FROM A PRINT BY R. COOPER. Stipple. Copy of preceding. Shakspeare . . . B: 137. 4 1 /&*3 I A. Pub. by A. Wivell, 1827; pi. to his Inquiry, Sup- plement. 103 WILLIAM SHAKESPEARE 383 ROSMASTER BERLIN 1838. Line. Copy of preceding. 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. W M . 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 M . SHARP . . . Line. Copy of preceding; in rectangular frame. W M . Shakspeare. B: 140. 6^x5^. Pub. by J. Dunford, 1816. 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 s . 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. Shak- speare. B: 156. 4^2x3^. 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 SCULP T . Stipple. Bust, full face; oval, with fancy figures and in- scriptions in antique characters. "The earth has bubbles . . ." 8:144. 6^x 4 M. Pub. by A. Wivell, 1827; pi. to his Inquiry, Supplement. The so-called Zincke portrait. THE WESTMINSTER MONUMENT In 1741 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. PL to Hanmer's edition of Works, 1744. 393 ANONYMOUS. Line. Same monument; rectangle. 8:185. 7^x 4 ^. PL to London Magazine, 1751. 394 ANONYMOUS. Line. Same monument, with railing; rectangle. Be- low: Monument of Shakespeare. 5^x3*4. PL to Royal Magazine, 1763. 395 S. WALE DELIN. C. GRIGNION sc. Line. Copy of preceding. Monument of Shakespear. 5^x314. 396 ANONYMOUS. Line. Reduced copy of No. 394. Monument of Shake- speare. 5^x354. 106 ENGRAVED PORTRAITS 397 ANONYMOUS. Line. Same monument; rectangle. Shaksperes Monu- ment in Westminster Abbey. B: 186. 5^ x 3^. Printed for J. Bell, 1787; pi. to Works. 398 ANONYMOUS. Line. Same monument; rectangle. Above: Monu- ment of Shakespear. PI. to Universal Magazine. 399 HULETT SCULP Line. Same monument; rectangle. 400 ANONYMOUS. Line. Same monument; rectangle. 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. 11x7. 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 D . 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. 407 ANONYMOUS. Line. Same statue; vignette. William Shakespeare. Verlag von Friedrich Brandstetter in Leipzig. 5^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. 9x7^4. 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 again" . . . Below: Represents Shakespeare seated between the Dramatic Muse and the Genius of Painting . . . B: 176. 19/^x H/^- Pub. by J. & J. Boydell, 1796; pi. to Works. 410 I. BANKS R.A. FECIT. JAMES STOW SCULP T . Line. Same relief; rectangle. Represents Shakspeare seated . . . B: 177. 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 T . Line. Same relief; rectangle. B: 172. 6^x4^- 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 MECHEL 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^ x 3/4. Proof before all letters. 417 BANKS R.A. FECIT FAUCHERY DEL. A NE . MATHIEU sc. Line. Same relief; rectangle. 5x3^- Pub. by Marchant, Paris. 418 SCRIVEN SCULP T 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. 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. 7*3M- Pub. by J. Asperne, 1804; pi. to European Mag- azine. 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. 4%><354. 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 We ne'er shall look upon his like again; vignette. 6^x4%. Pub. by Bellamy & Roberts, 1791. in 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 o' the earth." Shakespeare. 3*iM- 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. 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. 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, Age 46 1610. In cor- ner,. Lynde. 432 Engraved Portraits of the Early Editors of Shakespeare's Plays. 433 Engraved Portraits of Early Shakespearian Actors. WILLIAM SHAKESPEARE ADDENDA 434 [WILLIAM SABIN] Etching. "The Whistling Shakespeare." Droeshout type, on small sketch of title-page of the First Folio. 435 [FRANCIS KYTE.] Mezzotint. Bust, to left, in oval on plate with oval portraits of Jonson, Milton and Butler. Natus A. D. 1554. Wil m . Shakespear . . . C. S: 13. 13% x 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. W 'ood-engraving. The "Kesselstadt Death Mask." 37/4x25^- On poster of lecture by William Page, Novem- ber 14, 1871. 114 UU5D LIBKMKI University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. Universil Southe Libra