Km =^= c __ . Mi :=: o J - - "T 1 !\ — I) _ "™ ™"E! . „ ' 3 = 5 i - > =^= i — 3 i = -n = — — T> _____ - 9 1 ____. j> 8 = ~ ~ ~ - ^_— — _ < 7 " 2884 W69s WILSON SHAKSPERIANA THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES &$a&&i?@K3asg. CATALOGUE OF ALL THE BOOKS, PAMPHLETS, &c. RELATING TO SHAKSPEARE. TO WHICH ARB SUBJOINED, AN ACCOUNT OF THE EARLY QUARTO EDITIONS OP THE ffiwat JBramatt'sfs $Iaps an& ^ocms, THE PRICES AT WHICH MANY COPIES HAVE SOLD IN PUBLIC SALES: TOGETHER WITH A L1>T OF THE LEADING AND ESTEEMED EDITIONS OF SHAKSPEARE'S COLLECTED WORKS. LONDON : PRINTED FOR JOHN WILSON, 21, GREAT MAY'S BUILDINGS, ST. MARTIN'S LANE. 1827. 2. \A)k\ PREFACE. The extraordinary avidity with which every thing bearing reference to the sublime Bard of Avon is welcomed by the Public, was the first inducement that prompted the present undertaking ; which, having been mentioned to, and approved by, a few collectors, led to its ultimate publication. There exists, as it were, a talismanic influence in regard to the most trivial circumstance con- nected with Shakspeare ; and such is the venera- tion inspired by his name, throughout all ranks of society, that it would be little short of profanation to dwell upon the subject of his prolific genius without being tinctured by enthusiasm. Independent of the regular works and tracts hereafter enumerated, there exist such a multipli- city of anonymous communications in the various ENGLISH IV PREFACE. periodical prints, relating to Shakspeare, that any endeavour to enumerate them would prove an endless task. This subject, however, is not con- fined to the contemplation of genius ; Music has equally contributed her aid to immortalize the Bard, from the days of Dr. Blow, who produced the charming airs and choruses in Macbeth, until the present time. It was at first our intention to have incorporated in this Catalogue a list of such compositions ; but, as the labour appertains to one connected with the musical profession, to which we do not aspire, the idea was abandoned as im- practicable. To the fascinations of harmony may be added the prolific efforts of the pencil, which have been, and continue, unremitting in multi- plying illustrations for the countless editions of Shakspeare's works that incessantly emanate from the teeming press. The sculptor's aid has alike been enlisted to perpetuate lineaments that are indelibly graven in the mind's-eye, or in the pro- duction of pleasing allegories, to blazon a fame more imperishable than the bronze or marble. Neither has the poet's revered tomb remained unheeded, from which repeated casts have been taken, for the purpose of enriching the library of - PKF.FACE. the man of refinement and classical taste. Such pleasurable sensations, however, are not only de- rived from the possession of objects which bear the signet of veracity ; even fictitious memorials have charms to rivet the attention and fascinate the regard. Goblets, snuff-boxes, and baubles of various descriptions, sculptured from wood of the real mulberry-tree, have been issued in such quantities, that a forest would have been required for the production of the objects in question. To these may be added modern antique portraits, of which we venture to subjoin an account, under an impression that the detail will not be displeas- ing to the lovers of Shaksperian lore. It cannot be doubted but the transcendent genius, combined with the sterling morality in- culcated by Shakspeare's prolific pen, must uni- formly have ensured to him a train of admirers prior to the days of Garrick. The universal feeling of enthusiasm, however, that now pervades in regard to the works of our dramatist, may, in a great measure, be attributed to the efforts of our English Roscius, who not only appreciated the merits of the Bard in the retirement of his study, but, by a wonderful display of talent in the his- VI PREFACE. trionic art, delineated every human feeling with such irresistible force, that Shakspeare has ever since ranked the unrivalled master of the scenic art. From this statement we may consequently infer, that no attempt at fabricating a portrait of the Poet was ever resorted to by our progenitors, either with a view of exciting curiosity or realizing money through the medium of such an imposi- tion. Later years, however, have multiplied spe- cimens of this description, some of which we will now proceed to enumerate ; not only for the pur- pose of amusing our readers, but that the lovers of Shakspeare may be on their guard respecting the purchase of paintings stated to represent the features of the poet. No. I. FABRICATIONS OF W. H. IRELAND. The first specimens of this description were produced to the world by William Henry Ireland, the youthful fabricator of the Shaksperian Manu- scripts, who was willing that picturesque as well PREFACE. VII as written documents should multiply, and confer a seeming authenticity upon his literary hoax. This gentleman's earliest attempt was a rude pen- and-ink drawing, enclosed in a letter purporting to be written to Shakspeare's friend, Maisterre Richard Cowley, the comedian, the epistle con- taining the same being worded and spelt as follows : — " Dear est e freynde, " Havyxge alwaye accountedde thee a pleasante and wittye personne, ande oune whose companye I doe muche esteeme, enclosedde I ha sente thee a whymsycalle conceite, whiche I doe suppose thou wilte easilie discoverre ; butte, shouldste thou notte, whye thenne I shalle sette thee onne my table of logyr.rrehead.es. " Thyne trewlie, " Wm. Shakspeaiie." The above document had the subjoined super- scription : " Toe Maisterre Rychard Coweyl, " Dwellinge atte oune Masterre Holies, a Draperre. inne the Wattlvnge Streete, Londonne." VIII PREFACE. This epistolary specimen was among the ear- liest compositions handed over by the fabricator to his father, Mr. Samuel Ireland. The drawing was obviously a very rude outline from Droe- shout's print, annexed to the folio edition of Shakspeare's works, various insignificant charac ters being inserted at the corners, as well as on the back of the paper, to throw an appearance of mystery on the document, which was after- wards styled, by the believers in the manuscripts, a witty conundrum. In the Confessions after- wards published by the fabricator, he states, that nothing whatsoever was intended by those deli- neations, although the cognoscenti, and enthu- siastic lovers of Shaksperian lore, construed such ridiculous ebullitions of his boyish pen into va- rious abstruse significations, not one of which had entered his imagination when the drawing was executed. No. II. The next picturesque specimen equally due to young Ireland's fancy, or rather altered by him PREFACE. IX for the purpose of representing Shakspeare, owed its origin to the following circumstance. Chancing to pass one day through Butcher-row, (as the street then stood near the New Church in the Strand,) he saw hanging up for sale, in a broker's shop, an old black frame, enclosing two ancient coloured drawings ; that is to say, the paper had designs on both sides, so that the frame was doubly glazed, in order to show the front and the reverse. As these drawings originally appeared, the one was in all probability the delineation of an old Dutchman, in consequence of the ample dimensions of his short clothes, within the pockets of which either hand was placed. On the other side of the paper was pourtrayed a youthful figure in gay embroidered attire, affording a strik- ing contrast to the plain apparel in which the form on the reverse of the paper was repre- sented : those figures, young Ireland, with every semblance of probability, conceives were origin- ally intended as the delineations of a miserly old fellow, who had accumulated wealth by trade and frugality, which was wantonly dissipated by his heir, in gay apparel and thoughtless extravagance. This drawing, however, the inventive genius of PREFACE. Ireland immediately conceived might be made subservient to his plans ; wherefore, having pur- chased the design, he proceeded to make the fol- lowing alterations and insertions. On one side of the old Dutchman was introduced a pair of scales, while in the corner of the youthful figure, the fabricator delineated the armorial bearings of Shakspeare, which were, however, drawn with so little attention to truth, that the transverse spear was placed in a contrary direction to that pre- scribed in heraldry ; to this were subjoined the titles of several plays of our Bard in red charac- ters, while the physiognomy of the drawing was altered to resemble, as much as possible, the fea- tures of the poet represented in Droeshout's engraving. Having accomplished his wishes, the Butcher- row purchase was handed over by the son to his over credulous parent, when this new document was immediately laid before the numerous in- spectors of the Shaksperian papers. One legal instrument, the first fabrication produced, (being a supposed mortgage deed from Shakspeare to one Michael Fraser) together with prose and poetic effusions having already appeared; this additi- PREFACE. XI onal document, of a picturesque description seemed still to confirm, in a tenfold degree, the validity of the increasing mass of papers. Conjectures, as may reasonably be imagined, were instantly set on foot in regard to those two designs, when, as young Ireland had pre-supposed, the old Dutch- man was pronounced, by the sagacious and the learned, as being an intended representative of Shylock, in consequence of the scales painted in ; while the other drawing was christened the deli- neation of Shakspeare supporting the character of Bassanio in the same drama. It was further sur- mised, that the names of the Plays inserted in the back ground constituted the number and titles of the several pieces of our Poet, which had ap- peared at the time when the portrait was executed, while the Honourable Mr. Byng, a staunch sup- porter of the authenticity of the papers, with many other advocates equally strenuous, did not scruple to assert, that this drawing had no doubt decorated the green-room of the Globe Theatre. In further confirmation of these circumstances, Mr. Hewlet, of the Prerogative-office, whose opi- nion respecting the authenticity of the various manuscript documents had already been pro- XII PREFACE. nounced in their favour, having closely scruti- nized these drawings, fancied he could trace some letters at the bottom of the design. These cha- racters, after magnifying-glasses had been resorted to, were stated to designate the words ' John Hoskins; when, after a most laborious search through all the dictionaries and accounts of painters had taken place, it was*" at length dis- covered that a mediocre designer of that name had practised his art in England, during the reigns of Elizabeth and James, and to his pencil, therefore, were attributed the two performances in cpiestion. Young Ireland, in reference to this last mentioned surmise, gives it as his opinion, no such names had ever been inserted on the drawing ; but that in consequence of the paper being of a very coarse grain, the dark colour used in working in the ground of the design, had assumed a deeper die in those channels, produc- ing the partial appearances of letters, which were ultimately tortured into the christian and surnames above specified. Fac-similes of the pen and ink drawing, stiled the Witty Conundrum; and the above altered designs from the old Dutchman and gallant PREFACE. Xlll youth into Shylock, and Shakspeare as the Bas- sanio of his own Merchant of Venice, are faith- fully given in the large folio volume of the fabri- cated papers published by Mr. Samuel Ireland, and to which we shall again have occasion to advert. No. III. These, however, were not the only productions of young Ireland's pencil, as another specimen of a similar description did exist. This third per- formance is scarcely known, and whether the drawing is still preserved we cannot state, nor if it formed a part of the purchase made by Mr. Dent, who, to the best of the writer's belief, be- came possessed of all the fabrications at the demise of Mr. Samuel Ireland, for the sum of three hundred pounds. The success attending the Butcher-row draw- ings, no doubt led young Ireland to make this final essay of the pictorial kind, during the pro- gress of his fabrications, the same being a large portrait of Shakspeare, in the delineation of which the forger, as usual, made Droeshout's engraving XIV rilEFACK. his model. The performance now adverted to, was executed upon a large skin of ancient vellum, purchased of one Yardley, a well known vender of old deeds, residing near Clare-market, whose shop was frequently resorted to by the youthful fabricator. In making this drawing, a coating of wetted pipe clay was first spread over the vellum, upon which, when dry, the design was sketched, and the colours afterwards laid on ; but, as the drawing when completed, in consequence of the whiteness of the pipe-clay, assumed too modern an appearance, young Ireland took the precau- tion of soiling his work, and creasing it, by which means the pipe-clay being dry and brittle cracked off, and thus produced a mutilated appearance, well calculated to forward the plan of imposition. Such, to the best of our knowledge, constituted the first forgeries of Shakspeare's lineaments, which no doubt gave rise to the many specimens that were subsequently manufactured to satisfy the demands of Shaksperian enthusiasts. PREFACE. XV No. IV. MR. STAGE'S PICTURE. A port rait of Shakspeare, purporting to be painted when he was young, is in the possession of Mr. Machell Stace, of Somerset Place, Little Chelsea. It was engraved by Mr. R. Cooper, in the year 1811, and published under the authority of a respectable subscription. Upon the delivery of the engraved Portrait, printed particulars were at the same time issued, enumerating the different individuals who had possessed it. Of this Picture, the painter of which is unknown, we have only to remark, that Messrs. Boaden and Wyvill conceive it of spurious origin. Ao. V. MR. COSWAY'S PICTURE. Speaking of engraved portraits of Shakspeare, from supposed original pictures, it may not be ir- relevant to notice a quarto mezzotinto plate, en- graved from a picture formerly in the possession of XVI PREFACE. the late Mr. Cosway, which certainly bears some resemblance to the existing engravings of Fletcher, the dramatist, but is, in every respect, dissimilar to Droeshout's print, or any other supposed likeness of the Bard. No. VI. MR. DUNFORD'S PICTURE. This person, also a dealer in pictures, residing in Great Newport-street, Long-acre, equally pos- sessed one of the undoubted originals of the Bard of Avon, first stated to have been painted by Zucchero, which was however produced from the pencil of one Holder, an ingenious and able pic- ture cleaner and repairer, who long resided in the vicinity of the King's Bench prison. The portrait under review was sold by Mr. Dunford for some hundred pounds, to Mr. Evane, a hop-merchant, from which picture two engravings, the one a mezzotinto by Turner, and the other a beautiful line engraving from the burine of Sharpe, were presented to the public. An exact copy of this fabricated document is in the possession of Ed- ward Gray, Esq. of Hornsey, who purchased it PREFACE. xvii of Mr. Foster, the dealer in curiosities, for five guineas. For a long account of the picture in question, we refer our readers to the recent publication of Mr. Wiville, p. 169. No, VIL PORTRAIT OF DR. HARDIES, OF MANCHESTER. No engraving of this performance, originally the portrait of a dancing-master, and altered by Zincke, a very clever picture cleaner and repairer, to a representation of the poet, has been pre- sented to the world. The above artist, who may be justly styled the grand manufacturer of Shak- speare's, in the execution of the present under- taking, has pourtrayed an eagle, bearing a dia- mond in its claw, upon which are delineated the features of the Bard. The picture is by no means void of merit, and was very elaborately descanted upon by Mr. Brockedon, in an article inserted in the Literary Gazette, October 13th, 1818, toge- ther with a poetical effusion from the pen of b \\ 111 PKKl'.W I . Zincke, the fabricator, which he has inscribed upon this effort of his pencil. No. VIII. Mr. WINS IAN LEY, OF LIVERPOOL'S PORTRAIT. To the above mentioned Mr. Zincke, the artist, we are equally indebted for the present painting, who, in its execution, pourtrayed as auxiliaries, witches with broomsticks, in the act of perform- ing incantations, &c. This portrait was pur- chased of Mr. Benton, a pawnbroker in Holborn, for about six guineas, and was esteemed such an undoubted original by Mr. Winstanley, that when made acquainted with its spurious origin, he would not give credit to the assertion, and for aught the writer knows, may, to the present mo- ment, flatter himself with the pleasing idea of of having procured such a prize for a sum so inadequate to its real value. Mr. Winstanley, on the 20th of February, 1819, caused a letter to be inserted in the Literary Gazette respecting the authenticity of his portrait. PREFACE. MX No. IX. MR. HAMILTON'S PORTRAIT. The above gentleman, residing at Dublin, has another portrait of the poet, equally emanating from the talents of Zincke, who, not content with a display of the pictorial art, has, in this instance, added some curious verses and a very facetious history of the picture, which are inscribed on the back of the performance. This bijoux was pur- chased at Neat's, in 'Change Alley, for a very considerable sum of money. No. X. THE HON. H. T. LIDDELL'S PORTRAIT. This picture, which is particularly described in Mr. Wyville's Inquiry, p. 211, &c, was re- paired and manufactured into a resemblance of our Bard, by one Holder. It was sold to the Hon. H. T. Liddell, of Portland-place, by Mr. Lewis of Charles-street, Soho, for thirty-nine W PREFACE. pounds, and for a length of time was reputed an undoubted original. No. XI. MULTIPLICATION OF SHAKSPEARE PORTRAITS. Zincke, whose inventive genius on the subject of Shakspeare never lies dormant, upon one occa- sion became possessed of a picture containing the portraits of a whole family, which he purchased of Mr. Hilder, a picture dealer in Gray's-inn-lane. Some months after, when the latter called upon Zincke, our artist placed the identical canvass before Mr. Hilder, who did not call to mind his former property, on account of the artist having transmogrified every physiognomy from those of the papa and mamma, to the last of the progeny, into so many Shakspeares. Whether this family of Bards was ever sold, has not come to the writer's knowledge. PREFACE. XXI No. XII. THE BELLOWS PICTURE. W e are now arrived at an era in the history of fabrications, when it will be necessary to dwell more at large upon the subject; we shall, how- ever, from motives of delicacy refrain from giving names to the public. A gentleman, long resident in Paris, and who was powerfully imbibed with a love of Shakspe- rian lore, became acquainted with a brother Eng- lishman, who, although conversant with ancient manuscripts, books, &c, was only desirous of reaping pecuniary benefit from speculating in such merchandise. During their frequent inter- views, the name of Shakspeare was often brought upon the tapis, when the value of an original pic- ture of the poet, in case such a gem could be procured, was frequently dwelt upon by the first mentioned gentleman. The latter, ever on the alert in regard to pecuniary benefit, and who frequently made excursions to London, bore these conversations in mind, and when absent upon Wll PREFACE. one of his journeys from the French capital, re- mitted a letter to his friend, in the course of which, he made the following statement. " Apropos, of portraits, I have just received a letter from a French gentleman in Normandy offering me a curious original portrait (a bust) of your own Will Shakspeare. The identity is authenticated beyond all question, by the name mentioned in the legend, carved in old English of the time, on the antique oaken frame." " Report says, it was brought into France by Sir Kenelm Digby, (afterwards Earl of Bristol) in the time of Charles the First. Price asked, is a thousand francs, (forty-one pounds) ; and as this oil painting is known to be the portrait of Shak- speare, less will not be taken. Let me know your opinion. You know I must double my capital if I purchase. The same person has likewise a por- trait of Elizabeth, and some other curiosities ap- pertaining to English history." And in a subse- quent paragraph was added, " If you think the Shakspeare portrait be worth buying, I shall take Caen in my way back to Paris." It is necessary to remark, that the gentleman thus addressed, having been for some years sta- PREFACE. XX111 tionary at Paris, was wholly ignorant as to any frauds having been practised in London on the subject of Shaksperian portraits. In reply, there- fore, to the above, he renewed his statements respecting the value of an undoubted representa- tion of the Bard, adding, that could he be satis- fied respecting its originality, he should feel happy in purchasing such an invaluable relic. As soon as a reply could be forwarded, the same arrived at Paris, commencing with these words : — " I am obliged to you for your letter, offering me eighty pounds sterling for the Shakspeare portrait. It is unquestionably an original paint- ing of the time, from the description given me. The oaken frame is the one half of the exterior of an immense pair of bellows, formerly belonging to Queen Elizabeth. The legend — " WHOME HAVE WE HERE," " STUCKE ONNE THE BELLOWES?"! ! ! " TIIATTE PRYNCE OF GOODE FELLOWES," " WILLIE SHAKSPERE." "OH! CURSTE UNTOWARDE LUCKE," "TO BE THIS .MEAN LIE STUCKE." " POINS." XXIV I'llF.FACE. " NAVE, RATHER GLORIOUS LOTTE" "TO HYMME ASSYGN'D," " WHO, LYKE TH' ALMIGHTIE RYDES" " THE WYNGES OTH' WYNDE." «' PYSTOLLE." Upon the arrival of this bellows picture at. Paris, it certainly presented a very feasible por- trait of Shakspeare affixed; not upon an oaken, but a mahogany frame, of what seemed to have been the upper part of a pair of bellows.* The above poetical effusions are laboriously carved in the wood ; and at the extremity of the frame, on either side, are represented wings, which, when coupled with the motion that takes place in blow- ing a fire, renders the last line, as attributed to Pistol, a very passable effort at wit. * On ascertaining that mahogany, instead of oak or wain- scot, was the wood employed in constructing the supposed bellows cover, some degree of doubt arose in the mind of the purchaser. However, after referring to authorities, it ap- peared that such timber had been introduced into England about the period when the portrait, if original, must have been executed ; and, in consequence, that circumstance pre- sented no feasible objection to the originality of the document in question. PREFACE. XXV All persons conversant with Droeshout's head of Shakspeare, must recollect the unusually lofty and capacious bald forehead that print portrays : now, in this bellows performance, it was obvious there had been much repainting on that part of the picture ; and, in consequence, when presented to the gentleman who had stated himself desirous of possessing it, he remarked, that, prior to pur- chasing, he should wish to have the forehead cleared of such re-paint ; — that stipulation, how- ever, not being complied with, it was understood between the parties, that if, upon cleaning, any imposition became apparent, the purchase was to be null and void. As a long history had been promised, identify- ing the portrait as having belonged to Sir Kenelm Digby, and shewing the manner in which it had passed into the hands of the French gentleman at Caen, frequent applications were made for the same. The vendor, at length, finding it impos- sible to evade these incessant inquiries, confessed that the tale of the gentleman in Normandy was a mere fabrication, as the picture really came from London, having been sold with an immense quantity of rubbish found in some lumber-rooms XXVI PREFACE. at Carlton Palace. It since appears, however, that the original history told in London respecting this bellows relic was, its having belonged to the Boar's Head public-house, in Eastcheap ; but whether it was conceived that such an account would not pass muster with the Englishman in Paris, that tale was not recapitulated in the French capital. We now approach the fatal denouement of this affair. The gentleman who had possessed him- self of the portrait, in order to ascertain its origi- nality, placed the same in the hands of Monsieur Ribet, residing on the Quai de la Ferraille, at Paris ; who may be justly esteemed one of the best cleaners and repairers of old pictures now living: to the care of that artist the bellows portrait was consigned. When, two days after, speeding on the wings of anxious expectancy, to ascertain the result of M. Ribet's operations, conceive the shock experienced by the proprietor, on being told by the artist, that, instead of Shakspeare, his portrait was not even that of a male, but the representation of an old woman! In short, on applying the fatal cotton, dipped in the ingre- dient necessary to clear off the re-paint and dirt. PREFACE. XXV11 away had vanished the broad, high, procreative front of Avon's Bard ; the brown mustaches and expanded ruff having given place, like magic, to a cap decorated with blue ribbons, and a lip unadorned by whiskers, while a kerchief became apparent, modestly overspreading the matronly bosom. This discovery being made, it became neces- sary to think of returning the bellows-concern to the vendor, who was then unfortunately absent upon one of his excursions ; and, in consequence, the following letter was forwarded to his address in London : — " I sit down to write the present in a state of mental perturbation it is impossible for me to describe, and in which I am confident you will partake, on perusal of what follows ; but, in order that you may not remain in suspense, I hereby advertise you to see the scoundrel instantly who sold you the portrait passed off as that of Shak- speare, as it is the deadest fraud and robbery ever committed ; since, in lieu of being the Poet, it is not even a man, but the resemblance of a woman ! You have your remedy at law, as never XXVU1 PREFACE. was a more scandalous fraud committed. On shewing the portrait to Monsieur Ribet, he imme- diately stated that the picture had been painted upon ; and you must remember I always noted the forehead as having been repaired : in fine, the beard, hair, frill, all disappeared in a second ; when, under the upper part of the front, appeared the head-dress of a female. The bellows and poetic accompaniments are all fabricated auxi- liaries, to pass off the deception; and as to the re-paint, M . Ribet will make oath that the whole was of a recent date. The purchase intended to be made by me, was a picture of Shakspeare, and not that of a woman's head painted upon ; I should consequently remit it to you imme- diately, but that I am legally advised to the con- trary, until receipt of your authority to that effect. You can insist on the restitution of your purchase- money : as regards myself, the picture is not worth five shillings. Awaiting, therefore, your immediate reply, directing me how to act, " I am, &c." Fully satisfied with the apparent favourable result of the first picture speculation, the vendor PREFACE. XXIX of old bellows covers occupied himself in London with making fresh researches for Shaksperian portraits. In consequence of this, as new fabri- cations were always to be had when required, it so happened, that at the very juncture when the above communication respecting the fraud of the bellows portrait was travelling to London, a letter from the latter capital was on its way to Paris, containing the following statement, from the ori- ginal holder of that portrait : — " I am promised the particulars of your Shak- speare portrait in a day or two. The gentleman is unfortunately a little way out of town. The account has been written, and promised to the editor of the Literary Chronicle, for publication; but I have begged it may not be printed, as that might injure any intended pamphlet. " I should not have written to you now so soon, had I not to inform you, that I have been so for- tunate as to purchase another Shakspeare por- trait. A miniature — a gem ! — in a most curiously carved frame of the time ; and what makes it more valuable, with an inscription of about fourteen lines of poetry by Ben Johnson ; and signed by XXX PREFACE. him, " Thyne owne Bin Jonson:"!! I thought it right to apprise you of this acquisition immediately, as it may govern you in the disposal of your own. The inscription on the latter is not in basso-relievo, as on yours, but equally, or per- haps, more legible. If you write on the subject, I must get you to give a page or two of descrip- tion to mine. " My price, for the latter portrait, to you, 1250 francs, (more than fifty pounds sterling) " prompt ! If I keep it, I shall expect one hundred guineas for it at least." The lines accompanying the above miniature, were communicated in a subsequent letter, and ran as follow : — " Ah,haplesse, happie youthe, whose luckie faulte ," " Did banyshe thee to fortune and to fame ;" " Hadst thou ne'er fled Grimme Law's assaulte," " Had the worlde echo'd with a Shakspeare's name." " Butte for thy tryck of youth so wylde," " Had we ne'er known thee fancy's chylde" " Butte for the buck's delicious haunch," " With which thou wont to glutt thy paunch." PREFACE. XXXI " Had Trayyck, Comicke, or Historick Muse" " E'er charmed the Brytish Thronge," " We must not, nay we cannot chuse," " Butte saye to naughtie appetyte," " To thee we owe oure soules delyghte" " To thee the pray r belonge." " Thyne" " Owne" " B. Jonson." Had no discovery respecting the first portrait taken place, this speedy notification of a second picture of Shakspeare, would have opened the eyes of the purchaser of the former. However, a letter soon after arrived, wherein it was stated, that the old woman on the bellows top would be taken back, providing the whole was put in status quo ; that is to say, a lofty forehead introduced to conceal her cap, while the beard, ruff, and male costume were to be repainted, restoring the Bard to all his pristine glory. This task M. Ribet ac- cordingly undertook, and on the completion of his work, he so far outrivalled Zincke, that it was absolutely impossible for a considerable time to perceive any re-painting had taken place, nor is \\\li PREFACE. it, therefore, astonishing that the imposition sub- sequently practised, should have been crowned with such complete success. In this manner terminated the affair of the bellows picture, as regards the first acquirer of the same in Paris ; on the second disposal of the portrait, however, more sterling benefit accrued to the vendor. The fabrication having been so com- pletely re-produced by M. Ribet, as before men- tioned ; the bellows cover was once more set in play, so adroitly, as to be presented to the late justly celebrated Talma, the French tragedian, who swallowed the bait, and became proprietor of the property for the sum of two hundred pounds. It is necessary to remark, that the gentleman who had returned the fabrication, having been some time removed from Paris, was wholly unacquainted with these transactions, until after M. Talma became the dupe, otherwise the cheat would have been prevented. M. Talma, as fully impressed with a veneration for our Bard as any English- man could have been, and duly appreciating the value of the supposed relic, for which he had paid so liberally, bestowed upon it a sumptuous deco- ration, lined with velvet, the whole being enclosed PREFACE. XXXU1 in a mahogany case. Such has been the envied lot of this fabricated bellows portrait. Previous to the death of Monsieur Talma, he was, on more occasions than one, made acquaint- ed with the spurious origin of his picture, which he would not, however, credit until a short time before his final illness, when, the writer is credibly informed, he became aware of the fact. On the disposal of that gentleman's property, all the Parisian fashionables attended, the grand object of attraction being the bellows picture. During the sale, it was stated, that the painter was a Flemish artist, of the name of Porbus ; that M. Talma had refused a thousand napoleons for the portrait ; and that on one occasion, when the tragedian had been visited by Mr. Charles Lamb, the latter, being shown the picture, fell upon his knees, and kissed it with idolatrous veneration. This dexterous forgery was knocked down at three thousand one hundred francs, about one hundred and thirty pounds sterling; and, by way of terminating this singular history, has been transported to London by the un- fortunate acquirer, who conceives himself pos- sessed of the only authentic likeness of Shak- c \\\l\ . PREFACE'. speare, fdr which he expects an exorbitant sum of money. Having 1 before mentioned that another minia- ture, with lines by Ben Jonson, had been an- nounced, we have further to add, that the per- formance adverted to, as well as the lines annexed, proved of Mr. Zincke's manufacture. This and the bellows hoax were originally sold by that artist to Mr. Foster, the well-known dealer in curiosities, who in the first instance disposed of this bellows cover to the English gentleman from Paris, for the mediocre sum of five guineas ; not palming it off for an original, but a mere modern antique, intended as a memento of the Bard. To the foregoing might be added a long list of other fabricated pictures of Shakspeare ; but it is conceived that these specimens, which rank among the most prominent, will suffice to convince the reader, that in his research after pictures of the Bard, it is necessary to be like Argus — all eyes. There was exhibited for sale another of Zincke's originals; a very so-so performance, with verses on the back, which was to be seen at Mr. Reid's, the bookseller, Charing-cross. Having said so much on the subject of manu- PRF.FACE. XXXV factured pictures, or modern antiques, we cannot help noticing the Felton portrait, from which different engravings were made, and sold by Richardson, the printseller. Concerning this performance, on which opinions have been greatly divided, we are indebted to the acumen of Mr. Wivell, as detailed in his Inquiry, for a series of statements, which certainly confer originality on that picture. We in particular allude to his dis- covery of the initials being R. B. instead of R. N. on the back of the panel, tending to prove that it was painted by Richard Burbadge, the player, who, it appears from tradition, was an artist, and painted Shakspeare's portrait. This likeness of the Bard, now in the possession of George Nicol, Esq., of Pall-mall, is most beautifully engraved by J. Cochran, being one of the plates illustrative of Mr. Wivell's work; partaking alike of a re- semblance to Droeshout's engraving and the monumental bust at Stratford-on-Avon. We further beg to call the reader's attention to a miniature that was exhibited among a collection of portraits in Leicester-square, in 1 826, being executed in oil, within a concave, enamelled, golden locket, which had formerly been the property of KXXV1 PREFACE. the famous H. Constantine, (otherwise Dog Jen- nings,) of Battersea. By that gentleman it was vested, together with a missal by Julio Clovis, in the hands of a Mr. Webb, for the loan of seven hundred pounds. It subsequently fell into the possession of Mr. Foster, the vender of curiosities, by whom it was sold to Mr. Wise, of Long-acre ; then to Mr. Gale, the bookseller, of Bruton-street, proprietor of the exhibition in Leicester-square ; and, on the breaking up of that collection, became the property of Charles Auriol, Esq. of Park- street, Grosvenor-square, its present possessor. This miniature is said to have been traced, by Mr. Jennings, to the family of Lord Southampton; and to the bottom was appendent, when seen by the writer, a pearl ; intending to infer, no doubt, that the original was the Pearl of Men. It is with great diffidence we venture to give an opinion on a point of so much delicacy as the present; but we must candidly confess there appears upon the face of this picture a stamp of undoubted originality. Having concluded this catalogue of the leading forged representations of the divine Dramatist, it becomes obvious, from our narrative, that impo- PREFACE. XXXVII sition is even tolerated, in regard to Shakspeare ; since the possessor of an avowed forgery is not ashamed of cherishing the deceit, as if it were undeniably original. This fervor, so predomi- nating over the national feeling, is not, however, confined to our own country: in France, the whole dramatic works of Shakspeare were trans- lated into prose, by Le Tourneur, in twenty volumes octavo, published in 1776; and Ducis has acquired great fame by imitating him in verse; in Germany, flB9E|S9B3\YiL'la>i 24 SHAKSTERIANA. 124. A Comparative Review of the Opinions of Mr. James Boaden (Editor of the Oracle), in February, March, and April, 1795 ; and of James Boaden, Esq. (Author of Fontainville Forest, and of a Letter to George Steevens, Esq.), in February, 1796, relative to the Shakspeare MSS. By a Friend to Consistency, [Mat. Wyatt, Esq. Publ. 3rd Feb. 1796.] 8vo. n. d. 125. Vortigern under Consideration, with ge- neral Remarks on Mr. James Boaden's Letter to George Steevens, Esq. relative to the Manuscripts, Drawings, Seals, &c. ascribed to Shakspeare, and in possession of S. Ireland, Esq. [By W. C. Oulton, Esq. Publ. 15th Feb.] 8vo. 1796. 126. Precious Relics ; or, the Tragedy of Vor- tigern Rehearsed ; written in imitation of the Critic. [Anonymous. Published 15th March.] 8vo. 1796. 127. An Inquiry into the Authenticity of cer- tain Miscellaneous Papers, published Deer. 24, 1795, and attributed to Shakspeare, Queen Eli- zabeth, and Henry, Earl of Southampton. By Edmund Malone, Esq. 8vo. 1796. [Published 30th March.] There were a few copies printed on a superior paper, for presentation; one of which sold for 1/. Is. at the sale SH.iKSPERIANA. 25 of Mr. Steevens' library, and another for 2/. 4s. at Mr. BinJley's sale. This volume not being ready for publication prior to the performance of Vortigern and Rowena, at Drury Lane Theatre, Mr. Malone caused a hand-bill to be distributed at the doors of the playhouse, on the night of representation, wherein he cautioned the audience to beware of the fraud, which would be proved in his forthcoming publication. In order, there- fore, to do away the impression such a document was likely to produce, Mr. Samuel Ireland caused a counter-paper to be delivered, wherein he requested that all persons attending the representation of Vortigern would lay aside any pre- judices that might arise in consequence of the invidious attack on the part of Mr. Malone. The documents in question are now of the greatest rarity. 128. Authentic Account of the Shaksperian Manuscripts. By W. H. Ireland. 8vo. 1796. [Published 10th December.] " Only five hundred copies were printed ; and so rare have tbey now become, that a single impression of the pamph- let lias been known to sell in a sale-room for the sum of one guinea." — Ireland's Confessions, p. 263. The pamphlet in question is still considered of great rarity, and uniformly commands a high price. Indeed, such was the inquiry after this Tract, a few years subsequent to its pub- lication, that Mr. Barker, of Russell Street, reprinted about fifty copies, in imitation of the original, all of which sold at 26 SHAKSPE1UANA. the same advanced prices ; a circumstance never before made known to the public. A copy sold at the sale of Mr. Rhodes' library (April, 1825) for 16*. 129. Sir John Falstaff's Letters. Dedicated to Sammy Ireland. 12mo. 1796. 1 30. Essays. By a Society of Gentlemen at Exeter. 8vo. Exeter, 1796. 131. Mr. Ireland's Vindication of his Conduct, respecting the Publication of the supposed Shak- speare MSS. ; being a Preface or Introduction to a Reply to the Critical Labours of Mr. Malone, &c. 8vo. 1796. [Published 6th Jan. 1797.] 132. Observations on Hamlet, and the Motives which induced Shakspeare to fix on the Story of Amleth. By James Plumptre, M. A. Svo. Cambridge, 1796. 133. An Investigation of Mr. Malone's Claim to the Character of Scholar or Critic ; being an Examination of his " Inquiry into the Authenti- city of the Shakspeare MSS., &c." By Samuel Ireland. 8vo. n. d. [Published August, 1797.] 134. An Apology for the Believers in the Shakspeare Papers, which were exhibited in Nor- SHAKSrERIANA. 27 folk Street, London. By George Chalmers. 8vo. 1797. 135. Remarks on Shakspeare's Tempest. By Charles Dirrill, Esq. [Richard Sill.] 8vo. 1797. 136. An Appendix to Observations on Hamlet; being an Attempt to prove that Shakspeare de- signed that Tragedy as an indirect Censure on Mary Queen of Scots. By James Plumptre, M.A. 8vo. 1797. 137. Original Letters, &c. of Sir John Fal- staff; selected from Genuine MSS., which have been in the possession of Dame Quickly and her Descendants. 12mo. 1797. 138. Passages, selected by Distinguished Per- sonages, on the great Literary Trial of Vortigern and Rowena, a Comi-Tragedy ; " Whether it be, or be not from the immortal Pen of Shakspeare." 4 vols. 12mo. n. d. [1798.] These characters (the productions of the deceased Sir Bate Dudley and his lady) were, in many instances, very happy imitations of the Shaksperian style. It was the celebrity thereby acquired by the " Morning Herald " that prompted Peter Stewart, then proprietor of the " Oracle " newspaper, to employ W. H. Ireland to write for his diurnal print ; for which, among other contributions, he produced a series of numbers entitled the Shaksperian Hunt ; being deli- 28 SHAKSPERIANA. neations of the characters of many of the leading political and fashionable personages of the day. 139. Comments on the Plays of Beaumont and Fletcher; with an Appendix, containing some further Observations on Shakspeare, ex- tended to the late Edition of Malone and Steevens. By the Right Hon. J. Monck Mason. 8vo. 1798. 140. Essays on some of Shakspeare's Dramatic Characters ; with an Essay on the Faults of Shak- speare. By W.Richardson. 8vo. 1797; 8vo. 1798. This volume contains a reprint of the Author's Works, published in 1774, 1784, and 1789, (see No. 66, 85, and 98.) It was afterwards reprinted in 1812, " With an Illustration of Shakspeare's Representation of National Characters, in that of Fluellen ; with two original Letters to the Author, from Mr. Burke, consisting of Observations on Shakspeare, &c." never before printed. * 141. The Wreath; to which are added, Re- marks on Shakspeare, &c. By Edward Dubois. 8vo. 1799. 142. A Supplemental Apology for the Be- lievers in the Shakspeare Papers. By George Chalmers. 8vo. 1 799. [Published in July.] 143. Vortigern, an Historical Tragedy, repre- SHAKSPERIANA. 29 sented at the Theatre Royal, Drury Lane ; and Henry the Second, an Historical Drama, sup- posed to be written by the Author of Vortigern. 8vo. n. d. [1799.] These Dramas, published together, by Barker, of Russell Street, at 3s. 6d. having become extremely rare, it has been intimated to us that Mr. W. H. Ireland intends reprinting them, with a preface and other curious documents, accompa- nied by an engraving of himself. For this we cannot, how- ever, vouch, merely giving the information as we received it. 144. An Appendix to the Supplemental Apo- logy for the Believers in the Supposititious Shak- speare Papers. By George Chalmers. 8vo. 1800. 145. Chalmeriana; or, a Collection of Papers, Literary and Political, entitled, Letters, Verses, &c. arranged by Mr. Owen, Jun. assisted by Mr. Jasper Hargrave. Reprinted from the Morn- ing Chronicle. 8vo. 1800. 146. Historical Account of the Rise and Pro- gress of the English Stage, and of the Economy and Usages of the Ancient Theatres in England. By Edmund Malone, Esq. Basil, printed and sold by J. J. Tourneisen, 1800. This work is a reprint from the Prolegomena to Mr. Ma- lone's edition of Shakspeare. 30 SHAKSPEIUANA. 147. The Editor, the Booksellers, and the Critic, an Eclogue, from No. XII. of Chalme- riana. 8vo. 1800. [Published in May.] Supposed to be written by the Author of the " Pursuits of Literature," 148. Catalogue of the Books and Curiosities of Samuel Ireland, including a List of the Shakspe- rian Forgeries. 8vo. 1801. 149. Chronology of Shakspeare's Plays. By Edmund Malone. 18mo. n. d. 150 Another Essence of Malone; or, the Beau- ties of Shakspeare's Editor. In 2 parts, 8vo. 1801. There was another tract published under this title, " Es- sence of Malone ; or the Beauties of Dry den's Editor." 8vo. J 800, and reprinted again, with additions, in the same year. 151. School for Satire; containing" Capell's Ghost, to Edmund Malone, Esq. Editor of Shak- speare," a Parody. 8vo. 1802. 152. An Attempt to Illustrate a few Passages in Shakspeare's Works. By J. T. Finegan. 8vo. Bath, 1802. 153. The Shaksperian Miscellany. By F. G. Waldron. 4to. 1802. 154. Remarks on Mr. John Kemble's Per- SUAKSPEIUANA. 31 formance of Hamlet and Richard III. by the Author of " Helen of Glenross." 8vo. 1802. 155. Michel Ange en rapport avec Shakspeare. 8vo. Lond. 1802. 156. A Complete Verbal Index to the Plays of Shakspeare. By Francis Twiss, Esq. 2 vols. 8vo. 1805. The greater part of the impression of this Work was destroyed by fire ; the remaining copies are therefore scarce, and bear a high price. A copy sold at Mr. Bindley's sale for 41. 14s. 6d., and at Mr. Field's for 21. 17s. 157. Notes upon some of the Obscure Pas- sages in Shakspeare's Plays. By Lord Chedworth. 8vo. 1805. Privately printed, for presentation. A copy sold at Mr. Bindley's sale for 18s. 6d. 158. Remarks, Critical, Conjectural, and Ex- planatory, upon the Plays of Shakspeare. By E. H. Seymour. 2 vols. 8vo. 1805. Of this work copies were printed on large paper. 159. The Confessions of William Henry Ire- land ; containing the Particulars of his Fabrication of the Shakspeare Manuscripts, together with Anecdotes and Opinions (hitherto unpublished) of 32 SIIAKSTERIANA. many Distinguished Persons in the Literary, Poli- tical, and Theatrical World. 8vo. 1805. 160. History and Antiquities of Stratford-upon- Avon ; comprising a Description of the Collegiate Church, the Life of Shakspeare, &c. By R. B. Wheler. 8vo. n. d. 161. Comments on the several Editions of Shakspeare's Plays. By the Right Hon. J. Monck Mason. 8vo. Dublin, 1807. Of this production only 250 copies were printed. 162. Illustrations of Shakspeare, and of An- cient Manners, with Dissertations on the Clowns and Fools of Shakspeare, on the Gesta Romano- rum, and on the English Morris Dance. By Francis Douce, Esq. 2 vols. 8vo. 1807. 163. Comments on the Commentators of Shak- speare. By Henry James Pye, Esq. 8vo. 1807. 164. Tales from Shakspeare. By C. Lamb. 2 vols. l2mo. 1807. Reprinted in 1816, and again in 1822. 165. An Examination of the Charges main- tained by Messrs. Malone, Chalmers, and others, of Ben Jonson's Enmity, &c. towards Shakspeare. By O. Gilchrist, Esq. 8vo. 1808. SHAKSPERIANA. 33 166. Short Notes on Shakspeare, by way of Supplement to Johnson, Steevens, Malone, and Douce. By S. Weston. 8vo. Privately printed, 1808. A copy sold for 11. 13s. at Mr. Sabine's sale, Feb. 1820. 167. An Account of the Incidents from which the Title and Part of the Story of Shakspeare's Tempest were derived, and its true Date ascer- tained. By Edmund Malone. 8vo. 1808. This Tract was not published. Only eighty copies w ere printed, for private distribution ; one of which sold at Mr. Rhodes' sale at 21. 3s. 168. Appendix to the above Tract. 8vo. 1809. It is said that only twenty copies of this production were printed. 169. Studies of Shakspeare, No. I, being all that teas published. 12mo. Lincoln, 1809. 170. Annotations on the Plays of Shakspeare, [Johnson and Steevens' Edition.] By John Croft. 8vo. York, 1810. 171. Avon, a Poem, in Three Parts. By the Rev. John Huckell. 12mo. 1811. 172. Tour in Quest of Genealogy, through several Parts of Wales, Somersetshire, and Wilt- n 34 SIJAKSl'ERIANA. shire, &c. ; with curious Fragments from a Manu- script Collection ascribed to Shakspeare. 8vo. 1811. 173. Aphorisms from Shakspeare. By Capel Lofft. 8vo. Bury, 1312. 174. An Essay on the Character of Henry the Fifth, when Prince of Wales. By Alexander Luders, Esq. 8vo. 1813. 175. Explanations and Emendations of some Passages in the Text of Shakspeare, and of Beau- mont and Fletcher. By Martinus Scriblerus. 8vo. Edin. 1814. 176. Inquiry into the Incidents from which the Title and a Part of the Story of Shakspeare's Tempest were derived, and its true Era ascer- tained. By Mr. Chalmers. 8vo. 1815. r Only forty copies were printed, for presentation ; one of which sold, at Mr. Rhodes' sale, for 31. 13s. 6d. 177. Shakspeare's Himself Again ; or, the Lan- guage of the Poet asserted : being a full but dispassionate Examin of the Readings and Inter- pretations of the several Editors. By Andrew Becket. 2 vols. 8vo. 1815. 178. Lectures on Dramatic Art and Literature. SH.\KSPERI ,\X.\. O.J By A. W. Schlegel : translated by J. Black. 2 vols. 8vo. 1815. 179. Shakspeare's Jest-Book ; viz. Tales and Quick Answers : very merry and pleasant to rede, &c. 3 Parts, 8vo. Chiswick, 1814-15. Only 250 copies printed. 180. Remarks on the Monumental Bust of Shakspeare, at Stratford-upon-Avon. By J. Brit- ton, Esq. 8vo. 1816. 181. Essay on Macbeth and Richard III. By .1. P. Kemble. 8vo. 1817. 182. Characters of Shakspeare's Plays. By William Hazlitt. 8vo. 1817. 183. Shakspeare and his Times ; including the Biography of the Poet, Criticisms on his Genius and Writings, &c. and a History of the Manners, Customs and Amusements, Superstitions, Poetry, and Elegant Literature of his Age. By Nathan Drake, M. D. 2 vols. 4to. 1817. Small paper copies were published at 51. 5s. and the large paper at 11. Is. 184. Remarks on the Life and Writings of William Shakspeare. By John Britton, F. S. A. 8vo. 1818. Not printed for sale, and only fifty copies thrown off. 36 SHAKSPERIANA. 185. Histrionic Topography; or, the Birth- places, Residences, and Funeral Monuments of the most Distinguished Actors. 8vo. 1818. 186. The Progress of Human Life: Shak- speare's Seven Ages of Man, illustrated by a Series of Extracts, in Prose and Poetry; intro- duced by a Brief Memoir of Shakspeare and his Writings. By John Evans, A. M. 8vo. Chiswick, 1818. 187. A Few Concise Examples of Seven Hun- dred Errors in Shakspeare's Plays, now corrected and elucidated. By Z. Jackson. 8vo. 1818. Reprinted under the following title. 188. Shakspeare's Genius Justified; being Restorations and Illustrations of Seven Hundred Passages in Shakspeare's Plays. By Z. Jackson. 8vo. 1819. 189. Hamlet and As You Like It: a Specimen of a New Edition of Shakspeare. By Mr. Cal- decott. royal 8vo. 18 J 9. Only 100 copies printed. 190. Annotations on the Plays of Shakspeare. 2 vols. 8vo. 1819. Of this work copies were printed on large paper. SHAKSPERI ANA. 37 191. Analysis of the Illustrated Shakspeare of Thomas Wilson, accompanied by a Portrait of George Harris, in the Character of Cardinal Wol- sey, from the original, supposed unique, folio, 1820. Of this work only twenty-five copies on large paper were printed. 192. The Life of Shakspeare, by Edmund Malone, Esq. ; with an Essay on the Phraseo- logy and Metre of the Poet and his Contempora- ries. By James Boswell, Esq. 8vo. 1821. This forms part of the first and the whole of the second volume of Malone's edition of Shakspeare, published in 1821, in 21 vols. 8vo. Of this portion twenty-one extra copies, on fine paper, were struck orT at the express wish of the Editor, James Boswell, Esq. for presentation to his friends. 193. A Glossary ; or, a Collection of Words, Phrases, Names, and Allusions to Customs, Pro- verbs, &c. which have been thought to require Illustration, in the Works of English Authors, particularly Shakspeare and his Contemporaries. By Archdeacon Nares. 4to. 1822. Published at 21. 1 5s. 194. Bowdler's Letter to the Editor of the Bri- tish Critic, on the Censure of the Shakspeare Commentators. 8vo. 1823. 38 SHAKSPERIANA. 195. Life of Shakspeare ; Inquiries into the Originality of his Dramatic Plots and Charac- ters; and Essays on the Ancient Theatres and Theatrical Usages. By Augustine Skittowe. 2 vols. 8vo. 1824. 196. An Inquiry into the Authenticity of Va- rious Pictures and Prints, which have been offered to the Public as Portraits of Shakspeare. By J. Boaden, Esq. With five Portraits. 8vo. 1824. Published at 15s. There are copies on large paper, 4to. with proof impres- sions of the plates on India paper, published at 1/. lis. 6d. 197. Dictionary of Quotations from Shakspeare. 12mo. 1824. 198. Historical and Descriptive Account of the Birth-Place of Shakspeare. By R. B. Wheeler. With Lithographic Illustrations by C. F. Green. 8vo. Stratford-upon-Avon, 1824. 199. Views of Stratford-upon-Avon Church, in Warwickshire ; containing the Monument of the Immortal Shakspeare, &c. By J. P. Neale. 8vo. 1825. 200. Supplementary Remarks on the Editions of Shakspeare, by Reed and others ; with occa- SHAKSTERIAiVA. 39 sional Illustrations of some Obscure and Disputed Passages. By John Sherwin, M. D. 2 vols. 4to. 201. Mr. Wivell's Account of his Portrait of Shakspeare, from the Stratford Bust. 8vo. 1825. 202. Correct Detail of the Ceremonies attend- ing the Shaksperian Gala, celebrated at Stratford- upon-Avon, on Monday, Tuesday, and Wednesday, April 23, 24, and 25, 1827 ; together with some Account of " Garrick's Jubilee," in 1769. By J. Jarvis. 8vo. Stratford-upon-Avon, [1827.] 203. Historical Account of all the Portraits of Shakspeare that have been generally considered the most Genuine, together with every Particular which can be collected respecting them ; also Critical Remarks on the Opinions of Boaden, Malone, Steevens, &c. &c. ; to which are added, some curious and interesting Particulars of the various Fabricated and Spurious Pictures of the Poet, which have been foisted upon the Public of late Years, &c. By Abraham Wivell, Portrait Painter. 8vo. With six Portraits, and a Fron- tispiece of the Monument at Stratford-upon-Avon, 1827. Of the above work five hundred copies are printed, fifty 40 SHAKSPER1ANA. of which contain the plates on India paper, and only twenty- five sets on a folio size. While prosecuting his researches, Mr. Wivell has ad- verted to the fabricated portraits which have appeared ; that subject, however, being only a secondary consideration in the labours of the gentleman in question, is consequently less diffuse, in many instances, than the statements on the same subject contained in the prefatory matter prefixed to the present Catalogue. Work omitted, under the year 1791. 204. Letter on Boydell's Edition of Shakspeare's Works. By Mr. Nicol. 4to. 1791. UNIVERSITY OF CALIFORNIA. LOS ANGELES THE UNIVERSITY LIBRARY This book is DUE on the last date stamped below iflR 1 2 19531 *° V * 87958 jm DEC 2 3 tg^ OEC2 31975, ! . 1 THE LIBRARY IWrvERSfrY o galtformK AA 000 353 098