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William Satchwell Leney & Henry Fuseli

William Satchwell Leney and Henry Fuseli - Second Part of King Henry the Fourth Act II Scene IV Doll Tearsheet Falstaff Henry and Poins from the Shakspeare Gallery by John Boydell

Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. Shakspeare Gallery

William Satchwell Leney's original engraving, Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. is based upon a design created by Henry Fuseli for John Boydell's "Shakspeare Gallery. This stipple engraving is printed upon eighteenth century wove paper and with full margins as published by Boydell, London in 1795. It is a 'First Edition Impression" bearing all the fine lines and tonal values of an early first edition impression. Inspired by a William Shakespeare play, Second Part of King Henry the Fourth. Act Two, Scene Four, this scene portrays Sir John Falstaff who has stopped at the Boar's Head tavern run by Mistress Quickly before traveling north to recruit soldiers. Here, Falstaff sprawls his immense body on a large chair, holds a goblet filled with liquor in one hand, and with Doll Tearsheet curled on his lap. He is arguing with both Doll and Pistol, and is also making disparaging remarks against Prince Henry and Edward Poins unaware that they are spying on him disguised as Drawers (barmen). This is a superb, original example of the British art of William Satchwell Leney, Henri Fuseli, and the Boydell Shakespeare Gallery. The text below the image of this proof impression reads;

"Shakespeare. Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. Published March 25th. 1795. by John & Josiah Boydell, at the Shakspeare Gallery, Pall Mall & at No. 90. Cheapside, London. Engraved by Wm. Leney. Painted by Henry Fuseli, R. A.

Dol. I'faith, and thou followd'st him like a church.
Thou whoreson little tidy Bartholomew boar-pig,
when will thou leave fighting o'days, & foining o'nights,
& Begin to patch up thine old body for heaven."

 
Title: Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins.
Engraver: Leney, William Satchwell (London, 1769 - Longue Pointe (Montreal), Canada, 1831)
Designer: Fuseli, Henry (Zurich, 1741 - Putney, 1825)
Date: 1795 (First Edition Impression)
Medium: Original Stipple and Line Engraving
Publisher: John Boydell, London
Source: Shakspeare Gallery
Note: William Satchwell Leney: Born in London, William Satchwell Leney studied engraving and stippling techniques under Peltro William Tomkins. He was extensively employed by John Boydell for his William Shakespeare plates. In 1805 Leney emigrated to New York where he was regularly commissioned by American publishers, receiving a gold medal for his work in 1807.
  In 1820 W. S. Leney moved to the Montreal area where he engraved a series of views of that city and the surrounding area.
  Henry Fuseli and William Blake forever changed the course of British art. Within the somewhat staid, academic atmosphere of late eighteenth century painting these two fiery pathfinders produced imagery of both mystical and psychological intensity. Blake created his art and literature in almost total obscurity and was 'discovered' only after his death. Henry Fuseli (one of his few friends and supporters), however, rose to become one of the most influential artists of the times.
  Born in Switzerland, Fuseli was originally intended for the church. He soon left for Germany and in 1765 went to Britain. In London he was encouraged to practice art by none other than Reynolds. He then went to study the art of the Renaissance masters in Italy for a period of nine years. Returning to London in 1779, Fuseli began his successful career as an artist. In 1788 he was elected an Associate of the Royal Academy, and an Academician two years later. Finally, in 1804, he was appointed Keeper (President) of the Academy.
  Fuseli's interest in Shakespearian imagery lasted throughout his entire career. This no doubt influenced Boydell to commission him for the most important designs of the Shakespeare Gallery, such as the famous engravings based upon the works of William Shakespeare, Midsummer Night's Dream, King Henry The Fourth, Hamlet, MacBeth and King Lear.
  In The Life and Art of Henry Fuseli, Peter Tomory discusses Fuseli's King Henry IV (Falstaff with Doll Tearsheet) in terms of Fuseli's complex sexual imagery. He states of this engraving, "The femme fatale holds and kisses a male head as if it were a sort of trophy".* King Henry IV (Falstaff with Doll Tearsheet) is illustrated on plate 183.
  John Boydell (Shropshire, 1719 - London, 1804): John Boydell is easily one of England's most remarkable 18th century personalities. Born in poverty, he began his career as an at best mediocre engraver of small book plates. At this time England was at a very low ebb as a serious centre for the visual arts (particularly engraving) and Boydell sought to eradicate this situation by beginning a second career as a publisher of fine prints. Modest initial experiments in the 1760's led to a rapid expansion of his business and during the 1770's he published his striking series of mezzotint engravings, Liber Veritas, engraved by Richard Earlom after the drawings of Claude Lorrain. This ambitious undertaking put England back on the printmaking map and was a huge financial success for John Boydell.
  Boydell had now established London as an important publisher for the arts and this once poor and struggling engraver/publisher was acknowledged for his efforts by being elected no less than Lord Mayor of London, in 1791. The same year marked the beginning of Boydell's most grandiose undertaking. His new publishing establishment in Pall Mall, the 'Shakspeare Gallery', began by commissioning the most esteemed painters and engravers in the country to create and design large and expensive engravings based upon the plays and life of William Shakespeare. By this time as well John Boydell's nephew, Josiah Boydell (1752-1817), had joined the firm.
  This monumental venture continued until John Boydell's death thirteen years later. By that time, the Shakespeare Gallery had created and published one hundred and seventy engravings on a grand scale. Alas, the expenses for this vast project had been so large that England's foremost publisher of art ended his life the way he began, dying penniless. Note: During that period, William Shakespeare's name was also spelt, 'Shakspeare', thus the spelling for Boydell's (Shakespeare Gallery) appears printed as 'Shakspeare Gallery'..
  Shakspeare Gallery: William Satchwell Leney, Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins.
 

Shakespeare. Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. Published March 25th. 1795. by John & Josiah Boydell, at the Shakspeare Gallery, Pall Mall & at No. 90. Cheapside, London. Engraved by Wm. Leney. Painted by Henry Fuseli, R. A.

Exeunt Pistol and Bardolph.

Doll Tearsheet. I pray thee, Jack, be quiet, the rascal's gone. Ah, you Woreson little valiant villain, you!

Hostess Quickly. Are you not hurt i' th'groin Methought 'a made a shrewd thrust at your belly.

Enter Bardolph.

Falstaff. Have you turn'd him out a' doors?

Bardolph. Yea, sir. The rascal's drunk; you have hurt him, sir, i'th'shoulder.

Falstaff. A rascal! to brave me?

Doll Tearsheet.. Ah, you sweet little rogue, you! Alas, poor ape, hou thou sweat'st!
Come let me wipe thy face. Come, on, you whoreson chops. Ah,
rogue! I'faith, I love thee. Thou art as valorous as Hector of Troy,
worth five of Agamemnon, and ten times better than the Nine
Worthies. Ah, villain!

Falstaff. Ah, rascally slave! I will toss the rogue in a blanket.

Doll Tearsheet. Do, and thou dar'st for thy heart. And thou dost, I'll canvass thee
between a pair of sheets

Enter Sneak and other musicians.

Page. The music is come, sir.

Falstaff. Let them play; - Play, sirs. - Sit on my knee, Doll. A rascal bragging
slave! the rogue fled from me like quicksilver.

Doll Tearsheet. And thou followedst him like a church. Thou whoreson little
tidy Bartholomew boar-pig, when wilt thou leave fighting o' days
and foining o' nights, and begin to patch up thine old body for heaven?

[Enter behind, Prince Henry and Poins, disguised like Drawers.]

Falstaff. Peace, good Doll! do not speak like a death's head: do not bid me remember mine end.

Inspired by a William Shakespeare play, Second Part of King Henry the Fourth. Act Two, Scene Four, this scene portrays Sir John Falstaff, a corpulent, conceited, cowardly and jovial, old rogue whose only interest in life is to delight himself in such pleasures as sake (drink), women and other fineries of life. He is constantly scheming, and deceiving, a seducer, and a thief who has little regard for the property of others. Before traveling north to recruit soldiers, Falstaff has stopped at the Boar's Head Tavern in Eastcheap, run by Mistress Quickly (one of Falstaff's conquests, but to whom he is highly in debt). Here, Falstaff sprawls his immense body on a large chair, holds a goblet filled with liquor in one hand and with Doll Tearsheet (his favourite foul mouthed, drunken harlot) curled on his lap. He is arguing with Doll Tearsheet, and Pistol (an old, abusive windbag & officer in the army), as well as making disparaging remarks against Prince Henry and Edward Poins. Without his knowledge, the Prince of Wales (son of King Henry the IV) and Edward Poins (Henry's constant companion and accomplice in debauchery) have come to spy on Falstaff disguised as Drawers (tavern men). They overhear Falstaff's comments and confront him, but are stopped short by the call to arms. This is a superb, original example of the British art of William Satchwell Leney, Henri Fuseli, and the Boydell Shakespeare Gallery.

Edition:

This original engraving is a 'First Edition Impression'. 4. 'First Edition Impressions'. The completed set of Boydell's Shakespeare engravings was published in London in 1803. The full publisher's address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling. The text below the image of this proof impression reads;

"Shakespeare. Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. Published March 25th. 1795. by John & Josiah Boydell, at the Shakspeare Gallery, Pall Mall & at No. 90. Cheapside, London. Engraved by Wm. Leney. Painted by Henry Fuseli, R. A.

Dol. I'faith, and thou followd'st him like a church.
Thou whoreson little tidy Bartholomew boar-pig,
when will thou leave fighting o'days, & foining o'nights,
& Begin to patch up thine old body for heaven."

 

An Important Note on Boydell States and Editions: Proof impressions and true first edition impressions are easily identified by their fine lines and strong contrasts of black and white tones. Later more common editions print in a more overall grey tone and contain areas of re-working. Briefly, the publishing history of these great engravings can be categorized into five states or editions:

1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin.
2. 'Proofs Before Title'. These impressions usually contain the names of the artist, publisher and engraver along the lower margin. They lack the title of the specific play depicted and usually the heading -- 'Shakspeare' -- is smaller than in the published edition. Once again, this state was printed in a very small numbers.
3. 'Open Letter Proofs'. These impressions bear the title of the play. the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer's request. Perhaps ten to twenty Open Letter Proofs exist for each engraving.
4. 'First Edition Impressions'. The completed set of Boydell's Shakespeare engravings was published in London in 1803. The full publisher's address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling. Both first edition impressions and proofs were most often printed on either hand-made, laid paper or wove paper bearing the 'J. Whatman' watermark.
5. 'Posthumous Impressions and Restrikes' As early as 1807, John Stockdale of London issued a second edition of the Shakespeare prints. They continued to be published throughout the first half of the nineteenth century. Finally, in 1852, an enterprising dentist in New York City (with the delightful name of Shearjashub Spooner) acquired the plates, restored them and produced the last edition. These prints are most commonly offered for sale.

Size: 22 1/4 X 16 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
  Matted with 100% Archival Materials
Condition: Printed upon eighteenth century wove paper and with full margins as published by Boydell in London in 1795. Containing slight foxing in the outer margins else a vibrant impression bearing all the fine lines and tonal values of an early first edition impression. Second Part of King Henry the Fourth. Act 2, Scene 4. Doll Tearsheet, Falstaff, Henry & Poins. represents a superb, original example of the famous art of Henri Fuseli and of Boydell's Shakespeare Gallery.
Subject: William Satchwell Leney, Henry Fuseli , "Second Part of King Henry the Fourth. Act II, Scene IV" (Doll Tearsheet, Falstaff, Henry & Poins), Sir John Falstaff, Boar's Head tavern, Mistress Quickly, Doll Tearsheet, Pistol, Prince Henry, Edward Poins, British art, Shakspeare Gallery, the Shakespeare Gallery, John Boydell, William Shakespeare, Shakespearean engravings.
Price: Sold - The price is no longer available.
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Original Stipple and Line Engraving by William Satchwell Leney designed by Henry Fuseli (Shakspeare Gallery, John Boydell, London).

First Edition Impression

Second Part of King Henry the Fourth Act II Scene IV Doll Tearsheet Falstaff Henry and Poins Original Stipple and Line Engraving by William Satchwell Leney designed by Henry Fuseli from the Shakspeare Gallery by John Boydell London
Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. Published March 25th. 1795. by John & Josiah Boydell, at the Shakspeare Gallery, Pall Mall & at No. 90. Cheapside, London

View other original engravings by William Satchwell Leney.

William Satchwell Leney (London, 1769 - Longue Pointe (Montreal), Canada, 1831)
# Image Title & Engraver Medium Date Engraver Designer   -
01- As You Like It Rosalind Celia Orlando by William Leney designed by John Downman As You Like It. Act I, Scene II. Before the Duke's Palace. Rosalind, Celia, Orlando & Attendants etc. Charles carried off. by William Satchwell Leney designed by John Downman Original Stipple and Line Engraving (Artist Proof Impression) 1794 William Satchwell Leney John Downman Shakspeare Gallery  
02.- As You Like It The Seven Ages of Man The Sixth Age by William Leney designed by Robert Smirke As You Like It. Act II, Scene VII. The Seven Ages of Man. Sixth Age. Old Age. by William Satchwell Leney designed by Robert Smirke Original Stipple Engraving (Open Letter Proof Impression) 1801 William Satchwell Leney Robert Smirke Shakspeare Gallery  
03.- Paradise Regained Christ and Satan Dispute the Value of Earthly Glory by William Satchwell Leney designed by Riichard Westall Paradise Regained: Christ and Satan Dispute the Value of Earthly Glory. by William Satchwell Leney designed by Riichard Westall Original Stipple Engraving (First Edition Impression) 1795 William Satchwell Leney Richard Westall The Poetical Works of John Milton  
04.- King Henry the Fourth Second Part by William Leney designed by Henry Fuseli Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. by William Satchwell Leney designed by Henry Fuseli Original Stipple and Line Engraving (First Edition Impression) 1795 William Satchwell Leney Henry Fuseli Shakspeare Gallery Sold

View other original 17th and 18th century engravings published by John Boydell & Josiah Boydell for the Shakespeare Gallery in our gallery (Art of the Print / www.artoftheprint.com).

Art of the Print / www.artoftheprint.com

John Boydell & Josiah Boydell

Shakspeare Gallery

 
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As You Like It
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04.- As You Like It. Act V, Scene IV. Rosalind, Celia, Hymen, Duke Senior, Orlando, etc. by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple Engraving (Proof Impression Before Title) 1790  
As You Like It: The Seven Ages of Man
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10.- As You Like It. Act II, Scene VII. The Seven Ages of Man. Sixth Age. Old Age. by William Satchwell Leney William Satchwell Leney (London, 1769 - Longue Pointe (Montreal), Canada, 1831) Original Stipple Engraving (Open Letter Proof Impression) 1801  
11.- As You Like It. Act II, Scene VII. The Seven Ages of Man. Seventh Age. Geriatrics. by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple Engraving (Open Letter Proof Impression) 1801  
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22.- Second Part of King Henry the Fourth. Act II, Scene IV. Doll Tearsheet, Falstaff, Henry & Poins. by William Satchwell Leney William Satchwell Leney (London, 1769 - Longue Pointe (Montreal), Canada, 1831) Original Stipple and Line Engraving (First Edition Impression) 1795 Sold
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47.- Romeo and Juliet. Act I, Scene V. A Hall in Capulet's House. Romeo, Juliet, Nurse, with Guests etc. by Georg Sigmund Facius & Johann Gottlieb Facius Georg Sigmund Facius (Ratisbon, Germany, C. 1750 - London, 1814) & Johann Gottlieb Facius (Ratisbon, c. 1750 - London, 1802) Original Stipple Engraving (Proof Before Title Impression) 1789  
The Tempest
48.- The Tempest. Act I, Scene I. The Enchanted Island: Before the Cell of Prospero. Prospero and Miranda. by Benjamin Smith Benjamin Smith (London, 1754 - 1833) Original Stipple Engraving (First Edition Impression) 1797  
49.- The Tempest. Act V, Scene I. Ferdinand & Miranda playing at Chess. by Caroline Watson Caroline Watson (London, 1760 - Pimlico, 1814) Original Stipple Engraving (First Edition Impression) 1795  
The Alto-Relievo (The frontis-piece for the Shakspeare Gallery set)
50.- Shakspeare seated between the Dramatick Muse and the Genius of Painting. The alto relievo in the front of the Shakspeare Gallery, Pall Mall by Benjamin Smith Benjamin Smith (London, 1754 - 1833) Original Stipple Engraving (First Edition Impression) 1796  
Two Allegorical Engravings (The introductory engravings for the Shakspeare Gallery set)
51.- The Infant Shakspeare. Attended by Nature and the Passions by Benjamin Smith Benjamin Smith (London, 1754 - 1833) Original Line and Stipple Engraving (Spooner Edition 1852) 1799 Sold
52.- Shakspeare Nursed by Tragedy And Comedy by Benjamin Smith Benjamin Smith (London, 1754 - 1833) Original Stipple Engraving (First Edition Impression) 1803  
Troilus and Cressida
53.- Troilus and Cressida. Act II Scene II. Scene, Troy. Cassandra Raving. by Francis Legat Francis Legat (Scotland, 1755 - London, 1809) Original Line Engraving (First Edition Impression) 1795  
Twelfth Night
54.- Twelfth Night. Act V, Scene I. The Street. Duke, Viola, Antonio, Officers, Olivia, Priest & Attendants. by Francesco Bartolozzi Francesco Bartolozzi (Florence, Italy, 1727 - Lisbon, Portugal, 1815) Original Stipple and Line Engraving (Open Letter Proof Impression) 1797  
55.- Twelfth Night. Act III, Scene IV. Olivia's - house. Olivia, Maria. & Malvolio. by Thomas Ryder Thomas Ryder (London, 1746 -1810) Original Stipple Engraving (Open Letter Proof Impression) 1794  
Two Gentlemen of Verona
56.- Two Gentlemen of Verona. Act V, Scene III. A Forest. Valentine, Proteus, Silvia & Julia. by Luigi Schiavonetti Luigi Schiavonetti (Bassano, Italy, 1765 - London, 1810) Original Stipple Engraving (First Edition Impression) 1792  
Winter's Tale
57.- Winter's Tale. Act II, Scene III. Leontes, Antigonus, Lords, Attendants and the Infant Perdita. by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple Engraving 1793 Sold
58.- Winter's Tale. Act III, Scene III. Storm Scene, Antigonus Pursued by a Bear. by Samuel Middiman Samuel Middiman (London, 1750 - 1831) Original Line Engraving (Spooner Edition, 1852) 1793  
59.- Winter's Tale. Act IV, Scene III. Florizel, Perdita, Shepherd, Clown, Mopsa, etc. by James Fittler James Fittler (London, 1758 - Turnham Green, 1835) Original Line Engraving (Proof Impression Before Title) 1789  

Selected Directories in our Gallery (Art of The Print / www.artoftheprint.com), with a focus on the area of interest for this original work of art.
Art of the Print / www.artoftheprint.com sells international fine art. Our collection consists of original paintings, watercolors, drawings, and original prints, such as etchings, engravings, lithographs, woodcuts, silk-screens, aquatints, mezzotints, linocuts, monoprints, and other mediums of original art. All of these works of art have been created by prominent and established painters, illustrators, watercolour artists and printmakers from around the world. The art in our gallery ranges from the early Renaissance period to the modern and contemporary art period. You can view other original artworks similar to the subject under discussion on this page listed in the following art directories.
Century:
Old Master Artist Index The 'Old Master' artist directory contains a selection of original works of art created by international painters, illustrators and graphic artists. These original works date from the Renaissance period to the end of the 1700's.
Fine 19th Century Artist Index The 'Fine 19th Century Art' directory contains a selection original works of art created by international painters, illustrators and graphic artists. These original works date from 1800 to 1899.
Country:
British Artists Index The 'British Art' directory contains a listing of original works of art created by artists from England, Ireland, Scotland and Wales, and or art with a British theme. The artworks date from the 17th century to the 20th century.
Subject:
Theater Portrayed in Art Index The 'Theater Portrayed in Art' directory contains a listing of original works of art depicting activities associated with the theatre, such as, studies of performing artists, plays depicting drama and comedy and a variety of other forms of entertainment on the stage. Categories include portrayals of actors, singers, musicians, dancers, circus and burlesque performers; scenes from various plays; and images related specifically to the plays of William Shakespeare.
Women Portrayed in Art Index The 'Women in Art' directory contains a selection of original works of art with depictions of women in an almost infinite variety of roles, such as women as an object of beauty & desire, at work and of course, motherhood are major themes, as well as many other representations of women have emerged in the fine arts throughout the centuries.


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