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Samuel Middiman, Robert Smirke & Joseph Farington

Samuel Middiman Robert Smirke and Joseph Farington First Part of King Henry the Fourth The Road by Gadshill Prince Henry Poins Peto Falstaff from the Shakspeare Gallery by John Boydell

First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. Shakspeare Gallery

Samuel Middiman original engraving, First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. is based upon a design created by the British artists, Robert Smirke & Joseph Farington. It is an original 'Artist Proof Impression' printed upon eighteenth century laid paper as published for the "Shakspeare Gallery" by Boydell, London in 1797. 'Artist Proofs' are the earliest of states 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. It is a superb, original example of the Shakespearean art of Samuel Middiman, Robert Smirke, Joseph Farington and the famous Boydell Shakespeare Gallery. This original engraving represents a William Shakespeare play, First Part of King Henry the Fourth. Act Two, Scene Two. The Road by Gadshill. It depicts Sir John Falstaff, and his three partners in crime, Peto, Gadshill and Bardolph preparing to commit a highway robbery on to The Road by Gadshill. However, they are not aware that Prince Henry (King Henry's oldest son), and Edward Poins (Prince Henry's constant companion and accomplice in debauchery) are planning to rob the robbers. Note: As this is an original proof impression, it lacks the following text that appears in later impressions.

Shakspeare. First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. Publish'd Septr. 29. 1797. J. & J. Boydell, at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Engraved by Saml. Middiman. Painted by R. Smirke, R. A. & Joseph Farington, R. A.

Fal. Come, my masters, let us share, and
then to horse before day. An the Prince and Poins be not two arrant cowards' there's
no equity stirring: there's no more valour
in that Poins than in a wild duck
P. Hen. Your money! [Rushing out upon them.
Poins. Villains!

 
Title: First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc.
Engraver: Middiman, Samuel (London, 1750 - 1831)
Designer: Smirke, Robert (Wigton, 1752 - London, 1845)
Designer: Farington, Joseph (Lancashire, 1747 - 1821)
Date: 1797 (Artist Proof Impression)
Medium: Original Line Engraving
Publisher: John Boydell, London
Source: Shakspeare Gallery
Note: Samuel Middiman: A highly regarded engraver, Samuel Middiman first studied printmaking techniques under William Byrne, in London. He then finished his education by studying stippling, under Francesco Bartolozzi, and engraving, under William Woollett. Middiman both etched and engraved large plates after Joseph Wright, Gainsborough, Hearne, Berchem, Smirke and others. He was also much admired for his topographical art which appeared in Select Views in Great Britain (1784-1792) and Picturesque Views and Antiquities of Great Britain (1807-1811).
  Beginning in 1773 Samuel Middiman was a frequent exhibitor at the Spring Gardens, the Free Society and the Royal Academy. His engraved art after William Shakespeare plays create for Boydell's Shakspeare Gallery is cited as being among his finest contributions. In these large engravings (such as this original example), Middiman is often compared to the great engraver, William Woollett. In First Part of King Henry the Fourth, Middiman employs the famous technique of 'worm line' engraving which was introduced by Woollett. Basically this demanding technique builds strong tonal contrasts by employing a multitude of curving lines. This technique is seen to its finest in First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc., where this night scene on the road to Gadshill is rendered with dramatic variations of light and dark.
  Robert Smirke: A painter of humorous and sentimental subjects, Robert Smirke became a student of the Royal Academy, London, at the age of nineteen. From 1786 he was a regular exhibitor at the Royal Academy and was elected a full Academician in 1792.
  During his career Smirke illustrated such classics as 'Don Quixote', the 'Arabian Nights', 'The Hunchback' and many scenes from both Shakespeare and the Bible. Smirke was commissioned by Boydell to produce designs illustrative of Shakespeare's comedies and history plays.
 

Joseph Farington: A Fine English landscape illustrator and painter, Joseph Farington studied under Richard Wilson. Farington was a member of the Society of Antiquaries, the Society of Artists of Great Britain and a founding member of the Royal Academy in London. He illustrated such books as, "Views of Somerset Place, Including the Adelphi, etc" by Joseph Constantine Stadler; Joseph Farington; William Byrne" by William Byrne, (1791), "The Lakes of Lancashire, Westmoreland and Cumberland" delineated in forty-three engravings from drawings by J. Farington , Thomas Hartwell Horne, London (1816), "Britannia Depicta" with views in Derbyshire by Joseph Farington, by T. Cadell and W. Davies, (1818) and other illustrated topographical books. He was also the author of the Farington Diary, an important and historical record of British art and artists, detailing events from the last quarter of the 18th century and into the first quarter of the 19th century. His works can be found in the collections of the Fine Arts Museums of San Francisco, California, The Metropolitan Museum of art, New York, The Tate, London, Harvard University Art Museums, Massachusetts, and other important private and public institutions.

  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 (1752-1817), had joined the firm.
  This monumental venture continued until Boydell’s death thirteen years later. By that time, the Shakspeare Gallery (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: Samuel Middiman, First Part of King Henry the Fourth. Act Two, Scene Two. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc.
 

Shakspeare. First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. Publish'd Septr. 29. 1797. J. & J. Boydell, at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Engraved by Saml. Middiman. Painted by R. Smirke, R. A. & Joseph Farington, R. A.

Prince Henry. The thieves have bound the true men: Now could thou and I rob the thieves, and go merrily to London, it would be argument for a week, laughter for a month, and a good jest for ever.

Poins. Stand close, I hear them coming.
[Re-enter Thieves.]

Falstaff. Come, my masters, let us share, and then to horse before day. An the Prince and Poins be not two arrant cowards, there's not equity stirring: there's no more valour in that Poins than in a wild duck.

Prince Henry. Your money. [Rushing out upon them.]

Poins. Villains.
[As they are sharing, the Prince and Poins set upon them; they all run away; and Falstaff, after a blow or two, runs away too, leaving the booty behind them.]

Prince Henry. Got with much ease. Now merrily to horse:
The thieves are scatter'd, and possess'd with fear
So strongly, that they dare not meet each other;
Each takes his fellow for an officer.
Away, good Ned. Falstaff sweats to death,
And lards the lean earth as he walks along:
Were't not for laughing, I should pity him.

This original Samuel Middiman engraving was created after a painting created by Joseph Farington as was commissioned by Boydell for the Shakespeare Gallery to represent Act 2, Scene 2 from a play entitled, First Part of King Henry the Fourth by William Shakespeare. The scene depicts Sir John Falstaff, and his three partners in crime, Peto, Gadshill and Bardolph preparing to commit a highway robbery on to The Road by Gadshill. However, they are not aware that Prince Henry, and Edward Poins are planning to rob the robbers. Shakespeare's characters in this scene include Falstaff (the cowardly, old rogue who is constantly scheming, and has little regard for the property of others), his three partners in crime, Peto, Gadshill and Bardolph, Prince Henry (King Henry's oldest son), and Edward Poins (Prince Henry's constant companion and accomplice in debauchery). The text above includes a portion of the conversation taking place.

Edition:

This original engraving is an 'Artist Proof Impression' 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. Note: As this is an original proof impression, it lacks the following text that appears in later impressions.

Shakspeare. First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. Publish'd Septr. 29. 1797. J. & J. Boydell, at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside. Engraved by Saml. Middiman. Painted by R. Smirke, R. A. & Joseph Farington, R. A.

Fal. Come, my masters, let us share, and
then to horse before day. An the Prince and Poins be not two arrant cowards' there's
no equity stirring: there's no more valour
in that Poins than in a wild duck
P. Hen. Your money! [Rushing out upon them.
Poins. Villains!

 

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: 19 1/4 X 24 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
  UnMatted
Buy Now Price: $925.00 US
Condition: Printed upon laid paper and with margins cropped to the image. Re-mounted (perhaps by the printer) onto a full sheet of thick, hand-made, laid paper. Containing marginal foxing, well removed from the actual engraving as well as slight vertical creasing within the image, else in good condition throughout. A brilliant impression with full tonal contrasts, indicative of one of the first artist proof impressions pulled from the plate. Altogether, First Part of King Henry the Fourth: Act Two, Scene Two, (The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc) stands as a prime, original example of the influential eighteenth century art of the Boydell Shakespeare Gallery.
Subject: Samuel Middiman, Robert Smirke, Joseph Farington, First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc., original engraving, Sir John Falstaff, Peto, Gadshill, Bardolph, The Road by Gadshill, Prince Henry, Edward Poins, British art, Shakspeare Gallery, the Shakespeare Gallery, John Boydell, William Shakespeare, Shakespearean engravings.
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Original Line Engraving by Samuel Middiman after a painting by Robert Smirke & Joseph Farington, R. A. (Shakspeare Gallery, John Boydell, London).

Artist Proof Impression

First Part of King Henry the Fourth The Road by Gadshill Prince Henry Poins Peto Falstaff Original Engraving by Samuel Middiman designed by Robert Smirke and Joseph Farington from the Shakspeare Gallery by John Boydell London
Shakspeare. First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. Publish'd Septr. 29. 1797. J. & J. Boydell, at the Shakspeare Gallery, Pall Mall; & No. 90, Cheapside.

View other original engravings by Samuel Middiman.

Samuel Middiman (London, 1750 - 1831)
# Image Title & Engraver Medium Date Engraver Designer
01- As You Like It Jaques and the Wounded Stag in the Forest of Arden by Samuel Middiman designed by William Hodges As You Like It. Act II, Scene I. Jaques and the Wounded Stag in the Forest of Arden. Enter Duke, Amiens and other Lords. by Samuel Middiman designed by William Hodges. Original Line Engraving (Open Letter Proof Impression) 1791 Samuel Middiman William Hodges
02.- First Part of King Henry the Fourth The Road by Gadshill Prince Henry Poins Peto Falstaff by Samuel Middiman after Robert Smirke and Joseph Farington First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. by Samuel Middiman designed by Robert Smirke and Joseph Farington. Original Line Engraving (Artist Proof Impression) 1797 Samuel Middiman Robert Smirke & Joseph Farington
03.- Winter's Tale by Samuel Middiman designed by Joseph Wright of Derby Winter's Tale. Act III, Scene III. Storm Scene, Antigonus Pursued by a Bear by Samuel Middiman designed by Joseph Wright of Derby. Original Line Engraving (Spooner Edition, 1852) 1793 Samuel Middiman Joseph Wright 'of Derby

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

 
All's Well that Ends Well
01.- All's Well that Ends Well, Act V, Scene III. King, Countess, Lafeu, Lords, Attendants etc. Bertram guarded, Helena, Diana & a Widow. by Georg Sigmund Facius & Johann Gottlieb Facius George Sigmund Facius (Ratisbon, Germany, C. 1750 - London, 1814) & Johann Gottlieb Facius (Ratisbon, Germany c. 1750 - London, 1802) Original Stipple Engraving (Spooner Edition, 1852) 1792  
As You Like It
02.- 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 William Satchwell Leney (London, 1769 - Longue Pointe (Montreal), Canada, 1831) Original Stipple and Line Engraving (Artist Proof Impression) 1794  
03.- As You Like It. Act II, Scene I. Jaques and the Wounded Stag in the Forest of Arden. Enter Duke, Amiens and other Lords. by Samuel Middiman Samuel Middiman (London, 1750 - 1831) Original Line Engraving (Open Letter Proof Impression) 1791  
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
05.- As You Like It. Act II, Scene VII. The Seven Ages of Man. First Age. Infancy. by Peltro William Tomkins Peltro William Tomkins (London, 1760 - 1840) Original Stipple Engraving (Open Letter Proof Impression) 1801  
06.- As You Like It. Act II, Scene VII. The Seven Ages of Man. Second Age. Childhood. by John Ogborne John Ogborne (Chelmsford, 1755 - London, 1837) Original Stipple Engraving (Open Letter Proof Impression) 1801  
07.- As You Like It. Act II, Scene VII. The Seven Ages of Man. Third Age. Youth. by Robert Thew Robert Thew (Partington, 1758 - Stevenage, 1802) Original Stipple Engraving (Open Letter Proof Impression) 1801  
08.- As You Like It. Act II, Scene VII. The Seven Ages of Man. Fourth Age. Manhood. by John Ogborne John Ogborne (Chelmsford, 1755 - London, 1837) Original Stipple Engraving (Open Letter Proof Impression) 1801  
09.- As You Like It. Act II, Scene VII. The Seven Ages of Man. Fifth Age. Middle Age. by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple Engraving (Open Letter Proof Impression) 1801  
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  
Comedy of Errors
12.- Comedy of Errors. Act V, Scene I. A street before the Priory. Merchant, Angelo, Lady Abbess, Adriana, etc. by Charles Gauthier Playter Charles Gauthier Playter (Died, Lewisham, 1809) Original Stipple Engraving (Proof Impression Before Title) 1794  
Cymbeline
13.- Cymbeline. Act I, Scene II. Cymbeline's palace in Britain. Imogen, Posthumus, Queen, Cymbeline, etc. by Thomas Burke Thomas Burke (Dublin, 1749 - London, 1815) Original Stipple and Line Engraving (First Edition Impression) 1795  
14- Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen. by Robert Thew Robert Thew (Partington, 1758 - Stevenage, 1802) Original Stipple Engraving (Open Letter Proof Impression) 1801  
15.- Cymbeline. Act III, Scene VI. The Forest and Cave. Imogen in Boy's Cloaths. by Thomas Gaugain Thomas Gaugain (Abbeville, France, 1748 - London, 1810) Original Stipple Engraving (Open Letter Proof Impression) 1803  
Julius Caesar
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King George III
17.- His most Gracious Majesty King George the Third by Benjamin Smith Benjamin Smith (London, 1754 - 1833) Original Stipple Engraving (Artist Proof Impression) 1804  
King Henry the Fourth
18.- First Part of King Henry the Fourth. Act II, Scene II. The Road by Gadshill. Prince Henry, Poins, Peto, Falstaff, etc. by Samuel Middiman Samuel Middiman (London, 1750 - 1831) Original Line Engraving (Artist Proof Impression) 1797  
19.- First Part of King Henry the Fourth. Act II, Scene IV. The Boar's Head Tavern. Prince Henry, Falstaff, Poins, etc. by Robert Thew Robert Thew (Partington, 1758 - Stevenage, 1802) Original Stipple Engraving (First Edition Impression) 1796  
20.- First Part of King Henry The Fourth. Act III, Scene I. The Archdeacon of Bangor's House in Wales. Hotspur, Worcester, Mortimer, & Owen Glendower. by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Line and Stipple Engraving 1795 Sold
21.- First Part of King Henry the Fourth. Act V, Scene IV. Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff. by Thomas Ryder Thomas Ryder (London, 1746 -1810) Original Stipple Engraving (First Edition Impression) 1796  
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
23.- Second Part of King Henry the Fourth. Act IV, Scene IV. The Palace at Westminster. King Henry asleep; Prince of Wales. Prince Henry Taking the Crown. by Robert Thew Robert Thew (Partington, 1758 - Stevenage, 1802) Original Etching & Engraving (Proof Before Title) 1791  
24.- Second Part of King Henry the Fourth. Act IV, Scene IV. The Palace at Westminster. King Henry & the Prince of Wales. Prince Henry's Apology. by Robert Thew Robert Thew (Partington, 1758 - Stevenage, 1802) Original Stipple & line Engraving (Open Letter Proof Impression) 1798  
King Henry the Sixth
25.- First part of King Henry the 6th. Act II, Scene IV. London. The Temple Garden. Earl of Somerset, Suffolk and Warwick; Richard Plantagenet, Vernon, etc. John Ogborne (Chelmsford, 1755 - London, 1837) Original Stipple Engraving (Proof Before Title Impression) 1790  
26.- Third Part of King Henry the Sixth. Act I, Scene III. Rutland and his Tutor, Clifford and Soldiers. by Charles Gauthier Playter & Thomas Ryder Charles Gauthier Playter (Died, Lewisham, 1809)
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27.- Third Part of King Henry the 6th. Act V, Scene VII. King Edward & Queen Elizabeth, with the infant Prince, Clarence, Gloster, Hastings, etc. by Jean Baptiste Michel Jean Baptiste Michel (Paris, 1748 - London, 1804) Original Stipple Engraving (Open Letter Proof Impression) 1794  
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28.- King Henry The Eighth. Act I, Scene IV. York Place. Cardinal Wolsey, Lord Sands, Ann Bullen, King Henry, etc. by Isaac Taylor Isaac Taylor (Worcester, 1730 - London, 1807) Original Line Engraving (Artist Proof Impression) 1798  
29.- King Henry the Eighth. Act III, Scene I. A Room in the Queen's Apartments. The Queen, and some of her Women, at Work. Cardinal Wolsey and Campeius. by Robert Thew Robert Thew (Partington, 1758 - Stevenage, 1802) Original Stipple Engraving (Open Letter Proof Impression) 1796  
30.- King Henry the Eighth. Act IV, Scene II. Abbey of Leicester. Wolsey, Northumberland, & Attendants, Abbot of Leicester, etc. by Robert Thew Robert Thew (Partington, 1758 - Stevenage, 1802) Original Stipple Engraving (Open Letter Proof Impression) 1798  
31.- King Henry the Eighth. Act V, Scene IV. The Palace. the Aldermen, Lord Mayer, Garter, Cranmer; Duke of Norfolk with his marshal's Staff, Duke of Suffolk, Dutchess of Norfolk & Marchioness of Dorset, God Mothers, etc. The Christening of Princess Elizabeth. by Joseph Collyer Joseph Collyer (London, 1748 - 1827) Original Stipple Engraving (Artist Proof Impression) 1803  
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38.- Merchant of Venice. Act V, Scene I. A Grove & Lawn, before Portia's House. Jessica, Lorenzo and Stephano. by John Browne John Browne (Finchingfield, Essex, 1741 - Walworth, 1801) Original Line Engraving (First Edition Impression) 1795  
Merry Wives of Windsor
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40.- Merry Wives of Windsor. Act IV, Scene II. A room in Ford's House. Falstaff in women's clothes led by Mrs. Page. by Thomas Ryder Thomas Ryder (London, 1746 -1810) Original Stipple Engraving (First Edition Impression) 1801  
41.- Merry Wives of Windsor. Act I, Scene I. Before Page's House. Anne Page, Slender and Simple. by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple and Line Engraving (Proof Impression Before Title) 1792  
42.- Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff. by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple and Line Engraving (First Edition Impression) 1793  
Much Ado about Nothing
43.- Much Ado About Nothing. Act III, Scene I. Hero, Ursula and Beatrice engraved by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple and Line Engraving (Open Letter Proof Impression) 1790 Sold
44.- Much Ado About Nothing. Act IV, Scene I. Don Pedro, Don John, Leonato, Friar, Claudio, Benedick, Hero and Beatrice engraved by Jean Pierre Simon Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810) Original Stipple and Line Engraving (Open Letter Proof Impression) 1790  
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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:
Animals in Art Index The 'Animal Art' directory contains a selection of original animal art created by artists throughout the centuries, depicting birds, cats, dogs, horses, cows, sheep, pigs, monkeys, fish and or many other creatures. The artists' depictions range from rare zoological studies to some very humorous animal portrayals.
Landscapes, Seascapes, City & Town Views Art Index This directory contains a selection of original works of art with a focus on landscapes, seascapes, city views, town views and farm views from around the world. These artworks date from the 16th century to the 20th century.
Royalty Portrayed in Art Index The 'Royalty, Nobility, Palaces and Castles' directory contains a selection of original art depicting portraits of Kings and Queens, as well as a variety of portrayals of nobles holding the title of Prince, Princess, Duke, Duchess, Count, Countess, etc., and scenes depicting royal ceremonies. Also included is a listing of original artworks with depictions of and castles and palaces. The artworks date from the 16th century to the 20th century.
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.


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