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Thomas Ryder's original engraving, Twelfth Night, Act III, Scene IV. Olivia's - house. Olivia, Maria. & Malvolio is based upon a design created by the German artist, Johann Heinrich Ramberg for John Boydell's "Shakspeare Gallery". It is a scarce 'Open Letter Proof Impression' printed upon eighteenth century hand-made, laid paper as published by John Boydell at the Shakspeare Gallery in 1794. 'Open Letter Proof' impressions were printed before the publication of the first edition, perhaps ten to twenty of these impressions exist for each engraving. Based upon a play by William Shakespeare entitled, "Twelfth Night, Act III, Scene I", the play tells of a tumultuous and confusing love story which involves Orsinio, the Duke and Count of Illyria who has fallen in love with Countess, Olivia, who in turn is in love with, the duke's young page, Cesario, who is actually Lady Viola disguised as a man. The play also includes various characters falling in love with them and others. In this scene, Lady Olivia sits upon a chaise with Maria, her waiting-gentlewoman to her left. There is a small dog by their side and a monkey sitting on a cushion near the entrance. The man standing before Olivia is Malvolio, her steward; a dislikable fellow who takes little pleasure in life, abhors disorder and has a great regard for himself. The three gentlemen eavesdropping behind the screen are Sir Toby Belch, Sir Andrew, and Olivia's servant, Fabian. In revenge for Malvolio's ill treatment, Maria and the men have sent him a love letter allegedly written by Olivia; which is why he is now pledging his love to her. Confused, by Malvolio's appearance and his behavior, Olivia truly believes he has gone mad. (The text below discloses their conversation.) This is a superb, original example of the British art of Thomas Ryder, Johann Heinrich Ramberg, & the Famous Boydell Shakespeare Gallery. The text below the image of this proof impression reads; "Shakespeare. Twelfth Night, Act III, Scene IV. Olivia's - house. Olivia, Maria. & Malvolio. Publish'd June 4. 1794, by John & Josiah Boydell, Shakspeare Gallery Pall Mall, & No. 90. Cheapside. Engraved by T. Ryder. Painted by H. Ramberg." Note: As this is an original proof impression, it lacks the following text that appears in later impressions.
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| Title: | Twelfth Night, Act III, Scene IV. Olivia's - house. Olivia, Maria. & Malvolio |
| Engraver: | Ryder, Thomas (London, 1746 -1810) |
| Designer: | Ramberg, Johann Heinrich Ramberg (Hanover, 1763 - 1840) |
| Date: | 1794 (Open Letter Proof Impression) |
| Medium: | Original Stipple Engraving |
| Publisher: | John Boydell, London |
| Source: | Shakspeare Gallery |
| Note: | Thomas Ryder: A leading line and stipple engraver of the late eighteenth and early nineteenth centuries, Thomas Ryder studied printmaking techniques at the Royal Academy, under James Basire. During his career he engraved portraits and historical, classical and decorative subjects after contemporary painters such as William Hamilton, Richard Westall, Angelica Kauffmann, Thomas Lawrence, Joseph Wright and Benjamin West. Around the turn of the century, Thomas Ryder was also regularly commissioned by Boydell for large William Shakespeare engravings after the designs of Henry Fuseli, Northcote, Hamilton, Ramberg, Smirke, Stothard and others. |
| After 1800 Thomas Ryder sometimes engraved in association with his son and student, Thomas Ryder, Junior, and other artists. One of Ryder's greatest skills was his ability to render exceptional clarity of detail with strong values of light and shade. This talent put his services in great demand during the late eighteenth century. | |
| Johann Heinrich Ramberg: A distinguished German portrait, satirical, & historical painter, as well as a landscapist, and a theatrical scene designer, Johann Heinrich Ramberg won a medal in 1794 "from a drawing from life" at the age of twenty. J. H. Ramberg came to England to study under Sir Joshua Reynolds and Francesco Bartolozzi. Ramberg enjoyed the sponsorship of George III, and during that time created many works for the king. He was commissioned by John Bell, patron of British theatrical portraiture, to create portraits for the 'Literary" Shakespeare" which began in 1785 and ended in 1788, for which Ramberg provided twenty-one portraits. Johann Heinrich Ramberg returned to Hanover in 1834 and illustrated such volumes as Reineke Fuchs and Till Eulenspiegel. He was a professor at the Hanover Academy and was appointed court painter to the King of Hanover. | |
| 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 John 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 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: Thomas Ryder, Twelfth Night (Malvolio, Olivia and Maria | |
| Shakespeare. Twelfth Night, Act III, Scene IV. Olivia's - house. Olivia, Maria. & Malvolio. Publish'd June 4. 1794, by John & Josiah Boydell, Shakspeare Gallery Pall Mall, & No. 90. Cheapside. Engraved by T. Ryder. Painted by H. Ramberg."
This original Thomas Ryder engraving was created after a painting created by Johann Heinrich Ramberg as commissioned by Boydell for the Shakespeare Gallery to represent Act 3, Scene 1 from a play entitled, Twelfth Night by William Shakespeare. The play tells of a tumultuous and confusing love story with Orsinio, the Duke and Count of Illyria who falls in love with Lady Olivia (The Countess in this scene), but also feels great affection for his page, Cesario however, Cesario, who is actually Lady Viola disguised as a man, is in love with Duke Orsino. Then Shakespeare also has Olivia fall in love with, the Duke's young page, Cesario (Viola), but later falls in love with Viola's twin brother, Sebastian who is now in love with Olivia. Then, Malvolio also believes Olivia is in love with him. This scene takes place in Olivia's house in a room with a large window draped with curtains and an ornate carpet covering the floor. Here, Lady Olivia sits upon a chaise with Maria, her waiting-gentlewoman to her left. There is a small dog between the women and a monkey sitting on a pillow near the entrance. The affectatious man who is standing before Olivia is Malvolio, her steward; a dislikable fellow who takes little pleasure in life, abhors disorder and has a great regard for himself. The three gentlemen eavesdropping behind the screen are Olivia's uncle, Sir Toby Belch, his foolish friend, Sir Andrew, a but wealthy man and Sir Toby's drinking companion, and the third man is Olivia's servant, Fabian. In revenge for Malvolio's ill treatment, Maria and her three accomplices sent him a love letter allegedly written by Olivia. This letter asks Malvolio to prove his love by dressing in a certain manner, (curiously dressed as seen in this engraving) and to quote certain ludicrous passages. Confused, by Malvolio's appearance and strange behavior, Olivia truly believes he has gone mad. (The text above discloses their conversation.) In a later scene, after Duke Orsino is rejected by Lady Olivia, but after discovering her true identity decides to marry Lady Viola. In the confusion, Olivia believes she has married Cesario (Viola), but has actually married Sebastian, (Viola's twin brother). Sir Toby Belch is much taken and ends up marrying Maria. Antonio is the sea Captain and pirate who saved Sebastian and is now searching for him. The misunderstanding is explained in Twelfth Night, Act V, Scene I, when Sebastian Olivia's new husband (not Cesario), enters the scene, making it obvious to everyone that Cesario (Viola) and Sebastian are twins. |
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| Edition: | This original engraving is an 'Open Letter Proof Impression'. 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. The text below the image of this proof impression reads; "Shakespeare. Twelfth Night, Act III, Scene IV. Olivia's - house. Olivia, Maria. & Malvolio. Publish'd June 4. 1794, by John & Josiah Boydell, Shakspeare Gallery Pall Mall, & No. 90. Cheapside. Engraved by T. Ryder. Painted by H. Ramberg.", however, as this is an original proof impression, it lacks the following text that appears in later impressions.
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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. |
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| Size: | 19 1/2 X 25 (Sizes in inches are approximate, height preceding width of plate-mark or image.) |
| UnMatted | |
| Buy Now | Price: $925.00 US |
| Condition: | Printed upon eighteenth century hand-made, laid paper and cropped to the margins by either the printer or initial owner. Remounted onto a large sheet of eighteenth century laid paper. Containing slight foxing in the outer margins and slight scrape within the image to the right, else a vibrant impression bearing all the fine lines and tonal values of an open letter proof impression. Twelfth Night, Act Three, Scene Four, (Malvolio, Olivia and Maria) represents a superb, original example of the famous art of Boydell's Shakespeare Gallery and the engraved art of Thomas Ryder. |
| Subject: | Thomas Ryder, Johann Heinrich Ramberg, J. H. Ramberg, Twelfth Night. Act III, Scene IV. (Olivia's - house. Olivia, Maria. & Malvolio), original engraving, German artist, 'Open Letter Proof Impression', John Boydell, the Shakspeare Gallery, William Shakespeare, Countess Olivia, Cesario, Orsinio, the Duke and Count of Illyria, Maria, her waiting-gentlewoman, Sir Toby Belch, Sir Andrew, Fabian, William Shakespeare play, the Shakespeare Gallery, Shakespearean prints. |
| Important Information: | The artist biographies, research and or information pertaining to all the original works of art posted on our pages has been written and designed by Greg & Connie Peters exclusively for our site, (www.artoftheprint.com). Please visit us regularly to view the latest artworks offered for sale. We will soon be posting an update of our most recent research and include the biographical and historical information pertaining to our next collection of original works of art created by artists throughout the centuries. We hope you found the information you were looking for and that it has been beneficial. Our Gallery, (Art of the Print / www.artoftheprint.com) guarantees the authenticity of every work of art we sell 100%. Full documentation and certification is provided. We offer a wide selection of international fine art dating from the early Renaissance to the contemporary art period. |
Original Stipple Engraving by the British artist, Thomas Ryder designed by Johann Heinrich Ramberg (Shakspeare Gallery, John Boydell, London).
Open Letter Proof Impression
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| Shakespeare. Twelfth Night, Act III, Scene IV. Olivia's - house. Olivia, Maria. & Malvolio. Publish'd June 4. 1794, by John & Josiah Boydell, Shakspeare Gallery Pall Mall, & No. 90. Cheapside. |
View other original engravings by Charles Gauthier Playter & Thomas Ryder.
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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| 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 | |
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| 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 | |
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| 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 | |
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| 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 | |
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| 16.- | Julius Caesar. Act IV, Scene III. Brutus' Tent, in the Camp near Sardis. Brutus & the Ghost of Caesar. by Edward Scriven | Edward Scriven (Alcester, 1775 - London, 1841) | Original Line and Stipple Engraving (Spooner Edition, 1852) | 1803 | |
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| 32.- | King Richard The Second. Act IV, Scene I. King Richard, Bolingbroke, York, Aumerle, etc. by Benjamin Smith | Benjamin Smith (London, 1754 - 1833) | Original Stipple Engraving (Artist Proof Impression) | c. 1795 | Sold |
| 33.- | King Richard the Second. Act V, Scene II. The Entrance of King Richard and Bolingbroke into London. by Robert Thew | Robert Thew (Partington, 1758 - Stevenage, 1802) | Original Stipple and Line Engraving (First Edition Impression) | 1801 | Sold |
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| 34- | King Richard the Third. Act III, Scene I. Prince of Wales, Duke of York, his Brother, etc. by Robert Thew | Robert Thew (Partington, 1758 - Stevenage, 1802) | Original Stipple & Line Engraving (Open Letter Proof Impression) | 1791 | |
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| 35.- | Love's Labour's Lost. Act IV, Scene I. Princess, Forester, Boyet, Attendants, etc. by Thomas Ryder | Thomas Ryder (London, 1746 -1810) | Original Stipple Engraving (Open Letter Proof Impression) | 1793 | |
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| 36.- | Measure for Measure. Act II, Scene I. Angelo's House. Escalus, A Justice, Elbow, Froth, Clown, Officers, etc. by Charles Gauthier Playter & Thomas Ryder | Charles Gauthier Playter (Died, Lewisham, 1809) Thomas Ryder (London, 1746 -1810) |
Original Stipple Engraving (Artist Proof Impression) | 1794 | Sold |
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| 37.- | Merchant of Venice. Act II, Scene V. Shylock's House. Shylock, Jessica and Launcelot. by Jean Pierre Simon | Simon, Jean Pierre 'John Peter Simon, the Younger' (London, 1750 - Paris, c. 1810) | Original Stipple Engraving (First Edition Impression) | 1795 | |
| 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 | |
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| 39.- | Merry Wives of Windsor. Act V, Scene V. Windsor Park. Falstaff disguised with a buck's head on etc. Sir Hugh Evans, Anne Page, etc. by Isaac Taylor, Junior | Isaac Taylor, Junior (1759 - Ongar, 1829) | Original Line Engraving (Artist Proof Impression) | 1793 | Sold |
| 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 | |
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| 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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| 46.- | Her Most Gracious Majesty, Queen Charlotte by Thomas Ryder, Thomas Ryder Junior, and Sir William Beechey. | Thomas Ryder (London, 1746 -1810) Thomas Ryder Junior (British, born 1789 -died ?) |
Original Stipple Engraving (First Edition Impression) | 1804 | |
| Romeo and Juliet | |||||
| 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 | |
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| 52.- | Shakspeare Nursed by Tragedy And Comedy by Benjamin Smith | Benjamin Smith (London, 1754 - 1833) | Original Stipple Engraving (First Edition Impression) | 1803 | |
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| 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 | |
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| 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 |
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| 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 | |
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