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Thomas Ryder & John Francis Rigaud

Thomas Ryder and John Francis Rigaud - First Part of King Henry the Fourth Act V Scene IV Plain Near Shrewsbury Prince Henry Hotspur and Falstaff from the Shakspeare Gallery by John Boydell

First Part of King Henry the Fourth. Act V, Scene IV. Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff. Shakspeare Gallery

Thomas Ryder's original engraving, First Part of King Henry the Fourth is based upon a design created by the British artist, John Francis Rigaud. It is a scene inspired by William Shakespeare's King Henry the Fourth, The First Part, Act Five, Scene Four, the plain near Shrewsbury with Prince Henry, Hotspur and Falstaff. This is an early 'First Edition Impression' printed upon late eighteenth century wove paper bearing the watermark date of '1794' and with full margins as published for the "Shakspeare Gallery" in 1796 by John Boydell, London. William Shakespeare writes that Henry IV, the Prince of Wales (Prince Henry), vowed to kill the valiant Knight Henry Percy, 2nd Earl of Northumberland, also known as (Sir Harry Hotspur) for his successive rebellions against King Henry IV of England (his father). The scene in this Shakespearean engraving depicts the death of Hotspur at the battle of Shrewsbury (Shropshire). He has just been mortally wounded by Prince Henry. And, as usual, Falstaff is on the ground hiding under his shield, pretending he is either hurt or dead, as the battle continues in the background. This is a superb, original example of the British art of Thomas Ryder, John Francis Rigaud, and the famous Boydell Shakespeare Gallery. The text below the image of this proof impression reads; "Shakspeare. First Part of King Henry the Fourth. Act V, Scene IV. Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff. Published June 4, 1796, by J & J. Boydell, at the Shakspeare Gallery Pall Mall; & at No. 90, Cheapside. Engraved by Thomas Ryder. Painted by Francis Rigaud Esq. R. A.

Hot: O, Harry, thou hast robb'd me of my youth:
I better brook the loss of brittle life
Than those proud titles thou hast won of me;
They wound my thoughts worse than thy sword my flesh: -
But thought's the slave of life, and life time's fool;

And time, that takes survey of all the world,
Must have a stop. O, I could prophesy,
But that the earthy and cold hand of death
Lies on my tongue; - No, Percy, thou art dust,
And food for____"

 
Title: First Part of King Henry the Fourth. Act V, Scene IV. Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff
Engraver: Ryder, Thomas (London, 1746 -1810)
Designer: Rigaud, John Francis (Turin, 1742 - London, 1810)
Date: 1796 (First Edition Impression)
Medium: Original Stipple Engraving
Publisher: John Boydell, Pall Mall
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 Richard Westall, Angelica Kauffmann, Thomas Lawrence, Joseph Wright and Benjamin West. Around the turn of the century, Thomas Ryder was also regularly commissioned by the Boydell Shakspeare Gallery to create large engravings after the designs of Henry Fuseli, James Northcote, Robert Smirke, Stothard, John Francis Rigaud and others based upon the works of william Shakespeare.
  After 1800 Ryder sometimes engraved in association with his son and student, Thomas Ryder, Junior, and other artists. One of Thomas 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.
  John Francis Rigaud: A major English painter of historical subjects and portraits, John Francis Rigaud first practiced his art in both Italy and France. He came to England in 1772 and was immediately elected an Associate of the Royal Academy. In 1784, John Francis Rigaud became a full Academician. Among his accomplishments are the ceiling of the Court Room in Trinity House, Tower Hill, and the alterpieces for the parish church at Packington and for St. Martin-Outwich, London. J. F. Rigaud also translated and published Leonardo's, Treatise on Painting, into English.
  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 for the visual arts (particularly engraving) and John 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.
  John 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: Thomas Ryder, King Henry the Fourth (Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff.)
 

Shakspeare. First Part of King Henry the Fourth. Act V, Scene IV. Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff. Published June 4, 1796, by J & J. Boydell, at the Shakspeare Gallery Pall Mall; & at No. 90, Cheapside. Engraved by Thomas Ryder. Painted by Francis Rigaud Esq. R. A.

Enter Douglas; he fights with Falstaff, who falls down as if he were dead, and exit Douglas. Hotspur is wounded, and falls.

Hotspur: O, Harry, thou hast robb'd me of my youth:
I better brook the loss of brittle life
Than those proud titles thou hast won of me;
They wound my thoughts worse than thy sword my flesh: -
But thought's the slave of life, and life time's fool;
And time, that takes survey of all the world,
Must have a stop. O, I could prophesy,
But that the earthy and cold hand of death
Lies on my tongue; - No, Percy, thou art dust,
And food for -- [Dies.

Prince Henry: For worms, brave Percy: Fare thee well, great
heart! --
Ill-weav'd ambition, how much art thou shrunk!
When that this body did contain a spirit,
A kingdom for it was too small a bound;
But now, two paces of the vilest earth
Is room enough: - This earth, that bears thee dead,
Bears not alive so stout a gentleman.
If thou wert sensible of courtesy,
I should not make so great a show of zeal: -
But let my favours hide thy mangled face;
And, even in thy behalf, I'll thank myself
For doing these fair rites of tenderness.
Adieu, and take thy praise with thee to heaven!
Thy ignomy sleep with thee in thy grave,
But not remember'd in thy epitaph! --
[He sees Falstaff on the ground.]
What! old aquaintance! could not all this flesh
Keep in a little life? Poor Jack, farewell! ...

In William Shakespeare's King Henry the Fourth, The First Part, Act Five, Scene Four, the engraving depicts the plain near Shrewsbury with Prince Henry, Hotspur and Falstaff. William Shakespeare writes that Henry IV, the Prince of Wales (Prince Henry), vowed to kill the valiant Knight Henry Percy, 2nd Earl of Northumberland, also known as (Sir Harry Hotspur) for his successive rebellions against King Henry IV of England (his father). The scene in this Shakespearean engraving depicts the death of Hotspur at the battle of Shrewsbury (Shropshire). He has just been mortally wounded by Prince Henry. Shakespear's words written above describe the conversation between Hotspur and Prince Henry (Harry), just before he dies. And, as usual, Falstaff is on the ground hiding under his shield, pretending he is either hurt or dead as the battle continues in the background.

Edition:

This original engraving is a 'First Edition Impression'. 4. 'First Edition Impressions'. The completed set of John 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; "Shakspeare. First Part of King Henry the Fourth. Act V, Scene IV. Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff. Published June 4, 1796, by J & J. Boydell, at the Shakspeare Gallery Pall Mall; & at No. 90, Cheapside. Engraved by Thomas Ryder. Painted by Francis Rigaud Esq. R. A.

Hot: O, Harry, thou hast robb'd me of my youth:
I better brook the loss of brittle life
Than those proud titles thou hast won of me;
They wound my thoughts worse than thy sword my flesh: -
But thought's the slave of life, and life time's fool;

And time, that takes survey of all the world,
Must have a stop. O, I could prophesy,
But that the earthy and cold hand of death
Lies on my tongue; - No, Percy, thou art dust,
And food for____"

 

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 1/8 X 16 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
  UnMatted
Buy Now Price: $1,200.00 US
Condition: Printed upon late eighteenth century wove paper bearing the watermark date of '1794' and with full margins as published by Boydell in London on the above date. Containing very faint foxing in the outer margins, else a strongly printed, first edition impression with full tonal values and in excellent condition throughout. First Part of First Part of King Henry the Fourth. Act V, Scene IV. (Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff) represents a superb, original example of the fine British artist, Thomas Ryder and of John Boydell's famous Shakespeare Gallery.
Subject: Thomas Ryder, John Francis Rigaud, First Part of King Henry the Fourth. Act V, Scene IV. (Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff), the Prince of Wales (Prince Henry), Henry Percy, 2nd Earl of Northumberland, Sir Harry Hotspur, the death of Hotspur, British art, British artists, John Boydell and Josiah Boydell 'First Edition Impression', William Shakespeare, the Shakspeare Gallery, the Shakespeare Gallery, Shakespearean engravings.
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Original Stipple Engraving by Thomas Ryder designed by John Francis Rigaud (Shakspeare Gallery, John Boydell, London).

First Edition Impression

First Part of King Henry the Fourth Act V Scene IV Plain Near Shrewsbury Prince Henry Hotspur and Falstaff by Thomas Ryder designed by John Francis Rigaud from the Shakspeare Gallery by John Boydell London
Shakspeare. First Part of King Henry the Fourth. Act V, Scene IV. Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff. Published June 4, 1796, by J & J. Boydell, at the Shakspeare Gallery Pall Mall; & at No. 90, Cheapside.

View other original engravings by Charles Gauthier Playter & Thomas Ryder.

Charles Gauthier Playter (Died, Lewisham, 1809)
Thomas Ryder (London, 1746 -1810)
# Image Title & Artists Medium Date Engraver Designer -
01- Comedy of Errors Merchant Angelo Lady Abbess Adriana Duke Aegeon Antipholus and Dromio of Syracuse by Charles Gauthier Playter designed by John Francis Rigaud Comedy of Errors. Act V, Scene I. (A street before the Priory. Merchant, Angelo, Lady Abbess, Adriana, etc.) by Charles Gauthier Playter designed by John Francis Rigaud. Original Stipple Engraving (Proof Impression Before Title) 1794 Charles Gauthier Playter John Francis Rigaud  
02.- First Part of King Henry the Fourth Act V Scene IV Plain Near Shrewsbury Prince Henry Hotspur and Falstaff by Thomas Ryder designed by John Francis Rigaud First Part of King Henry the Fourth. Act V, Scene IV. (Plain Near Shrewsbury. Prince Henry, Hotspur and Falstaff) by Thomas Ryder designed by John Francis Rigaud Original Stipple Engraving (First Edition Impression) 1796 Thomas Ryder John Francis Rigaud  
03.- Her Most Gracious Majesty Queen Charlotte by Thomas Ryder and his son Thomas Ryder Junior designed by Sir William Beechey. Her Most Gracious Majesty, Queen Charlotte by Thomas Ryder, and his son Thomas Ryder Junior designed by Sir William Beechey. Original Stipple Engraving (First Edition Impression) 1804 Thomas Ryder Senior & Thomas Ryder Junior Sir William Beechey  
04.- Love's Labour's Lost Princess Forester Boyet Attendants by Thomas Ryder designed by William Hamilton Love's Labour's Lost. Act IV, Scene I. (Princess, Forester, Boyet, Attendants, etc.) by Thomas Ryder designed by William Hamilton. Original Stipple Engraving (Open Letter Proof Impression) 1793 Thomas Ryder William Hamilton  
05.- Measure for Measure Angelo's House Escalus A Justice Elbow Froth, Clown by Thomas Ryder and Charles Gauthier Playter designed by Robert Smirke Measure for Measure. Act II, Scene I. (Angelo's House. Escalus, A Justice, Elbow, Froth, Clown, Officers, etc.), by Thomas Ryder & Charles Gauthier Playter designed by Robert Smirke Original Stipple Engraving (Artist Proof Impression) 1794 Charles Gauthier Playter & Thomas Ryder Robert Smirke Sold
06.- Merry Wives of Windsor A room in Ford's House Falstaff in women's clothes led by Mrs. Page by Thomas Ryder designed by James Durno 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 designed by James Durno Original Stipple Engraving (First Edition Impression) 1801 Thomas Ryder James Durno  
07.- Othello A Platform Desdemona Iago Cassio Rodrigo Emilia by Thomas Ryder designed by Thomas Stothard Othello. Act II, Scene I. (A Platform. Desdemona, Othello, Iago, Cassio, Rodrigo, Emilia, etc.) by Thomas Ryder designed by Thomas Stothard Original Stipple Engraving (Artist Proof Impression) 1799 Thomas Ryder Thomas Stothard  
08.- King Henry the Sixth Rutland and his Tutor Clifford and Soldiers by Charles Gauthier Playter and Thomas Ryder designed by James Northcote Third Part of King Henry the Sixth. Act I, Scene III. (Rutland and his Tutor, Clifford and Soldiers) by Charles Gauthier Playter & Thomas Ryder designed by James Northcote. Original Stipple Engraving (Spooner Edition, 1852) 1796 Charles Gauthier Playter & Thomas Ryder James Northcote  
09.- Twelfth Night Malvolio Olivia and Maria by Thomas Ryder designed by Johann Heinrich Ramberg Twelfth Night. Act III, Scene IV. (Olivia's - house. Olivia, Maria. & Malvolio) by Thomas Ryder designed by Johann Heinrich Ramberg. Original Stipple Engraving (Open Letter Proof Impression) 1794 Thomas Ryder Johann Heinrich Ramberg  

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
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  
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)
Thomas Ryder (London, 1746 -1810)
Original Stipple Engraving (Spooner Edition, 1852) 1796  
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  
King Henry The Eighth
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  
King Richard The Second
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
King Richard The Third
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  
Love's Labour's Lost
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  
Measure for Measure
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
Merchant of Venice
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  
Merry Wives of Windsor
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  
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  
Othello
45.- Othello. Act II, Scene I. A Platform. Desdemona, Othello, Iago, Cassio, Rodrigo, Emilia, etc. by Thomas Ryder Thomas Ryder (London, 1746 -1810) Original Stipple Engraving (Artist Proof Impression) 1799  
Queen Charlotte
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  
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:
Military Art Index The 'Military Art' directory contains original works of art with a focus on the armed forces, the militia, mercenaries, soldiers, weapons, artillery, military artifacts, as well as depictions of the battles, wars and other such military activities that have taken place during our world history.
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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