Thomas Ryder, Thomas Ryder Junior & Sir William Beechey

Thomas Ryder Junior: A Fine British engraver, Thomas Ryder Junior, studied under his father, Thomas Ryder. After 1800 Thomas Ryder, Junior often engraved in association with his father, Thomas Ryder. This is the case with "Her Most Gracious Majesty, Queen Charlotte" and with one of the most outstanding of all the Boydell Shakespeare plates, Henry Fuseli's A Midsummer Night’s Dream, an engraving portraying Titania, Queen of the Fairies awakening from a spell under the title of, Titania’s Awakening (1803). The National Art Gallery of Australia includes an impression of Titania’s Awakening in its permanent collection, Accession number 424.2008.

Sir William Beechey: William Beechey began his career as an apprentice to a solicitor at Stow. Almost entirely self-taught, he began painting portraits and within a very short time was patronized by King George III. Beechey was appointed portrait painter of Queen Charlotte and resided at Windsor Castle where he served as an instructor to the princesses. Sir William Beechey was elected an Associate of the Royal Academy in 1793 and an Academician in 1798. Sir William Beechey's painting for the engraving, "His most Gracious Majesty King George the Third", is today housed in the Royal Collection of the British Royal Family.

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;

"Her Most Gracious Majesty, Queen Charlotte.
This Print Engraved, Engraved from a Picture Painted by Sr. William Beechey, in his Majesty’s Collection,
Is most humbly Dedicated to his Majesty by his Most Dutiful & Loyal Subjects, J. & J. Boydell.
Pub. Dec. 1. 1804, by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No. 90.Cheapside, London.
Engraved by Thos. Ryder & Thos. Ryder Junr. Painted by Sir. Wm. Beechey R. A."

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.

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