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Jean Pierre Simon 'John Peter Simon, the Younger' Reverend Matthew William Peters

Jean Pierre Simon also known as John Peter Simon and Reverend Matthew William Peters - Merry Wives of Windsor Mrs. Page Mrs. Ford and Falstaff from the Shakspeare Gallery by John Boydell

Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff. Shakspeare Gallery

Jean Pierre Simon's original engraving, Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff. is based upon a design created by the Reverend Matthew William Peters for John Boydell's "Shakspeare Gallery". This is an early 'First Edition Impression' with strong tonal values and contrasts printed upon wove paper with the 'Whatman' watermark and with full margins as published in London by Boydell in 1793. Based upon a William Shakespeare play, the scene depicts Mrs. Page and Mrs. Ford hiding Falstaff in a basket. As Falstaff slips into the basket the two women attempt to conceal him with foul linen. The women have set a trap for the aging courtly lover, Sir John Falstaff. They plan to have the servants dump the laundry basket (with Falstaff in it), into a muddy ditch close by the Thames side as their punishment for his vulgar and cowardly behavior. However, they are startled by the unexpected arrival of the jealous Mr. Ford and his friends, Mr. Page, Caius, and Evans who expect to find Ford's wife in a compromising situation. Much to the delight of the women and the disappointment of Ford, they manage to get Falstaff out of the house, fooling both Falstaff and Ford. In "Merry Wives of Windsor", Falstaff schemes unsuccessfully to swindle and seduce Mistress Margaret Page and Mistress Alice Ford, but instead, winds up being outwitted by them. This is surely a striking, original example of the art created by the British artists, Jean Pierre Simon (J. P. Simon) and the Reverend Matthew William Peters for the famous Boydell Shakespeare Gallery. The text below the image of this first edition impression reads;

"Shakspeare. Merry Wives of Windsor. Act III, Scene III. Publish'd Decr. 24. 1793 John. & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside Engraved by I. P. Simon. Painted by the Revd. W. Peters.

Falstaff. I love thee. Help me away:
let me creep in here; I'll never___

[He goes into the basket; they cover him with foul linen]

Mrs. Page. Help to cover your master, boy: Call your
men, mistress Ford: - You dissembling knight!"

 
Title: Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff.
Engraver: Simon, Jean Pierre 'John Peter Simon, the Younger' (London, 1750 - Paris, c. 1810)
Designer: Peters, Reverend Matthew William (Brasted (Freshwater, Isle of Wight, England, 1742 - Died, 1814)
Date: 1793 (First Edition Impression)
Medium: Original Stipple and Line Engraving
Publisher: John Boydell, London
Source: Shakspeare Gallery
Note: Jean Pierre Simon (J. P. Simon, Peter Simon, The Younger): Born in London, it is believed Jean Pierre Simon studied stippling techniques under Francesco Bartolozzi. Early in his career he engraved plates for Worlidge's, Antique Gems. By 1790, Jean Pierre Simon had established himself as one of England's finest stipple engravers and was commissioned to create engravings after such contemporary artists as Gainsborough, Reynolds, Fuseli, Peters and Wheatley. Jean Pierre Simon's abilities to capture strong tonal values and contrasts placed his art in great demand and John Boydell frequently commissioned him to produce engravings for both his 'Shakespeare' and 'Milton' sets.
  Reverend Matthew William Peters: A successful amateur artist, William Peters was chaplain to the Prince Regent. In 1771 he was elected an Associate of the Royal Academy, and in 1777 a full Academician. After traveling through Italy, Peters began painting after Renaissance masters. Returning to England, however, he began painting both portraits and humorous subjects. Reverend Matthew William Peter was extensively employed by Boydell, especially for scenes from such plays as Merry Wives of Windsor and Much Ado about Nothing. His designs for such publishers as Boydell and Thomas Macklin were his most popular works.
  Interestingly, John Boydell first commissioned Henry Fuseli to design this engraving. Fuseli (1741-1825) painted Falstaff in the Buckbasket in 1792. Boydell, however, felt the work was too provoking in nature and rejected it.
  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.
  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 (1752-1817), had joined the firm.
  This monumental venture continued until Boydell’s death thirteen years later. By that time, the Shakspeare Gallery (Shakspeare 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: Jean Pierre Simon, Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff.
 

Shakspeare. Merry Wives of Windsor. Act III, Scene III. Publish'd Decr. 24. 1793 John. & Josiah. Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside Engraved by I. P. Simon. Painted by the Revd. W. Peters.

Mistress Ford. Why, alas, what's the matter?

Mistress Page. Your husband's coming hither, woman, with all the officers in Windsor, to search for a gentleman that he says is here now in the house by your consent, to take an ill advantage of his assence: you are undone.

Mistress Ford. 'Tis not so, I hope.

Mistress Page. Pray heaven it be not so, that you have such a man here! but 'tis most certain your husband's coming, with half Windsor at his heels, to search for such a one. I come before to tell you If you know yourself clear, why, I am glad of it; but if you have a friend here convey, convey him out. Be not amazed; call all your senses to you; defend your reputation, or bid farewell to your good life fore ever.

Mrs. Page. For shame, never stand you had rather, and you had rather; your husband's here at hand; bethink you of some conveyance; in the house you cannot hide him. - O, how have you deceived me!- Look, here is a basket; if he be of reasonable stature, he may creep in here; and throw foul linen upon him, as if it were going to bucking: or, it is whiting-time, send him by your two men to Datchet mead.

Mrs. Ford. He's too big to go in there: What shall I do?

[Re-enter Falstaff]

Falstaff. [Coming forward] Let me see't, let me see't! O let me see't! Ill in, I'll in; follow your friend's counsel;- I'll in.

Mrs. Page. What! sir John Falstaff! Are these your letters, knight?

Falstaff. I love thee. Help me away: let me creep in here; I'll never --

[He goes into the basket; they cover him with foul linen]

Mrs. Page. Help to cover your master, boy: Call your men, mistress Ford: - You dissembling knight!

Mistress Ford. What, John! Robert! John!

[Exit Robin]

Go take up these clothes here quickly. Where's the cowl-staff? look, how you drumble! Carry them to the laundress in Datchet-meat; quickly, come.

This original Jean Pierre Simon engraving was created after a painting created by the Reverend Matthew William Peters as commissioned by Boydell for the Shakespeare Gallery to represent Act Three, Scene Three from a play entitled, Merry Wives of Windsor. Mrs. Page, Mrs. Ford and Falstaff. by William Shakespeare. The scene depicts Falstaff slipping into the basket while Mrs. Page and Mrs. Ford attempt to conceal him with foul linen. The women have set a trap for the fat, and aging courtly lover, Sir John Falstaff, and as their punishment for his wickedness, they plan to have the servants dump the laundry basket (with Falstaff in it), into a muddy ditch close by the Thames side. They are startled by the arrival of the jealous Mr. Ford, and his friends, Mr. Page, Doctor Caius, and Sir Hugh Evans who expect to find Ford's wife in a compromising situation. Much to the delight of the women and the disappointment of Ford, they manage to get Falstaff out of the house, fooling both Falstaff and Mr. Ford. Although Sir John Falstaff is a scoundrel, he is also easily deceived by others. He is most often jovial and at times, even a likable character. In "Merry Wives of Windsor", Falstaff schemes unsuccessfully to swindle and seduce Mistress Margaret Page and Mistress Alice Ford but instead, winds up being outwitted by them. For this scene, William Shakespeare includes the characters, of Sir John Falstaff (a corpulent, conceited, cowardly and jovial, old rogue whose only interest in life is to delight himself in such pleasures as sake (drink), women and other fineries. He is constantly scheming, and deceiving, a seducer, and a thief who has little regard for the property of others), Robin (Falstaff's unfaithful page), Mrs. Margaret Page (Wife of Master George Page, mother of Anne Page and William Page), Mrs. Alice Ford (wife of the jealous, Master Francis Ford ), Mr. Francis Ford (the irrational jealous husband of Mistress Ford who has little faith in women's fidelity), his friends, Mr. George Page (a good natured and trusting man, husband of Mistress Margaret, father of Anne and William), Doctor Caius (a bad tempered French physician who is courting Anne Page), and Sir Hugh Evans (the Welsh parson and schoolmaster of Windsor).

Edition:

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

"Shakspeare. Merry Wives of Windsor. Act III, Scene III. Publish'd Decr. 24. 1793 John. & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside Engraved by I. P. Simon. Painted by the Revd. W. Peters.

Falstaff. I love thee. Help me away:
let me creep in here; I'll never___

[He goes into the basket; they cover him with foul linen]

Mrs. Page. Help to cover your master, boy: Call your
men, mistress Ford: - You dissembling knight!"

 

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: 25 1/4 X 18 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
  UnMatted
Buy Now Price: $1,350.00 US
Condition: Printed upon wove paper with the 'Whatman' watermark and with full margins as published in London by Boydell in 1793. Containing water staining in the upper right margin (well removed from the actual engraving) else a brilliant impression bearing all the fine lines and tonal values of an early first edition printing. Merry Wives of Windsor, Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff. represents a superb, original example of the famous art of John Boydell's Shakespeare Gallery.
Subject: Jean Pierre Simon, J. P. Simon, Reverend Matthew William Peters, Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff., British artists, John Boydell, Shakespeare Gallery, original engraving, "Shakspeare Gallery", William Shakespeare play, Mrs. Margaret Page, Mrs. Alice Ford, Sir John Falstaff, Mr. Francis Ford, Mr. George Page, Doctor Caius, and Sir Hugh Evans.
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Original Stipple and Line Engraving by Jean Pierre Simon designed by Reverend Matthew William Peters (Shakspeare Gallery, John Boydell, London).

First Edition Impression

Merry Wives of Windsor Act Three Scene Three Mrs. Page Mrs. Ford and Sir John Falstaff Original Engraving by Jean Pierre Simon also known as John Peter Simon designed by Reverend Matthew William Peters from the Shakspeare Gallery by John Boydell London
Shakespeare. Merry Wives of Windsor. Act III, Scene III. Publish'd Decr. 24. 1793 John. & Josiah Boydell, at the Shakspeare Gallery Pall Mall, & Cheapside. (Mrs. Page, Mrs. Ford and Falstaff)

View other original engravings by Jean Pierre Simon.

Jean Pierre Simon, 'John Peter Simon' (London, 1750 - Paris, c. 1810)
# Image Title & Engraver Medium Date Engraver Designer -
01- As You Like It Rosalind Celia Hymen engraved by Jean Pierre Simon designed by William Hamilton As You Like It. Act V, Scene IV. Rosalind, Celia, Hymen, Duke Senior, Orlando, etc. engraved by Jean Pierre Simon designed by William Hamilton for the Shakspeare Gallery. Original Stipple Engraving (Proof Impression Before Title) 1790 J. P. Simon William Hamilton (Chelsea, 1751 - London, 1801)  
02.- As You Like It The Seven Ages of Man The Fifth Age engraved by Jean Pierre Simon designed by Robert Smirke As You Like It. Act II, Scene VII. The Seven Ages of Man. Fifth Age. Middle Age engraved by Jean Pierre Simon designed by Robert Smirke for the Shakspeare Gallery. Original Stipple Engraving (Open Letter Proof Impression) 1801 J. P. Simon Robert Smirke (Wigton, 1752 - London, 1845)  
03.- As You Like It The Seven Ages of Man The Seventh Age engraved by Jean Pierre Simon designed by Robert Smirke As You Like It. Act II, Scene VII. The Seven Ages of Man. Seventh Age. Geriatrics engraved by Jean Pierre Simon designed by Robert Smirke for the Shakspeare Gallery. Original Stipple Engraving (Open Letter Proof Impression) 1801 J. P. Simon Robert Smirke (Wigton, 1752 - London, 1845)  
04.- King Henry The Fourth engraved by Jean Pierre Simon designed by Richard Westall First Part of King Henry The Fourth. Act III, Scene I. The Archdeacon of Bangor's House in Wales. Hotspur, Worcester, Mortimer, & Owen Glendower engraved by Jean Pierre Simon designed by Richard Westall for the Shakspeare Gallery. Original Line and Stipple Engraving 1795 J. P. Simon Richard Westall (Hertford, 1765 - London, 1836) Sold
05.- Hymn to the Nativity Poetical Works of John Milton engraved by Jean Pierre Simon designed by Richard Westall Hymn to the Nativity, engraved by Jean Pierre Simon designed by Richard Westall (Poetical Works of John Milton). Original Stipple Engraving (First Edition Impression) 1797 J. P. Simon Richard Westall (Hertford, 1765 - London, 1836)  
06.- Merchant of Venice Shylock Jessica and Launcelot engraved by Jean Pierre Simon designed by Robert Smirke Merchant of Venice. Act II, Scene V. Shylock's House. Shylock, Jessica and Launcelot engraved by Jean Pierre Simon designed by Robert Smirke for the Shakspeare Gallery. Original Stipple Engraving (First Edition Impression) 1795 J. P. Simon Robert Smirke (Wigton, 1752 - London, 1845)  
07.- Merry Wives of Windsor Anne Page Slender and Simple engraved by Jean Pierre Simon designed by Robert Smirke Merry Wives of Windsor. Act I, Scene I. Before Page's House. Anne Page, Slender and Simple engraved by Jean Pierre Simon designed by Robert Smirke for the Shakspeare Gallery. Original Stipple and Line Engraving (Proof Impression Before Title) 1792 J. P. Simon Robert Smirke (Wigton, 1752 - London, 1845)  
08.- Merry Wives of Windsor Mrs Page Mrs Ford and Falstaff engraved by Jean Pierre Simon designed by the Reverend Matthew William Peters Merry Wives of Windsor. Act III, Scene III. Mrs. Page, Mrs. Ford and Falstaff engraved by Jean Pierre Simon designed by the Reverend Matthew William Peters for the Shakspeare Gallery. Original Stipple and Line Engraving (First Edition Impression) 1793 J. P. Simon Reverend Matthew William Peters (Brasted (Freshwater, Isle of Wight, England, 1742 - Died, 1814)  
09.- Much Ado About Nothing Hero Ursula and Beatrice engraved by Jean Pierre Simon designed by the Reverend Matthew William Peters Much Ado About Nothing. Act III, Scene I. Hero, Ursula and Beatrice engraved by Jean Pierre Simon designed by William Hamilton for the Shakspeare Gallery. Original Stipple and Line Engraving (Open Letter Proof Impression) 1790 J. P. Simon William Hamilton (Chelsea, 1751 - London, 1801) Sold
10.- Much Ado About Nothing Don Pedro Don John Leonato Friar Claudio Benedick Hero and Beatrice engraved by Jean Pierre Simon designed by the Reverend Matthew William Peters Much Ado About Nothing. Act IV, Scene I. Don Pedro, Don John, Leonato, Friar, Claudio, Benedick, Hero and Beatrice engraved by Jean Pierre Simon designed by the Reverend Matthew William Peters for the Shakspeare Gallery. Original Stipple and Line Engraving (Open Letter Proof Impression) 1790 J. P. Simon Reverend Matthew William Peters (Brasted (Freshwater, Isle of Wight, England, 1742 - Died, 1814)  
11.- Paradise Lost Satan Alarmed Poetical Works of John Milton engraved by Jean Pierre Simon designed by Richard Westall Paradise Lost: Satan Alarmed engraved by Jean Pierre Simon designed by Richard Westall (Poetical Works of John Milton). Original Stipple Engraving (First Edition Impression) 1794 J. P. Simon Richard Westall (Hertford, 1765 - London, 1836)  
12.- Winter's Tale Leontes Antigonus Lords Attendants and the Infant Perdita engraved by Jean Pierre Simon designed by John Opie Winter's Tale. Act II, Scene III. Leontes, Antigonus, Lords, Attendants and the Infant Perdita engraved by Jean Pierre Simon designed by John Opie for the Shakspeare Gallery. Original Stipple Engraving 1793 J. P. Simon John Opie (St. Agnes, Cornwall, 1761 - London, 1807) Sold

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

Art of the Print / www.artoftheprint.com

John Boydell & Josiah Boydell

Shakspeare Gallery

 
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  
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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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17.- His most Gracious Majesty King George the Third by Benjamin Smith Benjamin Smith (London, 1754 - 1833) Original Stipple Engraving (Artist Proof Impression) 1804  
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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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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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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:
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.
Women Portrayed in Art Index The 'Women in Art' directory contains a selection of original works of art with depictions of women in an almost infinite variety of roles, such as women as an object of beauty & desire, at work and of course, motherhood are major themes, as well as many other representations of women have emerged in the fine arts throughout the centuries.


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