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Benjamin Smith & George Romney

Benjamin Smith and George Romney - The Tempest The Enchanted Island Before the Cell of Prospero Prospero and Miranda from the Shakspeare Gallery by John Boydell

The Tempest. Act I, Scene I. The Enchanted Island: Before the Cell of Prospero. Prospero & Miranda. Shakspeare Gallery

Benjamin Smith's original stipple engraving, The Tempest. Act I, Scene I. The Enchanted Island: Before the Cell of Prospero. Prospero & Miranda is based upon a design created by the British artist, George Romney. It is a First Edition Impression' printed upon thick wove paper with the '1794 Whatman' watermark and with full margins as published for the Shakespeare Gallery by John Boydell, London in 1797. This engraving represents an important, early plate from John Boydell's famous Shakspeare Gallery. The vast majority of impressions one sees from The Shakspeare Gallery are from posthumous editions, particularly from the final published edition in New York in 1852. "Tempest. Act I, Scene I. The inchanted Island" was inspired by one of William Shakespeare's plays of the same name. This scene depicts a ship caught in a violent storm with Alonso, the king of Naples, Trinculo, his jester, Stephano, his butler, and the king's son, Ferdiand are on board with the mariners. Prospero's brother, Antonio, the man who usurped the throne of Milan is also there. In the upper right corner of this engraving, Prospero, the Duke of Milan and his daughter, Miranda appear looking down upon the doomed ship. When Prospero and Miranda were banished, they landed on a magical island, where they befriended the spirit, Ariel. Here, Prospero asks Ariel if the tempest is proceeding as requested and the spirit replies with the text written below. Note: The word, 'inchanted' that actually appears in the title of this engraving is old English for 'Enchanted'. The text below the image of this first edition impression reads;

"Shakspeare. Tempest. Act I, Scene I. The inchanted Island: Before the Cell of Prospero. Prospero & Miranda. Pubd, Septr. 29. 1797, by J. & J. Boydell, Shakspeare Gallery, Pall Mall; and No. 90, Cheapside. Engraved by B. Smith. Painted by G. Romney.

Ariel. Not a soul
But felt a fever of the mad, and play'd
Some tricks of desperation: All but mariners
Plung'd in the foaming brine, and quit the vessel,
Then all a-fire with me: the king's son, Ferdinand,
With hair up staring, (then like reeds, not hair,)
Was the first man that leap'd; cried, "Hell is empty,
And all the devils are here."

 
Title: Shakspeare. Tempest. Act I, Scene I. The inchanted Island: Before the Cell of Prospero. Prospero & Miranda
Engraver: Smith, Benjamin (London, 1754 - 1833)
Designer: Romney, George (Lancashire, 1734 - London, 1802)
Date: 1797 (First Edition Impression)
Medium: Original Stipple Engraving
Publisher: John Boydell, London
Source: Shakspeare Gallery
Note: Benjamin Smith: A great 18th and early nineteenth century engraver, Benjamin Smith studied stippling techniques under Francesco Bartolozzi in London. During his career Smith engraved many fine plates after the designs of contemporary masters such as William Hogarth, Sir William Beechey and George Romney. He also created portrait engravings of such noteworthy individuals as Marquis Cornwallis and George III. Benjamin Smith was frequently commissioned by John Boydell to engrave plates for both his Shakespeare Gallery and for his Milton set. "Shakspeare. Tempest. Act I, Scene I. The inchanted Island: Before the Cell of Prospero. Prospero & Miranda" was commisioned by Boydell for the Shakspeare Gallery set.
  George Romney: After Thomas Gainsborough and Sir Joshua Reynolds, George Romney ranks as the greatest English portrait and historical painter of the late eighteenth century. Born into humble circumstances he was sent to Kendal as a young man to apprentice under the painter, Christopher Steele. He remained in this town until the early 1760’s, making his way as a local portrait painter. George Romney then set out for London and made an almost overnight success of his career with his 1763 painting, “The Death of General Wolfe”. In the following years he created some of the greatest portraits in the history of British art, including that of Lady Hamilton.
  During the 1790’s George Romney was a contributor to both John Boydell’s Shakespeare and Milton sets. The frontis piece engraving, Milton and his Two Daughters was designed by George Romney and engraved by Benjamin Smith in 1795. For the Shakespeare venture, these two artists again collaborated for the important, allegorical engravings, Shakespeare Nursed by Tragedy and Comedy, The Infant Shakspeare. Attended by Nature and the Passions and for this 1797 engraving entitled, The Tempest. Act I, Scene II. The Enchanted Island: Before the Cell of Prospero.
  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. The Tempest. The inchanted Island: Before the Cell of Prospero - Prospero and Miranda by Benjamin Smith & George Romney is clearly an exceptional example of the art created for this set.
  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: Benjamin Smith, The Tempest (The Enchanted Island. Before the Cell of Prospero. Prospero and Miranda)
 

Shakspeare. Tempest. Act I, Scene I. The inchanted Island: Before the Cell of Prospero. Prospero & Miranda. Pubd, Septr. 29. 1797, by J. & J. Boydell, Shakspeare Gallery, Pall Mall; and No. 90, Cheapside. Engraved by B. Smith. Painted by G. Romney.

Prospero. Hast thou, spirit,
Perform'd to point the tempest that I bade thee?

Ariel. To every article.
I boarded the king's ship; now on the beak,
Now in the waist, the deck, in every cabin,
I flam'd amazement: Sometime I'd divide
And burn in many places; on the topmast,
The yards and bowsprit, would I flame distinctly,
Then meet, and join: Jove's lightnings, the precursors
O' the dreadful thunder-claps, more momentary
And sight-outrunning were not. The fire, and cracks
Of sulphurous roaring, the most might Neptune
Seem'd to besiege, and make his bold waves tremble,
Yea, his dread trident shake.

Prospero. My brave spirit!
Who was so firm, so constant, that this coil
Would not infect his reason?

Ariel. Not a soul
But felt a fever of the mad, and play'd
Some tricks of desperation: All but mariners
Plung'd in the foaming brine, and quit the vessel,
Then all a-fire with me: the king's son, Ferdinand,
With hair up staring, (then like reeds, not hair,)
Was the first man that leap'd; cried, "Hell is empty,
And all the devils are here."

This large, original engraving depicts a scene from William Shakspeare’s, Act I, Scene I. of the Tempest. The inchanted Island. (The Enchanted Island). Here the artists depicts a ship caught in a violent storm. The people on board the doomed ship include Alonso, the king of Naples, Trinculo, his jester, Stephano, his butler, and the king's son, Ferdiand. Antonio, Prospero's brother, the man who betrayed him and usurped the throne of Milan is also on board with others. In the upper right of this engraving, we see the Duke of Milan, Prospero and his daughter, Miranda looking down upon the failing ship. When Prospero and Miranda were banished, they landed on a magical island, where they received help from a spirit known as Ariel. In the upper left corner the artist depicts three spirits above the angry clouds. They are causing the tempest and appear to be placing everyone aboard ship in mortal danger. Below them, the artist depicts a ship tossing in the raging waves while frightened mariners hold on in an attempt to avoid a watery grave. In the text above, Prospero asks Ariel if the tempest is proceeding as requested and the spirit replies with a full description of the affair at hand. In Shakespeare's next scene, Prospero and Miranda stand at the shore of the enchanted island discussing the fate of the nobles who are now dispersed around the island. And, as requested by Prospero, Ariel safely brought the ship to harbour, having charmed the crew into a deep sleep. The word 'inchanted' that actually appears in the title of this original engraving is old English for 'Enchanted'.

Edition:

This original engraving is a 'First Edition Impressions'. 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. The text below the image of this first edition impression reads;

"Shakspeare. Tempest. Act I, Scene I. The inchanted Island: Before the Cell of Prospero. Prospero & Miranda. Pubd, Septr. 29. 1797, by J. & J. Boydell, Shakspeare Gallery, Pall Mall; and No. 90, Cheapside. Engraved by B. Smith. Painted by G. Romney.

Ariel. Not a soul
But felt a fever of the mad, and play'd
Some tricks of desperation: All but mariners
Plung'd in the foaming brine, and quit the vessel,
Then all a-fire with me: the king's son, Ferdinand,
With hair up staring, (then like reeds, not hair,)
Was the first man that leap'd; cried, "Hell is empty,
And all the devils are here."

 

An Important Note on Boydell States and Editions: Proof impressions and true first edition impressions are easily identified by their fine lines and strong contrasts of black and white tones. Later more common editions print in a more overall grey tone and contain areas of re-working. Briefly, the publishing history of these great engravings can be categorized into five states or editions:

1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin.
2. 'Proofs Before Title'. These impressions usually contain the names of the artist, publisher and engraver along the lower margin. They lack the title of the specific play depicted and usually the heading -- 'Shakspeare' -- is smaller than in the published edition. Once again, this state was printed in a very small numbers.
3. 'Open Letter Proofs'. These impressions bear the title of the play. the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer's request. Perhaps ten to twenty Open Letter Proofs exist for each engraving.
4. 'First Edition Impressions'. The completed set of Boydell's Shakespeare engravings was published in London in 1803. The full publisher's address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling. Both first edition impressions and proofs were most often printed on either hand-made, laid paper or wove paper bearing the 'J. Whatman' watermark.
5. 'Posthumous Impressions and Restrikes' As early as 1807, John Stockdale of London issued a second edition of the Shakespeare prints. They continued to be published throughout the first half of the nineteenth century. Finally, in 1852, an enterprising dentist in New York City (with the delightful name of Shearjashub Spooner) acquired the plates, restored them and produced the last edition. These prints are most commonly offered for sale.

Size: 19 1/2 X 25 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
  UnMatted
Buy Now Price: $1,150.00 US
Condition: Printed upon thick wove paper with the '1794 Whatman' watermark and with full margins as published by Boydell in London in 1797. Containing a vertical crease within the image (probably due to the pressure of printing) and slight foxing in the outer margins else a vibrant, early first edition impression and in very good condition throughout. The Tempest. Act I, Scene II. The Enchanted Island: Before the Cell of Prospero represents a superb, original example of the art by Benjamin Smith & George Romney created for John Boydell’s famous Shakespeare Gallery.
Subject: Benjamin Smith, George Romney, The Tempest. Act I, Scene II. The inchanted Island. Before the Cell of Prospero, (The Enchanted Island), original stipple engraving, the Shakspeare Gallery, Shakespearean prints, Boydell's Shakespeare Gallery, First edition, Miranda, Ariel, the Storm Scene. Alonso, the king of Naples, his son Ferdiand, Trinculo, Stephano, the jester, Prospero’s brother, the spirit, Ariel.
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Original Stipple Engraving by Benjamin Smith designed by George Romney (Shakspeare Gallery, John Boydell, London).

First Edition Impression

The Tempest The Enchanted Island Before the Cell of Prospero The inchanted Island Prospero and Miranda Original Engraving by the British artist Benjamin Smith and George Romney from the Shakspeare Gallery by John Boydell
Shakspeare. Tempest. Act I, Scene I. The inchanted Island: Before the Cell of Prospero. Prospero & Miranda. Pubd, Septr. 29. 1797, by J. & J. Boydell, Shakspeare Gallery, Pall Mall; and No. 90, Cheapside.

View other original engravings by Benjamin Smith.

Benjamin Smith (London, 1754 - 1833)
# Image Title & Artists Medium Date Engraver Designer Source -
01.- His most Gracious Majesty King George the Third by Benjamin Smith designed by Sir William Beechey His most Gracious Majesty King George the Third by Benjamin Smith designed by Sir William Beechey Original Stipple Engraving 1804 Benjamin Smith Sir William Beechey Shakspeare Gallery  
02- John Milton On the Death of a Fair Infant by Benjamin Smith John Milton: On the Death of a Fair Infant by Benjamin Smith designed by Richard Westall Original Stipple Engraving (First Edition Impression) 1797 Benjamin Smith Richard Westall The Poetical Works of John Milton  
03.- King Richard The Second Bolingbroke York Aumerle by Benjamin Smith King Richard The Second. Act IV, Scene I. King Richard, Bolingbroke, York, Aumerle, etc. by Benjamin Smith designed by Mather Brown Original Stipple Engraving (Artist Proof Impression) c. 1795 Benjamin Smith Mather Brown Shakspeare Gallery Sold
04.- Lycidas by Benjamin Smith designed by Richard Westall Lycidas: A Poem by John Milton engraved by Benjamin Smith designed by Richard Westall Original Stipple Engraving (First Edition Impression) 1797 Benjamin Smith Richard Westall The Poetical Works of John Milton  
05.- 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 designed by Thomas Banks 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 designed by Thomas Banks Original Stipple Engraving (First Edition Impression) 1796 Benjamin Smith Thomas Banks Shakspeare Gallery  
06.- Shakspeare Nursed by Tragedy And Comedy by Benjamin Smith Shakspeare Nursed by Tragedy And Comedy by Benjamin Smith designed by George Romney Original Stipple Engraving (First Edition Impression) 1803 Benjamin Smith George Romney Shakspeare Gallery  
07.- Paradise Lost Adam and Eve Banished by Benjamin Smith Paradise Lost: Adam and Eve Banished from Paradise by Benjamin Smith designed by Richard Westall Original Stipple Engraving (First Edition Impression) 1795 Benjamin Smith Richard Westall The Poetical Works of John Milton  
08.- Paradise Regained The Fall of Satan by Benjamin Smith Paradise Regained: The Fall of Satan by Benjamin Smith designed by Richard Westall Original Stipple Engraving (First Edition Impression) 1795 Benjamin Smith Richard Westall The Poetical Works of John Milton  
09.- The Infant Shakspeare. Attended by Nature and the Passions by Benjamin Smith The Infant Shakspeare. Attended by Nature and the Passions by Benjamin Smith designed by George Romney Original Line and Stipple Engraving (Spooner Edition) 1799 (1852 Edition) Benjamin Smith George Romney Shakspeare Gallery Sold
10.- The Tempest The Enchanted Island Before the Cell of Prospero Prospero and Miranda by Benjamin Smith The Tempest. Act I, Scene I. The Enchanted Island: Before the Cell of Prospero. Prospero and Miranda. by Benjamin Smith designed by George Romney Original Line and Stipple Engraving (First Edition Impression) 1797 Benjamin Smith George Romney Shakspeare Gallery  

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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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.
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:
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.
Transportation Portrayed in Art Index Our 'Transportation In Art' directory contains original artworks concentrating upon depictions of vehicles used for transportation, such as, trains, wagons, ships, boats, airplanes, cars, bicycles, lunar modules, space ships and many other delightful and interesting machines associated with mankind's interest in travel.


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