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Robert Thew & John Hoppner

Robert Thew and John Hoppner - Cymbeline Near Milford Haven Pisanio and Imogen from the Shakspeare Gallery by John Boydell

Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen. Shakspeare Gallery

Robert Thew's original stipple engraving, Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen is based upon a design created by John Hoppner. This scarce, 'Open Letter Proof Impression' is printed upon hand-made, laid paper and with full margins as published for the "Shakspeare Gallery" in London by John Boydell in 1801. Being a proof impression, it predates the published edition. Perhaps ten to twenty of these impressions exist. This is a superb, original example of the art created by the British artists, Robert Thew and John Hoppner and the Boydell Shakespeare Gallery. In William Shakespeare's play "Cymbeline. Act Three, Scene Four" Imogen, is the daughter of Cymbeline, King of the Britons. The nobleman, Leonatus Posthumus (Imogen's husband), has been given false evidence of her infidelity by Jachimo (a rogue, and the brother of the ruler of Sienna). Enraged, Leonatus, dispatches Pisanio and orders him to slay her. Pisario is unable to fulfill his master's wishes, and convinces Imogen to escape disguised as a youth; suggesting she should go to Rome, find Leonatus and convince him of her innocence. This particular scene takes place in a the forest near Milford Haven. It portrays the moment Imogen hands Pisanio the dagger. In the end, both Jachimo and the Queen confess their treachery and all is forgiven. The text below the image of this proof impression reads; "Shakspeare. Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen. Pub, June 4, 1801 by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No. 90, Cheapside, London. Engraved by Robt. Thew, Histl. Engraver to H.R.H. the Prince of Wales. Painted by J. Hoppner R. A.". Note: As this is an original proof impression, it lacks the following text that appears in later impressions.

Imo. ______ Look!
I dran the sword myself: take it, and hit
The innocent mansion of my love, my heart:
Fear not; 'tis empty of all things, but grief:
Thy master is not there; who was, indeed.
The riches of it: Do his bidding; strike.
Thou mays't be valiant in a better cause;
But now thou seem 'st a coward.

 
Title: Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen
Engraver: Thew, Robert (Partington, 1758 - Stevenage, 1802)
Designer: Hoppner, John (Whitechapel, 1758 - London, 1810)
Date: 1801 (Open Letter Proof Impression)
Medium: Original Stipple Engraving
Publisher: John Boydell, London
Source: Shakspeare Gallery
Note: Robert Thew: One of England’s finest late eighteenth century stipple engravers, Robert Thew’s first profession was actually that of a soldier. He served in the military until 1783 and only began to engrave when he lived in Hull. Almost completely self-taught, Robert Thew would eventually be commissioned to engrave the portraits of many important statesmen, including King George III and Queen Charlotte. He also held the important position of Historical Engraver to the Prince of Wales.
  In total Robert Thew engraved seventeen scenes for the Boydell Shakspeare Gallery, including such famous Shakespearean works as the Witches scene from Macbeth (designed by Sir Joshua Reynolds) and the Ghost scene from Hamlet (designed by Henry Fuseli). For Cymbeline, Near Milford Haven -- Pisanio and Imogen, (designed by John Hoppner) Robert Thew utilized his fine stippling technique to create brilliant light upon the central figure of Imogen.
  There seems to be some question as to the birth and death place for Robert Thew. More recent information can be found in Ian Mackenzie, British Prints: Dictionary and Price Guide, Antique Collectors’ Club, Suffolk, 1987, p. 313. and E. Benezit, Dictionary of British Graphic artists and Illustrators, Oxford, University Press, 2012, Vol. 1, page 465. Both of these sources state that Robert Thew was born in Partington, 1758 , and died in Stevenage, 1802. However, soon after the death of Robert Thew, obituaries containing short biographies about the artist appeared in many magazines, such as "The Universal Magazine of Knowledge and Pleasure", Volume 111, printed by M. Brown, St. John's Square, and Sold by W. Bent, a the King's Arms, Paternoster-Row, 1802, page 145. It reads; "August 17. A few days ago died at Roxley, in Hertfordshire, Robert Thew, historical engraver to the prince of Wales. He was born in Yorkshire, about the year 1758, ....". Another appeared in "The Gentleman's Magazine: and Historical Chronicle for the year MDCCCII", volume 92, by Sylvanus Urban, Gent. London, Printed by Nichols and Son, at Cicer's Head, Red Lion Passage, Fleet-Street, 1802, page 971. It reads" P.788, a Mr. Robert Thew, historical engraver to the Prince of Wales, died at Roxley, in Hertfordshire. He was born in Yorkshire, about 1758..."
  John Hoppner: John Hoppner entered the Royal Academy as a student in 1775. Showing much promise his work received a silver medal in 1778 and a gold medal in 1782 from that institution. In 1789 Hoppner was appointed portrait painter to the Prince of Wales. In this important genre he had but one rival, Sir Thomas Lawrence.
  In 1793 John Hoppner was elected an Associate of the Royal Academy and, in 1795, a full Academician. John Hoppner's famous portraits include those of the Prince of Wales, Duke of York, Duke of Wellington, Earl Camden, the Duchess of York, William Pitt and many others.
  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 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 Shakespeare Gallery had created and published one hundred and seventy engravings on a grand scale. Cymbeline. Act III, Scene IV. (Near Milford Haven. Pisanio and Imogen) is an open letter proof impression published in 1801 for this set. 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: Robert Thew, Cymbeline (Near Milford Haven. Pisanio and Imogen)
 

Shakspeare. Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen. Pub, June 4, 1801 by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No. 90, Cheapside, London. Engraved by Robt. Thew, Histl. Engraver to H.R.H. the Prince of Wales. Painted by J. Hoppner R. A.

Imogen. Prithee, despatch:
The lamb entreats the butcher: Where's they knife?
Thou art too slow to do thy master's bidding,
When I desire it too.

Pisanio. O gracious lady,
Since I received command to do this business,
I have not slept one wink.

Imogen. Do 't, and to bed then.

Pisanio. I'll wake my eye-balls blind first.

Imogen. Wherefore then
Didst undertake it? Why hast thou abus'd
So many miles, with a pretence? this place?
Mine action, and thine own? our horses' labour?
The time inviting thee? the perturb'd court,
For my being absent; whereunto I never
Purpose return? Why hast thou gone so far
To be unbent when thou hast ta'en thy stand,
The elected deer before thee?

This original Robert Thew engraving was created after a painting created by John Hoppner as commissioned by Boydell for the Shakespeare Gallery to represent, Act Three, Scene Four from a play entitled, Cymbeline. Near Milford Haven. Pisanio and Imogen by William Shakespeare. This scene takes place near Milford Haven, a forest near a cave. It portrays the moment Imogen hands Pisanio the dagger. Imogen's brave words, however, create compassion and Pisanio cannot kill her. He then convinces her to disguise herself as a man in order to win back Leonatus.

In this Shakespeare's play, Cymbeline is the King of the Britons, a good man, but not particularly bright. He has two sons, Guiderius, and Arviragus, (who he believes are dead), and a daughter by his first marriage, Imogen, (now heir to the throne). The boys were kidnapped and raised in the mountains as hunters by Belarius (now known as Morgan). At one time, Belarius was one of the King's most loyal and greatest generals until he was falsely accused of treason. Twenty years have passed, Guiderius (now known as Polydore), and Arviragus (now known as Cadwall), are strong and valiant young men. The King has since taken a second wife, a beautiful, but malevolent woman. She is the mother of the dim-witted and malicious, Cloten. The Queen has no trouble manipulating the old king and is responsible for starting the war against the Romans. The king's daughter, Imogen has secretly married Posthumus Leonatus, an orphan, and a poor but worthy nobleman who was brought up in the king's court. Imogen's villainous step-mother, desires to wed her unbearable son, Cloten to Imogen, so she quickly reveals Imogen's secret wedding (elopement) and King Cymbeline has no option but to banish Posthumus to Rome. While Leonatus Posthumus is in Rome, he is given false evidence of Imogen's infidelity by Jachimo (a rogue who believes himself to be the best seducer of women and a great lover). Enraged, Leonatus, dispatches his loyal servant, Pisanio to Milford Haven and orders him to slay Imogen. Pisario is unable to fulfill his master's wishes, and persuades her to escape disguised as a man; suggesting she go to Rome, find Leonatus and convince him of her innocence. Imogen (now disguised as the youth, Fidele), is discovered in a mountain cave which just happens to be the home of the hunters, Morgan and his two sons, (her real brothers, the royal princes). The three men quickly grow fond of the lad and decide to protect him. The Queen discovers that Imogen is still alive, and sends Pisario to give her some medicine (which the Queens believes is poison, but is actually a sleeping potion). Imogen takes the potion and falls into a deep sleep, prompting the three men to believe she is dead. Back at the castle, Cloten forces Pisanio to confess where Imogen is hiding, and disguised in Leonatus's clothes goes off to the mountains in her search with intent to defile her honour. Once there, Cloten meets his death at the hands of Cymbeline's oldest son, Guiderius who places the body of the man by the dead youth, Fidele (Imogen). Then, Cymbeline's sons Guiderius, and Arviragus and Belarius go off to join the war, help defeat the Romans and save the King Cymbeline. Back in the cave, Imogen awakens, and is devastated, fearing the identity of the body by her side is Leonatus. In the end, The Queen falls ill after Cloten disappears, but before she dies confesses her wicked deeds. Jachimo (the Italian nobleman, brother of the ruler of Sienna and the rogue who accused Imogen of infidelity), was also remorseful and confesses to his lies. The true identities of Guiderius, and Arviragus, the King's sons, are revealed. Both Imogen and Leonatus live, and all is forgiven. etc. etc. This is a superb, original example of the art created by the British artists, Robert Thew and John Hoppner and the Boydell Shakespeare Gallery.

Edition:

This engraving is an original 'Open Letter Proof Impression'. 3. 'Open Letter Proofs'. These impressions bear the title of the play. the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer's request. Perhaps ten to twenty Open Letter Proofs exist for each engraving. The text below the image of this proof impression reads;

"Shakspeare. Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen. Pub, June 4, 1801 by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No. 90, Cheapside, London. Engraved by Robt. Thew, Histl. Engraver to H.R.H. the Prince of Wales. Painted by J. Hoppner R. A."

Note: As this is an original proof impression, it lacks the following text that appears in later impressions.

Imo. ______ Look!
I dran the sword myself: take it, and hit
The innocent mansion of my love, my heart:
Fear not; 'tis empty of all things, but grief:
Thy master is not there; who was, indeed.
The riches of it: Do his bidding; strike.
Thou mays't be valiant in a better cause;
But now thou seem 'st a coward.

 

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: 20 1/2 X 25 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
  UnMatted
Buy Now Price: $1,100.00 US
Condition: Printed upon hand-made, laid paper and with full margins as published in London by Boydell in 1801. Containing some foxing and staining in the outer margins and several small creases within the image, else a vibrant impression bearing all the fine lines and strong tonal values of an early, open letter proof impression. The full text bellow the image of this proof impression reads; "Shakspeare. Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen. Pub, June 4, 1801 by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No. 90, Cheapside, London. Engraved by Robt. Thew, Histl. Engraver to H.R.H. the Prince of Wales. Painted by J. Hoppner R. A.". This engraving represents a superb, original example of the famous art of Boydell’s Shakespeare Gallery.
Subject: Robert Thew, John Hoppner, John and Josiah Boydell, Cymbeline. Act III, Scene IV. (Near Milford Haven. Pisanio and Imogen), original stipple and line engraving, open letter proof impression, Shakspeare Gallery, Shakespeare Gallery, portrait painter to the Prince of Wales, William Shakespeare, Shakespearean prints.
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Original Stipple Engraving by Robert Thew designed by John Hoppner (Shakspeare Gallery, John Boydell, London).

Open Letter Proof Impression

Cymbeline Near Milford Haven Pisanio and Imogen Original Stipple Engraving by the British artists Robert Thew and John Hoppner from the Shakspeare Gallery by John Boydell London
Shakspeare. Cymbeline. Act III, Scene IV. Near Milford Haven. Pisanio and Imogen. Pub, June 4, 1801 by J. & J. Boydell, at the Shakspeare Gallery, Pall Mall, & No. 90, Cheapside, London.

View other original engravings by Robert Thew.

Robert Thew (Partington, 1758 - Stevenage, 1802)
# Image Title & Engraver Medium Date Engraver Designer Notes -
01- As You Like It The Seven Ages of Man The Third Age by Robert Thew As You Like It. Act II, Scene VII. The Seven Ages of Man. Third Age. (Youth) by Robert Thew designed by Robert Smirke Original Stipple Engraving 1801 Robert Thew Robert Smirke Open Letter Proof, contains the names of the engraver and designer, Robert Thew and Robert Smirke, the text for the play and the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling.  
02.- Cymbeline Near Milford Haven Pisanio and Imogen by Robert Thew Cymbeline. Act III, Scene IV. (Near Milford Haven. Pisanio and Imogen) by Robert Thew designed by John Hoppner. Original Stipple Engraving 1801 Robert Thew John Hoppner Open Letter Proof, contains the names of the engraver and designer, Robert Thew and John Hoppner, the text for the play and the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling.  
03.- King Henry the Fourth Act Two The Boar's Head Tavern by Robert Thew First Part of King Henry the Fourth. Act II, Scene IV. (The Boar's Head Tavern. Prince Henry, Falstaff, Poins, etc.) by Robert Thew designed by Robert Smirke Original Stipple Engraving 1796 Robert Thew Robert Smirke First Edition, contains the names of the engraver and designer, Robert Thew and Robert Smirke, Boydell's full address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling.  
04.- King Henry the Eighth Act Three A Room in the Queen's Apartments by Robert Thew 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 designed by Reverend Matthew William Peters Original Stipple Engraving 1796 Robert Thew Reverend Matthew William Peters Open Letter Proof, contains the names of the engraver and designer, Robert Thew and Reverend Matthew William Peters, the text for the play and the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling.  
05.- King Henry the Eighth Act Four The Abbey of Leicester by Robert Thew King Henry the Eighth. Act IV, Scene II. (Abbey of Leicester. Wolsey, Northumberland, & Attendants, Abbot of Leicester, etc.) by Robert Thew designed by Richard Westall Original Stipple Engraving 1798 Robert Thew Richard Westall Open Letter Proof, contains the names of the engraver and designer, Robert Thew and Richard Westall, the text for the play and the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling.  
06.- King Richard the Second Act Five The Entrance of King Richard and Bolingbroke into London by Robert Thew King Richard the Second. Act V, Scene II. (The Entrance of King Richard and Bolingbroke into London) by Robert Thew designed by James Northcote Original Stipple & Line Engraving 1801 Robert Thew James Northcote Open Letter Proof, contains the names of the engraver and designer, Robert Thew and James Northcote, the text for the play and the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. Sold
07.- King Richard the Third Prince of Wales Duke of York his Brother by Robert Thew designed by James Northcot King Richard the Third. Act III, Scene I (Prince of Wales, Duke of York, his Brother, etc.) by Robert Thew designed by James Northcote. Original Stipple & Line Engraving 1791 Robert Thew James Northcote Open Letter Proof, contains the names of the engraver and designer, Robert Thew and James Northcote, the text for the play and the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling.  
08.- Second Part of King Henry the Fourth The Palace at Westminster King Henry asleep Prince of Wales Prince Henry Taking the Crown by Robert Thew 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 designed by Josiah Boydell. Original Etching & Engraving 1791 Robert Thew Josiah Boydell Proof Before Title, contains the names of the engraver and designer, Robert Thew and Josiah Boydell and Boydell's full address appears along the lower margin but lacks the title of the specific play. The heading, 'Shakspeare' is smaller than in the published edition.  
09.- King Henry the Fourth Second Part Prince Henry's Apology by Robert Thew 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 designed by Josiah Boydell. Original Stipple Engraving 1798 Robert Thew Josiah Boydell Open Letter Proof, contains the names of the engraver and designer, Robert Thew and Josiah Boydell, the text for the play and the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling.  

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:
Animals in Art Index The 'Animal Art' directory contains a selection of original animal art created by artists throughout the centuries, depicting birds, cats, dogs, horses, cows, sheep, pigs, monkeys, fish and or many other creatures. The artists' depictions range from rare zoological studies to some very humorous animal portrayals.
Religion Portrayed in Art Index The 'Religion Portrayed in Art' directory contains a selection of original works of art dealing with Christianity, Judaica and Eastern Religions, such as, studies or portraits of saints, clergymen & theologians and scenes dealing with a spiritual theme as well as places of religious worship, views of cathedrals, churches, chapels, monasteries, mosques & synagogues and other religious structures.
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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