Shakespeare: Second Part of King Henry the Fourth, Act II, Scene IV
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Fuseli (Swiss Painter, Henry 1707-1782)
Leney (English Engraver 1769-1831), William
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Classification: Communication Artifact Materials and Techniques: Engraving Style, Period, Movement: Physical Description:Inscriptions on Face of Engraving - Printed: "SHAKSPEARE. Second Part of King Henry the Fourth. ACT II. SCENE IV. Doll Tearsheet, Falstaff, Henry, & Poins. Painted by Henry Fuseli, R.A. Engraved by Wm. Leney. Do1. I faith, and thou follwdnullst him like a church. Thou whoreson little tidy Bartholomew boar- pig, when will thou leave fighitng onulldays, & foining onullnights, & begin to patch up thine old body for heaven. Published March 25th. 1795, by JOHN & JOSIAH BOYDELL, at the Shakspeare Gallery, Pall- Mall, & at No.90. Cheapside, LONDON Exhibition History: Collection or Donor:Mrs. Elsie M. Waterer in memory of her husband, Anthony Waterer, Sr. (1964) Additional Information: "This engraving is part of one of Englandnulls biggest artistic ventures of the eighteenth century, The Boydell Shakespeare Gallery. The man who commissioned the project, John Boydell, believed that England was well behind her neighboring countries in the genre of history painting. He saw the Shakespeare Gallery as a means to create patronage for history painting, and eventually establish a national school dedicated to it. The Gallery consisted of three parts: commissioned Shakespearean history paintings, folios of engraved prints, and a gallery where people could go and view the works. Boydell chose William Shakespearenulls work as the subject for the paintings and prints because he was a national hero and a perfect representative of the school Boydell wanted to create. Boydell published two different editions during the duration of his Gallery, a nine-volume folio of Shakespearenulls dramatic works and one folio volume that contained one hundred engraved prints after the paintings. Prints such as A Bed Chamber served two functions within the Gallery: they made it more accessible, and served as an outlet for Boydell to advertise the establishment of a national school. Boydellnulls Gallery faltered after a few years as a result of the loss of markets abroad with the onset of the French Revolution, lavish spending on the engravings, and subscribers irritated by the amount of time neededto produce a volume. In1805, on the brinkof bankruptcy, Boydell sold ofhis shareof the venture through a lottery. The total amount he had spent on the project was over 300,00 pounds. Today, these prints are the main record of thegalerynulls existence, since the majority of the history paintings are lost." Written by Chelsea Troppauer, Franklin & Marshall College, Class of 2011
19 1/4 x 14 1/4 inches
- F&M Art Collection 
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